• Cécités et créations
    Vol 8 No 6 (2019)

    Ce numéro spécial interroge et affirme les liens productifs et innovateurs qui existent entre cécité et création. Nous réunissons ici des réflexions historiques, créatives et littéraires qui montrent, de manière pluridisciplinaire, que de nouvelles conceptions de la cécité peuvent briser les images stéréotypées de la personne aveugle qui hantent la société contemporaine. Nous rejetons le modèle médical de la cécité qui représente la personne aveugle comme victime ou objet de pitié souffrant de son sort. Tout en reconnaissant les inconvénients qu’affrontent les personnes aveugles dans un monde fait pour et par les personnes non aveugles, nous affirmons que la cécité n’est ni problème ni tragédie. Au contraire, elle ouvre de nouvelles perspectives intellectuelles, imaginatives, esthétiques et innovatrices qui remettent en question la position privilégiée de la vue dans la hiérarchie des sens.

  • Survivals, Ruptures, Resiliences: Perspectives from Disability Scholarship, Art and Activism
    Vol 8 No 4 (2019)

    This special issue of the Canadian Journal of Disability Studies (CJDS) includes 18 original works that critically examine survival and resilience as socio-political phenomena. The volume of contributions in this issue suggest the complexities of survival and resilience are important current considerations for critical disability studies scholarship and praxis. Drawing on interdisciplinary disability and mad studies perspectives, and a wide range of methodologies, including autoethnography, poetry, photography, art, commentary, as well more traditional academic methods for sociological and social-geographical, genealogical, and geopolitical analysis, these works expose, resist and rupture unexamined relations to difference and adversity.

  • Disability and/in/through Fanfiction
    Vol 8 No 2 (2019)

    Disability and/in/through Fanfiction includes a mix of academic articles, based on research and scholarship, reflections on how disability manifests in fannish spaces, a documentary film, and fanfiction narratives. All are imbued with disabled fan sensibilities and perspectives.

  • Cripping the Arts in Canada
    Vol 8 No 1 (2019)

    Disability arts are political. Disability arts are vital to the disabled people’s movement for how they imagine and perpetuate both new understandings of disability, Deafhood, and madness/Mad-identity and create new worldly arrangements that can hold, centre, and even desire such understandings. Critically led by disabled, mad, and Deaf people, disability art is a burgeoning artistic practice in Canada that takes the experience of disability as a creative entry point.

  • Telling Ourselves Sideways, Crooked and Crip
    Vol 5 No 3 (2016)

    Stories about us are boring. As predictable and ubiquitous as they are dangerous, normate narrations of our lives are as straight as they come: one-dimensional narratives of tragic loss and/or progressive normativity. We are dying or overcoming. We become a burden or an inspiration. We desire vindication or marriage. Our entire narrative worlds are defined by our Otherness, yet revolve around the normates and the normative. These stories cut straight to the point, using—and used as—well-steeped, easily readable metaphors bolstered by the requisite piano-based musical cues. If we didn’t know us better, we would bore us.

  • A wheelchair symbol coloured mottled green with a human face inside a television, floating in space Cripping Cyberspace: A Contemporary Virtual Art Exhibition Curated by Amanda Cachia
    Vol 2 No 4 (2013)

    Cripping Cyberspace: A Contemporary Virtual Art Exhibition is an online exhibition curated by Amanda Cachia. Cripping Cyberspace offers four diverse, newly commissioned projects, exploring the possibilities the virtual platform offers to pave critical space for the disabled subject. This exhibit has been designed to allow for multiple avenues of access: the video interviews or audio descriptions, their transcripts, the artists' statements, the critical perspectives, and the art itself should be seen as equal and integral tools for the cripping of cyberspace.

    List of Works

    Katherine Araniello, Sick Bitch Crip Dance, 2013

    Cassandra Hartblay, Do You Like This Installation? 2013

    Sara Hendren, Slope : Audio, 2013

    m.i.a. collective, Virtual Poster Series, ViP #1. Traffic Lights, 2013

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