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By Brenda Jo Brueggemann

This quantity in The SAGE Reference sequence on incapacity explores the humanities and arts in the lives of individuals with disabilities. it really is one in all 8 volumes within the cross-disciplinary and issues-based sequence, which includes hyperlinks from various fields making up incapacity reviews as volumes research themes vital to the lives of people with disabilities and their households. With a stability of background, idea, study, and alertness, experts set out the findings and implications of study and perform for others whose present or destiny paintings consists of the care and/or learn of these with disabilities, in addition to for the disabled themselves. The presentational kind (concise and fascinating) emphasizes accessibility. Taken separately, each one quantity units out the basics of the subject it addresses, followed through compiled information and statistics, suggested additional readings, a consultant to organisations and institutions, and different annotated assets, hence supplying the right introductory platform and gateway for extra research. Taken jointly, the sequence represents either a survey of significant incapacity matters and a consultant to new instructions and tendencies and modern assets within the box as an entire.

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Because the disability experience is socially constructed, the identity model largely depends on the social model. The difference between the social model and the identity model is that the latter claims disability as a positive identity, a way to describe oneself and to be part of a community, in a way that the former does not by definition entail. Once someone has claimed disability as a positive identity marker, it becomes more feasible and desirable to produce art that celebrates human variation than it would be under a medical model.

On a theoretical level it is possible to separate these models as we have done here, but it will become clear as we discuss examples of art and scholarship throughout the rest of this volume that we almost always draw on multiple models of disability, whether unconsciously or by design. ” We might expect, for example, a normal college student to be between the ages of 18 and 22; we may believe we can recognize whether or not a person falls into the range of normal height and weight; and we think have an understanding of what type of food is normally served at breakfast and not at dinner.

In all of these cases, artworks and humanities scholarship on disability serve medicine as the central paradigm under which to think about disability. While the medical model is the dominant paradigm for thinking about disability today, it finds its most substantial counterpart in the social model. Under the social model, disability is socially constructed. Inaccessible buildings, inflexible educational systems aimed at students who learn only in certain ways, prejudicial attitudes, and other features of society disable people with certain types of bodies.

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