With contributions by both artists and scholars, Embodied Politics in Visual Autobiography is a unique examination of visual autobiography's involvement in the global cultural politics of health, disability, and the body.

From reality television to film, performance, and video art, autobiography is everywhere in today’s image-obsessed age. With contributions by both artists and scholars, Embodied Politics in Visual Autobiography is a unique examination of visual autobiography’s involvement in the global cultural politics of health, disability, and the body. This provocative collection looks at images of selfhood and embodiment in a variety of media and with a particular focus on bodily identities and practices that challenge the norm: a pregnant man in cyberspace, a fat activist performance troupe, indigenous artists intervening in museums, transnational selves who connect disability to war, and many more. The chapters in Embodied Politics in Visual Autobiography reflect several different theoretical approaches but share a common concern with the ways in which visual culture can generate resistance, critique, and creative interventions. With contributions that investigate digital media, installation art, graphic memoir, performance, film, reality television, photography, and video art, the collection offers a wide-ranging critical account of what is clearly becoming one of the most important issues in contemporary culture.

This collection of short essays provides a rigorous, rich, collaborative space in which scholars and practitioners debate the value of different methodological approaches to the study of life narratives and explore a diverse range of interdisciplinary methods. Auto/biography studies has been one of the most vibrant sub-disciplines to emerge in the humanities and social sciences in the past decade, providing significant links between disciplines including literary studies, languages, linguistics, digital humanities, medical humanities, creative writing, history, gender studies, education, sociology, and anthropology. The essays in this collection position auto/biography as a key discipline for modelling interdisciplinary approaches to methodology and ask: what original and important thinking can auto/biography studies bring to discussions of methodology for literary studies and beyond? And how does the diversity of methodological interventions in auto/biography studies build a strong and diverse research discipline? In including some of auto/biography’s leading international scholars alongside emerging scholars, and exploring key subgenres and practices, this collection showcases knowledge about what we do when engaging in auto/biographical research. Research Methodologies for Auto/biography Studies offers a series of case studies that explore the research practices, reflective behaviours, and ethical considerations that inform auto/biographical research.

Introduces key ideas and offers a sense of the new frontiers and questions in the emerging field of disability media studies Disability Media Studies articulates the formation of a new field of study, based in the rich traditions of media, cultural, and disability studies. Necessarily interdisciplinary and diverse, this collection weaves together work from scholars from a variety of disciplinary homes, into a broader conversation about exploring media artifacts in relation to disability. The book provides a comprehensive overview for anyone interested in the study of disability and media today. Case studies include familiar contemporary examples—such as Iron Man 3, Lady Gaga, and Oscar Pistorius—as well as historical media, independent disability media, reality television, and media technologies. The contributors consider disability representation, the role of media in forming cultural assumptions about ability, the construction of disability via media technologies, and how disabled audiences respond to particular media artifacts. The volume concludes with afterwords from two different perspectives on the field—one by disability scholar Rachel Adams, the other by media scholars Mara Mills and Jonathan Sterne—that reflect upon the collection, the ongoing conversations, and the future of disability media studies. Disability Media Studies is a crucial text for those interested in this flourishing field, and will pave the way for a greater understanding of disability media studies and its critical concepts and conversations.

With the interest in practice theory and praxeology on the rise, praxeology can be considered an emerging new methodological as well as theoretical paradigm which successfully overcomes epistemological dichotomies of conventional approaches. The articles in this volume serve as starting points for rendering contemporary practice theory approaches useful for the analysis of political events and processes, without reducing the political aspect a priori to the formal policy sphere. In this context, Praxeological Political Analysis demonstrates that praxeological research is now increasingly addressing issues which are considered virulent in, for instance, the consumer, sustainability or political spheres. Following on from this key focus on political analysis, this title also seeks to expand the current status of primarily political science adaptions of practice theory approaches to the analysis of predominantly narrowly defined political practices. Written with an explicit focus on diverse political aspects and dimensions in the performative enactment of social practices, this title will appeal to post-graduate students and scholars interested in sociology of politics, social and public policy, development in social theory and political research methods.

Performing Auto/biography: Narrating a Life as Activism analyzes the rhetorical strategies employed in five authors’ auto/biographical texts, examining their representations of identities and the public implications of writing individual identity. Exploring the ways race, class, culture, ethnicity, gender, and sexuality might affect the form(s) in which writers choose to write (e.g., memoir, fictional autobiography, poetry), questions how autobiographers challenge notions of genre, truth, and representation. This builds on the argument that constructing identity is a Performing Autobiography performance, one that can simultaneously use and subvert traditional notions of rhetoric and genre. By examining the auto/biographical texts of Zora Neale Hurston, Audre Lorde, Dorothy Allison, Joyce Johnson, and Shirley Geok-lin Lim together, the book theorizes self-representation and genres as rhetorical performances, and therefore their texts can be seen as “performative auto/biography”—transgressive archives where readers are asked to consider their own identities and act accordingly. In doing so, this book contributes to growing theories in feminist rhetorics and auto/biography studies, arguing that these performative genres advocate for life narratives as political and social activism.

This volume focuses on popular film, television, and online representations of contested corporealities and contributes to visual culture studies, disability studies, critical pedagogy, and medical humanities. Emphasizing unruly embodiments that transgress and transform, the volume conceptualizes visual culture as a space of query and accountability. In their introduction, the editors underline how spaces of cultural production provide necessary contexts for analyzing the social impact of contested corporealities. Contributors, in turn, offer new perspectives on technologies, disability, and cultural production. Eunjung Kim argues that life-size dolls in contemporary art films show how acts of caring for radically passive bodies can emerge as both erotic and beautiful; Nicole Markotić critiques the prioritizing of death as the most desirable, logical outcome in biopics of disability; and Katherine W. Sweaney's article on the online anatomization of an amnesiac's brain reminds us of the high stakes for medicine and science in the public display of knowledge-making. Working at the intersection of fat and critical race studies, Scott Stoneman discusses the body politics of the film Precious. Katerie Gladdys and Deshae E. Lott reflect on their lyrical installation about life with mechanical ventilation, and Ann Fudge Schormans and Adrienne Chambon examine how image-making by persons with intellectual disabilities can intervene in ableist-defined social space. With attention to queer theory and transnationalism, Michael Gill considers the British web-based RTV program, The Specials, where young men labeled as intellectually disabled fashion their erotic self-understandings as they discuss and appreciate an ensemble of Thai kathoey performers. Concentrating on the global politics of organ transplantation, Donna McCormack critically examines feature films that mediate questions of community, ethics, and mobility. The volume is further enriched by the inclusion of an interview in which Danielle Peers, Melisa Brittain, and Robert McRuer discuss the significance of crip possibilities in art and academia. This book was originally published as a special issue of The Review of Education, Pedagogy, and Cultural Studies.

The Comics of Asaf Hanuka: Telling Particular and Universal Stories tells the story of how cartoonist Asaf Hanuka illustrates both universal and particular narratives. Through close readings of Hanuka’s entire catalogue of comics and graphic narratives, Hanuka’s work is situated within the broader story of his own experiences of being an insider (as a Jew and Israeli) and an outsider (as a Mizrahi, or Judeo-Arab) in Israeli society. By moving chronologically through Hanuka’s works, the book traces how Hanuka navigates these disparate particular identities alongside more universal concerns about how to be a present partner to his spouse and to his children.

In Show Me Where It Hurts, Monica Chiu argues that graphic pathography—long-form comics by and about subjects who suffer from disease or are impaired—re-vitalizes and re-visions various negatively affected corporeal states through hand-drawn images. By the body and for the body, the medium is subversive and reparative, and it stands in contradistinction to clinical accounts of illness that tend to disembody or objectify the subject. Employing affect theory, spatial theory, vital materialism, and approaches from race and ethnic studies, women and gender studies, disability studies, and comics studies, Chiu provides readings of recently published graphic pathography. Chiu argues that these kinds of subjective graphic stories, by virtue of their narrative and descriptive strengths, provide a form of resistance to the authoritative voice of biomedicine and serve as a tool to foster important change in the face of social and economic inequities when it comes to questions of health and healthcare. Show Me Where It Hurts reads what already has been manifested on the comics page and invites more of what demands expression. Pathbreaking and provocative, this book will appeal to scholars and students of the medical humanities, comics studies, race and ethnic studies, disability studies, and women and gender studies.

The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers' celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.