By Michael Davidson
"Professor Davidson---an comprehensive literary critic---offers a concentrated and balanced research of poetry, movie, and the humanities honed together with his first-class wisdom of the most recent advances in incapacity reports. he's marvelous at interpreting texts in a worldly and aesthetically gratifying approach, making Concerto for the Left Hand one of many smartest books so far in incapacity studies."
---Lennard Davis, collage of Illinois, Chicago
---Rachel Blau DuPlessis, Temple University
Concerto for the Left Hand is on the leading edge of the increasing box of incapacity reports, providing a variety of essays that examine the effect of incapacity throughout a variety of paintings forms---including literature, functionality, images, and movie. instead of easily targeting the ways that disabled people are portrayed, Michael Davidson explores how the event of incapacity shapes the paintings of artists and why incapacity serves as an essential lens in which to interpret sleek tradition. overlaying an eclectic variety of topics---from the phantom lacking limb in movie noir to the poetry of yankee signal Language---this assortment offers a distinct and fascinating review of the interaction among incapacity and aesthetics.
Written in a fluid, available kind, Concerto for the Left Hand will entice either experts and basic audiences. With its interdisciplinary technique, this e-book should still allure not just to students of incapacity stories yet to all these operating in minority artwork, deaf experiences, visible tradition, and modernism.
Michael Davidson is Professor of yankee Literature on the collage of California, San Diego. His different books contain Guys Like Us: mentioning Masculinity in chilly conflict Poetics and Ghostlier Demarcations: sleek Poetry and the fabric World.
Read Online or Download Concerto for the Left Hand: Disability and the Defamiliar Body (Corporealities: Discourses of Disability) PDF
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Additional info for Concerto for the Left Hand: Disability and the Defamiliar Body (Corporealities: Discourses of Disability)
Medical anthropologists have begun to study the etiology of disability in such phantasmagoric spaces, observing that when disability is located in society, rather than individual pathology, the diagnosis of a condition is always driven by factors beyond the information contained in an MRI scan or platelet count. In terms that Homi Bhabha uses to describe the hy bridic nature of global culture, we might ask, what is the "location of dis ability;' and how does consideration of space alter the meaning of impair ment?
In Gal loway's version, Annie Sullivan, the patient, heroic, hearing teacher, is transformed into a demonic oralist instructor who forces Helen to endure various forms of water torture until she pronounces the acceptable phonemes: "wa . . wa . . wa . . " Annie Dearest is a parody not only of sentimental portrayals of disabled persons but an exploration of sensa tionalist human interest stories (of which Crawford's memoir is an exam ple) through which disability is represented. " She explains that despite her hearing aids and deaf accent (lateral lisp), she is technically not supposed to be in a film about deafness since she does not use ASL in her performances.
This dream of self-fulfillment, despite the odds, has implications for Ed die as a disabled African American that rhyme with Maggie's own "dis ability" as a poor woman from the rural South. The first two-thirds of the movie constitute a straightforward boxing movie, tightly acted and brilliantly shot in dusty gyms and smoky boxing rings. Maggie's boxing improves under Frankie's careful, if cranky, tute lage. She becomes a formidable athlete, winning fight after fight by knock ing out her opponents in the first round.