Titlebook: Disability in Comic Books and Graphic Narratives; Chris Foss (Professor of English),Jonathan W. Gray Book 2016 The Editor(s) (if applicabl

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,“Why Couldn’t You Let Me Die?”: Cyborg, Social Death, and Narratives of Black Disability, the group who is disabled. Indeed, Cyborg’s status as superhero literally derives from the process of rehabilitation: he must successfully complete physical and occupational therapy in order to (re)master the gross and fine motor skills needed to use the metal limbs and techno-organs grafted into h

flourish

,“You Only Need Three Senses for This”: The Disruptive Potentiality of Cyborg Helen Keller,erosexual, young, single and non-disabled” (285). As Rosemarie Garland-Thomson observes, “women are the proper object of the male gaze, while disabled people are the proper object of the stare” (“Reshaping” 9). The “gaze” objectifies, while the “stare” dehumanizes (“Reshaping” 9), and representation

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,Thinking through Thea: Alison Bechdel’s Representations of Disability,ftly untangle and analyze how Bechdel’s queerness inflects the memoir, they sideline the shared identity of disability that plays a key role in the comic’s plot and structure. How might not only this strand of identity, but also Bechdel’s embrace of the intersection between queerness and disability

連累

Empirische Korrelation und Kovarianz themselves over and over again [and are, thus,] constantly compelled to engage with their physical identities” (. 62). In other words, the necessary continuous repetition of the cartoonist’s avatar on the page is enough to raise issues of embodiment in graphic memoirs in general, and these are even

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