Dramatizing Blindness: Disability Studies as Critical Creative Narrative engages with the cultural meanings and movements of blindness. This book addresses how blindness is lived in particular contexts—in offices of ophthalmology and psychiatry, in classrooms of higher education, in accessibility service offices, on the street, and at home. Taking the form of a play written in five acts, the narrative dramatizes how the main character’s blindness is conceived of in the world and in the self. Each act includes an analysis where blind studies is explored in relation to disability studies. This work reveals the performative enactment of blindness that is lived in the public as well as in the private corners of the self, demonstrating how blindness is a form of perception. Devon Healey’s work orients to blindness as a necessary and creative feature of the sensorium and shows how blindness is a form of perception.

This dissertation engages the cultural meanings and movements of blindness from a dramaturgically inflected form of critical creative inquiry. It addresses how blindness is lived in the particular contexts of its appearance - in offices of ophthalmology and psychiatry, in classrooms of higher education, in accessibility service offices, on the street and at home. My dissertation reveals the performative enactment of blindness that is lived in the public as well as in the private corners of the self, that orients to blindness as a necessary and creative feature of the sensorium, and that demonstrates how blindness is a form of perception. Influenced by narrative inquiry, this work introduces methodological twists from theatre and drama while drawing from theorists such as Erving Goffman, Rod Michalko, and Tanya Titchkosky. This dissertation takes the form of a play and is written in five acts as a way to explicate the everyday life of blindness, its being and its feel, its ontology. Each act represents a stage, a context, upon which the everyday life of blindness is performed. The narrative follows the life of Erin, a young and recently blind woman. The first three acts dramatize how Erin's blindness is conceived of and understood in medicine, education and the street. The fourth act turns to the self, exploring the philosophical question of blindness as an identity. The first four acts end with a "Theoretical Intermission" where blind studies is exemplified in relation to disability studies and phenomenology, again, with a dramaturgical twist. The fifth and final act is written as a separate, but related, one act play dramatizing the precarious life of blindness. This dissertation contributes to the fields of blind and disability studies, education, cultural studies, interpretive sociology and phenomenology as well as theatre, drama and performance studies by releasing a poetics of the eyes. This dissertation cultivates the possibility of an interpretative relation to both blindness and sight by employing a unique methodology that privileges blind eyes in knowledge production on the stage of everyday life.

THE STORY: Debby is a typical Jersey girl in most ways, but things are changing for her. She's becoming aware of her life and ultimately she's too sensitive for her own good. Debby and her best friend, Beth, regularly go out after work looking for

Examines how the intertwining paths of avant-garde theater and mainstream drama work to produce provocative new forms

Introduces the need for contextualized atonement theology and offers creative examples of how the Cross can be proclaimed in culturally relevant and transformative ways.

First published in 1961. Critiquing the critics, and examining the vocabulary of twentieth century criticism of the Shakespearean tragedies, John Holloway's book covers Hamlet, Othello, Macbeth, King Lear, Antony and Cleopatra, Coriolanus, Timon of Athens and the themes of Shakespearean Tragedy and the idea of human sacrifice and the concepts of myth and ritual in literature.

MAKING THE STAGE is a collection of essays that examines the role of theatre, drama, and performance in contemporary culture, a culture that is growing increasingly technological and isolated--seemingly at odds with the very nature of theatre, a collaborative and sometimes very primitive art form. Through the course of these essays, it is clear that theatre not only survives some of the challenges of the day but even defines discussions, particularly political ones which are prohibited by an increasingly manipulated media. The essays, from a diverse group of theatre scholars, examine the mechanics of theatre, from space to sound to the use of technology, the role of women in creating theatre, the relationship between theatre and literary art forms, the politics of theatre, science and theatre, and the role of performance art. Through them all, it is clear that theatre, drama, and performance continue to speak in significant ways.