DOCSLIB.ORG

The History of the Formation of Deaf Children's Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The History of the Formation of Deaf Children's Theatre THE HISTORY OF THE FORMATION OF DEAF CHILDREN’S THEATRE IN THE UNITED STATES A Dissertation Presented to The Faculty of the College of Graduate Studies Lamar University In Partial Fulfillment of the Requirements for the Degree Doctor of Education in Deaf Studies/Deaf Education by Brian R. Kilpatrick December 2007 THE HISTORY OF THE FORMATION OF DEAF CHILDREN’S THEATRE IN THE UNITED STATES BRIAN R. KILPATRICK Approved: _______________________________ Jean F. Andrews Supervising Professor _______________________________ Anne Gentry Committee Member _______________________________ Gabriel Martin Committee Member ________________________________ _______________________________ Gabriel Martin Lee Thompson Chair, Department of Communication Committee Member Disorders and Deaf Education ________________________________ _______________________________ Russ Schultz Sidney Berger Dean, College of Committee Member Fine Arts and Communication ________________________________ Oney Fitzpatrick Interim Dean, College of Graduate Studies © 2007 by Brian R. Kilpatrick No part of this work can be reproduced without permission except as indicated by the “Fair Use” clause in the copyright law. Passages, images, or ideas taken from this work must be properly credited in any written or published materials. ABSTRACT THE HISTORY OF THE FORMATION OF DEAF CHILDREN’S THEATRE IN THE UNITED STATES BRIAN R. KILPATRICK This dissertation explores the history of Deaf Children’s Theatre in America, by collecting and recording its formation and development from archival materials, from on-site interviews, and from documents published during the late twentieth century. This study investigates the ways in which theatre became accessible to deaf people through apposite legislation and describes several forms of accessibility services for deaf and hearing audiences at theatrical performances. The evolution of theatre leading to the formation of Deaf Theatre and, later, to the nascence of Deaf Children’s Theatre is explored within the larger social and political context of the American culture. The case history of each of the six Deaf Children’s Theatre groups established variously at Hartford, Connecticut; Bethesda, Maryland; Seattle, Washington; Boston, Massachusetts; Chicago, Illinois; and Houston, Texas is presented to portray the particular development of Theatre Arts for deaf children in America. The six Deaf Children’s Theatre groups presented in this study have had different approaches to complementing and completing deaf children’s education. Suggested future research is directed to the potential future impact of drama on deaf children’s language development and also to various avenues of support for Deaf Theatre in its battle for survival. ACKNOWLEDGEMENTS I would like to express my appreciation to the wonderful Deaf and hearing people working in the field of Theatre Arts whom I interviewed for this research. My special gratitude is extended to my old, yet always young and special friends from Fairmount Theatre of the Deaf (now called Cleveland Signstage), to the National Theatre of the Deaf’s summer- school students and staff, and to all the other professional actors and actresses who shared their archival materials and personal belongings, along with their experience and perspectives concerning the impact of the theatre world on contemporary society and on deaf children’s education. I would also like to give sincere thanks for the Federal funding received by the Doctoral Program in Deaf Studies/Education at Lamar University. By providing scholarships it has allowed for continuous productive research. I owe special thanks to my late mother and to my recently late father for their support, encouragement, and belief in my doctoral studies. Also, many thanks to my Deaf friends, to my friends in the Deaf community and in the ASL/Interpreter Training programs, to outsiders, to non-deaf signers, and to others who have contributed to the completion of this dissertation. Most of all, I want to express my thousand-fold gratitude to my wife, Jacqueline, who has lovingly and faithfully believed in me and encouraged me, making possible the completion of this project. iii CONTENTS TABLES............................................................... xi ILLUSTRATIONS....................................................... xii GLOSSARY........................................................... xiii Chapter............................................................... 1 1. INTRODUCTION ..................................................... 1 Who Are Deaf Children and Youth? .............................. 3 Two Perspectives on Deafness ............................... 3 Medical/Audiological Model............................. 3 Cultural/Linguistic Model.............................. 4 Accessibility .............................................. 6 Deaf Theatre and the Two Models ............................ 6 Deaf Studies ............................................... 8 Educational Benefits of Deaf Theatre ....................... 9 Research and Organization .................................... 10 Historical Research Methods ............................... 10 Procedures ................................................ 15 Organization .............................................. 16 Endnotes for Chapter 1 ....................................... 17 2. ACCESSIBILITY FOR DEAF INDIVIDUALS IN THEATRE ARTS .............. 19 Introduction ................................................. 19 A Brief Description of the Origins and Evolution of Theatre 20 Motion Pictures ........................................... 22 Legal Provisions for Accessibility ........................... 24 Public Law 85-905 ......................................... 25 Section 504 of the Rehabilitation Act ..................... 26 Americans with Disabilities Act (ADA) of 1990 ............. 27 iv Television Decoder Circuitry Act of 1990 .................. 28 Telecommunications Act of 1996 ............................ 29 Implementing Accessibility Provisions in Theatre ............. 30 English Captioning ........................................ 31 Open Captioning....................................... 32 Closed Captioning..................................... 32 Communication Access Real Time Translation (CART)..... 33 Amplification Systems ..................................... 35 Theatrical Arts Interpreting .............................. 37 Interpreting for Deaf-Blind Persons................... 40 Theatre Interpreting for Children versus Adults....... 45 Performance Issues.................................... 46 Interpreter Organizations and Theatre ..................... 47 American Sign Language Interpreting................... 49 Challenges of Translating Plays Into ASL.............. 54 Shadow Interpreting................................... 56 Deaf Audience Preference.............................. 59 Performing Arts Interpreter Certification............. 61 A Comparison of Accessibility Options ..................... 63 Conclusion ................................................... 67 Endnotes for Chapter 2 ....................................... 69 3. THE PRIDE AND TREASURE OF THE DEAF COMMUNITY: DEAF THEATRE ...... 76 ASL Storytelling ............................................. 76 Art-Sign .................................................. 77 Deaf Literary Societies ................................... 81 Deaf Clubs ................................................... 82 Literary Nights at Gallaudet .............................. 82 Deaf Clubs in the United States ........................... 84 v Churches .................................................. 85 Theatre of the Deaf .......................................... 86 Meaning of Theatre ........................................ 86 Deaf Theatre and Sign Language Theatre .................... 88 Deaf Playwrights and Deaf Poets ........................... 89 University Deaf Theatre ................................... 91 Gallaudet University.................................. 91 National Technical Institute for the Deaf............. 93 Community Deaf Theatre .................................... 94 History............................................... 94 Deaf Actors.......................................... 102 Deaf Children’s Theatre .................................. 104 Conclusion .................................................. 109 Endnotes for Chapter 3 ...................................... 111 4. LITTLE THEATRE OF THE DEAF ..................................... 118 History of NTD .............................................. 118 Beginnings and Organization ................................. 122 List of Plays and Workshops ................................. 123 Participants and Audiences .................................. 124 Kinds of Skills Taught ...................................... 124 Conversations with Actors and Participants .................. 125 Benefits of Theater for Deaf Children ....................... 126 Summary ..................................................... 128 Endnotes for Chapter 4 ...................................... 130 5. INTERNATIONAL CENTER ON DEAFNESS AND THE ARTS (ICODA) .......... 133 Beginnings and Organization ................................. 134 List of Plays and Workshops ................................. 141 Participants and Audiences .................................. 141 vi Kinds of Skills Taught ...................................... 144 Conversations with Actors and Participants .................. 147 Summary
Load more

Recommended publications
  • Technical Report, Vol
    CRL Technical Report, Vol. 19 No. 1, March 2007 CENTER FOR RESEARCH IN LANGUAGE March 2007 Vol. 19, No. 1 CRL Technical Reports, University of California, San Diego, La Jolla CA 92093-0526 Tel: (858) 534-2536 • E-mail: [email protected] • WWW: http://crl.ucsd.edu/newsletter/current/TechReports/articles.html TECHNICAL REPORT Arab Sign Languages: A Lexical Comparison Kinda Al-Fityani Department of Communication, University of California, San Diego EDITOR’S NOTE The CRL Technical Report replaces the feature article previously published with every issue of the CRL Newsletter. The Newsletter is now limited to announcements and news concerning the CENTER FOR RESEARCH IN LANGUAGE. CRL is a research center at the University of California, San Diego that unites the efforts of fields such as Cognitive Science, Linguistics, Psychology, Computer Science, Sociology, and Philosophy, all who share an interest in language. The Newsletter can be found at http://crl.ucsd.edu/newsletter/current/TechReports/articles.html. The Technical Reports are also produced and published by CRL and feature papers related to language and cognition (distributed via the World Wide Web). We welcome response from friends and colleagues at UCSD as well as other institutions. Please visit our web site at http://crl.ucsd.edu. SUBSCRIPTION INFORMATION If you know of others who would be interested in receiving the Newsletter and the Technical Reports, you may add them to our email subscription list by sending an email to [email protected] with the line "subscribe newsletter <email-address>" in the body of the message (e.g., subscribe newsletter [email protected]).
    [Show full text]
  • Scenes from a Punk Rock and Storytelling Show, for Deaf People by NATHAN REESE APRIL 29, 2016
    Scenes From a Punk Rock and Storytelling Show, for Deaf People By NATHAN REESE APRIL 29, 2016 At its best, punk rock relies on an admixture of velocity, attitude and volume —which is exactly what made last night’s Deaf Club event a smash success. The show, held at the Knockdown Center in Maspeth, Queens, a former door factory turned interdisciplinary arts space, was curated by the Los Angeles- based artist Alison O’Daniel who, herself, is hard of hearing. The event was a live extension of O’Daniel’s “The Tuba Thieves” (currently a part of her “Room Tone” exhibition) — a film that explores the events surrounding an unlikely series of tuba thefts in Los Angeles schools. One portion, however, also recreates a performance in the Deaf Club, a now-defunct social club for San Francisco’s deaf community that hosted punk shows in 1979. As the story goes, Robert Hanrahan, the manager for the punk band the Offs, was walking by it, saw a sign reading “The Deaf Club” and thought it was a cool, unexpected name for a concert venue. After realizing his mistake, he asked if his band could play — a message he originally wrote on a napkin. “I’m not a punk historian,” said O’Daniel. “My interest comes more from the deaf community. It’s the meeting of two totally disenfranchised communities — it’s really beautiful.” Eventually, bands including Dead Kennedys and Pink Section would record albums at the venue, forever sanctifying it in punk lore. (A core irony of the story, and also fittingly punk, was that the shows eventually came to a halt because of noise complaints.) But the goal of last night’s event wasn’t an attempt to dispel hearing people’s outmoded assumption that the deaf world doesn’t (or can’t) appreciate music — though that notion seemed ready to explode along with the tower of amps — but rather, to create an environment where people of all ages and backgrounds could revel in the power of punk and performance art.
    [Show full text]
  • Sign Language Typology Series
    SIGN LANGUAGE TYPOLOGY SERIES The Sign Language Typology Series is dedicated to the comparative study of sign languages around the world. Individual or collective works that systematically explore typological variation across sign languages are the focus of this series, with particular emphasis on undocumented, underdescribed and endangered sign languages. The scope of the series primarily includes cross-linguistic studies of grammatical domains across a larger or smaller sample of sign languages, but also encompasses the study of individual sign languages from a typological perspective and comparison between signed and spoken languages in terms of language modality, as well as theoretical and methodological contributions to sign language typology. Interrogative and Negative Constructions in Sign Languages Edited by Ulrike Zeshan Sign Language Typology Series No. 1 / Interrogative and negative constructions in sign languages / Ulrike Zeshan (ed.) / Nijmegen: Ishara Press 2006. ISBN-10: 90-8656-001-6 ISBN-13: 978-90-8656-001-1 © Ishara Press Stichting DEF Wundtlaan 1 6525XD Nijmegen The Netherlands Fax: +31-24-3521213 email: [email protected] http://ishara.def-intl.org Cover design: Sibaji Panda Printed in the Netherlands First published 2006 Catalogue copy of this book available at Depot van Nederlandse Publicaties, Koninklijke Bibliotheek, Den Haag (www.kb.nl/depot) To the deaf pioneers in developing countries who have inspired all my work Contents Preface........................................................................................................10
    [Show full text]
  • MEMOIR UPON the FORMATION of a VISUAL VARIETY of the HUMAN Racei Benjamin Bahan Gallaudet University
    MEMOIR UPON THE FORMATION OF A VISUAL VARIETY OF THE HUMAN RACEi Benjamin Bahan Gallaudet University In New York City, a father and daughter sat in a cafe people watching out the window and drinking coffee. “Look across the street,” signed the father. His daughter quickly scoped the busy street packed with people hustling to and fro before quizzically looking back at her dad. “One of them is deaf… which one is it?” he asked. She looked back and scanned the crowd. She noticed one man’s eyes glancing from side to side. “The one with the brown overcoat,” she guessed. “I agree. Let’s watch and see,” he suggested. The man in the brown overcoat was about to cross the street, but sensed the sudden shift in the crowd of people around him as they simultaneously looked in the same direction. He decided he too should check in that direction and saw sirens and flashing lights accompanying a speeding ambulance. After the commotion subsided, he crossed the street and continued walking past the cafe. The father waved his hands in the man’s periphery. In the middle of a bustling city, the man in the brown overcoat noticed a flutter of hands through the window and quickly turned to see the father and his daughter. “You deaf?” signed the father. The man was astounded and asked, “How did you know?” Page 1 © Ben Bahan People of the Eye The characters in this short story are unique in that they inhabit a highly visual world. They use a visual language to communicate and have developed a visual system of adaptation to orient them in the world that defines their way of being.ii This is not an unusual story.
    [Show full text]
  • Deaf American Historiography, Past, Present, and Future
    CRITICAL DISABILITY DISCOURSES/ 109 DISCOURS CRITIQUES DANS LE CHAMP DU HANDICAP 7 The Story of Mr. And Mrs. Deaf: Deaf American Historiography, Past, Present, and Future Haley Gienow-McConnella aDepartment of History, York University [email protected] Abstract This paper offers a review of deaf American historiography, and proposes that future scholarship would benefit from a synthesis of historical biography and critical analysis. In recent deaf historical scholarship there exists a tendency to privilege the study of the Deaf community and deaf institutions as a whole over the study of the individuals who comprise the community and populate the institutions. This paper argues that the inclusion of diverse deaf figures is an essential component to the future of deaf history. However, historians should not lapse in to straight-forward biography in the vein of their eighteenth and nineteenth-century predecessors. They must use these stories purposefully to advance larger discussions about the history of the deaf and of the United States. The Deaf community has never been monolithic, and in order to fully realize ‘deaf’ as a useful category of historical analysis, the definition of which deaf stories are worth telling must broaden. Biography, when coupled with critical historical analysis, can enrich and diversify deaf American historiography. Key Words Deaf history; historiography; disability history; biography; American; identity. THE STORY OF MR. AND MRS. DEAF 110 L'histoire de «M et Mme Sourde »: l'historiographie des personnes Sourdes dans le passé, le présent et l'avenir Résumé Le présent article offre un résumé de l'historiographie de la surdité aux États-Unis, et propose que dans le futur, la recherche bénéficierait d'une synthèse de la biographie historique et d’une analyse critique.
    [Show full text]
  • St. Tammany Parish School Board Minimum
    ST. TAMMANY PARISH SCHOOL BOARD Covington, Louisiana Job Description TITLE: Itinerant Interpreter/Aide V (FLSA Status: Non-Exempt) MINIMUM QUALIFICATIONS: 1. U. S. citizen or authorized alien 2. Minimum age of 20 years 3. Associate Degree (or higher) or 2 years of college credit (48 semester hour’s minimum; to include: English Composition-3 hrs. English/Reading-6 hrs., and Mathematics-9 hrs.) or ParaPro Assessment results (minimum score of 450) and high school diploma or equivalent 4. Passes the pre-hire screening of the Educational Interpreter Performance Assessment. 5. Holds and maintains an Ancillary-Qualified Certification from the Louisiana State Department of Education and holds National Certification as recognized by the Registry for the Interpreters of the Deaf (RID). 6. Knowledge of educational programs 7. Completion of the certification standards that have been set by the State Department of Education / St. Tammany Parish School Board for para-educators 8. Ability to work with special education students across multiple environments REPORTS TO: Principal JOB GOAL: Assists Hearing Impaired students in meeting the goals set forth in the Individual Education Programs. JOB SUMMARY: This job provides the communication services that are needed in the educational program of a Hearing Impaired student and differs from that of Interpreter/Aide IV in that incumbents of this position possess both state and national certification. ESSENTIAL JOB FUNCTIONS: 1. Provide expressive and receptive interpreting for students (this may include American Sign Language, Manually Coded English, Pidgin Signed English, cued speech, tactile signing, and/or oral interpreting) for students who are deaf or hard of hearing.
    [Show full text]
  • Todd Bolender and Janet Reed Were Dancing in Pied Piper When It Hap- Pened, One of Those Unforeseen Stage Mishaps That Can Wreck a Performance Completely
    1 Todd Bolender and Janet Reed were dancing in Pied Piper when it hap- pened, one of those unforeseen stage mishaps that can wreck a performance completely. Set to Aaron Copland’s jazzy Concerto for Clarinet and String Orchestra, Pied Piper was Jerome Robbins’s fourth work for New York City Ballet. Its vocabulary was in the same vein as Fancy Free and Interplay, a blend of classical steps, modern dance, and social dancing. For the finale, he included a jitterbug move, in which Bolender had to swing Reed over his head and around his neck, her legs in a wide second position, and from there to the floor directly in front of him. In the early 1950s, when this per- formance took place, Bolender had begun wearing a wig over his thinning hair that fit over his scalp like a hat. At this particular performance, all was going well, until Bolender, after swinging Reed down to the floor, looked down and thought, “My God, has she lost her tights” at the same moment that Reed looked in the same direction. They both broke into uncontrol- lable laughter, fortunately just as the corps came rushing onto the stage and covered their hasty exit, Bolender’s much-loathed wig (“it had curls and things,” he told Deborah Jowitt) restored to his head.1 By 1952, when it’s likely this performance took place,2 Bolender and Reed had been friends since Reed arrived in New York in January 1942. They had been dancing together in Robbins’s and Balanchine’s work since 1949, when Reed joined City Ballet.
    [Show full text]
  • Deaf Blindness
    Deaf Blindness I see with my hands and I hear with my body. I feel what you see and I hear through vibrations. -Anonymous What is Deaf-blindness? Deaf-blindess is legally defined as "[having] concomitant hearing and visual impairments, the combination of which causes such severe communication and other developmental and educational needs that they cannot be accommodated in special education programs solely for children with deafness or children with blindness" (IDEA §300.8 ?[c][2]). A person who is deaf-blind is not necessarily completely deaf and/or blind; rather, the degrees to which deaf-blindness and its combination in individuals vary (deafblindinfo. org). While some may be completely deaf and blind, it is more common for individuals to have some degree of residual vision and/or hearing. The condition of deaf-blindness may occur at any stage in life: some may be born deaf and become blind later on in life; others may be born blind and become deaf later; still others might experience a residual loss of both vision and hearing (AADB). Additionally, some deaf-blind individuals may carry additional physical or cognitive disabilities, though this isn't necessarily a given. Depending on the degree of blindness, deaf-blind persons may utilize sign language or tactile sign language for communication; likewise, if there is some degree of hearing, individuals may choose to utilize spoken language for communication . What Causes Deaf-blindness? There are various ways that people become deaf-blind. Some ways include birth trauma, optic nerve atrophy, cataracts, glaucoma, macular degeneration, or diabetic retinopathy. Some may become deaf and blind through birth trauma.
    [Show full text]
  • Finding Aid for Bolender Collection
    KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by
    [Show full text]
  • Yann Cantin Les Sourds-Muets De La Belle Epoque, Une Communauté En Mutation
    ECOLE DES HAUTES ETUDES EN SCIENCES SOCIALES ÉCOLEÉCOLE DES DESHAUTES HAUTES ÉTU DESÉTU DESEN SCIENCES EN SCIENCES SOCI SOCIALESALES ÉcoleÉcole doctorale doctorale en sciences de sciences sociales sociale (ED (ED 286) 286) École doctorale de sciences sociale (ED 286) CentreCentre de Recherches de recherches Historiques historiques (UMR (UMR 8558) 8558) Centre de recherches historiques (UMR 8558) ÉmilienÉmilien RUIZ R UIZ Yann Cantin TLesROPT Sourds-MuetsROP DE DE FONCTIONNAIRE FONCTIONNAIRE de la Belle Epoque,S ?S ? ContributionContributionune communauté à une à une histoire en histoire mutation. de l’Étatde l’État parpar ses seseffectifs effectifs (France, (France, 1850 1850-1950-1950) ) Thèse présentée pour l’obtention du doctorat en histoire, tel-00863780, version 1 - 19 Sep 2013 présentée et soutenue publiquement le 10 décembre 2014, tel-00863780, version 1 - 19 Sep 2013 devant un jury composé de : Thèse présentée pour l’obtention du doctorat en histoire, soutenance le 16 septembre Thèse présentée pour l’obtention du doctorat en histoire, soutenance le 16 septembre 2013 devant un jury composé de : •2013Philippe devant BOUTRY,un jury composé professeur de : des universités - Panthéon Sorbonne Paris 1 (Rapporteur) • Jean GARRIGUES, professeur des universités - Université d’Orléans ñ Marc Olivier BARUCH, directeur d’études – EHESS (directeur de la thèse) •ñ MarcGabrielle Olivier HOUBRE, BARUCH, directeurmaîtresse d’études des conférences – EHESS (HDR) (directeur - Paris de Diderot la thèse) Paris 7 (Rapporteure) ñ Philippe BEZES, chargé de recherche au CNRS – CERSA, Université Paris II •ñ PhilippeGerard B JORLAND,EZES, chargé directeur de recherche d’études au CNRS - EHESS – C (DirecteurERSA, Unive de thèse)rsité Paris II ñ Claire LEMERCIER, directrice de recherche au CNRS – CSO, Sciences Po.
    [Show full text]
  • Download Download
    CRITICAL COMMENTARY Crip Club Vibes: Technologies for New Nightlife Kevin Gotkin New York University [email protected] I’ve been thinking about what it would mean to design nightlife around disability. We need all nightlife spaces to become accessible, of course, something that calls for a thoroughgoing restructuring of the built environment, transportation systems, and access labor. But I’m imagining the possibilities for creating a world within the inaccessible status quo, a nightlife community that could divine the truth and complexity of disability history, culture, and resistance. When I ask my disability community in New York City about nightlife, I get a series of sighs. Nightlife is exhausting. That’s not because being disabled in nightlife spaces is in itself exhausting. It’s exhausting because ableism is exhausting and because nightlife is a nexus of many inaccessible cultural forms that make parties, clubs, and bars feel like one marathon after another. We don’t often think of nightlife as a technology itself, but we should. It’s hard to decide the status of nightlife in basic terms: Is it a community? An industry? A social function? If we take up the call in the manifesto that inspires this special issue, we can locate nightlife within the “non-compliant knowing-making” of crip technoscience that relishes the world-making possibilities for disabled living (Fritsch & Hamraie, 2019). Technoscientific Gotkin, K. (2019). Crip club vibes: Technologies for new nightlife. Catalyst: Feminism, Theory, Technoscience, 5 (1), 1-7. http://www.catalystjournal.org | ISSN: 2380-3312 © Kevin Gotkin, 2019 | Licensed to the Catalyst Project under a Creative Commons Attribution Non-Commercial No Derivatives license Gotkin Catalyst: Feminism, Theory, Technoscience 5(1) 2 protocols for thinking about nightlife offer what has traditionally been absent: deliberation, design, and aesthetics as a toolkit for shaping our collective imaginations and desires.
    [Show full text]
  • Books About Deaf Culture
    Info to Go Books about Deaf Culture 1 Books about Deaf Culture The printing of this publication was supported by federal funding. This publication shall not imply approval or acceptance by the U.S. Department of Education of the findings, conclusions, or recommendations herein. Gallaudet University is an equal opportunity employer/educational institution, and does not discriminate on the basis of race, color, sex, national origin, religion, age, hearing status, disability, covered veteran status, marital status, personal appearance, sexual orientation, family responsibilities, matriculation, political affiliation, source of income, place of business or residence, pregnancy, childbirth, or any other unlawful basis. 2 Books about Deaf Culture There are many books about the culture, language, and experiences that bind deaf people together. A selection is listed in alphabetical order below. Each entry includes a citation and a brief description of the book. The names of deaf authors appear in boldface type. Abrams, C. (1996). The silents. Washington, DC: Gallaudet University Press. A hearing daughter portrays growing up in a close Jewish family with deaf parents during the Depression and World War II. When her mother begins to also lose her sight, the family and community join in the effort to help both parents remain vital and contributing members. 272 pages. Albronda, M. (1980). Douglas Tilden: Portrait of a deaf sculptor. Silver Spring, MD: T. J. Publishers. This biography portrays the artistic talent of this California-born deaf sculptor. Includes 59 photographs and illustrations. 144 pages. Axelrod, C. (2006). And the journey begins. Washington, DC: Gallaudet University Press. Cyril Axelrod was born into an Orthodox Jewish family and is now deaf and blind.
    [Show full text]