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9783631815052.Pdf Inclusión, integración, diferenciación IMAGES OF DISABILITY / IMÁGENES DE LA DIVERSIDAD FUNCIONAL Literature, Scenic, Visual, and Virtual Arts / Literatura, artes escénicas, visuales y virtuales Edited by Susanne Hartwig and Julio Enrique Checa Puerta VOLUME 2 Susanne Hartwig (ed.) Inclusión, integración, diferenciación La diversidad funcional en la literatura, el cine y las artes escénicas Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available online at http://dnb.d-nb.de. Unterstützt durch den Publikationsfonds der Universität Passau El libro ha sido publicado gracias al apoyo del programa Hispanex ISSN 2569-586X ISBN 978-3-631-79803-4 (Print) • E-ISBN 978-3-631-81505-2 (E-Book) E-ISBN 978-3-631-81506-9 (EPUB) • E-ISBN 978-3-631-81507-6 (MOBI) DOI 10.3726/b16655 Open Access: This work is licensed under a Creative Commons Attribution NonCommercial NoDerivatives 4.0 unported license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/ © Susanne Hartwig Peter Lang GmbH International Academic Publishers Berlin 2020 Peter Lang – Berlin · Bern · Bruxelles · New York · Oxford · Warszawa · Wien www.peterlang.com Contenido Susanne Hartwig Introducción: los mundos posibles y la inclusión de la diversidad funcional ................................................................................................................. 9 I. Inclusión en el escenario Julio Enrique Checa Puerta El Festival ÍDEM, la mediación del marco legal entre la producción y la creación artística .................................................................................................... 23 David Ojeda Abolafia La metaescena: la inclusión artística y la accesibilidad espectacular ............. 39 Marta Cantero Díaz Entidad declarada de utilidad pública. Asociación Paladio Arte .................... 59 David Ojeda Palmyra Teatro ....................................................................................................... 63 Esmeralda Valderrama Vega ¿Qué es Danza Mobile? ......................................................................................... 67 II. Inclusión y expresión personal Beth E. Jörgensen La escritura autobiográfica de la discapacidad: la teoría articulada en primera persona .................................................................................................... 71 Alejandra M. Aventín Fontana (Im)pactos de la poesía en la representación de la diversidad funcional. “Peregrina de mí he ido hacia la que duerme en un país al viento”: la palabra integradora de Alejandra Pizarnik ........................................................ 89 Berit Callsen Cuerpo y mente extraordinarios: formas de inclusión y concepción de figuras en la obra cuentística de Guadalupe Nettel ........................................... 105 6 Contenido Katarzyna Nowak-McNeice Autism and the Challenges of Translation: on the Example of Rafał Motriuk’s Autistic Son, Desperate Dad (2018) ................................................... 121 III. Inclusión y narración Susan Antebi Transparencia jurídica y escritura corporal: una mirada oblicua a Carta sobre los ciegos de Mario Bellatin .............................................................. 133 Adrián Herrera-Fuentes De la inocencia a la rebelión. Diversidad funcional y la esperanza de una historia alternativa: Marianela (1878) de Benito Pérez Galdós y Los santos inocentes (1981) de Miguel Delibes ......................................................... 151 Javier Luis Velloso Álvarez Cuerpos estancados, memorias evanescentes: Imágenes de la discapacidad y de la dependencia física, psíquica y sensorial en la narrativa de Rafael Chirbes .................................................................................. 167 Alejandro F. Gasel Posiciones de los sujetos con discapacidad en la narrativa argentina reciente .................................................................................................................... 183 IV. Inclusión a través de una mirada diferente Christian von Tschilschke La discapacidad como ‘tenor’ y ‘vehículo’ en La rabia de Albertina Carri .... 203 Beatriz Miranda Galarza De la norma al nombre: el arte y la invitación a reinventar el activismo en la “discapacidad” .............................................................................................. 219 Patricia Brogna Plemya: regresando a la tribu ............................................................................... 233 Contenido 7 V. Inclusión entre othering y normalización Susanne Hartwig Cuestión de perspectiva: la diversidad funcional en el cine contemporáneo 253 Ryan Prout Still Waters Run Deep Disability Counter Currents in La piscina (2012) ..... 275 Mirjam Leuzinger ¿Hacia un séptimo arte inclusivo? El cine brasileño a través del prisma de los disability studies .......................................................................................... 293 Sobre los autores .................................................................................................... 309 Susanne Hartwig Universität Passau Introducción: los mundos posibles y la inclusión de la diversidad funcional What kind of knowledge or impact can art generate that activism and theory alone cannot? (Malzacher 2015: 14) Inclusión es un término de gran actualidad –no solo en Europa– que abarca muchísimos sectores sociales en los más diversos ámbitos de la vida contempo- ránea. Con respecto a la diversidad funcional,1 su relevancia se manifiesta, sobre todo, en la aprobación de la Convención Internacional sobre los Derechos de las Personas con Discapacidad por las Naciones Unidas en el 2006 (firmada y rati- ficada por España y los países hispanohablantes de América Latina a partir del 2007). Esta Convención protege y garantiza los principios de la no discrimina- ción y la “participación e inclusión plenas y efectivas en la sociedad” de personas con discapacidades (Naciones Unidas 2006). En concreto, el artículo 30 garan- tiza el derecho, a la participación activa y pasiva en la vida cultural “en igualdad de condiciones con las demás [personas]” (Naciones Unidas 2006). El objetivo es proteger los derechos y la dignidad de las personas con diversidad funcional. Sin embargo, el concepto detrás del término inclusión es más bien borroso.2 Según una definición básica proveniente de la sociología –disciplina matriz de la 1 El término diversidad funcional se acuña en 2005 (Romañach/Lobato 2005) para reem- plazar otros términos considerados peyorativos, como discapacidad o minusvalía. En la presente contribución, se utilizarán indistintamente los términos diversidad funcional y discapacidad. 2 Otra dificultad es que la diferenciación de los términos clave de la discusión varía en los diferentes idiomas. Felder afirma: “As John Wilson […] pointed out, the concept of inclusion lacks the necessary conceptual lucidity; it is a vague term, loaded with nume- rous economic, social, political, and cultural connotations and used in a broad range of fields, in different disciplines as well as practical and political contexts” (2013: 300). Una visión general excelente sobre la complejidad de la terminología acerca de la inclusión y de la exclusión se encuentra en Ravaud/Stiker (2001). 10 Susanne Hartwig discusión–, inclusión significa la involucración estructural de individuos en los 3 distintos contextos (sistemas) sociales. Entiéndase bien: esta definición no dice nada sobre la calidad ni la intensidad de la involucración;4 puede remitir a una inclusión “en igualdad de condiciones” o, al contrario, a una inclusión con segre- gación interna. Según esta definición, por ejemplo, las escuelas de educación especial se consideran una inclusión de las personas con discapacidad, porque el sistema educativo las identifica como elementos suyos. Wansing afirma que el sistema educativo incluye a un alumno de una escuela especial tanto como a un profesor universitario; asimismo, una persona desempleada de larga duración y con una grave discapacidad está tan incluida en el sistema económico como un empresario exitoso.5 Un subsistema social (por ejemplo, ‘educación escolar’) puede incluir a una persona sin dejar de desarrollar subsistemas excluyentes dentro de esta inclu- sión (por ejemplo, ‘escuela regular’ vs. ‘escuela especial’); si vuelve a practicar la inclusión en el subsistema (por ejemplo, ‘inclusión de las personas con dis- capacidad en las escuelas regulares’), es capaz de formar nuevos subsistemas (del tipo ‘escuela regular inclusiva-grupo A’ vs. ‘escuela regular inclusiva-grupo B’).6 Las secuencias del tipo ‘inclusión en el sistema, seguida por exclusión en el subsistema’ se deben al hecho de que algunos sistemas sociales no se prestan fácilmente a la inclusión en su estado actual por las reglas que los dominan: si 3 Luhmann concibe la inclusión como mecanismo básico de la sociedad moderna. En su teoría (véase, por ejemplo, Luhmann 1997), los individuos existen para los subsis- temas sociales (como la educación, la ciencia, la economía, el arte, etc.) a través de las distinciones básicas de estos subsistemas. Sobre la inclusión según Luhmann véanse Wansing (2007) y Rösner (2014: 159–160). 4 La inclusión deja participar a una persona en un sistema sin prescribir la forma en la que debe participar. De hecho, no significa necesariamente que una persona participe en un sistema de manera significativa. La persona incluida es libre
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