31 - 40 of 90 results for: disability

The purpose of this course is to provide an in-depth introduction to single case design a rigorous, experimental research methodology that is particularly well suited to studying students who are non-responsive to literacy interventions. The course will provide an overview of the rationale for single case design, and will introduce critical features of designing and implementing single case design studies. This course is designed to focus on using single case design to evaluate response to literacy interventions for students who have demonstrated insufficient response to prior literacy intervention, including students with and at-risk of disability. This course is an intensive reading and writing course. Prerequisite knowledge of evidence-based literacy intervention, including theory and extant research, will be useful.

The experiences of people with disabilities are often clouded by misconceptions, mystery, fear, and lack of personal experience. Although no one person has the keys to unlocking the diverse perspectives of people with disabilities, using tools afforded by narrative inquiry can help unlock opportunities for understanding as well as shifting conceptualizations in a world designed with little regard for the margins. We hope that this course will deepen our understanding of how disability intersects with a variety of identities that can mask or foreground forms of difference. Come learn with us as we engage with ourselves and the Stanford community around constructions of disability and the diverse perspectives that inform these complex constructions. Successful complete of this course fulfills one elective requirement for the Education Minor.

Disability is a complex phenomenon contested along biopolitical and sociopolitical vectors in the field of education and other attendant fields such as humanities, history, and biosciences. These contestations influence the ways in which disabled lives are supported and understood in schools and other public institutions. Students will be able to critically evaluate the biosocial, biopolitical, and sociopolitical nature of disability and attend to intersectionality in relation to education systems, as well as build strong repertoires of transdisciplinary knowledge that can be applied in their fields of interest.

What makes a monster? Which peoples, bodies, behaviors, and identities are deemed monstrous at particular moments in history? What does the cultural construction of "monstrosity" tell us about a society's anxieties, taboos, and fears? Are monsters, who symbolize deviations from established conventions and norms, inherently queer figures? And how have LGBTQ+ cultural producers re-appropriated the images and tropes of monstrosity as tools and techniques for self-fashioning? In this course, we will explore how same-sex desire and gender transgression have been represented in Anglophone literature, film, and television through various monster figures, from lesbian vampires and ghoulish hauntings to angels, demons, cyborgs, and serial killers. Students will be exposed to a variety of theoretical schools, including queer and trans theory, monster studies, psychoanalysis, film and media studies, and critical disability theory, in order to develop a shared grammar for describing horror, monstrosity, uncanniness, abjection, and even queerness itself. Primary texts will range over 200 years of literary, visual, and media history, and might include selections from Mary Shelley, Oscar Wilde, Flannery O'Connor, Tony Kushner, and others; films and other media might include The Rocky Horror Picture Show, Little Shop of Horrors, and Jennifer's Body. (Note: This Writing-Intensive Seminar in English (WISE) course fulfills WIM for English majors. Non-majors are welcome, space permitting. For enrollment permission contact farrahm@stanford.edu.)

Freaked out, excited, overwhelmed or even secretly a little bored with all the breathless hype and handwringing over artificial intelligence? Wondering what it all means - if anything - for you? Our class takes a playful but serious look at AI in terms of your own life, studies, and eventually career. Whether your current interests lean towards STEM or the humanities, this seminar draws on both theory and practice to explore how AI is impacting nearly all aspects of our public and private lives. We will be exploring intersections of STEM, arts and humanities scholarship and practice that engage with these exponentially impactful technologies. Of special interest are the social ethical and artistic implications of artificial intelligence systems with an emphasis on aesthetics, civic society and racial justice, including scholarship on decolonial AI, indigenous AI, disability activism AI, feminist AI and the future of work for creative industries. So just what has art got to do with it? Cultural narratives shape the public imagination about these exponentially sophisticated technologies, the rapid development of which is already outpacing traditional ethical and governance protocols. Storytelling impacts, implicitly or explicitly, everything from product design to public policy, influencing how people understand identity (racial, sexual, even what counts as "human"), how they interact socially (or not), and how they think a healthcare or justice system should work (e.g. issues with AI chatbots in therapeutic and clinical settings, privacy and data scraping, copyright, name-image-likeness compensation, facial recognition bias, predictive sentencing, et al.). Too often contemporary narratives about technology range in tenor from the apocalyptic (The Doomsday Argument) to the salvific (To Save Everything. Click Here). Yet there are so many more ways of seeing and experiencing the world beyond the sometimes very limited perspectives of mid-20th century science fiction that inform many technologists' visions. Engaging with arts theorists and practitioners from disciplines, backgrounds, and time periods, our class together explores some fresh plotlines, images, tropes, identity formations, historiographies and speculative futurities. We will examine both AI-generated art as well as arts' take on AI. Art may challenge the Silicon Valley start-up mentality of "size, speed, scale, quantification" but AI is also challenging the professional art world status quo, challenging aesthetic norms and valuation (what counts as 'art,' what counts as 'good' art? Even who/what can make art?) What is the impact of art on health and well-being, the new neuroscience about the "brain on art"? We will bring the study and practice of the arts in the broadest sense (literature, theatre, performance, film, music, media, visual and graphic art) to advance our understanding of the 'human' in human-centered AI... (see complete course description at soco.stanford.edu.)

Lecture/small-group discussion course exploring the social, ethical, artistic and policy implications of artificial intelligence systems. Includes field trips to the AI Tinkery, AI Playground, Institute for Human--Centered AI and elsewhere, both on and off campus. Engages scholarship on AI and education, decolonial AI, indigenous AI, disability activism AI, feminist AI and the future of work for creative industries across STEM, social sciences and the humanities. This is AI for the Thinking Person. If the scheduled discussion times don't work for you, please don't let that discourage you from enrolling. We're flexible with discussion times.

For a long time, disability studies has focused on the past, early representations of people with disabilities and histories of the movement for disability rights. This course turns toward the future, looking at activism and speculative fiction as critical vehicles for change. Drawing on fiction by Samuel Beckett, Muriel Rukeyser, and Octavia Butler, this course will address the question of the future through an interrogation of the relationship between disability and technology, including assistive technology, genetic testing, organ transplantation.

How have literary traditions of madness informed modern fiction's portrayals of the human mind, particularly in the context of rapidly shifting cultural frameworks about the origins and manifestations of mental illness? What are the repercussions of new forms, trends and genres for parsing (or blurring) the line between condition and personhood? Using the novels of Akwaeke Emezi, Toni Morrison, Virginia Woolf, and Leslie Marmon Silko to guide our inquiries, we'll consider inherited and new metaphors of madness in light of emerging theoretical interpretations of disability, identity, gender and trauma.

Comedy has been used to shine a no-holds-barred light on everything from the rise of fascism to the inanities of fashion. Over the decades, it has raised a number of questions. Some of these are ethical. What can we legitimately find funny or make fun of? Are there things we shouldn't laugh at? Can and should comedy be delimited or censored? When does comedy become abuse? When does it become hate speech? Some of the questions we will consider are more general: does comedy change through history? Is it culturally specific? Is it gender-specific? Is it racially or religiously specific? Is there a point at which these specificities give way to the possibility of a form of humor common to us all and the unique role laughter plays in uniting us across these differences? Finally, we will explore the expressive forms of comedy, including parody, satire, slapstick, tragicomedy, stand-up, and physical comedy, which raises the question of whether comedy can be said to reside in the body. This question is central to the content and practice of stand-up as it is to the fiction we'll be reading in this class. It encompasses the categories of race, gender, and disability, as well as the politics of exclusion, violence, and censorship.