This paper provides the historical and theoretical foundations for the emergent field of Disability Studies in Education. Disability Studies in Education proceeds from the trans-disciplinary work we find in the continuing development of Disability Studies. It applies the principles and conceptual threads of Disability Studies to critique the ableist traditions, structures and cultures of education and to suggest how education might be otherwise. The paper makes clear the distinction between special education and disability studies in education. Special education has proven its resilience and willingness to appropriate the discourse of inclusive education in order to adapt and sustain its core assumptions about children with disabilities and their education. Accordingly, it is critical that this journal make explicit the distinctions between the conceptual foundations and practical applications of special education and Disability Studies in Education. This first paper is an attempt at draw these lines of distinctions and the aspirations for the Journal of Disability Studies in Education.
Roger Slee, Tim Corcoran and Marnie Best
Roger Slee, Tim Corcoran and Marnie Best
Haider Ala Hamoudi
Maliheh Pirayesh Shirazinejad, Mansour Aliabadian and Omid Mirshamsi
The white wagtail (Motacilla alba) species complex with its distinctive plumage in separate geographical areas can serve as a model to test evolutionary hypotheses. Its extensive variety in plumage, despite the genetic similarity between taxa, and the evolutionary events connected to this variety are poorly understood. Therefore we sampled in the breeding range of the white wagtail: 338 individuals were analyzed from 74 areas in the Palearctic and Mediterranean. We studied the white wagtail complex based on two mitochondrial DNA markers to make inferences about the evolutionary history. Our phylogenetic trees highlight mtDNA sequences (ND2, CR), and one nuclear marker (CHD1Z), which partly correspond to earlier described clades: the northern Palearctic (clade N); eastern and central Asia (clade SE); south-western Asia west to the British Isles (clade SW); and Morocco (clade M). The divergence of all clades occurred during the Pleistocene. We also used ecological niche modelling for three genetic lineages (excluding clade M); results showed congruence between niche and phylogenetic divergence in these clades. The results of the white wagtail ancestral area reconstruction showed the influence of dispersal on the distribution and divergence of this complex species. The most important vicariance event for the white wagtail complex may have been caused by the Gobi and Taklamakan deserts. We conclude that the ancestral area of the white wagtail complex was probably in the Mediterranean, with its geography having a considerable effect on speciation processes.
This paper contextualises a cultural construction of hegemonic masculinity and discusses ways in which Thai action film heroes in historical and Muay Thai films are represented. Traditionally, the quality of nakleng is desirable for Thai action heroes along with having mastery in a particular skill. In the moral realm, the idea of gratitude or khwam-katanyu in Thai, is prioritised and highly regarded to be the inevitable requisite for good men, which includes action heroes. This sense of gratitude extends to one’s ideological obligations to one’s motherland or matuphum, which is often thematically portrayed in Muay Thai and historical films through the struggle of the hero. Based on a reading of the two exemplar films, Ong Bak (Muay Thai Warrior 2003, dir. Prachya Pinkaew) and The Legend of King Naresuan: The Elephant Duel (2014, dir. Chatri Chalerm Yukol), the different social backgrounds of the two heroes, their hegemonic masculinity, autonomy and lack can be explained in relation to the discourse of Buddhist spirituality. In addition, the ways in which the two heroes are differently depicted is a cinematic device with the aid of which, in addition to the observance of filmic verisimilitude, the representations are designed to cater to segmented subject/citizen audiences. In psychoanalytic terms, each hero from the two films is similarly made to acquire autonomy and experience ‘lack’ in different realms of the symbolic order.
Rhys William Tyers
Many of Murakami’s novels demonstrate his appropriation of the terminology, imagery and metaphor that are found in hardboiled detective fiction. The question of Haruki Murakami’s use of the tropes from hardboiled detective stories has been discussed by scholars such as Hantke (2007), Stretcher (2002) and Suter (2008), who argue that the writer uses these features as a way to organize his narratives and to pay homage to one of his literary heroes, Raymond Chandler. However, these arguments have not adequately addressed the fact that many of Murakami’s novels fit into the definition of the metaphysical detective story, which is “a text that parodies or subverts traditional detective-story conventions” (Merivale & Sweeney 1999:2). Using this definition as a guiding principle, this paper addresses the issue of the metaphysical detective features apparent in Murakami’s third novel, A Wild Sheep Chase, and, more specifically, looks at his use of the non-solution and labyrinth as narrative devices. The main argument, then, is that Murakami’s A Wild Sheep Chase fits in with the metaphysical detective novel and uses the familiar tropes of the labyrinth and the non-solution to highlight our impossible search for meaning.
The Magical Journey to Celtic Cultural Resurrection and the Re-Discovery of Self in Song of the Sea
This study examines the deployment of magical realism along with cinematic techniques in Song of the Sea. Analysing the animated film as a cultural text in light of magical realism, it argues that the film intermingles two different worlds, the mundane and the fantastic, to provide audiences with a more inclusive view of reality. The existence of Celtic mythical beings, selkies, brought to life by magical realism, becomes the cornerstone in the protagonists’ healing process as their interactions with these mythical beings gradually reshape their conception of reality. A new “reality” is, thus, employed to vex the protagonists’ mind and make them reconsider reality in a new light by helping them vividly see Irish cultural aspects in their mundane life. Taking two selkies, Bronagh and Saoirse, as a metaphor for Irish cultural roots, this paper asserts that the protagonists’ embarking on their magical journey to retrieve the selkie’s coat not only heals their shattered selves but also induces them to hark back to their cultural roots. Ultimately, the research posits that the protagonist’s newly developed self, which eventually allows him and his family to come to terms with their loss, resolves his conflict with Saoirse, who successfully prevents the Irish cultural roots from being forgotten.
Adis Idris Raksamani
The objective of this study is to examine the purpose and meaning of portrayals of Muslims in the Thai traditional art and architecture of temples and palaces. The focus is on the Siamese concepts of Muslims and the features of Muslims that Siamese people in the past intended to communicate to Siamese society. The study deals with the concept and design of painting found in Thai traditional mural paintings. The findings reveal that the portrayals of Muslims in the mural paintings represent the symbolic meanings which can be traced according 4 chronicle stages as follows:
The otherness of Muslims from afar in the late Ayutthaya.
The trace of Islamic civilization in the end of Ayutthaya, the Thonburi and the Reigns of King Rama i-ii.
The multicultural guests in the Reigns of King Rama iii-iv.
Unity under the royal patronage in the Reigns of King Rama v-vi.
The benefit of the research can be applied to enhance the good relationship and understanding among different cultures in Thai society.