In this study, I used to use a variety of accommodative techniques to conduct oral interviews with young adult participants who presented with unique social language needs. Their needs highlighted and allowed critique of the research methods that I have learned, bringing up important ethical and pedagogical issues regarding difference and (dis)ability in research and research populations. I asked them what they thought about and wanted from their social experiences and learned that they perceive themselves as being perpetually misunderstood. I analyzed the data for potential misunderstandings and uncovered alternate readings of communication that are naturally not considered when typical assumptions of communication prevail. Avoiding misunderstandings can be as easy as changing one’s assumptions about communication. With small changes in assumptions, meanings change, and outcomes improve. The project revealed themes that speak to larger cultural conversations about ability and young adulthood. These millennials are not using social media; they think differently about the “high-functioning vs. low-functioning” autism dialectic; and they critique adult programs and services. Suggested tips for cross-cultural communication are provided.

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A cell phone is an electronic communication device that helps break down the distance barriers between people, with added mobility advantages. For some users a cell phone is more than a communication device; it may be used as a fashion accessory, and for some the cell phone is needed to seek help in emergency situations. The cell phone market has been expanding globally over the past decade, with approximately 423 million sold globally in the year 2002 (Kiljander & Johanna, 2003). According to the CIA World Factbook (2006), the UK has more cell phones than people. The global expansion of cell phone companies may impose problems to cell phone users, since unlike the personal computer industry the cell phone industry has no standard interface, and manufacturers have the freedom to gradually improve the user interface (Kiljander & Johanna, 2003). For a user interface to be well accepted by a target population it is necessary to identify and explore the underlying design preferences. User interfaces of new technology may lead to anxiety and delayed technology acceptance, especially for users with disabilities. Even though the need for users participating in the design process has been realized, users with disabilities are not always included in the design process (Newell & Gregor, 2001). This study followed a participatory design process, to compare and contrast the cell phone interface design preferences of users from two different nations, including users with no apparent disability and users with visual disabilities. A study was conducted to identify possible relationships between national culture, disability culture and design preferences of cell phone interfaces. The theoretical framework used to guide this study was Hofstede's (1991) five dimensional cultural model. Various studies have explored cross-cultural interface design and found some relationship of these cultural dimensions with interface design components (Choi et. al., 2005; Marcus, 1999; Marcus and Gould, 2001). This study included 13 product interactive focus groups, with a total of 69 participants, 34 in India and 35 in the United States, of the age group 19-50 years. There were 4 units of analyses in this research study. This included a control group of users without any apparent disability and a disability group with a visual disability of legal blindness. The two countries, India and the United States, were selected for this comparative study because of their diverse cultural backgrounds and the rapid expansion of cell phone usage which they are witnessing. The four units of analyses differed in their cultural dimensions. There were no significant correlations found on Design preferences of cell phone features based on Choi et at. (2005)'s study on mobile services with Hofstede (1990)'s cultural dimensions. However the relationships of some these features with the underlying cultural dimensions were found when group level analysis instead of the individual level of analysis was undertaken. Differences were also found in the ratings of the hardware attributes between disability groups and differences in usability ratings were found based on nationality and disability groups. The content analysis of the focus group sessions provided an insight to the preferences on cell phone interface components and the gave a better understanding of the mobile/cell phone culture in the two countries. These results are summarized to provide guidelines for designing cross-cultural user interfaces that are nationality specific and disability specific. A pyramid model for a holistic process of designing cell phones for users with disabilities integrated the findings of this thesis and Jordon (2002)'s pleasurability framework is proposed in the conclusion section of this thesis. / Master of Science

This dissertation is an inductive, qualitative study of a theatre programme with persons with intellectual disabilities. The aims of the dissertation were: • to explore the experiences had by the actors as expressed through their descriptions, images and narratives, • to explore the context in which these descriptions, images and narratives take place and, • to conceptualise the experiences had by the actors. In the project, the following three qualitative methods were combined: qualitative interviews, participant observations and research circles. The theoretical framework is mainly built on three theoretical standpoints - social constructionism; the theoretical perspective that describes disability as a balance between deviance and normality; and cultural analysis. The analysis shows that the theatre and artistic programme are experienced as something new, interesting and qualitatively different from their earlier experiences. Their daily activities in the theatre are organized around and influenced by an artistic rationale. The work, the physical environment, and relations with the leaders of the theatre are different from the traditional social care setting (daily work places, group homes etc.) in which the actors are socialized. The analysis also shows a tension, in the theatre practice, between disability policy and artistic aims. On one hand, the programme has to consider the consequences of disability and disability ideology in their daily work. On the other hand, the focus of the theatre is on artistic aims and on the actors’ skills as producers of theatre and art. The social care setting, of which the theatre is a part, emphasises deviance (the problems and shortcomings of the actors) whereas the theatre emphasises normality (the artistic skills of the actors). Through their participation in the theatre company, the actors have gained a new role - the role of actors and producers of theatre and art, and not only the role of clients in the social service system. The actors also experience ambivalence from their social surroundings, such as in the theatre arena where the audience applauds their acting, whereas in other arenas they experience dissociating interaction. Both roles, being a client and being a theatre actor, are integrated in the self-understanding of the actors. In this way, the actors’ self-images can be described as a balance between deviance (intellectually disabled) and normality (theatre actor). Through their participation in the theatre, they also gained fellowship among other actors and between the actors and the leaders. This is analyzed in terms of affinity grouping. That is, the theatre can be understood as a community where the members share common interests and goals. Through the processes and acts in this community, the actors develop confidence and the strength to stand up for themselves. Against this background, parallels are discussed to disability culture and disability arts.

This thesis is an occasion to examine how normalcy – as a phenomenon constructed in society and so not natural but human-made – is reproduced as a hegemonic ideal through oppressive portrayals of disability in literature. Many of the fictional texts I analyze reproduce the privileging of normalcy. I therefore work to disturb normalcyʼs hold through critical analysis of a wide variety of currently popular fiction for youth and adults. Combining interpretive inquiry and personal narrative, I bring forward new understandings of normalcy, disability and culture. Along with showing how normalcyʼs supremacy is upheld within the book industry, and critiquing texts that do disability as usual (through both survey and close analysis approaches), I discuss at length several literary works that write disability in anti-oppressive, anti-ableist ways. To close this thesis, I discuss my own transformation as an author and scholar through disability studies.

This thesis is an occasion to examine how normalcy – as a phenomenon constructed in society and so not natural but human-made – is reproduced as a hegemonic ideal through oppressive portrayals of disability in literature. Many of the fictional texts I analyze reproduce the privileging of normalcy. I therefore work to disturb normalcyʼs hold through critical analysis of a wide variety of currently popular fiction for youth and adults. Combining interpretive inquiry and personal narrative, I bring forward new understandings of normalcy, disability and culture. Along with showing how normalcyʼs supremacy is upheld within the book industry, and critiquing texts that do disability as usual (through both survey and close analysis approaches), I discuss at length several literary works that write disability in anti-oppressive, anti-ableist ways. To close this thesis, I discuss my own transformation as an author and scholar through disability studies.