2006, Santiago Solis, "Cripqueers in the Land of Make Believe", in Contemporary Youth Culture: An International Encyclopedia (eds. Birgit Richard, Christine Quail, Priya Parmar, & Shirley R. Steinberg), page 251:
The intent of this chapter, therefore, is to encourage awareness and pride in cripqueer sexuality; […]
2012, Ryan Claycomb, Lives in Play: Autobiography and Biography on the Feminist Stage, page 80:
Similarly, writing on the ways in which crip and queer identities inform one another onstage, Carrie Sandahl argues, "Cripqueer artists redefine gender and sexuality by cripping and queering both. […]
2013, Colin Cameron, Disability Studies: A Student's Guide, unnumbered page:
Not surprisingly, critics of the appeal to sexual citizenship tend to align themselves with a queer politics developed through both Deleuzian and cripqueer thinking (Goodley and Lawthom 2011; McRuer 2006).
2016, Todd R. Ramlow, "Queering, Cripping", in The Ashgate Research Companion to Queer Theory (eds. Michael O'Rourke & Noreen Giffney), page 139:
Here and throughout F**k the Disabled Walloch deploys a cripqueer consciousness and playful performativity in order to undermine dominant social and political relations among queers, crips and 'normals'.
2018, Janet Price & Niluka Gunawardena, "Emergence of Epistemological Questions of Crip Queer Across Shifting Geo/Bio-political Terrain", in Disability in South Asia: Knowledge and Experience (ed. Anita Ghai), page 138:
A group of disabled activists from Sri Lanka and India plans a disability arts festival, developing local talent and cripqueer work.
2018, Robert McRuer, Crip Times: Disability, Globalization, and Resistance, page 252:
Such a neoliberal cripqueer incorporation would have been unthinkable when Grover wrote her piece.
2019, Maren Metell, "How We Talk When We Talk About Disabled: Children and Their Families: An Invitation to Queer the Discourse", Voices: A World Forum for Music Therapy, Volume 19, Issue 3:
Queer theory meets disability studies also more literally within cripqueer theory and neuroqueerness.
2019, Geert Van Hove, Disability Studies: Introductieteksten, page 230:
Inspired by these moves, certain critical disability scholars – sometimes referred to as crip or cripqueer theorists–began to explore 'the potential risks and exclusions' (Kafer 2013, 15) of disabled identity politics and to imagine strategies to blur rather than reify the normal/impaired divide.
2020, Susannah B. Mintz, "Feminism and Literary Disability Studies", in The New Feminist Literary Studies (ed. Jennifer Cooke), page 111:
Mythmaking, protest and resistant truth-telling, manoeuvring towards the unknown, atypical family bonds, artistic and political potential, cripqueer desires, survival as rather than in spite of non-normative corporeality – these are the hallmarks of gimp-dancing, gutter-jumping, time-travelling, boundary-crossing feminist disability literatures.
2021, Nina Lykke, Vibrant Death: A Posthuman Phenomenology of Mourning, page 44:
As I navigate between these different cripqueer interpretations of strange, non-normative temporalities in my search for ways to theoretically frame my feelings of unease and resistance to the normative discourses nudging me to stop mourning and instead focus on new life chapters, I find myself in a state of disidentification (Butler 1993).
2021, T. Tikka & R. Noam Ostrander, "Inspiration Porn, Reclamation Porn: A View of Crip Masculinity and Micro-Celebrity", in The Routledge Companion to Masculinity in American Literature and Culture (ed. Lydia R. Cooper), unnumbered page:
So, how do cripqueer sex workers (encompassing the entire spectrum of consensually and self-directed sex work, from for-pay cam-work to prerecorded sex-tapes, and more) in digital spaces disidentify with this capitalist, ableist, white supremacist working on dominant sexual narratives?
2022, Samuel Yates, "Deafness: Screening Signs in Contemporary Cinema", in A Cultural History of Disability in the Modern Age (eds. David T. Mitchell & Sharon L. Snyder), pages 88-89:
The reading of the film as queer cinema instead of Deaf cinema underscores how deafness can easily be co-opted as a broader "universal" metaphor for communication differences in any relationship and, contradictorily, suggests that its narrative appeal is rooted in a valuation of the particularities of this cripqueer and mixed-hearing couple's experiences rather than being understood in spite of them.
Noun: "one who belongs to both the disabled and LGBT communities"[edit]
2006, Santiago Solis, "Cripqueers in the Land of Make Believe", in Contemporary Youth Culture: An International Encyclopedia (eds. Birgit Richard, Christine Quail, Priya Parmar, & Shirley R. Steinberg), page 251:
The intent of this chapter, therefore, is to encourage awareness and pride in cripqueer sexuality; emphasis is on the identity of the cripqueer as a sexual being.
2016, Todd R. Ramlow, "Queering, Cripping", in The Ashgate Research Companion to Queer Theory (eds. Michael O'Rourke & Noreen Giffney), page 143:
In this cripqueer reading, Magneto and the 'bad' mutants might become figures of real power and revolutionary struggle representing the desires of cripqueers of all sorts.