Re-visioning Negative Archetypes of Disability and Deformity in Fantasy: Wicked, Maleficent, and Game of Thrones

Fantasy and horror often exploit disabled people, presenting them as embodiments of terror and evil.  In contemporary fantasy, we sometimes see archetypically evil characters redefined primarily by the telling of their backstories to provide rationale for their behavior and to evoke sympathy or pity...

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Main Author: Colleen Elaine Donnelly
Format: Article
Language:English
Published: The Ohio State University Libraries 2016-12-01
Series:Disability Studies Quarterly
Online Access:http://dsq-sds.org/article/view/5313
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author Colleen Elaine Donnelly
author_facet Colleen Elaine Donnelly
author_sort Colleen Elaine Donnelly
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description Fantasy and horror often exploit disabled people, presenting them as embodiments of terror and evil.  In contemporary fantasy, we sometimes see archetypically evil characters redefined primarily by the telling of their backstories to provide rationale for their behavior and to evoke sympathy or pity from the audience. Pity often places the viewer in the position to seem benevolent while masking the ways that disabled people are often treated as inferior, different, and are isolated from the rest of society.  In Wicked, Maleficent, and Game of Thrones, we are asked to confront the judgments and behaviors in which spectators and society engage.  Instead of reaffirming the views and values of society, these works question and denounce our consumption of the stereotypes we have learned and our often unexamined behaviors towards those who are often treated as "others."
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spelling doaj.art-31ee3fe152c84d398b7379ff66ea1acf2022-12-22T02:05:46ZengThe Ohio State University LibrariesDisability Studies Quarterly1041-57182159-83712016-12-0136410.18061/dsq.v36i4.53133676Re-visioning Negative Archetypes of Disability and Deformity in Fantasy: Wicked, Maleficent, and Game of ThronesColleen Elaine Donnelly0University of Colorado at DenverFantasy and horror often exploit disabled people, presenting them as embodiments of terror and evil.  In contemporary fantasy, we sometimes see archetypically evil characters redefined primarily by the telling of their backstories to provide rationale for their behavior and to evoke sympathy or pity from the audience. Pity often places the viewer in the position to seem benevolent while masking the ways that disabled people are often treated as inferior, different, and are isolated from the rest of society.  In Wicked, Maleficent, and Game of Thrones, we are asked to confront the judgments and behaviors in which spectators and society engage.  Instead of reaffirming the views and values of society, these works question and denounce our consumption of the stereotypes we have learned and our often unexamined behaviors towards those who are often treated as "others."http://dsq-sds.org/article/view/5313
spellingShingle Colleen Elaine Donnelly
Re-visioning Negative Archetypes of Disability and Deformity in Fantasy: Wicked, Maleficent, and Game of Thrones
Disability Studies Quarterly
title Re-visioning Negative Archetypes of Disability and Deformity in Fantasy: Wicked, Maleficent, and Game of Thrones
title_full Re-visioning Negative Archetypes of Disability and Deformity in Fantasy: Wicked, Maleficent, and Game of Thrones
title_fullStr Re-visioning Negative Archetypes of Disability and Deformity in Fantasy: Wicked, Maleficent, and Game of Thrones
title_full_unstemmed Re-visioning Negative Archetypes of Disability and Deformity in Fantasy: Wicked, Maleficent, and Game of Thrones
title_short Re-visioning Negative Archetypes of Disability and Deformity in Fantasy: Wicked, Maleficent, and Game of Thrones
title_sort re visioning negative archetypes of disability and deformity in fantasy wicked maleficent and game of thrones
url http://dsq-sds.org/article/view/5313
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