There are quite a few papers that have discussed the example. For
example...
http://scholar.google.com/scholar?as_q=shakespeare+king+%22richard+III%2
2&num=10&btnG=Search+Scholar&as_epq=&as_oq=disabled+disability&as_eq=&as
_occt=any&as_sauthors=&as_publication=&as_ylo=&as_yhi=&as_allsubj=all&hl
=en&lr=
Hevey's 1993 paper might be the one Halvor is referring to:
From Self-love to the Picket Line: Strategies for Change in Disability
Representation
Disability & Society, 8(4): 423-429
http://dx.doi.org/10.1080/02674649366780391
although it's not the main focus and there is only one passage on p425
that refers directly, as follows...
'In tragic theatre where the character enters impaired, then doom or the
clear prospect of doom enters the narrative at that point. This can be
seen in Shakespeare's Richard III. Richard's opening soliloquy (which is
also the opening text of the entire play) must count as the clearest
`policy' statement of the tragedy principle in representation,
Deform'd, unfinish'd, sent before my time Into this breathing world
scarce
half made up And that so lamely and unfashionable That dogs bark at me
as I halt by them- Why, I, in this piping time of peace, Have no delight
to pass away the time Unless to spy my shadow in the sun And descant on
mine own deformity .
Before this, Richard has let us know that he is not happy with the
non-warring state of affairs and is set to provide destruction . The
reasoning then comes through his narration of having an impairment. Doom
enters with impairment and disability is not in society but on the body
. Disability as impairment, impairment as social flaw is the axis upon
which much tragedy hangs (and let us not forget that tragedy is still
the governing aesthetic construction in western culture) and it is at
the point where impairment enters the narrative that the narrative
begins its conclusion to doom .'
Best wishes
Mark
-----Original Message-----
From: The Disability-Research Discussion List
[mailto:[log in to unmask]] On Behalf Of Larry Arnold
Sent: 24 January 2008 22:54
To: [log in to unmask]
Subject: Re: Richard III
Oh no Richard was disabled, the Tudors disabled him, I mean first Henry
the pretender unhorsed him
(That is to say took away his mobility aid) and then did him in, I mean
the poor guy didn't even get
a decent burial.
You see disability has nothing whatever to do with ones physical makeup
at all, it is a political
and legal statement wherein the party of the first part, parts the
second part from the right to
party.
Maybe the article you are thinking of was, was embedded in Heveys Tome
"The Creatures that time
forgot"
Larry
> -----Original Message-----
> From: The Disability-Research Discussion List
> [mailto:[log in to unmask]] On Behalf Of
> Halvor-Melbye Hanisch
> Sent: 24 January 2008 20:07
> To: [log in to unmask]
> Subject: Richard III
>
> Hi all,
>
> I am not too familiar with the Shakespeare/disability
> discussions, even though I read something once (by David
> Hevey?). For the most part; I can only remember (or think I
> can remember) two things:
>
> 1) Historically, Richard was not disabled.
> 2) It is, primarily, a tool for poetic characterisation of the diabolc
> Richard: "determined to prove a villain" - "cheated of
> feature by dissembling nature, / Deformed, unfinished, sent
> before my time".
>
> But: I am sure someone has written at length about this? But,
> where should I start? Which article is most, there I say it,
> foundational?
>
> All the best,
>
> Halvor
>
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