Articles by Mia Harrison
Book Chapters by Mia Harrison
The Image of Disability: Essays on Media Representations, 2018
Media has long been acknowledged as both a reflection and reinforcer of dominant cultural attitud... more Media has long been acknowledged as both a reflection and reinforcer of dominant cultural attitudes. Under the social model, disability is understood not as an inherent antithesis to health, but rather as a cultural construct where only certain bodies are deemed valuable. It is therefore necessary to investigate prevailing media representations of disability when engaging in critical disability studies. HBO’s Game of Thrones is so prominent in this area that it was awarded the ‘Visionary Award’ for its nuanced portrayal of disability in characters such as the ‘dwarf’ Tyrion Lannister. Though this beloved hero has presented important standards for strong and complex disability representation, this chapter looks instead at the more problematic ways the series uses Narrative Prosthesis to construct disability as a tool for power and punishment. From Bran’s paralysis in episode one, to Arya’s blindness in season five, the show frequently links disability and supernatural ability to produce an extreme rendition of the classic ‘supercrip’ trope. Implicit in this commodification of ability is the idea of disability as sacrifice or ‘punishment,’ a notion employed by multiple characters as a means of discipline, such as with the forced removal of Jaime’s hand. Castration is also used frequently in Game of Thrones as a method for producing the Foucauldian ‘Docile Body’ (1977), illustrated most clearly in the homogenous and utterly obedient army of the Unsullied. This chapter argues that the establishment of the body as a tool to be used carries harmful implications for individuals with bodies that cannot be used in culturally approved ways. As Game of Thrones is considered by many to be one of the best examples of positive disability representation in popular media, these problematic depictions can thus be viewed as a barometer for cultural perceptions of disability.
The Routledge Companion to Disability and Media, 2019
With entertainment media playing an increasingly central role in disability awareness, fictional... more With entertainment media playing an increasingly central role in disability awareness, fictional literature has assumed a growing responsibility to provide audiences with compelling and realistic disability representation. This chapter turns to George R. R. Martin’s critically acclaimed fantasy series A Song of Ice and Fire (widely popularised by the television adaptation Game of Thrones) to investigate the potential of popular literature in uncovering the underlying ableist values of society. Framed by the concerns of critical disability studies, A Song of Ice and Fire provides a case study for exploring Mitchell and Snyder’s (2000) ‘Narrative Prothesis,’ as well as proposing what constitutes a ‘strong’ character with a disability.
Though the series is famous for the number of characters with disabilities represented, this chapter focuses on Martin’s representation of the literary dwarf, paying particular attention to the widely beloved character of Tyrion Lannister. A highly intelligent and charming man with dwarfism, Tyrion challenges popular discourse on dwarfs in fantasy by frequently reminding readers that his ‘shortcomings’ are culturally produced. He is one of the few characters whose personal narratives remain present throughout the series, and he is arguably Martin’s best-written character. In contrast lies Penny, a dwarf performer whose primary concern is pleasing the ‘big people’ around her. Introduced at a relatively late stage in the series, Penny serves as an important reminder of the impact of stigmatisation, internalising and performing the ableist values possessed by the characters surrounding her.
Martin’s portrayal of dwarfism in these two characters presents an interesting sample of disability representation in imaginative literature. Where Tyrion constitutes a prime example of strong and transgressive disability representation, Penny acts as his foil, bearing the tropes that have weighed down dwarfs in fantasy for decades. Both characters similarly display differing views on the production of freakery. Penny wholly embodies Goffman’s (1963) description of the disabled subject, playing her role within the rigid parameters her society imposes upon her. She uncritically accepts the cultural perception that she is neither sexual nor feminine, further perpetuating similar existing myths surrounding women with disabilities in our society. Conversely, Tyrion better represents what Garland-Thomson (1997) describes as ‘resistance culture’ in fiction, actively employing the spectacle of freakery to subvert character and reader expectations. He rejects the cultural scripts regularly assigned to characters with disabilities, embracing derogatory descriptors as a way of exposing cultural prejudices.
Through an analysis of these two characters, this chapter investigates how Martin's work is representative of both the weaknesses of popular fantasy literature, and its potential as a champion of strong disability representation. Though Penny’s flaws serve the narrative purpose of highlighting the cultural bigotry Tyrion has had to work to overcome, they are also a reminder of the lack of intersectional disability representation in literature; Tyrion’s comparative success in transgressing his culturally assigned role must be partially attributed to the privilege he enjoys as a wealthy and educated white male in a largely patriarchal society. Thus, this chapter explores how popular literature continues to cater primarily to the established dominant paradigm, therefore neglecting its diverse and complex readership.
Encyclopedia Entries by Mia Harrison
The International Encyclopedia of Gender, Media, and Communication, 2020
This entry examines the historical gender divide in the performance of domestic duties in popular... more This entry examines the historical gender divide in the performance of domestic duties in popular American TV shows, particularly in traditional sitcoms. Housework in popular media is overwhelmingly performed by mothers, as particular kinds of work (e.g., cooking, cleaning, raising children) are coded as feminine. Yet social progression, along with changes to the labor market and economy, have meant that domestic responsibilities have shifted over the past century. Furthermore, the increase in representation of queer families and homodomesticity has challenged heteronormative constructions of the family unit, and meant that content creators must reconsider the relationship between masculinity and domesticity. Paradoxically, however, some have noted that apparently subversive representations of heteronormative families, femininity/masculinity, and domesticity actually work to reinforce hegemonic family structures. Thus, this entry tracks how representations of the gender divide in domestic labor have changed over time, and how such a divide has been subverted and reinforced by evolving understandings of the “typical” family.
The International Encyclopedia of Gender, Media & Communication, 2020
This entry surveys the literature on representations of rape and sexual violence in film and tele... more This entry surveys the literature on representations of rape and sexual violence in film and television. It covers the critical analysis of threats and/or practices of sexual violence as a plot device as well as its heavily gendered dimensions—that is, as acts typically involving a male perpetrator and a female victim. Acts that deviate from this understanding tend to be comparatively underrepresented in academic and popular media domains. Particular attention is paid to how sexual violence and consent are framed within popular media and how these are complicated by science fiction and fantasy plots that portray supernatural violations of consent as well as characters who represent intersectional identities.
Public Scholarship by Mia Harrison
Trope Watchers is a public-facing scholarly podcast about pop culture and why it matters. It prov... more Trope Watchers is a public-facing scholarly podcast about pop culture and why it matters. It provides a platform for early career researchers to discuss their ongoing research in the context of popular culture. It is designed to appeal to academic and non-academic audiences alike. It is hosted by Mia Harrison and Scott Webster.
A Clash of Critics is a public-facing scholarly podcast about HBO's Game of Thrones and A Song of... more A Clash of Critics is a public-facing scholarly podcast about HBO's Game of Thrones and A Song of Ice and Fire by George R. R. Martin. It is hosted by Mia Harrison and Scott Webster.
Conference Presentations by Mia Harrison
For "CSAA Conference 2019: Cultural Transformations," University of Queensland.
For "2019 TASA Conference: Diversity & Urban Growth," Western Sydney University.
For "Embodying Fantastika: An Interdisciplinary Conference," Lancaster University.
For "Theorizing Zombiism: Toward a Critical Theory Framework," University College Dublin.
For "Quite Frankly: It’s a Monster Conference" at University of Western Australia, Perth.
For "Frankenstein 2018: two hundred years of monsters" at Australian National University, Canberra.
For "Imagineers in Circus and Science: Scientific Knowledge and Creative Imagination" at Australi... more For "Imagineers in Circus and Science: Scientific Knowledge and Creative Imagination" at Australian National University, Canberra.
Honours Thesis by Mia Harrison
Papers by Mia Harrison
The International Encyclopedia of Gender, Media, and Communication
This entry surveys the literature on representations of rape and sexual violence in film and tele... more This entry surveys the literature on representations of rape and sexual violence in film and television. It covers the critical analysis of threats and/or practices of sexual violence as a plot device as well as its heavily gendered dimensions—that is, as acts typically involving a male perpetrator and a female victim. Acts that deviate from this understanding tend to be comparatively underrepresented in academic and popular media domains. Particular attention is paid to how sexual violence and consent are framed within popular media and how these are complicated by science fiction and fantasy plots that portray supernatural violations of consent as well as characters who represent intersectional identities.
University of Sydney, 2020
The Routledge Companion to Disability and Media, 2019
With entertainment media playing an increasingly central role in disability awareness, fictional ... more With entertainment media playing an increasingly central role in disability awareness, fictional literature has assumed a growing responsibility to provide audiences with compelling and realistic disability representation. This chapter turns to George R. R. Martin’s critically acclaimed fantasy series A Song of Ice and Fire (widely popularised by the television adaptation Game of Thrones) to investigate the potential of popular literature in uncovering the underlying ableist values of society. Framed by the concerns of critical disability studies, A Song of Ice and Fire provides a case study for exploring Mitchell and Snyder’s (2000) ‘Narrative Prothesis,’ as well as proposing what constitutes a ‘strong’ character with a disability. Though the series is famous for the number of characters with disabilities represented, this chapter focuses on Martin’s representation of the literary dwarf, paying particular attention to the widely beloved character of Tyrion Lannister. A highly intelligent and charming man with dwarfism, Tyrion challenges popular discourse on dwarfs in fantasy by frequently reminding readers that his ‘shortcomings’ are culturally produced. He is one of the few characters whose personal narratives remain present throughout the series, and he is arguably Martin’s best-written character. In contrast lies Penny, a dwarf performer whose primary concern is pleasing the ‘big people’ around her. Introduced at a relatively late stage in the series, Penny serves as an important reminder of the impact of stigmatisation, internalising and performing the ableist values possessed by the characters surrounding her. Martin’s portrayal of dwarfism in these two characters presents an interesting sample of disability representation in imaginative literature. Where Tyrion constitutes a prime example of strong and transgressive disability representation, Penny acts as his foil, bearing the tropes that have weighed down dwarfs in fantasy for decades. Both characters similarly display differing views on the production of freakery. Penny wholly embodies Goffman’s (1963) description of the disabled subject, playing her role within the rigid parameters her society imposes upon her. She uncritically accepts the cultural perception that she is neither sexual nor feminine, further perpetuating similar existing myths surrounding women with disabilities in our society. Conversely, Tyrion better represents what Garland-Thomson (1997) describes as ‘resistance culture’ in fiction, actively employing the spectacle of freakery to subvert character and reader expectations. He rejects the cultural scripts regularly assigned to characters with disabilities, embracing derogatory descriptors as a way of exposing cultural prejudices. Through an analysis of these two characters, this chapter investigates how Martin's work is representative of both the weaknesses of popular fantasy literature, and its potential as a champion of strong disability representation. Though Penny’s flaws serve the narrative purpose of highlighting the cultural bigotry Tyrion has had to work to overcome, they are also a reminder of the lack of intersectional disability representation in literature; Tyrion’s comparative success in transgressing his culturally assigned role must be partially attributed to the privilege he enjoys as a wealthy and educated white male in a largely patriarchal society. Thus, this chapter explores how popular literature continues to cater primarily to the established dominant paradigm, therefore neglecting its diverse and complex readership.
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Articles by Mia Harrison
Book Chapters by Mia Harrison
Though the series is famous for the number of characters with disabilities represented, this chapter focuses on Martin’s representation of the literary dwarf, paying particular attention to the widely beloved character of Tyrion Lannister. A highly intelligent and charming man with dwarfism, Tyrion challenges popular discourse on dwarfs in fantasy by frequently reminding readers that his ‘shortcomings’ are culturally produced. He is one of the few characters whose personal narratives remain present throughout the series, and he is arguably Martin’s best-written character. In contrast lies Penny, a dwarf performer whose primary concern is pleasing the ‘big people’ around her. Introduced at a relatively late stage in the series, Penny serves as an important reminder of the impact of stigmatisation, internalising and performing the ableist values possessed by the characters surrounding her.
Martin’s portrayal of dwarfism in these two characters presents an interesting sample of disability representation in imaginative literature. Where Tyrion constitutes a prime example of strong and transgressive disability representation, Penny acts as his foil, bearing the tropes that have weighed down dwarfs in fantasy for decades. Both characters similarly display differing views on the production of freakery. Penny wholly embodies Goffman’s (1963) description of the disabled subject, playing her role within the rigid parameters her society imposes upon her. She uncritically accepts the cultural perception that she is neither sexual nor feminine, further perpetuating similar existing myths surrounding women with disabilities in our society. Conversely, Tyrion better represents what Garland-Thomson (1997) describes as ‘resistance culture’ in fiction, actively employing the spectacle of freakery to subvert character and reader expectations. He rejects the cultural scripts regularly assigned to characters with disabilities, embracing derogatory descriptors as a way of exposing cultural prejudices.
Through an analysis of these two characters, this chapter investigates how Martin's work is representative of both the weaknesses of popular fantasy literature, and its potential as a champion of strong disability representation. Though Penny’s flaws serve the narrative purpose of highlighting the cultural bigotry Tyrion has had to work to overcome, they are also a reminder of the lack of intersectional disability representation in literature; Tyrion’s comparative success in transgressing his culturally assigned role must be partially attributed to the privilege he enjoys as a wealthy and educated white male in a largely patriarchal society. Thus, this chapter explores how popular literature continues to cater primarily to the established dominant paradigm, therefore neglecting its diverse and complex readership.
Encyclopedia Entries by Mia Harrison
Public Scholarship by Mia Harrison
Conference Presentations by Mia Harrison
Honours Thesis by Mia Harrison
Papers by Mia Harrison
Though the series is famous for the number of characters with disabilities represented, this chapter focuses on Martin’s representation of the literary dwarf, paying particular attention to the widely beloved character of Tyrion Lannister. A highly intelligent and charming man with dwarfism, Tyrion challenges popular discourse on dwarfs in fantasy by frequently reminding readers that his ‘shortcomings’ are culturally produced. He is one of the few characters whose personal narratives remain present throughout the series, and he is arguably Martin’s best-written character. In contrast lies Penny, a dwarf performer whose primary concern is pleasing the ‘big people’ around her. Introduced at a relatively late stage in the series, Penny serves as an important reminder of the impact of stigmatisation, internalising and performing the ableist values possessed by the characters surrounding her.
Martin’s portrayal of dwarfism in these two characters presents an interesting sample of disability representation in imaginative literature. Where Tyrion constitutes a prime example of strong and transgressive disability representation, Penny acts as his foil, bearing the tropes that have weighed down dwarfs in fantasy for decades. Both characters similarly display differing views on the production of freakery. Penny wholly embodies Goffman’s (1963) description of the disabled subject, playing her role within the rigid parameters her society imposes upon her. She uncritically accepts the cultural perception that she is neither sexual nor feminine, further perpetuating similar existing myths surrounding women with disabilities in our society. Conversely, Tyrion better represents what Garland-Thomson (1997) describes as ‘resistance culture’ in fiction, actively employing the spectacle of freakery to subvert character and reader expectations. He rejects the cultural scripts regularly assigned to characters with disabilities, embracing derogatory descriptors as a way of exposing cultural prejudices.
Through an analysis of these two characters, this chapter investigates how Martin's work is representative of both the weaknesses of popular fantasy literature, and its potential as a champion of strong disability representation. Though Penny’s flaws serve the narrative purpose of highlighting the cultural bigotry Tyrion has had to work to overcome, they are also a reminder of the lack of intersectional disability representation in literature; Tyrion’s comparative success in transgressing his culturally assigned role must be partially attributed to the privilege he enjoys as a wealthy and educated white male in a largely patriarchal society. Thus, this chapter explores how popular literature continues to cater primarily to the established dominant paradigm, therefore neglecting its diverse and complex readership.