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                  <text>Representations of Disabled Doctors in Television</text>
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                  <text>Television, being present in almost every home across the globe has immense potential to impact the way ideas are shared in the public imagination and how due to positive or negative representations, it can shape how the layman thinks about individuals having certain identities and the same goes for disabled doctors. Representations of doctors with disabilities on the small screen have been sparse and unidimensional and even though progress has been made, there is still a long way to do.&amp;nbsp;</text>
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                <text>The first Disabled doctor on TV? Dr. Kerry Weaver on &lt;em&gt;ER&lt;/em&gt;</text>
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                <text>ER</text>
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                <text>&lt;p&gt;Debuting on the medical drama “ER” in its second season in 1995, Dr Kerry Weaver was one of the first representations of disabled doctors on primetime television. Having a limp in her gait and using a forearm crutch, the character was played by a non disabled actor. Infact, an actress who does have a disability, Christopher Templeton, was denied an audition for the part. (Parsi, 2001) According to archives, the actor Laura Innes was involved in the decision to use a crutch as a prop for the role.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Chet Cooper: When you read for the role of Dr. Kerry Weaver on ER, did you know going in that you would play a person with a disability?&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Innes: Yes, when I read for the part, the character was described as having a limp and using a cane. She was written with that intention. I never asked John Wells—the show’s executive producer—but I heard it through the grapevine that when he was observing hospitals, he saw a doctor who had a cane and he thought, “Oh, that’s kind of interesting.”&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Johnson: You knew Weaver had a limp, but did they tell you the back story?&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Innes: No. When I asked, “Well, what’s her malady or injury?” they said, “We haven’t decided yet.” They wanted to keep it open, and not have it be something that was an issue. We discussed what kind of crutch or cane I should use, and I actually suggested the cuff crutch, because I thought with all the moving around and concerns with cleanliness, that a doctor wouldn’t always want to be grabbing onto a cane or setting it down. With a cuff crutch, it could always be on my arm, and if I was at a trauma table I could have it for support and still use my hands. So that’s how that choice was made. When I got the part and the character was described as having a limp, I didn’t really think about it in terms of the impact as a disability.&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;(Innes, 2008)&lt;/p&gt;&#13;
&lt;p&gt;Eventually, in Season 11, we learned that Weaver's limp was caused by congenital hip dysplasia, and in the following season, she had corrective surgery that allowed her to walk without use of the crutch. Ironically, the surgery was, at least in part, driven by Innes' real life health issues caused by using a cane for so many years on the series. As a result we see that disability was both used and eliminated casually.&lt;/p&gt;</text>
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                <text>Innes, L. (2008). Laura Innes - From Acting to Calling Action! (P. Johnson, &amp;amp; C. Cooper, Interviewers) Parsi, K. (2001, December ).&lt;br /&gt;&lt;br /&gt;Doctors in Balck and White on the Big and Small Screens . From AMA Journal of Ethics : https://journalofethics.ama-assn.org/article/doctors-black-and-white-big-and-small-screens/2001-12</text>
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                  <text>Representations of Disabled Doctors in Television</text>
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                  <text>Television, being present in almost every home across the globe has immense potential to impact the way ideas are shared in the public imagination and how due to positive or negative representations, it can shape how the layman thinks about individuals having certain identities and the same goes for disabled doctors. Representations of doctors with disabilities on the small screen have been sparse and unidimensional and even though progress has been made, there is still a long way to do.&amp;nbsp;</text>
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                <text>Another Doctor with a Cane: Dr. &lt;em&gt;Gregory House&lt;/em&gt; on House M.D.</text>
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                <text>In 2004, a new medical drama aired on Fox called House M.D. in which the titular character Dr. Gregory&amp;nbsp; House, a disabled doctor, walking with the help of a cane and addicted to painkillers was an unconventional, &lt;span&gt;&lt;a href="https://en.wikipedia.org/wiki/Misanthropy"&gt;misanthropic&lt;/a&gt;&lt;/span&gt; medical genius who led a team of &lt;span&gt;&lt;a href="https://en.wikipedia.org/wiki/Medical_diagnosis"&gt;diagnosticians&lt;/a&gt;&lt;/span&gt; and diagnosed and managed mysterious ailments in his patients. As a result of these various personality traits coming together to form a complicated character, it was seen that when House was just seen as someone who hates people, this trait of his became a thin veil which rendered his disability invisible and subsequently marginalized and erased it.&#13;
&lt;p&gt;This can clearly be seen in the following artifact:&lt;br /&gt;&lt;strong&gt;At the October 2010 meeting of the American Society for Bioethics and Humanities (ASBH), an affinity group presentation on doctors in film and television evolved into a heated debate over House M.D. The group, comprised of PhDs in the humanities along with medical doctors and attorneys, focused solely on Dr. House's treatment of patients while overlooking his disability. The point is that even an audience relatively attuned to cultural constructions of disability could not see House's disability beyond his bad behavior. The conversation raises questions like "How is disability rendered invisible in popular media?" "How does House M.D. both perform and erase disability?" &lt;/strong&gt;(Altavilla, 2013)&lt;/p&gt;&#13;
&lt;p&gt;As a result, we see that even though disabled doctors did make an appearance on the small screen and there was certain representation in the media, it didn’t always translate into improved societal understanding and acceptance of them in reality.&lt;/p&gt;</text>
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                <text>Altavilla, G. (2013). Queer narrative prosthesis: disability and sexuality in Richard III and House MD.</text>
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                <text>House M.D.</text>
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                  <text>Representations of Disabled Doctors in Television</text>
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                  <text>Television, being present in almost every home across the globe has immense potential to impact the way ideas are shared in the public imagination and how due to positive or negative representations, it can shape how the layman thinks about individuals having certain identities and the same goes for disabled doctors. Representations of doctors with disabilities on the small screen have been sparse and unidimensional and even though progress has been made, there is still a long way to do.&amp;nbsp;</text>
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                <text>The Good and the Bad of &lt;em&gt;The Good Doctor&lt;/em&gt; - Dr. Shaun Murphy on &lt;em&gt;The Good Doctor&lt;/em&gt;</text>
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                <text>&lt;p&gt;The Good Doctor, first aired in 2017 and created by David Shore who interestingly also produced House M.D. follows a surgeon Dr Shaun Murphy who has autism and savant syndrome as he juggles his duties as a doctor and his personal life. &lt;br /&gt;Though a great step forward in disability representation in the field of medicine, especially when compared to previous examples, The Good Doctor still has a long way to go. For example, when autistic adults reviewed the show, David Moloney, Autism Ontario Board Member and Mutual Fund Indexer with CIBC said “All in all, I find that it plays the autism card a little too heavily.” He found the show’s lead actor and writers tried to show autism as a “broad concept or a construct.” He thought this was too general an approach and much was lost this way. “It doesn’t really portray the positivity exuded by people on the spectrum.” (Cnudde, 2021) According to some reviewers, the show does a good job of representing all people who are marginalized (Nguyen, 2017) generalizing the context to other “outsiders” based on race, gender or sexuality, others are of the opinion that the show is too sentimental, using the age old trope of inspiration porn and The doctor who's good at medicine but bad with people is a trope making that doctor a person with autism verging on gimmickry. (Lawler, 2017)&lt;/p&gt;</text>
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                <text>The Good Doctor</text>
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                <text>Cnudde, M. (2021, April 19). Autistic Adults Review The Good Doctor. From Austism Ontario: https://www.autismontario.com/news/autistic-adults-review-good-doctor&lt;br /&gt;&#13;
&lt;p&gt;Lawler, K. (2017, September 22). &lt;em&gt;Review: ‘The Good Doctor’ is a too-sentimental portrait of doctor with autism&lt;/em&gt;. From USA Today: https://www.usatoday.com/story/life/tv/2017/09/22/review-the-good-doctor-too-sentimental-portrait-doctor-with-autism/688744001/&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#13;
&lt;p&gt;Nguyen, H. (2017, October 30). &lt;em&gt;‘The Good Doctor’ Is the Perfect Show for Anyone Who Feels Like an Outsider, Marginalized, or Misunderstood&lt;/em&gt;. From IndieWire: https://www.indiewire.com/2017/10/the-good-doctor-marginalized-outsiders-abc-1201892747/&lt;/p&gt;&#13;
&lt;p&gt;&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;</text>
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                <text>&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/NxHms4t93Fk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt; &lt;iframe width="560" height="315" src="https://www.youtube.com/embed/0z1Bt3TR_Zk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;</text>
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                  <text>Literary Representation of Doctors with Disabilities</text>
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                  <text>There have been very few accurate and meaningful representations of doctors with disabilities in fiction. There is a dearth of disabled doctors in literature to begin with and when they are present, the themes or disability in conjunction with their profession are not tackled productively or successfully. Through the artifacts provided in this collection, we see that even though there is great potential to set good examples of disabled doctors as part of literature and hence public imagination, the opportunities are made light of and lost when either the themes are not developed holistically or done in a fragmented manner.</text>
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                <text>&lt;em&gt;Of Human Bondage&amp;nbsp;&lt;/em&gt;by W. Somerset &lt;span style="font-weight: 400;"&gt;Maugham (1915)&lt;/span&gt;</text>
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                <text>The first novel to have a representation of a disabled medical student and doctor was the 1915 novel &lt;em&gt;Of Human Bondage&lt;/em&gt; by W. Somerset Maugham where the protagonist has a clubfoot. Following his jounery where he fumbles (used intentionally) both professionally and personally, we see Philip Carey dabbling in several professions, medicine being one of them, but never really fully engaging in any. This is shown to be not due to the physical ramifications of his disability or lack of access but due to the psychological effects of being disabled and growing up in an unloved home. As a result, even though Carey's disability is used as a prosthesis to give some body and structure to the narrative, it is never fully engaged in, losing an opportunity for a disabled doctor representation to shine through.&amp;nbsp;</text>
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                <text>W. Somerset Maugham</text>
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                <text>1915</text>
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                <text>Mahvish Nazar </text>
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                  <text>Architects and Universal Design</text>
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                  <text>This collection explores early pioneers as well as current architects and advocates of Universal Design in relation to architecture and the built environment.</text>
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              <text>1941</text>
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              <text>Ronald "Ron" Lawrence Mace was a design pioneer, the visionary of Universal Design, and the founder and program director of The Center for Universal Design at North Carolina State University in Raleigh. &lt;br /&gt;&lt;br /&gt;Born in New Jersey, NJ, he grew up in Winston-Salem, North Carolina. In 1950, at the age of nine, he contracted polio, and used a wheelchair for the rest of his life. He studied architecture at the North Carolina State University's School of Design, where he encountered inaccessible facilities that limited his use and mobility around campus. He graduated with a BA in 1966.&lt;br /&gt;&lt;br /&gt;After four years of practicing conventional architecture, he became involved in the effort to produce the first building code for accessibility in the nation. This code became mandatory in North Carolina in 1973 and served as a model for other states.&lt;br /&gt;&lt;br /&gt;In 1985, he pioneered the concept of "Universal Design." In 1989, he &lt;span&gt;established the federally-funded Center for Accessible Housing, currently known as The Center for Universal Design, at the School of Design at North Carolina State University in Raleigh. He was also a Research Professor in the Architecture Department in the School of Design at the North Carolina State University.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Ron's pioneering work in accessible design was instrumental in the passage of national legislation prohibiting discrimination against people with disabilities,&lt;span style="text-decoration:underline;"&gt; the Fair Housing Amendments Act of 1988&lt;/span&gt; and &lt;span style="text-decoration:underline;"&gt;The Americans with Disabilities Act of 1990.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span&gt;Mace was a Fellow of the American Institute of Architects and received the Distinguished Service Award of the President of the United States in 1992 for distinguished service in promoting dignity, equality, independence and employment of people with disabilities.&lt;/span&gt;&lt;span style="text-decoration:underline;"&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                  <text>This collection addresses existing literature that deals with universal design in the built environment as well as in relation to material objects. While not dealing exclusively about the intersection of disabled doctors and universal design, this collection hopes to point audiences to books that may serve as starting points for disabled doctors as well as the able-bodied community around them to start thinking about what it would mean and what it would look like for disabled doctors to have their voices heard and consequential in the altering and changing of medical environments such as hospitals, clinics, rehabilitation centers, and more.</text>
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                <text>&lt;em&gt;Building Access: Universal Design and the Politics of Disability&amp;nbsp;&lt;/em&gt;by Aimi Hamraie (University of Minnesota Press, 2017)</text>
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                <text>“All too often,” wrote disabled architect Ronald Mace, “designers don’t take the needs of disabled and elderly people into account.” Building Access investigates twentieth-century strategies for designing the world with disability in mind. Commonly understood in terms of curb cuts, automatic doors, Braille signs, and flexible kitchens, Universal Design purported to create a built environment for everyone, not only the average citizen. But who counts as “everyone,” Aimi Hamraie asks, and how can designers know? Blending technoscience studies and design history with critical disability, race, and feminist theories, Building Access interrogates the historical, cultural, and theoretical contexts for these questions, offering a groundbreaking critical history of Universal Design.&lt;br /&gt;&lt;br /&gt;Hamraie reveals that the twentieth-century shift from “design for the average” to “design for all” took place through liberal political, economic, and scientific structures concerned with defining the disabled user and designing in its name. Tracing the co-evolution of accessible design for disabled veterans, a radical disability maker movement, disability rights law, and strategies for diversifying the architecture profession, Hamraie shows that Universal Design was not just an approach to creating new products or spaces, but also a sustained, understated activist movement challenging dominant understandings of disability in architecture, medicine, and society.&lt;br /&gt;&lt;br /&gt;Illustrated with a wealth of rare archival materials, &lt;em&gt;Building Access&lt;/em&gt; brings together scientific, social, and political histories in what is not only the pioneering critical account of Universal Design but also a deep engagement with the politics of knowing, making, and belonging in twentieth-century United States. (University of Minnesota Press)</text>
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                <text>&lt;em&gt;“Building Access: Universal Design and the Politics of Disability.”&lt;/em&gt; University of Minnesota Press. (2021, October 19). Retrieved April 30, 2022, from &lt;a href="https://www.upress.umn.edu/book-division/books/building-access."&gt;https://www.upress.umn.edu/book-division/books/building-access.&lt;/a&gt;</text>
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                <text>&lt;em&gt;Accessible America: A History of Disability and Design&amp;nbsp;&lt;/em&gt;by Bess Williamson (NYU Press, 2019)</text>
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                <text>&lt;span&gt;Have you ever hit the big blue button to activate automatic doors? Have you ever used an ergonomic kitchen tool? Have you ever used curb cuts to roll a stroller across an intersection? If you have, then you’ve benefited from accessible design—design for people with physical, sensory, and cognitive disabilities. These ubiquitous touchstones of modern life were once anything but. Disability advocates fought tirelessly to ensure that the needs of people with disabilities became a standard part of public design thinking. That fight took many forms worldwide, but in the United States it became a civil rights issue; activists used design to make an argument about the place of people with disabilities in public life.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;In the aftermath of World War II, with injured veterans returning home and the polio epidemic reaching the Oval Office, the needs of people with disabilities came forcibly into the public eye as they never had before. The US became the first country to enact federal accessibility laws, beginning with the Architectural Barriers Act in 1968 and continuing through the landmark Americans with Disabilities Act in 1990, bringing about a wholesale rethinking of our built environment. This progression wasn’t straightforward or easy. Early legislation and design efforts were often haphazard or poorly implemented, with decidedly mixed results. Political resistance to accommodating the needs of people with disabilities was strong; so, too, was resistance among architectural and industrial designers, for whom accessible design wasn’t “real” design.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Bess Williamson provides an extraordinary look at everyday design, marrying accessibility with aesthetic, to provide an insight into a world in which we are all active participants, but often passive onlookers. Richly detailed, with stories of politics and innovation, Williamson’s&amp;nbsp;&lt;/span&gt;&lt;em&gt;Accessible America&lt;/em&gt;&lt;span&gt;&amp;nbsp;takes us through this important history, showing how American ideas of individualism and rights came to shape the material world, often with unexpected consequences. (NYU Press)&lt;/span&gt;</text>
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                <text>&lt;p style="margin-left: 28.35pt; text-indent: -28.35pt;"&gt;&lt;i&gt;Accessible America&lt;/i&gt;. NYU Press. (2019, July 2). Retrieved April 30, 2022, from &lt;a href="https://nyupress.org/9781479894093/accessible-america/"&gt;https://nyupress.org/9781479894093/accessible-america/&lt;/a&gt;.&lt;o:p&gt;&lt;/o:p&gt;&lt;/p&gt;</text>
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                <text>Furniture and tools, kitchens and campuses and city streets—nearly everything human beings make and use is assistive technology, meant to bridge the gap between body and world. Yet unless, or until, a misfit between our own body and the world is acute enough to be understood as disability, we may never stop to consider—or reconsider—the hidden assumptions on which our everyday environment is built. &lt;br /&gt;&lt;br /&gt;In a series of vivid stories drawn from the lived experience of disability and the ideas and innovations that have emerged from it—from cyborg arms to customizable cardboard chairs to deaf architecture—Sara Hendren invites us to rethink the things and settings we live with. What might assistance based on the body’s stunning capacity for adaptation—rather than a rigid insistence on “normalcy”—look like? Can we foster interdependent, not just independent, living? How do we creatively engineer public spaces that allow us all to navigate our common terrain? By rendering familiar objects and environments newly strange and wondrous, &lt;em&gt;What Can a Body Do?&lt;/em&gt; helps us imagine a future that will better meet the extraordinary range of our collective needs and desires. (Penguin Random House)</text>
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                <text>Hendren, S. (n.d.). &lt;em&gt;What can a Body Do? by Sara Hendren&lt;/em&gt;. penguinrandomhouse.com. Retrieved April 30, 2022, from &lt;a href="https://www.penguinrandomhouse.com/books/561049/what-can-a-body-do-by-sara-hendren/"&gt;https://www.penguinrandomhouse.com/books/561049/what-can-a-body-do-by-sara-hendren/&lt;/a&gt;</text>
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                <text>&lt;em&gt;The Architecture of Disability: Buildings, Cities, and Landscapes Beyond Access&lt;/em&gt; by David Gissen (University of Minnesota Press, January 2023 – forthcoming)</text>
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                <text>&lt;p&gt;Disability critiques of architecture usually emphasize the need for modification and increased access, but&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em&gt;The Architecture of Disability&lt;/em&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;calls for a radical reorientation of this perspective by situating experiences of impairment as a new foundation for the built environment. With its provocative proposal for “the construction of disability,” this book fundamentally reconsiders how we conceive of and experience disability in our world.&lt;/p&gt;&#13;
&lt;p&gt;Stressing the connection between architectural form and the capacities of the human body, David Gissen demonstrates how disability haunts the history and practice of architecture. Examining various historic sites, landscape designs, and urban spaces, he deconstructs the prevailing functionalist approach to accommodating disabled people in architecture and instead asserts that physical capacity is essential to the conception of all designed space.&lt;/p&gt;&#13;
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