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Article Reference: ‘Marketing the Prosthesis: Supercrip and Superhuman Narratives in Contemporary Cultural Representations’ by Chia Wei Fahn

Received: 24 February 2020; Accepted: 7 July 2020; Published: 10 July 2020


Accessed: 19/01/2021

© 2020 by the author. Licensee MDPI, Basel, Switzerland. This article is an open access
article distributed under the terms and conditions of the Creative Commons Attribution
(CC BY) license (

‘With all these tools at our disposal, why is it that the disabled have yet to reap the rewards?’ p.1

‘Human bodies are now seen by some commentators as “machines to be fine-tuned and perfected through add-ons,” as the body is continuously augmented and its capabilities enhanced’ p.1.

‘biotechnology has led to a most significant shift in body politics that views the body as a network or assemblage that is constantly evolving with technology.’ P.1.

‘prosthetics have become a corporeal extension that empowers the disabled body, allowing the human body to transcend boundaries and limitations’ p.2

‘a posthuman approach to disability recognizes a new ethics of the body that is embodied
in “the conceptual edges between ‘the human’ and ‘the posthuman,’ the organic and the mechanic,
the evolutionary and the postevolutionary, and flesh and its accompanying technologies”’

‘I believe the disabled body represents a versatile embodiment of these conceptual edges and is most
reflective of social change.’

’empowering disabled bodies that focuses on the bionic industry.’ p.2.

‘the disabled body is empowered through prosthetic enhancement and cultural representations.’ p.2.

‘disability becomes super-ability’ p.2.

‘Rosi Braidotti’s The Posthuman (2013). Braidotti asserted that disability studies “combine
the critique of normative bodily models with the advocacy of new, creative models of embodiment,”
arming the disabled body as an open, embodied site where technology, corporeality, and sociology

‘Disability disarms and disrupts the normative assumptions about what it means to be human; it extends and expands into perspectives that look armatively towards alternative modes of embodiment.’ p.3.

‘revealing the low expectations from normalized society’ p.6.

’embodiment of lack, but of possibility’ p.6.

‘Advances in prosthetics and assistive technology further transformed the supercrip narrative from overcoming physical trials to sensationalizing the technological superhuman [37]. The rapid change in the lived-in reality of disability is reflecte in supercrip representations embodying messages of power and interdependency, as the supercrip “amazes and inspires the viewer by performing feats that the nondisabled viewer cannot imagine doing” [38] (p. 71). These representations embody possible futures in posthuman development and demonstrate paradigm shifts in the representations of disability.’ p.6.

‘the human becomes an assemblage of parts, conceived of in terms of a machine that can be
repaired, and redesigned”

‘The supercrip narrative, once stigmatizing, has become a marketing vehicle of education
and product advertising, as well as empowerment for the prosthetically enhanced, with dierently constructed bodies striving to break the constraints of a binary dis/ability discourse’


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