MyCraft: The Backgroud (G. Pedrucci)

MyCraft is a spin-off of the ongoing project titled DisAntiquity: The Entanglement of Disability, Gender, and Religion—Exploring the History of People with Impairments at the Dawn of European Civilization (from now on, DisAntiquity). This project delves into a broad spectrum of disabilities, examining how individuals with impairments were perceived, described, and treated within religious contexts during Antiquity. Central to the project is the concept of “enabling religion,”¹ which serves as a crucial framework for understanding these historical dynamics.

To begin, it’s essential to establish a work definition of disability.

The U.S. Centers for Disease Control and Prevention (CDC),² drawing on guidelines from the World Health Organization (WHO), defines disability as follows: Disability refers to any condition of the body or mind (impairment) that makes it more challenging for an individual to perform certain activities (activity limitation) and engage with the world around them (participation restrictions). Disabilities can affect various aspects of a person’s life, including vision, movement, cognition, memory, learning, communication, hearing, mental health, and social relationships.

The CDC also provides a definition for impairment: Impairment is an absence of or a significant difference in a person’s body structure or function or in mental functioning. Structural impairments refer to substantial issues with internal or external components of the body.

While these definitions are rooted in a medical framework, it is crucial to also consider the socio-cultural dimensions of disability and recognize the historical experiences of disabled individuals. In this context, it is important to distinguish between disability and impairment—a distinction particularly relevant in the humanities. Impairment refers to physical or mental conditions that are perceived as abnormal and limiting, whereas disability is defined as the social disadvantages arising from impairment.³ Since the nature of these disadvantages can vary, and impairments do not always result in disadvantages, disability is understood as a social construct rather than an inevitable consequence of impairment. Disability studies focus on the study of disability rather than impairment, examining the societal factors that create disadvantages and investigating the underlying reasons for the challenges faced by individuals with impairments.⁴

The three primary models of disability outlined by Waldschmidt are the individual, social, and cultural models.⁵  These models differ in how they relate impairment to disability.

The individual model, commonly found in medicine and applied sciences, usually doesn’t distinguish between impairment and disability. It views limitations as inherent to impairments and sees social disadvantages as natural outcomes, focusing on solutions like medical treatments, special education, and assistive technology.

The social model, advocated by the disability rights movement, distinguishes between impairment (a physical limitation) and disability (social disadvantage due to impairment). This model, now also recognized by some religious groups, argues that societal factors, not just impairments, disable individuals, highlighting that such disadvantages are neither natural nor inevitable.

Unlike the social model, the cultural model views both impairment and disability as social constructs, rejecting the dichotomy of impairment as natural and disability as cultural. It argues that physical traits are not inherently abnormal or limiting; these judgments arise from social definitions. This model suggests that physical characteristics become impairments when used to justify social disadvantages. Consequently, what is considered an impairment depends on specific historical and social contexts. Additionally, the cultural model highlights the interdependence of impairment and normality, emphasizing that to understand social processes, we must consider both what is labeled abnormal and normal. It questions the notion of unchallenged normality and explores how practices of normalization and denormalization create the social category of disability.⁶

Building on a cultural model perspective, Jelinek-Menke⁷ defines dis/ability as a context-specific social process where individuals are classified as capable or incapable, influencing their social positions. This division is justified by certain physical or intellectual traits. Two key assumptions underpin this definition: (1) interactions fail when one individual’s actions does not meet another’s expectations, and (2) resolving these conflicts is necessary for the interaction to proceed. However, the responsibility for these conflicts is placed on the individual deemed impaired, rather than on the mismatch between actions and expectations. These individuals are labeled incapable and are either: (a) excluded and placed in an alternative setting, or (b) included in the original setting but treated differently. Both approaches resolve conflicts but have significant disabling effects on the individuals involved.

One of the primary goals of DisAntiquity is to foster empathy and solidarity among non-impaired individuals while simultaneously supporting impaired individuals in their pursuit of recognition, with a particular emphasis on engaging young generations.

To achieve this goal, we are designing an educational graphic adventure video game for children, tailored to the lived experiences of elementary and middle school students.

However, it’s important to take a step back. DisAntiquity focuses on the Greek and Roman worlds, so the modern definition of disability mentioned earlier cannot be applied sic et simpliciter to these ancient contexts.

In fact, disability is not merely a health issue but a complex phenomenon that must always be examined within specific social contexts. The dichotomies of health versus illness and normal versus non-normal are culturally determined.

As noted by other scholars,⁸ the Greeks did not necessarily view individuals with disabilities as fundamentally different, provided they could still participate in socio-economic activities. This perspective is reflected in both Greek⁹ and Roman¹⁰ languages, where terminology related to disability tends to be vague. Instead of focusing on the prevalence of disabilities, these languages often use general terms that emphasize incapacity, imperfection, or weakness.

For example, in Greek, the term adunatos (ἀδύνατος)—a verbal adjective derived from the root duna- (related to dunamai, meaning “I can, I’m able, I have the strength to”)—frequently appears in literature to mean “unable” or “without strength.” This term is similar to the English word “disabled” and is comparable to the Latin infirmis. However, these terms are very broad and do not necessarily indicate a permanent impairment.

In Greek society, what we today define as a disability—such as the loss of a sense (blindness, deafness, muteness) or a missing limb—was perceived more as a chronic weakness or inability rather than a distinct category of disability. There was also no clear linguistic distinction between being “ill” and “disabled,” which complicates efforts to differentiate between temporary and permanent conditions. Similarly, in Latin, terms like infirmus and aegrotus do not directly correspond to our modern concepts of “disabled” and “ill,” and the distinction between vitium (defect) and morbus (disease) is not clearly defined.

On the other hand, both the Greeks and Romans demonstrated fascination with non-normative bodies and teratology—what the Greeks referred to as teras and the Romans as monstrum—terms that refer to something extraordinary or outside the norm. In Latin literature, terms like monstrum or prodigium frequently appear, expressing ideas associated with supernatural events, which could be interpreted as divine signs or bad omens.¹¹

Two fundamental tenets converge here: the concept of extraordinary bodies and the notion of enabling religion.

“Extraordinary bodies”¹² are those with characteristics that deviate from the aesthetic and normative standards of a given society. These bodies do not possess inherent meaning; rather, meaning is ascribed to them, resulting in the creation of specific cultural and religious representations. Such exceptional bodies are often marginalized, relegated to the realm of the uncanny and the unusual, frequently labeled as monstrous and considered disconnected from, or irrelevant to, everyday life and societal norms regarding the body. These bodies not only existed in antiquity, as one might expect, but were also depicted in art—a fact that may be less obvious.

We can identify a few possible instances where extraordinary bodies, particularly in children, were perceived as divine manifestations and conferred significant religious prestige. Examples include the mythical character of Tages, an “aged boy” (puer senex), the encephalopathic child venerated at Pian di Cività in Tarquinia, and an ex-voto from Veii that possibly represents a case of Sirenomelia.¹³

These examples suggest a correlation between extraordinary bodies and the concept of enabling religion in the ancient world.

According to Jelinek-Menke,¹⁴ the distinction between disabled and non-disabled individuals serves as a fundamental principle for organizing society—essentially justifying the processes that structure it. Given the deep interconnection between religion and society, this division functions as a social ordering principle not only for society but also for religion. Religious contexts can either create barriers, exclude individuals, and prevent the overcoming of those barriers—a concept Jelinek-Menke refers to as “disabling religion”—or they can help dismantle these barriers and promote inclusion, which is termed “enabling religion.”

This brings us to MyCraft. Indeed, many Marvel and DC heroes have impairments that not only define their characters but also play a crucial role in shaping their powers and stories. These heroes often turn what society views as a limitation into a unique strength, reflecting the idea that abilities and disabilities are deeply interconnected. This concept resonates with the idea behind MyCraft, where mythological beings with extraordinary bodies—potentially representations of rare diseases—use their unique abilities to aid the protagonist, reinforcing the message that what might be seen as a disability can also be a source of power and significance.¹⁵

The dual objective of the game is to raise greater awareness of disability among young people and to promote a concept of ability that is intrinsically linked to disability.

Below are some examples of mythological characters that could represent impairments and rare diseases,¹⁶ which the video game could incorporate.

• Daphne, Leuce et similia: Epidermodysplasia verruciformis, also known as tree-man syndrome.
• Merpeople, Derceto et similia: Sirenomelia, also called Mermaid Syndrome.
• Phṑkos: Phocomelia.
• Niobe: Fibrodysplasia Ossifians Progressiva, also known as Stone Man Syndrome.
• Tages: Progeria.
• Echidna, Typhon: Humans with multiple limbs, parasitic twin (NB: animals with two heads exist in nature and are well documented in mythology, as are unicorns, monocerata in ancient Greek language).
• Janus: Siamese twins.
• Bes, Pygmies: Dwarfism.
• Giants: Gigantism.
• Cyclops, Arimaspi: Cyclopia.
• Centimanes: Excess of upper limbs.
• Pan: Equine foot.
• Aeternae: Proteus Syndrome.
• Likos, Agriopas, Damarchus: Lycanthropy.
• Hephaestus, Oedipus: lameness.
• Homer, Tiresias, Oedipus: blindness.

The proposed development of the game is described in the following paragraph.

MyCraft: The Design (M. Amoroso)

The idea of MyCraft has been developed to explore the representation of disability in the ancient world, weaving together history, mythology, and social awareness.

The belief in the transformative potential of impairments explained by Pedrucci is mirrored in MyCraft, where mythological characters with disabilities take center stage with their ̒special powers’ or unique ̒crafts,̓ using their unique abilities to aid the protagonist. Through an immersive gameplay experience, MyCraft reinforces the message that what might be perceived as a disability can also be a source of power and significance.

Main Plot

In MyCraft, players step into the shoes of a young protagonist who is transported back to the ancient world. Over the course of their journey, they explore three civilizations: Ancient Greece, Rome, and Etruria. Each civilization represents a chapter in the game, featuring richly detailed environments and culturally relevant puzzles. Players must solve puzzles and navigate obstacles with the help of mythological characters, each of whom has a physical or mental impairment.

The primary goal is to collect religious artifacts and symbols, some of which are associated with disability in antiquity, by solving puzzles and uncovering how different cultures understood and portrayed disability. Through these experiences, the protagonist learns that disability is not a limitation, but a source of strength, with disabled individuals sometimes playing key roles in ancient societies.

Playable Characters and Mythological Helpers

The game introduces a variety of mythological characters who assist the protagonist on their journey. Each character has a unique impairment with special abilities linked to their condition, making them essential for overcoming the game’s challenges. Some of these characters include:

• Tiresias: A blind prophet with the gift of foresight. He aids the player by offering glimpses of the future, helping them solve puzzles involving time and decision-making.
• Daphne: Suffering from a condition akin to tree-man syndrome, she can transform into a tree, allowing the player to cross otherwise impassable environmental obstacles.
• Tages: An elderly child, depicted with the features of progeria, who provides the player with wisdom and guidance to better understand the cultural and religious challenges.
• Hephaestus: The lame god of blacksmiths and craftsmanship, who assists the player by forging tools and solving complex engineering puzzles.

Game Mechanics

MyCraft combines exploration, puzzle-solving, and narrative interactions to create an engaging educational experience.¹⁷ Players must collect historical and cultural knowledge to progress, but the heart of the game lies in its puzzles, which are designed to be both intellectually challenging and educational, referencing historical events, religious beliefs, and mythological figures related to disability.

Key gameplay mechanics include:

• History-based puzzles: Players will decipher ancient codes, piece together fragmented artifacts, and interpret historical inscriptions.
• Exploration of ancient landscapes: The game features environments inspired by cities such as Athens, Rome, and Tarquinia, meticulously recreated to offer an authentic historical experience.
• Interactions with mythological and historical characters: Through dialogues with non-playable characters (NPCs), players gain deeper insights into the historical context and the perception and representation of disability in ancient times.

Integrated Education

A key goal of MyCraft is to educate players about the perception of disability in ancient times, while maintaining a seamless and engaging gaming experience. Education is woven into the gameplay, allowing players to learn naturally through direct interaction, making the process feel organic rather than forced.

Educational content is integrated through various methods:

• Dialogues with mythological characters: Each character shares insights not only about their physical condition but also the historical and cultural context of their time.
• Cultural and historical puzzles: Players solve puzzles reflecting ancient beliefs and practices related to disability.
• Historical artifacts: Every collected item holds historical significance, enabling players to learn about ancient cultures by gathering these objects.
• Educational mini-games: These challenges allow players to engage alongside mythological characters with impairments, offering insights into their experiences and unique strengths.

Aesthetics and Atmosphere

MyCraft combines historical and mythological elements to craft a visually captivating world. Each civilization is depicted with authenticity yet stylized in a way that appeals to younger audiences:

• Settings inspired by ancient civilizations: Levels are meticulously reconstructed from cities such as Athens and Rome, with detailed attention to architecture.
• Color palettes: Mythological and imaginative color schemes create an engaging, immersive atmosphere.
• Mythological characters: These are designed to be distinctive and charismatic, avoiding harmful stereotypes.
• Fluid animations: Characters move dynamically, making interactions more immersive and engaging.

Player Goals

Player objectives are diverse and linked to their progression throughout the game:

• Solve puzzles: Players tackle puzzles related to ancient culture and history.
• Collect artifacts: These represent religious and cultural symbols, some associated with disability.
• Collaborate with mythological characters: Players team up with these characters to overcome challenges.
• Explore historical cities: Players gather information about the cultural context through exploration.

Emotional and Social Impact

MyCraft aims to foster empathy and understanding, showing that disability is not necessarily a limitation, especially in the eyes of a young audience. The game simplifies and adapts complex ideas surrounding disability without distorting historical truths, making the content accessible to younger players. Mythological characters with impairments demonstrate that these conditions are not weaknesses but can be sources of strength and wisdom.

• Empathy towards characters with impairments: These characters display resilience and capability, teaching that disability is a cultural construct that changes throughout history and impacts social life but can be faced and managed without fear.
• Reflection on cultural perceptions: Players are encouraged to consider how ancient societies viewed disability in ways that differ from modern perceptions.
• Breaking stereotypes: The game challenges modern prejudices by offering positive, empowering representations of characters with impairments and their abilities.

MyCraft is an innovative approach to teaching young players about the history of disability, using the power of gaming to create an educational yet entertaining experience. Through its blend of mythological storytelling, challenging puzzles, and empowering representations of characters with impairments, the game not only educates but also inspires players to rethink their views on disability. Its emotional and social impact can help break down barriers and promote a more inclusive, empathetic understanding of disability—both in the ancient world and today.

Didactic Potential of Serious Games (P. Nothbaum)

The use of serious games is a good way to engage children and young people in a topic and, with pedagogical support, can be used in schools and beyond to impart knowledge in a playful way.¹⁸ In serious games as in computer games in general, players experience a comparatively high level of self-efficacy because actions have consequences more quickly than in reality; they are therefore a kind of giant feedback loop, exploiting the insight that people learn, more easily and sustainably by applying knowledge.¹⁹ By bringing together different subject areas, the player can have a comprehensive, cross-curricular experience, and the learning effect is enhanced by the fun of the game, where players are not necessarily aware of the knowledge transfer, but rather learn passively through active action.²⁰

Unfortunately, it  sometimes is rather rare for the issue of disability to be explicitly addressed in such games and in the digital games industry; in fact, digital games (re-)produce different, mostly stereotypical, forms of disability which usually refer to the medical model of disability, among others that are presented above.²¹ The idea behind the game MyCraft, which is currently in development, is to provide an opportunity to break down such rigid and sometimes ableist notions of disability to some extent, and to draw other images of disability through the historical-mythical framework of antiquity, showing how complex and multi-layered, but also variable, this phenomenon is. In addition, the game can provide historical-mythical knowledge, which is fundamental in the sense of disability history, in order to understand how we as a society think about disability today, but also to make disability usable as a historical category of analysis for the understanding of history.²²

The fact that the children and young people playing the game come into contact with people with disabilities (albeit digitally and not directly with a 'real' person) means that, in line with Allport's contact hypothesis, there is also the potential for prejudice against people with disabilities to be reduced.²³ This is an exciting hypothesis that needs to be explored further, as in Germany there is still a kind of social boundary between people with and without disabilities, especially those with so-called severe disabilities, and there is a lack of contact, which in turn can be identified as a reason for mutual fears and insecurities.²⁴ On the other hand, if children and young people have negative experiences of disabled avatars in games, there is a risk that existing negative attitudes will be reinforced.²⁵

Another important issue will be addressed here: The avatars with disabilities. Depending on how the avatars with disabilities are designed, games such as MyCraft can broaden the image of people with disabilities and make them appear more as independent and complex personalities. But this also needs to be conveyed in the game, which would be possible, for example, if the “acquisition” of the disability is not linked to a “tragic” story and emphasized as something extraordinary to which the person is reduced, but as a natural part of the avatar that does not determine its nature or require explanation. This can teach the children and young people playing the game that the group of people with disabilities, far from being homogeneous, is extremely heterogeneous, and that they are also active agents, rather than passive as they are sometimes perceived and addressed. It also aims to convey that they are unique individuals regardless of their disability, even if they share certain life experiences due to social practices of self-identification and identification with other people with disabilities (as may be the case with people of the same sex, gender, class, origin, etc.).

In particular, the question of representation is a central issue that harbors various ambivalences. In order to highlight these, reference should be made here to Boger's theory of trilemmatic inclusion.²⁶ Abbreviated here, it outlines three basic principles of inclusion: inclusion as empowerment, as normalization and as deconstruction²⁷, two of which can be combined to describe “inclusion”. The trilemma is that of the three basic propositions, only two can be combined arbitrarily (i.e. can be true), but then the remaining basic proposition must be excluded for logical reasons.²⁸ In the context of the representation of people with disabilities, this means that, depending on the combination of the basic propositions, it is either about the normalization of the category “disability”, the empowerment of the group subsumed under this category, or the deconstruction of the category. This means that one basic proposition that is important in itself, cannot always be fulfilled.

Above all, but not only, MyCraft offers starting points for deconstructive perspectives because the dominant image of disability in Western cultures of the 21st and 20th centuries is irritated by looking at the understanding of disability in Roman and Greek antiquity. In this way, different narratives can be developed that can counter the common stereotypes of disability. The danger, of course, is that other stereotypical images of disability are created in return. What is crucial, however, is that it becomes clear that disability is a construction which, as experienced in the game, always contains space and the possibility of change, and that it encourages players to reflect on and engage with the phenomenon of “disability”, which can act as a first prerequisite for breaking down latent barriers in the form of reservations or fears.

Conclusive Remarks (G. Pedrucci)

MyCraft uses interactive storytelling to teach players about historical and cultural views of disability, emphasizing learning through direct experience. Featuring mythological characters with impairments as strong and wise figures, the game challenges the idea of disability as a limitation, promoting empathy and social awareness among players, especially younger audiences. By blending history with mythology, MyCraft breaks stereotypes, focusing on disabilities not as limitations, portraying impairments as part of diverse human experiences. Its design makes complex ideas accessible, fostering an inclusive and understanding attitude toward disability that goes beyond gameplay.

References

Digital games

Entertainment Game Apps, Ltd. (EGA): Mi Rasna. Italy: 2014. https://www.egameapps.com/en/gameapps/mi-rasna-i-am-etruscan/ [03.01.2025]

Literature

Allport, Gordon: The Nature Of Prejudice. Cambridge: Addison-Wesley Publishing Company 1954.

Boger, Mai-Anh: Theorien der Inklusion. Eine Übersicht. In: Zeitschrift für Inklusion, H. 1 (2017). <https://www.inklusion-online.net/index.php/inklusion-online/article/view/413> [03.01.2025]

Burch, Susanne; Rembis, Michael: Re-Membering the Past: Reflections on Disability Histories. In: Burch, Susanne; Rembis, Michael (eds.): Disability histories. Illinois: University of Illinois Press 2014, p. 1-13.

Claes, Martin; Dupont, Anthony: Augustine’s Sermons and Disabilities. In: Laes, Christian (ed.): Disability in antiquity. London and New York: Routledge 2017, p. 328-343

Cloerkes, Günther: Soziologie der Behinderten. Eine Einführung. Heidelberg: Winter 2007.

Ellis, Katie; Garland-Thomson, Rosemarie; Kent, Mike; Robertson, Rachel (eds.): Interdisciplinary Approaches to Disability. Looking Towards the Future. Volume 2. London: Routledge 2018, p. 30-44.

Garland, Robert: The Eye of the Beholder: Deformity and Disability in the Graeco-Roman World. Ithaca, NY: Cornell University Press 1995.

Garland-Thomson, Rosemarie: Extraordinary bodies. Figuring physical disability in American culture and literature. New York: Columbia University Press 1997.

Goodley, Dan: Disability Studies: An Interdisciplinary Introduction. Los Angeles, London, New Delhi, Singapore, Washington DC, Melbourne: SAGE 2017.

Jelinek-Menke, Ramona: Dis/abling Religion Introducing Dis/ability as a Social-Analytical Concept for the Study of Religions. In: Zeitschrift für Religionswissenschaft. Vol. 30, H. 2 (2022), p. 300–320.

kritisch-lesen.de Redaktion: „Spiellogiken unterlaufen reale menschliche Abhängigkeiten“. Interview mit Simon Ledder. In: Critical Gaming. H. 72 (2024). <https://kritisch-lesen.de/c/1882> [03.01.2025]

Laes, Christian: Introduction: Disability History and the Ancient World. Past, Present and Future. In Laes, Christian (ed.): Disability in antiquity. London and New York: Routledge 2017, p. 1-21.

Ledder, Simon: On dis/ability within game studies. The discursive construction of ludic bodies. In: Ellis, Katie et al. (eds.): Interdisciplinary Approaches to Disability. Looking Towards the Future. Vol. 2. London: Routledge 2018, p. 30-44.

Ledder, Simon: Computerspiele. In: Grunwald, Armin; Hillerbrand, Rafaela (eds.): Handbuch Technikethik. Stuttgart: J.B. Metzler 2021, p. 320-325.

Mariotti, Samanta: The Use of Serious Games as an Educational and Dissemination Tool for Archaeological Heritage Potential and Challenges for the Future. In: magazén. International Journal for Digital and Public Humanities. Vol. 2, H. 1 (2021), p. 119-138.

Rose, Martha L.: The Staff of Oedipus: Transforming Disability in Ancient Greece. Ann Arbor, MI: The university of Michigan press 2003.

Rose, Martha L.: Ability and Disability in Classical Athenian Oratory. In: Laes, Christian (ed.): Disability in antiquity. London and New York: Routledge 2017, p. 139-153.

Samama, Evelyne : “Bons pour le service”: Les invalides au combat dans le monde grec. In: Collard, F. ; Samama, E. (eds.): Handicaps et sociétés dans l’Histoire : L’estropié, l’aveugle et le paralytique de l’Antiquité aux temps modernes. Paris: L’Harmattan 2010, p. 29-48.

Samama, Evelyn: The Greek vocabulary of disabilities. In: Laes, Christian (ed.): Disability in antiquity. London and New York: Routledge 2017, p. 121-138.

Solima, Ludovico et al.: Videogame, gamification e musei in Italia. Un’analisi quantitativa e un approfondimento qualitativo. In: Economia della Cultura, Rivista trimestrale dell'Associazione per l’Economia della Cultura. H. 3 (2023), p. 391-418.

Tremain, Shelley: On the Government of Disability. In: Social Theory and Practice. Vol. 27 (2010), p. 617-636.

Trescher, Hendrik; Hauck, Teresa: Inklusion im kommunalen Raum. Sozialraumentwicklung im Kontext von Behinderung, Flucht und Demenz. Bielefeld: transcript 2020.

Turner, Wendy J.: Care and Custody of the Mentally Ill, Incompetent and Disabled in Medieval England. Turnhout: Brepols 2013.

Waldschmidt, Anne: Macht – Wissen – Körper: Anschlüsse an Michel Foucault in den Disability Studies. In: Waldschmidt, Anne; Schneider, Werner (eds.): Disability Studies, Kultursoziologie und Soziologie der Behinderung: Erkundungen in einem neuen Forschungsfeld. Bielefeld: transcript 2007, p. 55-77.

Waldschmidt, Anne: Disability Goes Cultural: The Cultural Model of Disability as an Analytical Tool. In: Waldschmidt, Anne; Berressem, Hanjo; Ingwersen, Moritz (eds.): Culture – Theory – Disability: Encounters Between Disability Studies and Cultural Studies. Bielefeld: transcript 2017, p. 19-28.

World Health Organization (WHO): International Classification of Functioning, Disability and Health (ICF). WHO Library Cataloguing-in-Publication Data 2001. <https://www.who.int/classifications/international-classification-of-functioning-disability-and-health> [03.01.2025]

Zima, Peter V.: Die Dekonstruktion. Tübingen: Francke Verlag 2016.

Title Picture

Image created by AI using ChatGPT (OpenAI), January 2025.

1. Jelinek-Menke: Dis/abling Religion. 2022.[↩]
2. WHO: International Classification of Functioning, Disability and Health. 2001.[↩]
3. Goodley: Disability Studies. 2017, p. 9.[↩]
4. Waldschmidt: Macht – Wissen – Körper. 2007, p. 161.[↩]
5. Tremain: On the Government of Disability. 2001; Waldschmidt 2007 and 2017; Goodley: Disability Studies. 2017; Jelinek-Menke: Dis/abling Religion. 2022.[↩]
6. Waldschmidt: Disability Goes Cultural. 2017, p. 24-25.[↩]
7. Jelinek-Menke: Dis/abling Religion. 2022.[↩]
8. I.e., Garland: Extraordinary bodies. 1995; Rose: The Staff of Oedipus; Ability and Disability. 2003 and 2017; Samama: Bons pour le service. 2010.[↩]
9. Samama: The Greek vocabulary of disabilities. 2017.[↩]
10. Turner: Care and Custody of the Mentally Ill. 2013; Claes and Dupont: Augustine’s Sermons and Disabilities. 2017.[↩]
11. Laes: Introduction. 2017, p. 7.[↩]
12. Garland-Thomson: Extraordinary bodies. 1997.[↩]
13. I gave a lecture on June 19th, 2024 at the University of Marburg entitled “The Intersection of Religion, Gender, and Disability: Was Female Infertility Considered a Disability in Ancient Greece?” I am currently preparing an article on the same topic.[↩]
14. Jelinek-Menke: Dis/abling Religion. 2022.[↩]
15. On disability and comics: Jelinek-Menke, Ramona, 2023. The Extraordinary Bodies of the Divine: The Orixás Comic and Poster Series through the Lens of Disability Studies. Tagung der Deutschen Vereinigung für Religionswissenschaft (DVRW) an der Universität Bayreuth.[↩]
16. Dr. Rainer Brömer of the University of Marburg mentioned to me during an informal meeting that he had attended a lecture by Prof. Dr. Herwig Stopfkuchen of the University of Mainz a few years ago. In that lecture, Prof. Stopfkuchen demonstrated how a series of fetal malformations he had documented were actually described by Titus Livius in a tale of bad omens that the Roman Senate was called to deliberate on. This suggests that many rare diseases, which we might assume did not exist in the ancient world, were indeed present and recognized at the time. Unfortunately, I was not able to get in touch with Prof. Stopfkuchen to obtain more information.[↩]
17. The author has already created a similar educational video game entitled Mi Rasna (Entertainment Game Apps, Ltd. (EGA) 2014). See: Mariotti: The Use of Serious Games. 2021; Solima et al.: Videogame. 2023.[↩]
18. Ledder: Computerspiele. 2021, p. 321.[↩]
19. Ledder: On dis/ability within game studies. 2018, p. 30-44.[↩]
20. kritisch-lesen.de Redaktion: Spiellogiken unterlaufen reale menschliche Abhängigkeiten. 2024.[↩]
21. Ibid.[↩]
22. Burch; Rembis: Re-Membering the Past. 2014, p. 1.[↩]
23. Allport: The Nature Of Prejudice. 1954, p. 281.[↩]
24. Trescher; Hauck: Inklusion im kommunalen Raum. 2020, p. 174-182 and p. 212-231.[↩]
25. Cloerkes: Soziologie der Behinderten. 2007, p. 147.[↩]
26. Boger: Theorien der Inklusion. 2017.[↩]
27. Put simply, deconstruction is an analytical process, which, among other things, fundamentally scrutinises social constructs (it is also used for the cultural model of disability). For a closer look at the concept of deconstruction, see: Zima: Die Dekonstruktion. 2016.[↩]
28. Boger: Theorien der Inklusion. 2017.[↩]