Pub Date : 2022-02-09DOI: 10.1080/21604851.2022.2032947
Laurie Toby Edison, D. Notkin
ABSTRACT In 1989, slightly more than three decades ago, Laurie Toby Edison opened her darkroom, and our work of creating fine-art photography and accompanying text showcasing the beauty and power of fat women began in earnest. The result of this work was Women En Large: A Book of Nudes, published in 1994. We situate the trajectory of fat liberation between that time and now. Our framework describes how fat activism over the past three decades has opened up expansive possibilities for fat people (primarily but not exclusively fat women) on the margins of society. These new options can include easier paths to find fat community, far better clothes, and certain limited social changes. The medical establishment has so far proved almost completely intractable to change, and social media platforms continue to spotlight conventionally thin – and often impossibly thin – beauty ideals. Because of these two seemingly immovable factors, the expansion of the margins has not successfully affected the central experience of fat oppression. It is somewhat easier, and potentially much less lonely, to be fat in 2021 than it was in 1991, but fat people remain a substantially marginalized and socially excluded group. Fat people with intersectional oppressions (BIPOC, disabled, and many more) continue to experience complex multiple axes of exclusion. We use a mix of academic and personal sources, and the article is illustrated with Laurie Toby Edison’s photographs of fat nudes.
{"title":"The trajectory of fat liberation: where did we start? Where are we now?","authors":"Laurie Toby Edison, D. Notkin","doi":"10.1080/21604851.2022.2032947","DOIUrl":"https://doi.org/10.1080/21604851.2022.2032947","url":null,"abstract":"ABSTRACT In 1989, slightly more than three decades ago, Laurie Toby Edison opened her darkroom, and our work of creating fine-art photography and accompanying text showcasing the beauty and power of fat women began in earnest. The result of this work was Women En Large: A Book of Nudes, published in 1994. We situate the trajectory of fat liberation between that time and now. Our framework describes how fat activism over the past three decades has opened up expansive possibilities for fat people (primarily but not exclusively fat women) on the margins of society. These new options can include easier paths to find fat community, far better clothes, and certain limited social changes. The medical establishment has so far proved almost completely intractable to change, and social media platforms continue to spotlight conventionally thin – and often impossibly thin – beauty ideals. Because of these two seemingly immovable factors, the expansion of the margins has not successfully affected the central experience of fat oppression. It is somewhat easier, and potentially much less lonely, to be fat in 2021 than it was in 1991, but fat people remain a substantially marginalized and socially excluded group. Fat people with intersectional oppressions (BIPOC, disabled, and many more) continue to experience complex multiple axes of exclusion. We use a mix of academic and personal sources, and the article is illustrated with Laurie Toby Edison’s photographs of fat nudes.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"31 18","pages":"456 - 471"},"PeriodicalIF":1.0,"publicationDate":"2022-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72372157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-02DOI: 10.1080/21604851.2022.2031581
Erin Gizewski
ABSTRACT Often overlooked in lieu of his Oscar-winning film, Bagdad Café (1987), Percy Adlon’s German film Zuckerbaby tells the tale of a nameless fat woman. An excessively mundane mortuary assistant, she falls in love with a married nonfat man, Huber. The protagonist stalks Huber at his job, coaxing him with food until he finally comes over for dinner. There, their passionate affair begins and abruptly ends – “unsuccessful” and fugacious – typically leaving the fat protagonist alone once again. Yet Zuckerbaby’s complex form and seemingly straightforward end beg to be re-interpreted via formal film techniques to showcase the complicated nature and rich lasting presence of this fat/nonfat relationship. Using notions of serious camp and fatt queer history, I explore how elements of perishability permeate the lovers’ relationship and create a formal, visual cinematic space without hierarchy of future and past. This allows both the film's protagonist lovers as well as the film's viewers to resist normative romantic notions of the future and instead revel in the fulfilling elements of a new present influenced by the past, or idea “the fat before” of serious camp. Just as the protagonist extends her hand and offers the viewer a candy bar, I argue the audience is beckoned to look with new notions of delicious fugacity in the present. Liberating their affair from mundane plot elements and an oppressive, one-dimensional fat love rooted in notions of a “successful” future, Adlon’s Zuckerbaby offers a movingly rich, fulfilling, and complexly present portrayal of a fat relationship when re-read via an academic lens.
{"title":"Successfully and deliciously fugacious: re-interpreting the “failed” fat relationship in Percy Adlon’s Zuckerbaby (1985)","authors":"Erin Gizewski","doi":"10.1080/21604851.2022.2031581","DOIUrl":"https://doi.org/10.1080/21604851.2022.2031581","url":null,"abstract":"ABSTRACT Often overlooked in lieu of his Oscar-winning film, Bagdad Café (1987), Percy Adlon’s German film Zuckerbaby tells the tale of a nameless fat woman. An excessively mundane mortuary assistant, she falls in love with a married nonfat man, Huber. The protagonist stalks Huber at his job, coaxing him with food until he finally comes over for dinner. There, their passionate affair begins and abruptly ends – “unsuccessful” and fugacious – typically leaving the fat protagonist alone once again. Yet Zuckerbaby’s complex form and seemingly straightforward end beg to be re-interpreted via formal film techniques to showcase the complicated nature and rich lasting presence of this fat/nonfat relationship. Using notions of serious camp and fatt queer history, I explore how elements of perishability permeate the lovers’ relationship and create a formal, visual cinematic space without hierarchy of future and past. This allows both the film's protagonist lovers as well as the film's viewers to resist normative romantic notions of the future and instead revel in the fulfilling elements of a new present influenced by the past, or idea “the fat before” of serious camp. Just as the protagonist extends her hand and offers the viewer a candy bar, I argue the audience is beckoned to look with new notions of delicious fugacity in the present. Liberating their affair from mundane plot elements and an oppressive, one-dimensional fat love rooted in notions of a “successful” future, Adlon’s Zuckerbaby offers a movingly rich, fulfilling, and complexly present portrayal of a fat relationship when re-read via an academic lens.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"76 1","pages":"299 - 310"},"PeriodicalIF":1.0,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82356381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-02DOI: 10.1080/21604851.2022.2034333
Jonathan C. Najarian, K. Nee
ABSTRACT In the context of Western heteronormative cultures, fat bodies are coded as either symbols of comfort and nurture or they are fetishized objects of sexual (often ocular) consumption. The lattes occurs largely in insular online communities, while media portrayals of fat bodies skew heavily toward the former. Fat bodies, in this paradigm, are distinctly not bodies worthy of romantic love and attention. Without downplaying the deeply rooted fat phobias that plague many cultures, we propose that part of this issue is linguistic, and hence conceptual: we currently have no non-fetishized vocabulary for describing people, of whatever size, who are attracted to fat bodies, and therefore lack a conceptual framework for understanding how fat bodies participate in romantic relationships. We hope to show that combating the stigma of intersectional fat attraction remains ideologically difficult if we lack the critical language for describing and articulating the complexities of what we call fat-forward sexualities. This framework, we argue, reclaims fat admiration as a non-binary sexual identity, giving those who resonate with fat-forward a platform for articulating their experience that extends beyond fat fetishism.
{"title":"Fat beyond the fetish: toward a theory of fat-forward sexuality","authors":"Jonathan C. Najarian, K. Nee","doi":"10.1080/21604851.2022.2034333","DOIUrl":"https://doi.org/10.1080/21604851.2022.2034333","url":null,"abstract":"ABSTRACT In the context of Western heteronormative cultures, fat bodies are coded as either symbols of comfort and nurture or they are fetishized objects of sexual (often ocular) consumption. The lattes occurs largely in insular online communities, while media portrayals of fat bodies skew heavily toward the former. Fat bodies, in this paradigm, are distinctly not bodies worthy of romantic love and attention. Without downplaying the deeply rooted fat phobias that plague many cultures, we propose that part of this issue is linguistic, and hence conceptual: we currently have no non-fetishized vocabulary for describing people, of whatever size, who are attracted to fat bodies, and therefore lack a conceptual framework for understanding how fat bodies participate in romantic relationships. We hope to show that combating the stigma of intersectional fat attraction remains ideologically difficult if we lack the critical language for describing and articulating the complexities of what we call fat-forward sexualities. This framework, we argue, reclaims fat admiration as a non-binary sexual identity, giving those who resonate with fat-forward a platform for articulating their experience that extends beyond fat fetishism.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"40 1","pages":"205 - 219"},"PeriodicalIF":1.0,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82473543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-31DOI: 10.1080/21604851.2022.2031580
Caleb Luna, Jules Pashall
ABSTRACT Caleb Luna and Jules Pashall are artists and cultural workers who first met in Austin, Texas in 2013. After cultivating a deep friendship over the course of several years, on November 6, 2020 we interviewed one other about our kinship as fat embodied subjects across lines of difference in race, class, and gender. We discuss how our relationship came to be; fat identity and fat politics; how our political thinking is informed by our relationship; and offer reflections on how fat kinship can be a container for healing individually and interpersonally and be supportive in a larger struggle for collective liberation. This conversation is a snapshot of one moment in time between two fat artists and activists on a journey, and we offer it in hopes it can support other fat embodied subjects in their relationships with themselves and their loved ones of all sizes.
{"title":"Fat kinship for love and liberation: a dialogue across difference","authors":"Caleb Luna, Jules Pashall","doi":"10.1080/21604851.2022.2031580","DOIUrl":"https://doi.org/10.1080/21604851.2022.2031580","url":null,"abstract":"ABSTRACT Caleb Luna and Jules Pashall are artists and cultural workers who first met in Austin, Texas in 2013. After cultivating a deep friendship over the course of several years, on November 6, 2020 we interviewed one other about our kinship as fat embodied subjects across lines of difference in race, class, and gender. We discuss how our relationship came to be; fat identity and fat politics; how our political thinking is informed by our relationship; and offer reflections on how fat kinship can be a container for healing individually and interpersonally and be supportive in a larger struggle for collective liberation. This conversation is a snapshot of one moment in time between two fat artists and activists on a journey, and we offer it in hopes it can support other fat embodied subjects in their relationships with themselves and their loved ones of all sizes.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"35 1","pages":"325 - 337"},"PeriodicalIF":1.0,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72456762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-28DOI: 10.1080/21604851.2022.2031579
S. Ritter
ABSTRACT As sites where the construction of identity and selfhood take place, relationship-focused weight-loss TV shows reproduce the notion of a correlation between a woman’s body size, her ‘success’ in romantic relationships, and the appropriate self. I analyze the weight-loss shows Revenge Body with Khloé Kardashian from the US, and Rakas, Sinusta on Tullut Pullukka (Honey, You’ve Become Chubby) from Finland, investigating how relationship and body size norms, gender, and the self intertwine. I examine the shows in light of Foucault’s theory of normalization. Here, normalization not only refers to the normalization of the body but also of the relationship(s) required to achieve a valid self. I suggest that the shows express a parallel between being single and on the verge of society and being fat and being on the verge of society; through solving one of the deviations (in this case, becoming thin) the other deviation (being single) can be changed and thus a “normal” life can be achieved. People learn how to normalize their bodies and their relationships, which in the end paves the way for the idea that a good body/dieting is the precondition for a relationship and an acceptable self. The shows thus reinforce that a thin body is the basis for an appropriate self and fulfilling life.
作为身份和自我建构的场所，以关系为中心的减肥电视节目再现了女性的体型、她在恋爱关系中的“成功”和合适的自我之间的相关性。我分析了来自美国的khlo·卡戴珊和来自芬兰的Rakas, Sinusta和Tullut Pullukka (Honey, You ' r egot Chubby)的减肥节目Revenge Body，调查了关系和体型规范，性别和自我是如何交织在一起的。我根据福柯的正常化理论来研究这些表演。在这里，正常化不仅指身体的正常化，也指实现有效自我所需的关系的正常化。我认为，这些节目表达了单身和处于社会边缘的人与肥胖和处于社会边缘的人之间的一种平行关系;通过解决一种偏差(在这种情况下，变瘦)，另一种偏差(单身)可以改变，从而实现“正常”的生活。人们学习如何使自己的身体和人际关系正常化，这最终为“良好的身体/节食是人际关系和可接受的自我的先决条件”这一理念铺平了道路。因此，这些节目强调，苗条的身材是适当的自我实现生活的基础。
{"title":"Fat bodies, intimate relationships and the self in finnish and American weight-loss TV shows","authors":"S. Ritter","doi":"10.1080/21604851.2022.2031579","DOIUrl":"https://doi.org/10.1080/21604851.2022.2031579","url":null,"abstract":"ABSTRACT As sites where the construction of identity and selfhood take place, relationship-focused weight-loss TV shows reproduce the notion of a correlation between a woman’s body size, her ‘success’ in romantic relationships, and the appropriate self. I analyze the weight-loss shows Revenge Body with Khloé Kardashian from the US, and Rakas, Sinusta on Tullut Pullukka (Honey, You’ve Become Chubby) from Finland, investigating how relationship and body size norms, gender, and the self intertwine. I examine the shows in light of Foucault’s theory of normalization. Here, normalization not only refers to the normalization of the body but also of the relationship(s) required to achieve a valid self. I suggest that the shows express a parallel between being single and on the verge of society and being fat and being on the verge of society; through solving one of the deviations (in this case, becoming thin) the other deviation (being single) can be changed and thus a “normal” life can be achieved. People learn how to normalize their bodies and their relationships, which in the end paves the way for the idea that a good body/dieting is the precondition for a relationship and an acceptable self. The shows thus reinforce that a thin body is the basis for an appropriate self and fulfilling life.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"64 1","pages":"286 - 298"},"PeriodicalIF":1.0,"publicationDate":"2022-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90501548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-27DOI: 10.1080/21604851.2022.2031578
M. Edwards
ABSTRACT This piece uses Sara Ahmed’s writing on the notion of public comfort as a jumping off point and incorporates fat studies scholarship to explore the private comfort offered by fat queer love. Working with digital posts from superfat non-binary writer J Aprileo (Comfy Fat) on Instagram, Patreon, and their website, and to a lesser extent the posts of Corissa Enneking (Fat Girl Flow), this paper examines the power of queer fat kinship to contravene the expectation for fat people to embody the “Good Fatty” archetype and to resist the dominant narratives surrounding acceptable trajectories of linear “progress.” Looking at fat queer kinship underlines how comfort is relationally experienced and generated. The internet is explored as a space for comfy intimate publics, and Aprileo’s work is situated in a lineage of fat queer activism and affective resistance.
{"title":"Comfy fat queer love: affective digital resistance through kinship","authors":"M. Edwards","doi":"10.1080/21604851.2022.2031578","DOIUrl":"https://doi.org/10.1080/21604851.2022.2031578","url":null,"abstract":"ABSTRACT This piece uses Sara Ahmed’s writing on the notion of public comfort as a jumping off point and incorporates fat studies scholarship to explore the private comfort offered by fat queer love. Working with digital posts from superfat non-binary writer J Aprileo (Comfy Fat) on Instagram, Patreon, and their website, and to a lesser extent the posts of Corissa Enneking (Fat Girl Flow), this paper examines the power of queer fat kinship to contravene the expectation for fat people to embody the “Good Fatty” archetype and to resist the dominant narratives surrounding acceptable trajectories of linear “progress.” Looking at fat queer kinship underlines how comfort is relationally experienced and generated. The internet is explored as a space for comfy intimate publics, and Aprileo’s work is situated in a lineage of fat queer activism and affective resistance.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"5 1","pages":"220 - 232"},"PeriodicalIF":1.0,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86631986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-25DOI: 10.1080/21604851.2022.2031582
Rachele Salvatelli
Lizzo is the stage name of Melissa Viviane Jefferson, a fat Black musician and performer who soared to popularity in 2019 with the release of her third studio album Cuz I Love You. In this book, Niya Pickett Miller and Gheni N. Platenburg investigated the 7-month period between April and November 2019 with the intent of analyzing how the artist’s Instagram posts and media coverage of her weight could be used to broaden understanding of fatness, femaleness and Blackness and the intersections of the three. In the authors’ own words,
Lizzo是梅丽莎·维维安·杰斐逊(Melissa Viviane Jefferson)的艺名，她是一位肥胖的黑人音乐家和表演者，2019年因发行第三张录音室专辑《因为我爱你》而走红。在这本书中，Niya Pickett Miller和Gheni N. Platenburg调查了2019年4月至11月这7个月的时间，目的是分析艺术家的Instagram帖子和媒体对她体重的报道如何被用来扩大对肥胖、女性化和黑人化的理解，以及这三者的交集。用作者自己的话来说，
{"title":"Lizzo’s Black, Female, and Fat Resistance","authors":"Rachele Salvatelli","doi":"10.1080/21604851.2022.2031582","DOIUrl":"https://doi.org/10.1080/21604851.2022.2031582","url":null,"abstract":"Lizzo is the stage name of Melissa Viviane Jefferson, a fat Black musician and performer who soared to popularity in 2019 with the release of her third studio album Cuz I Love You. In this book, Niya Pickett Miller and Gheni N. Platenburg investigated the 7-month period between April and November 2019 with the intent of analyzing how the artist’s Instagram posts and media coverage of her weight could be used to broaden understanding of fatness, femaleness and Blackness and the intersections of the three. In the authors’ own words,","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"30 1","pages":"419 - 422"},"PeriodicalIF":1.0,"publicationDate":"2022-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91161784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-21DOI: 10.1080/21604851.2022.2026032
Claudia Cortese
ABSTRACT Though there has been some critical writing on fat poetics, this is the first article that examines the visual rhetoric of book covers by fat-identifying poets. Positing that covers are a distinct way to intervene against anti-fatness, the article uses Charlotte Cooper’s theory of micro-fat activism and combines esthetic analysis of the covers’ art and design with theoretical, social analysis of the covers’ meanings. This article analyzes Samantha Zighelboim’s cover of The Fat Sonnets through a diet culture, disciplinary lens rooted in eating disorder research, while Sigmund Freud’s theory of The Uncanny helps elucidate the cover’s visual terror. Judith Butler’s theory of gender performativity and Sabrina Strings’ research on the racist, Protestant origins of fatphobia are used to analyze Diamond Forde’s cover of Mother Body through an intersectional perspective. Forde’s cover celebrates the fat, Black, female body; reclaims Cooper’s “headless fatty”; and re-writes the Edenic myth. Combined, these covers critique diet culture and present a fat-positive solution to anti-fatness.
{"title":"Judging a book by its cover: the micro activism of fat poetry covers","authors":"Claudia Cortese","doi":"10.1080/21604851.2022.2026032","DOIUrl":"https://doi.org/10.1080/21604851.2022.2026032","url":null,"abstract":"ABSTRACT Though there has been some critical writing on fat poetics, this is the first article that examines the visual rhetoric of book covers by fat-identifying poets. Positing that covers are a distinct way to intervene against anti-fatness, the article uses Charlotte Cooper’s theory of micro-fat activism and combines esthetic analysis of the covers’ art and design with theoretical, social analysis of the covers’ meanings. This article analyzes Samantha Zighelboim’s cover of The Fat Sonnets through a diet culture, disciplinary lens rooted in eating disorder research, while Sigmund Freud’s theory of The Uncanny helps elucidate the cover’s visual terror. Judith Butler’s theory of gender performativity and Sabrina Strings’ research on the racist, Protestant origins of fatphobia are used to analyze Diamond Forde’s cover of Mother Body through an intersectional perspective. Forde’s cover celebrates the fat, Black, female body; reclaims Cooper’s “headless fatty”; and re-writes the Edenic myth. Combined, these covers critique diet culture and present a fat-positive solution to anti-fatness.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"46 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2022-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83751278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-13DOI: 10.1080/21604851.2021.2014121
Evangelia Kindinger
ABSTRACT This article brings together fat studies and masculinity studies to critically read the various stagings of the fat body of former U.S. President Donald J. Trump in U.S. late-night talk shows such as Late Night with Seth Meyers, The Late Show with Stephen Colbert and Jimmy Kimmel Live! During his presidency, these and other late-night hosts stressed that Trump was unfit for office, a sentiment often supported by fat-shaming discourses and imagery of the spectacular transgressions of Trump’s fat, male body that deemed his body as unfit for office as well. In these comedic segments, Trump’s fat, male body was utilized as a visualization of his incompetence, failures, and moral shortfalls. As I argue, these fat-shaming discourses are not merely aimed at making visible Trump’s lack of qualifications for the presidency, they result from deeply ingrained stigmatizations of fatness in popular culture. Specifically, I look at the unstable position of fat masculinity in U.S. public imagination, the dangers it supposedly poses to hegemonic masculinity, and the ways in which its intersection with whiteness (in this case Trump’s whiteness) informs this position. Satire, as a specific kind of communication, functions as a catalyst for anti-fat attitudes that are presented as political commentary.
{"title":"“An obese turtle on his back” – fat-shaming Donald J. Trump and the spectacle of fat masculinity","authors":"Evangelia Kindinger","doi":"10.1080/21604851.2021.2014121","DOIUrl":"https://doi.org/10.1080/21604851.2021.2014121","url":null,"abstract":"ABSTRACT This article brings together fat studies and masculinity studies to critically read the various stagings of the fat body of former U.S. President Donald J. Trump in U.S. late-night talk shows such as Late Night with Seth Meyers, The Late Show with Stephen Colbert and Jimmy Kimmel Live! During his presidency, these and other late-night hosts stressed that Trump was unfit for office, a sentiment often supported by fat-shaming discourses and imagery of the spectacular transgressions of Trump’s fat, male body that deemed his body as unfit for office as well. In these comedic segments, Trump’s fat, male body was utilized as a visualization of his incompetence, failures, and moral shortfalls. As I argue, these fat-shaming discourses are not merely aimed at making visible Trump’s lack of qualifications for the presidency, they result from deeply ingrained stigmatizations of fatness in popular culture. Specifically, I look at the unstable position of fat masculinity in U.S. public imagination, the dangers it supposedly poses to hegemonic masculinity, and the ways in which its intersection with whiteness (in this case Trump’s whiteness) informs this position. Satire, as a specific kind of communication, functions as a catalyst for anti-fat attitudes that are presented as political commentary.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"21 1","pages":"333 - 346"},"PeriodicalIF":1.0,"publicationDate":"2022-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81322227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-11DOI: 10.1080/21604851.2021.2014120
Brenda Oelbaum
ABSTRACT In recent years the medical community has used the Venus of Willendorf, also referred to as the “Woman of Willendorf,” as a visual depicting illness to promote diet culture and represent fatness as negative. This article outlines how I as an artist used life experience to respond to the misappropriation of this icon of feminist history, how the Venus informed both my art and my personal recovery from disordered eating and led to increased health and self-respect. The idea of the Venus of Willendorf Project is to turn diet books into body-positive art, to educate viewers about the dangers of dieting, and instill in them a renewed appreciation for the beauty and strength of the Venus.
{"title":"The visual resistance of the Venus of Willendorf Project 2005–2021","authors":"Brenda Oelbaum","doi":"10.1080/21604851.2021.2014120","DOIUrl":"https://doi.org/10.1080/21604851.2021.2014120","url":null,"abstract":"ABSTRACT In recent years the medical community has used the Venus of Willendorf, also referred to as the “Woman of Willendorf,” as a visual depicting illness to promote diet culture and represent fatness as negative. This article outlines how I as an artist used life experience to respond to the misappropriation of this icon of feminist history, how the Venus informed both my art and my personal recovery from disordered eating and led to increased health and self-respect. The idea of the Venus of Willendorf Project is to turn diet books into body-positive art, to educate viewers about the dangers of dieting, and instill in them a renewed appreciation for the beauty and strength of the Venus.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"1 1","pages":"488 - 499"},"PeriodicalIF":1.0,"publicationDate":"2022-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88378869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：