In this article I defend an account of beauty labor as a form of resistance that can enable individuals and communities to combat body oppression. Focusing on the “Fuck Flattering!” movement, a social-media-driven movement in which fat people purposefully wear unflattering clothing to resist antifat fashion and oppressive body standards, I first set three criteria necessary for an act of beauty labor to count as one of resistance. I argue that (1) the agent in question must be situated as a (...) less ideal candidate for attributions of beauty, (2) the agent must have some level of knowledge or awareness of the norms (defined in light of dominant groups) and their harms, and (3) that knowledge or awareness of the harms of said norms must inform the agent's act of beauty labor. Based on this account of beauty labor as resistance, I argue that beauty labor can combat larger systems of oppression and incite meaningful change insofar as it enables individuals to claim and reclaim space (both digital and physical) from which fat people have been historically excluded, while affording an opportunity for education and unpacking of oppression and bias, and expanding the fashion industry. (shrink)

In this paper we track the ‘body positivity’ movement from its origins, promoting radical acceptance of marginalized bodies, to its co-optation as a push for self-love for all bodies, including those bodies belonging to socially dominant groups. We argue that the new focus on the ‘body positivity’ movement involves a single-minded emphasis on beauty and aesthetic adornment, and that this undermines the original focus of social and political equality, pandering instead to capitalism and failing to rectify unjust institutions and policies. (...) As such, we argue that the ‘body positivity’ movement ultimately marginalises further the bodies for which it initially sought justice and acceptance. (shrink)

When fat people are depicted in popular media, we often take their behavior to be representative of all fat people. How one fat person acts becomes representative of a broader pattern of behavior that all fat people are presumed to share, shaping the way we understand fatness. This way of generalizing presents fatness as a singular experience, reducing fat people to a monolithic narrative that often reinforces anti-fat bias. How do we avoid this reduction? How can we responsibly depict fat (...) characters without perpetuating negative stereotypes about real fat people? Using the case of “Fat Thor” from Avengers: Endgame, I propose the beginnings of an account of responsible artistic agency which can be used to improve the ways that marginalized communities are depicted in art, with a particular focus on fat communities. Central to this account are two features: inclusion of and deference to members of the communities depicted from a variety of backgrounds throughout the production process, and mindfulness of the preexisting narrative web built around the communities depicted. I will use this discussion to highlight the need for a drastic shift in how we consider marginalized populations in art—in reimagining both who tells their stories, and what stories are told on their behalf. (shrink)

Fat people are often depicted in popular media as imperfect, their whole characters riddled with negative features that can be attributed only to their non-idealized body. These representations imply not only that fatness itself is aesthetically and physically imperfect, but that fatness is caused by and causes more robust character imperfections. Using Hulu series Shrill as a model, I argue that in order to address our collective distaste for fat bodies (and, by extension, our shared anti-fat bias) we must create (...) and engage with humanizing representations that show fat people as imperfect without blaming those flaws on their weight. By creating more complex fat characters, we can learn to love and accept fat people without reinforcing harmful stereotypes about fatness. (shrink)

In my dissertation I develop a series of guidelines for responsibly and respectfully navigating varying facets of aesthetic activity involving fat communities. I argue that fat people's engagement with the aesthetic can be used to foster community, resist anti-fat bias, and move towards fat justice. Moreover, I argue that considering representations and treatment of fat people in the production of art must be done carefully in order to avoid perpetuating negative stereotypes and anti-fat bias. My project aims to improve the (...) visibility of fat people, ensuring that fat communities can determine how and when they are seen in ways that affirm their identities and experiences. My project is broken down into four chapters, each of which tackles a different dimension of aesthetic engagement and activity. In the first, I develop a framework called "responsible aesthetic agency" for creators to use when depicting fat people in their work. I intend responsible aesthetic agency to be a way for creators to meet their bare minimum ethical obligations to fat people, and as such this framework is a precursor to Jeremy Fried's aesthetic allyship. I use this framework to argue that artists must attend to the narrative webs in which a work exists when designing their new work's narrative, and that fat people must be active participants in this design and in the realization of said narratives. My second chapter addresses how individuals can use aesthetic agency to advocate for themselves and their communities. I argue that beauty labor can be used to help dismantle anti-fat bias. Using Kathleen LeBesco's framework of agency and identity, coupled with Jeannine Gailey's assessment of the unique perception of fatness as simultaneously hypervisible and hyperinvisible, I argue that participants in the "Fuck Flattering!" movement shape their identities and advocate for fat communities by forcing society to acknowledge their visibility and worth. In my third chapter, I consider representations of fatness in popular media, arguing that we can best achieve fat visibility through centering imperfect representations of fatness. I use Anne Eaton's "Taste in Bodies and Fat Oppression" as a starting point. In this paper, Eaton argues that distaste for fat bodies has an affective element of disgust that we must address to mitigate anti-fatness. Eaton argues that we must habitually engage with vivid and engaging representations that encourage us to see fat bodies as likable and attractive. I argue that while this approach has worthwhile aims, it risks leaving behind those fat bodies which we cannot bring ourselves to see as likeable or attractive. To better combat our distaste for fat bodies, I argue that we must show fat people as complexly as we show thin characters onscreen, highlighting the pluralities of ways to exist as a fat person. Lastly, in my fourth chapter I discuss how to appropriately engage with marginalized communities as a member of a dominant group or identity. I examine the co-optation of the body positivity movement, outline the ethical harms that result from said co-optation, and discuss potential avenues for moving forward with the movement given its co-optation. I argue that in order to fully address the myriad levels of goals of the original body positivity movement, none of these three alternatives is sufficient, as each misses a crucial element of the original body positivity movement or asks participants to have too narrow of an attitude towards their own body. Given the shortcomings of these movements, I argue we should move forward from the body positivity movement’s co-optation by employing a modified framework of Aubrey Gordon’s concept of fat justice, one which also makes room to recognize the importance of fat people being able to experiment with beauty and see themselves as beautiful. (shrink)

Some of the most successful works of art throughout history have dealt with tragic themes. From Romeo and Juliet to Jack and Rose in the film Titanic, millions of people have sat captivated through stories of death, separation, and loss. John Green’s The Fault in Our Stars has captivated audiences for half a decade, despite it depicting two young teens whose lives are threatened by cancer. Why is it that we actively seek out movies, books, paintings, and music that bring (...) us to tears? What about the agony of these works makes them worth revisiting, especially when we shy away from similar scenarios in our everyday lives? In her essay, “A Strange Kind of Sadness,” Marcia Eaton attempts to explain this phenomenon, arguing that we engage with tragic works because of the control we have over them. In this paper I will argue that her solution is inadequate, instead claiming that our attraction to these works stems from a desire for a safe, detached experience which results in emotional catharsis. I will also argue that these works draw us in because they foster connections in the global community, exposing us to new experiences and ways of life. (shrink)