Introduction 1 Modern Vanity: Consumption, the Body Beautiful
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Notes Introduction 1. Kathy Davis (2002) makes a similar point. 2. The DSM- IV definition of Narcissistic Personality Disorder describes the sufferer as ‘often preoccupied with fantasies of unlimited success, power, brilliance, beauty, or ideal love’ and of possessing ‘inflated judgments’ of themselves (1994, p. 658). 3. Thirty in- depth semi- structured interviews were conducted in 2011 with women whose children were attending childcare centres in Melbourne, Australia. The study recruited participants from three geographically dispersed childcare centres with different economic, ethnic and social compositions. The research was funded by the Australian Research Council, and has ethics clearance from the Monash University Human Research Ethics Committee. 1 Modern Vanity: Consumption, the Body Beautiful and the New Political Subject 1. Having emerged from around 1818 as an art form, poses plastique borrowed from a range of aesthetic traditions and contexts including art, sculpture, statuary, pleasure gardens and, more loosely, tableaux vivants. The form also evolved stylistically alongside a variety of literary movements, especially Symbolism, Realism and Naturalism. See Nicole Anae (2008). ‘Poses, plastiques: the art and style of “statuary” in Victorian visual theatre’. Australasian Drama Studies, 52 (April 2008), 112–30. 4 Enacting ‘Reality’: Fat Shame, Admiration and Reflexivity 1. Versions of the show have been aired in the US, Australia, Asia, the Arab world, Brazil, Finland, Germany, Hungary, India, Israel, Mexico, the Netherlands, the Philippines, Poland, Portugal, Romania, Scandinavia, Slovakia, South Africa, Sweden, Ukraine and the UK. 2. For a discussion of the ‘Americanness’ of the televisual makeover genre see Weber, Brenda (2009). Makeover nation: Americanness, neoliberalism, and the citizen- subject. In Makeover TV: selfhood, citizenship and celebrity (pp. 38–79). Durham: Duke UP. 3. For critical approaches to the obesity epidemic see, for example, Evans, Evans & Rich, 2003; Evans, Rich & Davies, 2004; Fullagar, 2002; Gard & Wright, 2001, 2005; Kirk, 2006; Saguy & Riley, 2005; Wright & Burrows, 2005. 4. This description is drawn from a scene in the first episode of Season 11 of The Biggest Loser (Australia). 186 References Abelson, E. (1989). ‘The invention of kleptomania’. Signs, 15(1) (Autumn), 123–43. Addley, E. (2011). ‘Gay girl in Damascus hoaxer acted out of “vanity”’. The Guardian, retrieved 28 January 2012, from http://www.guardian.co.uk/ world/2011/jun/13/ gay- girl- damascus- tom-macmaster Adorno, T. (1938). ‘On the fetish- character in music and the regression of listening’ (reprinted 2005). In A. Arato & E. Gebhardt (Eds), The essential Frankfurt School reader (pp. 270–99). New York: The Continuum International Publishing Group Inc. Advertising Standards Board (2008). 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