My conception of the Anti-Pygmalion, as both a figure and a process, describes an aesthetics of the working-class female grotesque as one of defiance. It is part of a process of pushing back that I hope will one day come to an end: when working-class women who do not conform to idealised, “classy” femininity stop being treated negatively and are given respect, then there will be no need
195 for an Anti-Pygmalion figure to rebel as. But to get to this point, inequality, sexism and classism would also have to cease to exist, as the “Pygmalion” goal of class-passing is a product of conditions which encourage women to aspire away from their working-class backgrounds in order to have their lives treated as mattering. This thesis has shown that written-off images of stigmatised working-class women can offer us new experiences of rich recognition of our shared humanity, and provoke sublime encounters full of the exhilaration of rebellion. The figure of the Anti-Pygmalion presents a radical alternative to classed and gendered conformity, showing us vicariously how it would feel if we too were that bold: if we too cast off shame to expose and reveal ourselves, in all our dissident beauty, and make new spaces of diversity demanding respect.
196
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