foolish mistakes, but whatever, they are all mine.
I am all the wrong things - fat ,middle aged, bisexual, disabled, loud and I won't go away. My hobby is seeing how many years I can add to my collection before I die.
Posting will be random but may contain fat acceptance, wool, and cats, lagomorphs and corvids in no particular order. Posting may also be sporadic as I have ME/CFS and a bunch of other stuff that makes me tired and some times crabby.
All worked by me is under the license below unless otherwise stated. Photos, quotes and work by other people are under license by their creator. If you see your work here and would like it removed from my blog, please contact me.
Visual representations should be taken to include any and all forms of visual media, including, but not limited to: photography, the ‘fine’ arts, mass media imagery, film, live performance, museum installations, posters, and ephemera. Submissions do not need to be bound by historical timeline or cultural boundaries, but please be culturally- and historically-specific in your analyses. Fat Studies analyses do not need to be restricted to particular body sizes or shapes; Fat Studies approaches can examine numerous ways in which body weight, size, and shape might have particular social meaning – and in the case of this special issue of the journal, particular visual significance.
Potential topics might include, but are not limited to:
The use of visual representations in teaching Fat Studies
Intersections of body size, race, class, sexuality, gender, and other forms of cultural identification in television shows such as: Roseanne, The Gilmore Girls, Huge, Drop Dead Diva, Dollhouse, The Biggest Loser, Glee, Mike and Molly, etc.
Nineteenth and twentieth century advertisements for fattening and/or dieting products
The use of visual media to represent ‘the obesity epidemic’
Moving beyond the “rubenesque” in paintings of fat subjects
To submit a proposal for inclusion in this special issue of the journal, please send a 250-500 word summary of your article as well as a current CV to Stefanie Snider, at Snider.Stefanie@gmail.com by July 1, 2012. Any questions about the special issue can be directed to this email address as well.