Fat Studies

Hip hop's history abounds with fat, thick, full-bodied figures. From women pioneers such as Heather B, Missy Elliot, and Queen Latifah to groups like the Fat Boys and solo acts including Heavy D, Fat Joe, Big Pun, Big Boi, Bone Crusher, and the Notorious B.I.G., big, black and brown bodies have occupied a salient if unspoken centrality in the evolution of hip hop's culture and poetics. The differences between and among these acts are profuse; gender and ethnic disparities, stylistic diversions, target audience markets, and more distinguish each of these artists, as does the extent to which the spectacle of fatness figures as part of their creative personae. Of this limited roll call of corpulent rappers, it's the earlier names-the women-around whom rumors of queerness and same-sex erotics have circulated. Speculation about rapper Missy Elliott's sexual relationship with R&B singer and label mate Tweet; the excitement over rapper-turned-Cover Girl Queen Latifah's misreported coming out in June 2012; and the ample word-of-mouth that has swirled about old-school hip hopper Heather B's relationships with women for decades 1 all highlight the function of queerness and queer optics in understanding both hip hop celebrity and hip hop corporeality. That these are women achieving economic and cultural capital in one of America's many masculinist, heteropatriarchal industries upsets gender norms and no doubt contributes to the rhetoric of nonnormativity that surrounds them. Yet what does it mean that these figures depart not only from economic and gender norms, but also from norms of bodily shape and size? This paper considers the links between fatness, blackness, and queerness on the terrain of late-twentieth-century hip hop culture. Examining the poetic and iconographic resonances of queerness and fatness in 1990s hip hop allows us Fat Mutha 201 to parse out connections between these alterities, and to examine the nuanced ways in which difference functions in twentieth-and twenty-first-century American culture. If fatness bears some unspoken link to queerness for rappers like Elliot and Latifah, whose corpulence remains decidedly unarticulated in their names and in much of their work, where do we find the link between fatness and queerness for those other rappers who do claim bodily profusion as part of their brand and spectacle? How does hip hop queer fat bodies, and what can the queer corpulences of hip hop tell us about anti-normative theorizing? Corpulent rappers such as Latifah, Elliot, and the Notorious B.I.G. highlight the intersections of fatness, blackness, and queerness, and throw into relief the need for greater dialogue among queer studies and fat studies, particularly on the grounds of black cultural production. They illustrate the many ways in which fatness and hip hop embodiments are both legible in terms of queerness. I define "queer" through Cathy Cohen's notion of the term as a collectivizing identifier in which sexual difference is inextricable from racial, ethnic, class, and other social nonnormativities. Queerness, here, is not limited to nonnormative sexual practice, but, rather, is defined by larger identifications with difference, in which, as Cohen suggests, "the nonnormative and marginal position of punks, bulldaggers and welfare queens," emblems of multiple forms of subjugation, desubjectivation, and alterity, form "the basis for progressive transformative coalition." 2 Works by Eve Sedgwick, Michael Moon, Marilyn Wann, Kathleen LeBesco, and others examine the place of fatness on the map of human alterities, charting what Sedgwick and Moon call "the closet of size" and its impact on fat spectacle, hypervisibility, and invisibility. 3 As Elena Levy Navarro points out, accepted historical and medical narratives are "used to debase the nonnormative, including the transgendered, the lesbian, the queer, and the fat." 4 And, in the context of American cultural production, fatness, like queerness, is a difference to be un-spoken, un-done, erased from the record; as D. Lacy Asbill points out, simply "being fat and positively sexual is radical in a culture thoroughly inculcated with sexism and anti-fat prejudice." Viewed through a black queer feminist lens, this connection between fatness and queerness articulates a node of intersectional experience, and represents both a political need and an opportunity for interdisciplinary exchange. Fat studies, like queer studies, has, since the 1970s looked to black antiracist discourses in its interrogations of difference, though few studies have examined the interplay of fatness and queerness on black bodies, or in black cultural expression. 6 Blackness has served as a structuring resource for both fields. In framing the fat studies project, Kathleen LeBesco argues, "It is useful to examine recent physical identity-based movements of race and gender (e.g., Black Nationalism and second-wave feminism) in order to understand more about the genesis of fat politics. It is also necessary to consider the

India's demographic dividend in terms of a young population is an economic asset. The youth of the country is contributing to various sectors of the economy, and many industries see the young generation as an open market, especially the fashion industry. However, the fast fashion industry is one of the most polluting industries in the world. This study explores consumer behavior and perceptions regarding fast fashion, focusing on factors such as frequency of shopping, influences on purchasing decisions, and awareness of the environmental impact associated with fast fashion. Data collection was done by carrying out a survey of 139 participants based on a standard questionnaire. The survey targeted a diverse demographic, capturing data on age, gender, and monthly income/pocket money, to understand how these variables affect shopping habits. 45 % of women shopped "every few months", whereas 55 % men shopped "rarely". The females (45 %) who earn more (>60,000 INR/month), shop more frequently, as compared to males (30 %). The findings reveal that the frequency of clothing purchases is influenced by a combination of social pressures, personal confidence linked to wearing trendy clothes, and the perceived affordability of fast fashion, with over 81 % attributing feeling confident to dressing well. While fast fashion is popular for its trendy and budget-friendly clothing, the findings reveal a concerning gap between consumers' awareness of its environmental impact and their purchasing decisions, for instance, 66 % respondents found the quality of fast-fashion products subpar to sustainable products, however, only 24 % would be willing to pay a higher price for sustainable products. A lack of awareness, only 24 % males and 12 % females acknowledged being aware of sustainable practices, and higher prices of sustainable brands deter the youth from opting for these products, with over 30 % opting not to pay more for a sustainable brand. While a sizeable percentage, nearly 80 % of respondents, acknowledged the environmental impact of fast fashion, fewer respondents, only 10 %, considered this impact when making purchases, indicating a gap between knowledge and behavior. The study suggests that increased brand transparency and consumer education could foster a shift towards more sustainable fashion choices. Increasing consumer engagement with sustainable fashion, ethical practices in manufacturing processes, and the introduction of initiatives that improve sustainability can go a long way in promoting sustainable consumption and achieving SDG 12.

Das Kapitel bietet eine Einführung in die Situationsanalyse nach Adele Clarke und ergänzt sie um Ansätze aus den Popular Music Studies. Hierzu werden zunächst die Grundlagen der Situationsanalyse thematisiert samt ihrer zentralen Analysestrategie, dem sog. ›Mapping‹. Mit Blick auf die Hervorbringung von Eilishs Körper veranschaulicht das Kapitel zwei unterschiedliche Mapping-Verfahren, nämlich Situations-Maps und Positions-Maps. Gegenstand der Analyse sind audiovisuelle Körperrepräsentationen in »Bad Guy« sowie Diskurse um den Körper Billie Eilishs.

The current article examines the representation of gender stereotypes in children's popular culture, focusing on two famous children's TV series suitable for the very young (ages 2-5), "Paw Patrol" and "Peppa Pig". The text examines how the characters in these two children's TV shows are constructed and through what mechanisms are their gender identities conveyed. By providing a context for the concept of gender, the study looks more broadly at the topic in its local specificities, highlighting the place that gender and, respectively, gender identity development occupies among young children and how popular culture might influence this process.

Hvordan kan 1800-tallets stueplantekunst kaste nyt lys over forholdet mellem mennesker og planter? En plantecentreret tilgang åbner for oversete fortællinger i kunstmuseernes samlinger. Som respons på klima-og biodiversitetskrisen sættes i disse år et nyt fokus på planter i videnskab, kunst og kultur. Men hvordan kan kunstmuseernes historiske samlinger bidrage med nye perspektiver? Vi peger på en overset kilde til ny viden og formidling i form af 1800-tallets danske 'stueplantekunst', der vidner om planternes rejse ind i det danske hjem og om det indviklede liv mellem mennesker og planter inden for hjemmets rammer. Vi argumenterer for, at en interdisciplinær, plantecentreret tilgang til kunsten med en kombination af nær-og fjernlæsninger kan fremdrage oversete plantehistorier, som kan aktualisere værkerne.

Este artículo analiza la manera en que la dieta y la alimentación se transformaron en discursos sociales, médicos y publicitarios entre finales del siglo XIX y el siglo XX, pasando de un modelo culinario ligado a la tradición médico-religiosa a uno profundamente atravesado por la modernidad, la estética y la publicidad. A partir de autores como Fischler, Corbin, Goody y Vigarello, se examina cómo el placer gastronómico comenzó a oponerse a la salud, dando paso a una cultura lipofóbica que asocia la delgadez con belleza, distinción social y bienestar. Asimismo, se estudia el caso de Medellín y la influencia de recetarios, suplementos vitamínicos y prensa, donde se evidencia un tránsito desde la valoración de “carnes y fuerzas” hacia la condena de la obesidad y la exaltación de la silueta estilizada. El trabajo muestra cómo la publicidad, la medicina y la cultura de masas construyeron un evangelio dietético que disciplinó los cuerpos y reconfiguró los ideales de belleza, salud y modernidad.

La obesidad y la corpulencia, es decir, el volumen del cuerpo medido a través del índice de masa corporal (IMC), son fenómenos complejos y multidimensionales, donde la biología, lo psicológico, social y la cultura, se entrelazan para darle forma. En este artículo, a partir del análisis estadístico de las variables sociales vinculadas a la corpulencia en la población adulta chilena, buscamos demostrar que el volumen que un cuerpo adquiere está influenciado por las características del orden social en el que se inserta, y que el papel que las variables sociales juegan en su definición varía según el género. índice de masa corporal, determinantes sociales, género

Esta investigación surgió a partir de una primera revisión sobre los alcances y limitaciones de la Ley 27.521 o “Ley de talles”, que considera un marco teórico transversal al campo de la salud y las ciencias humanísticas y sociales.
Actualmente en Jujuy, Argentina, no existen normativas legales que regulen la oferta de talles en los comercios de indumentaria. Esta falta de medidas responde a cuestiones internas al diseño y producción de marcas de vestimenta a nivel nacional e internacional, lo que genera limitaciones en la disponibilidad de talles grandes, situación que excede la responsabilidad y posibilidades de los comercios. Ante este escenario, la demanda de talles del público de cuerpos gordos queda sin respuesta.
Desde un enfoque cualitativo, buscamos escuchar voces de cuerpos diversos que manifiestan la escasa disponibilidad de talles grandes de indumentaria como una de las tantas problemáticas que recae en grupos sistemáticamente afectados por modos de discriminación, entre ellos la gordofobia.
El interés por comprender las reacciones y comportamientos de esta población cobra relevancia si consideramos un contexto contemporáneo en el que el ideal de belleza se materializa en figuras corporales delgadas. Esta situación puede llevar a la adopción de comportamientos extremos, cuestión sustancial en el estudio de factores de riesgo de trastornos de la conducta alimentaria, dismorfia corporal, depresión, ansiedad social, entre otros. De esta forma logramos conocer acerca de la situación actual de la oferta y disponibilidad de talles grandes en la capital jujeña.
Este proyecto se contextualizó como parte de un conjunto de diferentes espacios académicos que se orientaron a promover la construcción de un discurso que posiciona la diversidad corporal en la agenda. Además, visibiliza y concientiza sobre la gordofobia y su impacto negativo en la salud integral, reconociendo así nuevos paradigmas que admiten una diversidad de cuerpos en escenarios socioculturales igualmente diversos.

Atualmente, há uma tendência a encarar a obesidade como uma deficiência física, mas Gilman a adota como um objeto de pesquisa para o estudo da construção cultural do corpo. Neste intuito, reconstitui as representações culturais do corpo obeso a partir do caso dos judeus desde a Bíblia, passando pelo discurso médico e conclui com uma análise da imagem literária do judeu gordo. Em sua análise, o historiador cultural privilegia os aspectos raciais e de gênero implicados na imagem do/a gordo/a.

Trans and travesti artivists in São Paulo, Brazil use their artistic production to critique transphobic violence and celebrate gender nonconformity. Some of the key voices in that movement, like Jup do Bairro, Ayô Tupinambá, Beta Boechat and Letícia Carolina Nascimento, centre much of their work on the harms of Eurocentric and cisnormative beauty standards for their own existence as Black, fat and gender nonconforming Brazilians from working-class origins. Their music, videos and activism are evidence of a powerful, counterhegemonic notion of beauty and bodily value, demonstrating new paths for decolonising normative 'aesthetic hierarchies' in Brazil. Their work also provides key insights regarding how a decolonial praxis centred on fat, Black and trans/travesti forms of embodiment produces defiant forms of self-love that are doubly subversive as bodily assemblages that exceed the norm and that reterritorialise beauty and ugliness with new meanings. Furthermore, their artivism can also be considered a transfeminist 'political-pedagogical praxis' that communicates decolonial forms of embodiment to a wider audience, and inspires others to follow on their footsteps, illuminating potential paths for social transformation.

Hypertension is one of cardiovascular disease which has the highest mortality rate. This study aims to determine the risk factors of hypertension among the community in the coastal area of Medan Labuhan in Medan city, Indonesia. The study population was the population who live in the coastal area of Medan Labuhan district in Medan City. The number of participants in this study was 108 people recruited by continuous and consecutive sampling method. Assessment of nutritional status was based on body mass index (BMI) that calculated from the body weight and height which measured at the same day of the interview; blood pressure measurements were performed twice with a 5-minute interval by using a calibrated blood pressure meter. The assessment of smoking habits, coffee consumption, consumption of fruits and vegetables, physical activity, and mental stress was using a valid and reliable questionnaire. The data analysis was using the chi-square test with SPSS computer program. The confidence interval was 95%, and a p-value of <0.05 was considered significant. This study found significant relationships between hypertension with a genetic factor, smoking habits, regular consuming coffee, fruits, and vegetable consumption, and less physical activity (p<0,05). Based on this study, the health practitioner mainly family doctors could conduct health promotions that could improve the awareness of society on prevention of hypertension, they also conduct a proper regular treatment of hypertension especially community in the coastal area, because they have more risks become hypertension.

That we obsess about fat is evident. We have only to note our $60.5 billion weight loss industry in the United States, the 179,000 weight loss surgeries performed every year, or the annual BMI (Body Mass Index) report cards that many states, including my own Pennsylvania, send home for all K12 children. Or we could turn to our First Lady Michelle Obama's Let's Move campaign, launched in 2010 to "combat the epidemic of childhood obesity" because the "security of our nation is at stake." She even appeared-twice!-on the longrunning television show The Biggest Loser, working out with Bob Harper in the White House, demonstrating how to do jumping pushups. "Michelle Obama is what no excuses is all about" he intoned, suggesting that those participants who collapse, cry, or vomit in their failed attempts to lose weight are, indeed, losers. It's not just a U.S. obsession, either. Last summer Harvard University announced it had received a $350 million dollar gift, its largest ever, from the Morningside Group, a relatively new philanthropic group funded by a wealthy Hong Kong family; the New York Times explained that the "pandemic" of obesity was one of the problems its donation was intended to address. And a recent blog noted the "countless opportunities for weight management companies" globally, from North and South America to Asia, Europe and the Middle East. The World Health Organization even has a new name for it-"globesity," short for the "global obesity epidemic." Why we obsess so about weight, however, is not so evident. The obvious answer, of course, is health. Most of us have heard the statistic about obesity causing an additional 300,000 deaths per year in the United States. This "fact" turns out to be less conclusive than it appears, though as early as 2005, the Centers for Disease Control and Prevention published a study that called into dispute the 300,000 figure, estimating the deaths linked to obesity at a muchlower 112,000 per year. Even more startling, in 2013, the Journal of the American Medical Association published a large scale review and metaanalysis of all the studies done to date on health risks related to body mass index. The results? It turns out that the "most healthy" weight category in terms of morbidity and mortality is overweight. The group of people classified as "obese level one" show no difference in health compared to the "normal" weight people. Health risks rise for people in the categories of underweight and very obese. Significantly, however, there are no movements to identify "thinness" as a disease-a symptom, perhaps, of anorexia or malnutrition, but not a disease in and of itself. And it turns out that the individual studies which garner headlines about the grave health risks of obesity often don't say exactly that. Usually they show a link between metabolic problems-diabetes, blood pressure, cholesterol-and a poor diet and physical inactivity. Sometimes those two factors, a poor diet and physical inactivity, correlate with obesity, but not always. This means not only that we fail to identify those thinner folks who nevertheless might be at health risk, but we also emphasize weight loss, which has a 95 percent failure rate, Common

In the early days of the coronavirus quarantine, my Facebook feed was inundated with postings about the effects of both-Covid and the quarantine-on jobs, on health, on social connection. The fear was palpable. Amidst all the headlines and dire information, another thread appeared-about the bodies that would be produced during months of inactivity and nervous snacking. One was a chubby dog, clad in green bikini bottoms: "Due to coronavirus my summer body will be postponed until 2021. Thank you for understanding." Another showed Batman grown large, a hairy belly hanging over a too tight yellow waistband. In yet another, captioned in both Italian and English, we see a buff, swaggering man dancing erotically; after the quarantine we see him fattened, his proud stance looking goofy. There was a separate thread of Barbie dolls, blonde hair, and pink dresses, the "before" slender with a tiny waist and perky breasts-the "after" a doll with a double chin and droopy chest. And one showed a woman pulling up a pair of jeans: "When none of your jeans fit after being quarantined so now you have thigh high boots." I imagine people posted these memes to encourage a moment of laughter, imagining that a bit of fat shaming would ease the burden of a tremendously frightening period. But they also illuminate a pulsating cultural anxiety about fatness. Indeed, in these memes, the dread of a fattened body scurries alongside other fears-of lost jobs and evictions, of groceries hard to get, of air that carries dangerous particles, of unknown futures, of mortality. Even in this moment of danger, fat looms big. Indeed, in these memes fat marks deathboth physical "morbidity" associated with "obesity," and also social death, the becoming of an abhorrent body, a monster body, embarrassing and too much. And so much of that social death is connected to the way fatness messes up gender. Batman is no longer buff and masculine, but soft and hairy. The dancing man is no longer erotically seductive; he is goofy and embarrassing. The Barbie doll's double

Writing a dissertation is the last stage of a longer journey, but it can be a lonely and painful phase. Thankfully, there are a number of people who held my hand and helped me find my path along the way. My dear compadre Roén Salinas has walked by my side since day one. He offered his support in numerous ways, from buying me coffee, fixing my computer, letting me crash on his sofa, to lending me books, hearing me whine about my progress, giving me feedback, rescuing me when my car broke, fixing my grammar…¡Gracias, hermano! My dearest Monica Chadha has also offered her support in more ways than I can count, and was always ready with a bag whenever we needed to get away and get some fresh air, or drive for 9 hours to NoLa to do an interview as part of my research. Mi amiga Andreia Lisboa de Sousa came to my rescue when it seemed that finishing this project was an impossible task. She gave me the guidance I needed to get through, reminded me to dance when I was ready to collapse from defeat, and made me believe that I can do brujería de la buena to make time expand (and I did!). I have been lucky to have the most generous and supportive committee members: Deborah Paredez, my supervisor who is an amazing teacher and who inspired me to explore the world of the diva in theory and practice; Omi Osun Joni Jones, my cosupervisor, who has not only been a mentor all these years, but also a source of inspiration with her work as a scholar/practitioner/activist. She did not hesitate to step in during the final stages of my dissertation writing, and took a leadership role in helping vi me cross the finish line. Omi, I am forever indebted to you, and I'm proud to walk in your boots. Committee member Jossianna Arroyo Martínez, from the Department of Spanish and Portuguese, who I first met as a friend and fellow Puerto Rican, then as a teacher and later as her T.A., besides supporting and enriching my scholarly work, offered a home away from home on many Thanksgivings. ¡Gracias! I owe a big thank you to my other two committee members, who besides supporting my scholarship and offering professional advice, ensured I had the financial support I needed to complete my doctoral degree: Paul Bonin-Rodriguez, who watched and checked on me all these years (and put me in contact with Elizabeth Doud!); and Charlotte Canning, Program Head of the Performance as Public Practice (PPP) department, who epitomizes a teacher who is dedicated to the students. Also thanks to the Theatre and Dance Department, The School of Fine Arts, the Warfield Center for African and African American Studies, the Department of Spanish and Portuguese, who provided me with financial support. This achievement would not have been possible without your assistance.

The number of overweight or obese persons is increasing in every country, and will probably not decline in the near future. Overweight obese persons have to face discriminatory attitude in the society as well as in healthcare centers, which affects their psychology as well as health. Many obese as well as normal weight people are unaware that this fat-shaming is wrong and should be stopped. Some healthcare providers believe that fat-shaming their obese patients will motivate them to lose weight. However, the mental anguish produced by such fat-shaming may compel such people to eat more, thus aggravating the problem. There is an urgent need to make the society and healthcare workers realize the ill-effects of the anti-fat bias so that such people may be treated with the empathy and respect that is the right of all human beings.

In the fashion industry, the market for plus-size apparel in the Philippines is growing, but the options afforded to its consumers remain to be insufficient. Resultingly, this limits plus-size Filipinas’ ability to access clothing that is comfortable, affordable, and of quality—and as clothing is essential to self-expression, the lack of inclusive options can deeply affect body image and physical well-being. Currently, there are no other local studies that had tackled this issue; hence, the main objective of this study was to describe the impacts of this exclusion to the psychological and physical well-being of plus-sized Filipina undergraduates. Undertaking hermeneutic phenomenology, 11 plus sized women were interviewed of which transcripts were analyzed through reflexive thematic analysis (RTA). Results indicated that Filipino plus-sized women view that there is a lack of sizing availabilities, options in styles and designs, differences in fabric quality, as well as differences between pricings. Due to this exclusion, plus-size women become dissatisfied with their bodies, impacting their body confidence and self-esteem, are unable to showcase genuine self-expression, and become engaged with social comparison. Resultantly, they engage in unhealthy dieting practices in order to conform to the thin ideal and undertake various compensatory practices to express themselves through their clothing. In turn, this study emphasizes the necessity for body inclusivity and positivity, not only in clothing but in the general culture.

e congrega estudiosos e estudiosas da imagem de diversas regiões de todo o Brasil e de outros países, com grande participação da América Latina. Esse evento tornou-se referência aos estudiosos da imagem, em diversos níveis de pesquisa (de iniciação científica a estágio de pósdoutoramento) e reúne alunos da graduação, da pós-graduação, pesquisadores nacionais e internacionais de diversas instituições, bem como, professores da rede pública de ensino e interessados nas discussões teóricas e estudos de casos provenientes da comunidade. Proporcionar espaço para a divulgação de pesquisas, ampliação de debates, mini-cursos para a capacitação docente e para jovens pesquisadores, bem como, workshops para a comunidade em geral que tenha a imagem, em diferentes suportes, como objeto de estudo é o objetivo essencial do evento. Promover o estudo sobre a imagem a partir de vários campos do saber e ampliar a disseminação de estudos acadêmicos intra e extra-universidade e comunidade em geral são os objetivos que estabelecem os suportes necessários a sua execução. O evento já se consolidou no cenário nacional por agregar estudos da imagem provenientes de várias áreas de atuação e esse Encontro se apresenta como fórum importante para a atualização e disseminação de pesquisas em vários níveis. Nessa VII edição, como podemos perceber na página inicial do site e em todas as referências às atividades desenvolvidas, optou-se por pensar o cotidiano e a potência desse espaço nas seleções dos indícios visuais que marcaram a identidade visual do evento. Agnes Heller1 (1989) já nos dizia que "A vida cotidiana é a vida do Homem inteiro, ou seja, o homem participa na vida cotidiana com todos os aspectos de sua individualidade, de sua personalidade" e, assim, no interior da vida cotidiana, homens e mulheres, velhos e crianças, desenvolvem todos os seus sentidos, suas capacidades e habilidades, exercitam seus sentimentos, paixões, idéias e pensamentos tecendo uma tapeçaria de acontecimentos e significados. 23 Anais do VII ENEIMAGEM e IV EIEIMAGEM Você poderia ter sido mais fácil "Você poderia ter sido mais fácil" surgiu a partir da articulação com o voile, na tentativa de fazer com que esse tipo de tecido expressasse o máximo de suas características físicas e sensórias com o mínimo de intervenções. Comecei pela compreensão sobre o corpo do material: peso, transparência, capacidade de caimento, movimento, tatilidade/textura. Notei, inclusive, que a percepção tátil sentida pelas mãos se difere um tanto daquela percebida pelos olhos, o voile é um tanto áspero quando em contato com a pele enquanto o olho juraria que ele é somente delicado. Passei, então, a constituir formas com o próprio tecido: queria deixar à mostra sua face, sua personalidade expressa em todas as suas características físicas. O primeiro teste para este trabalho foi constituído com o auxílio de pequenos alfinetes. O resultado me fez perceber o tecido de uma forma pouco interessante: o alfinete, segurando as partes, tornou o material mais leve, orgânico demais, com partes cedendo a todo momento. Também, os alfinetes, em qualquer situação, podem se perder, soltar uma parte do tecido que eu não queira, "perder a linha". Percebi, por meio desta experiência, que o orgânico possui um tipo específico de organização e que as minhas ações deveriam, de alguma forma, colocar em evidência aquilo que o próprio corpo do tecido sugeria. O tecido, quando disposto na verticalidade, pesa e expressa as densidades de seu próprio corpo; como todas as coisas no mundo, ele atende a lei da gravidade. Atenta a esse dado, resolvi articular com o caimento do tecido. A inserção da costura, por sua vez, acarreta uma tensão entre as partes do pano sem que elas percam a leveza. Refiro-me a tensão no sentido físico: o contato e intersecção entre dois materiais que possuem diferentes composições e características, sendo um sintético (tecido) e o outro de fibra natural (linha de algodão). O algodão que compõe a linha é derivado de fibras naturais, por isso possui maior maleabilidade e resistência; já o voile se enquadra nas fibras artificiais e sintéticas, assim, ele desfia com facilidade. Linha e tecido, quando imersos no processo de costura, sofrem interferências a todo o tempo, se atritam, tanto no campo concreto, quanto no campo sensível, como expressa Derdyk (2010, s/p) "A costura consome a matéria seca -o pano, o plástico, o papel -como um ácido corrosivo. Corrosivo porque costurar é avançar na matéria espessa do tempo." "Você poderia ter sido mais fácil", surge, também, da necessidade de evidenciar a costura como elemento próprio, autônomo, sem a obrigação de agregar as partes do tecido, a fim de construir uma peça de roupa, um objeto Anais do VII ENEIMAGEM e IV EIEIMAGEM ISBN 978-85-7846-566-7 exposição de arte moderna. Arte contemporânea, dizia, para não assustar o público com o nome de "moderno". Já a exposição dava uma boa visão panorâmica da pintura brasileira, com quadros de Portinari, Pancetti, Di Cavalcanti, Burle Marx, Guignard, Segall, Santa Rosa, Iberê Camargo e outros, fora trabalhos de estrangeiros, incluindo gravuras de Rouault, Picasso, Renoir, etc. A imprensa apoiou a mostra, o governo compareceu, o público concorreu em massa, ainda muito desnorteado. Rebêlo fez trabalho de apóstolo: passou vinte dias educando o público, a todos que dizem nada compreender sobre exposição. Fez quatro conferências e teve uma paciência que não se esperava do romancista de "Marafa". Resultado: cerca de dez mil pessoas visitaram a exposição, venderam-se cinquenta mil cruzeiros de quadros e em residência onde jamais se havia falado em pintura moderna, entraram quadros de artistas contemporâneos. Foi um sucesso e deixou raízes. (TAVARES, 1951, p. 65) É neste contexto de renovação que Poty, juntamente com outros artistas em ascensão chega a Salvador. Em um primeiro momento como participantes do "Salão Universitário Baiano de Belas Artes" ocorridos nos anos de 1951 e 1953, e em um segundo momento como colaboradores do movimento de renovação artística. (...) atraídos pelos encantos baianos, chegaram a Salvador artistas para longas temporadas, tendo muitos deles aqui fixado residência definitiva. Já na década de 1950, engrossando a fileira dos artistas modernos, chegaram Pancetti,

In theorizing fat oppression and experiences, fat studies maps out the ways in which the fat body has always been positioned as the "excessive," not-quite or non-human in the logic of humanism. In conversation with critical femininities and critical disability studies, there is an exploration of how fat corporeality is often dehumanized, devalued, criminalized, and made disposable through the image of the excessive Other. In North America, both the "obesity epidemic" and COVID-19 pandemic have used the concept and language of excess to expose marginalized bodies to the violence of white supremacy, ableism, sanism, heterosexism, and anti-fatness, along with other systems of oppression (Garland-Thomson 1997; Maynard and Simpson 2022; Strings 2019). The proximity to death and loss due to these larger systems has always been present; however during the COVID-19 pandemic it amplified for fat people across the intersections as the politics of life and death put their bodies on a course of slow and/or accelerated death (Bahra 2023). In this article, I expand the discussion on how the uncaring-assemblages of these crises make fat, racialized, disabled people extremely vulnerable and disposable due to this supposed state of abject they occupy. The latter half presents a posthumanist turn within fat studies using the notion of worldmaking to reframe excess as resistance and possibilities within a fat-posthumanist assemblage of care. In fattening posthumanism and its critical interventions of the personal registry, this is an offering for a new vision of fat as difference, fat as life, and fat as an activator of "alternative ways of producing knowledge" (Braidotti 2019, 12). Excessive as an embodied and affective knowledge practice in this critical fat-posthumanist praxis enables relational intimacies with other fat and marginalized communities to form counternarratives to humanism and its carceral systems, while also building caring-worldmakings that nourish excessive communities and their affective becomings.

Co-managing editors Ramanpreet A. Bahra and Kelsey Ioannoni introduce the first issue of Volume 2 of Excessive Bodies: A Journal of Artistic and Critical Fat Praxis and World Making. Here, they explore the key themes of this issue and reflect on the pieces within.

As two scholars situated in different provinces of Canada and disciplines, we often converse about how we participate in "rehearsals for living" in our marginalized bodies (Maynard & Simpson 2023). Due to systems of 'healthism', ableism, sizeism, racism, heteronormativity, marginalized bodies such as ours are framed as close to death, arriving at death, or already dead. There is no lively quality associated with our 'Otherness' hence the 'rehearsals for living' we come to experience under normalcy's criterion of the body and embodiment. We present a duoethnographic methodology taken up to present multiple perspectives of our intersectional experiences of fatness, disability, gender, and racialization as we connect to our body in their entirety. Additionally, we reflect on the affective movement of social bodies such as ours and 'what a body can do' as we negotiate space and time and its entanglements through the layering of research-creation methods. Erin Manning (2016) conceptualizes this form of work as an artful practice that honours complex forms of knowing and a form of research that is collective at the core. While dominant forms of art-making are singularly focused on production, we focus on the artistic process. Within this paper, we offer a multisensory assemblage that captures a capacious understanding of the Haney & Bahra (2025) 159 bodymind. A sensorial connection through art and worldmaking allows us to respond, create, and co-create affective meanings of "rehearsals for living". Our article's art and sensorial focus invites a different mode of understanding the senses and connection as mixed with the world(s) and each other. That interconnectedness is the loci for our paper as we collectively work on centering the body-mind-spirit, and the affective entanglements of our fat kinship and politics, to exit the personal registry and its oppressive systems (i.e., sizeism/shapeism, ableism, heterosexism, etc.). We thus engage with one another and with this piece in an "unmethodical way" or form of "embodied writing", painting, moving, or more (Thompson, 2017) to cultivate critical inquiry. Our stories and research-creation may draw parallels, tensions and contrasts, but our objective is to build a multisensory assemblage of our fatness through space and time.

In 2006, the Feminist Theory special issue edited by Claire Colebrook posed a pivotal question: not whether beauty is good or bad for women, but how beauty is 'defined, deployed, defended, subordinated, marked or manipulated, and how these tactics intersect with gender and value'. This pragmatic approach to beauty set the tone for a new strand of feminist inquiry. In 2013, a second special issue extended this challenge, focusing on how beauty intersects with race in Latin America and the Caribbean. It emphasised that theorising gender and beauty requires close attention to race and its entanglements with sexuality, class and nation. This third special issue picks up that intellectual thread while pushing it further: we explore how beauty is not just shaped by colonial and capitalist legacies but is also a space actively reimagined from the margins by those whom dominant beauty norms exclude. Here, in this new special issue, we ask how beauty is weaponised, contested, resisted, pursued and persisted as a site of lure and ambivalence. How is beauty an ideological apparatus and a space for counter-hegemonic practices? And crucially, how is beauty reconfigured by Black, fat, trans, queer and negatively racialised subjects across different geographies and cultural contexts? This special issue expands the scope of feminist beauty studies by incorporating body size, gender diversity and transnational perspectives into ongoing discussions about decolonisation, intersectionality and self-making. By foregrounding the lived experiences of those often marginalised by dominant beauty norms, this issue insists

Between aesthetics and functionality.
Conceptual and theoretical perspectives on digital fashion

The recent phenomenon of digital fashion is often considered non-functional because garments cannot be ‚worn‘ to provide protection from the elements; however, popular designs frequently incorporate elements of functional clothing, such as sportswear and outerwear. Against this scaffolding, this paper reevaluates the relationship between aesthetics and functionality within digital fashion. Tracing the terms of aesthetics and function through various discourses and disciplines, including psychological considerations on the purpose of dress, aesthetic
and design theory, as well as more recent research into functional clothing,
I argue that digital fashion may not only be theorized through the lens of aesthetics but also through functionality. Specifically, the aesthetics of functionality work to produce a disciplined body and mind of the wearer. Further, digital fashion is placed both within a human environment as well as the digital environment of social media platforms and their affordances.

In my master's thesis, I explore the scientific and political discourse surrounding obesity in East Germany during the 1970s. I argue that contrary to narratives stressing a “socialist” health management, in which bodies are supposedly ruled by state authority, the 70s mark a turning point in the way individual health came to be established. Compared to a common understanding of “governmentality” as a (neo)liberal approach to manage individual behavior, I show that in the socialist, non-liberal society of the German Democratic Republic the maintenance and restoration of health was similarly established through practices of self-conduct and self-responsibility. The specific case of obesity thus sheds light on how East and West Germany shared the characteristics of biopolitical governance.

Whether you are approaching this paper with prior knowledge of the subject matter or are learning about these topics for the first time, the framework set forth below will help contextualize the Disability Justice Movement, my argument, and my position within the conversation. First, this paper uses identity-first language. The debate over person-first language (e.g., people with disabilities) versus identity-first language (e.g., disabled person) is contested within and outside the disabled community. I believe this approach normalizes language that both honors the experiences of these communities and subverts the concept of disability as an afterthought or an inherently negative experience that disabled people should seek to not be defined by (Ferregon; Liebowitz). Second, disabled and disability is used to refer to people with physical disabilities, intellectual and developmental disabilities, chronic illnesses, mental illnesses, those who are part of the d/Deaf community, those who are neurodivergent, and those in chronic pain. While language is always in flux, currently these identifiers are prevalent and affirmative terms used within the disability justice community to describe a wide variety of experiences. It should be noted, however, that selfidentification varies, and everyone has a right to self-identify as they choose. Third, the term liberation is used throughout this paper to describe efforts to effect real and lasting change to systems that oppress all of us. The term liberated spaces refers to communities doing that work. If safe spaces are rooted in suppressing uncomfortable situations, liberated spaces are "grounded in community and love. A space we are free to be human along with one another…a liberated space is a space in which everyone works as a team to repair that which has been broken" (Urbach). Though liberation is often conceptualized as describing macro-level system changes like government policy, it is also important to conceptualize all community spaces within this framework: how do we change our systems such that anyone can safely and sustainably lead, participate, or both? Working toward liberation allows each of us to show up as our authentic selves, holding each other accountable and protecting each sacred being. Finally, you will find that throughout this paper, I use first-person language rather than the traditional third-person language customary in formal writing. I made this choice deliberately. The topic I am addressing demands that we come as we are and invite others to do the same. It requires a step-away from strict, formal, academic writing in order for each of us to approach the topic authentically, openly, and through a lens of pushing against the status quo. By doing so, we make room for our unique individual voices and our collective liberation. Just as I cannot come to a space authentically without acknowledging my unique experience as a queer, chronically ill, Puerto Rican woman, neither can you approach the work of community building, healing justice, community care, and liberation without acknowledging all parts of your own experience. In the words of Cara Liebowitz, "my disability is just another thread in the tapestry of my life. Pull it and the whole thing might unravel. Pull it and you might get an ugly hole where something beautiful once was.

Background Aluminium nitrate and other aluminium-containing compounds have been demonstrated to cause several health challenges. Psidium guajava L) is a well known cultivated tree with hepatoprotective nature and radical scavenging ability. Methods Twenty-five (25) female Wistar rats with average weight of 195 g were grouped into five groups (n = 5), with their weights measured and recorded weekly throughout the period of 21 days of the research. Control (group A), 32.5 mg/kg AL only (group B), 30 mg/kg AL + 250 mg/kg PGLE (group C), 20 mg/kg AL + 500 mg/kg PGLE (group D) and 10 mg/kg AL + 750 mg/kg PGLE (group E). Histological examination of the liver was done using Hematoxylin and Eosin stain. Results Various degenerative changes were observed in the liver architecture following aluminum nitrate administration when compared with the control group. Significant regenerative changes similar to control were observed following administration of high dose of Psidium guajava. Conclusion ...

The twenty-first century has opened new avenues for visibility, particularly through 'diversity marketing,' yet social exclusion based on corporeality remains a pressing issue. Black, Indigenous, Latinx, LGBTQIA+, fat, and disabled bodies continue to face stigma rooted in dominant aesthetic, economic, and political norms. In response, strategies of resistance and subversion have emerged, highlighted by three do-it-yourself (DIY) practices that utilize the body to confront ethnic-racial and size-based prejudices: the collective action 'Pretas, Gordas, na Praia!' ('Black, Fat Women at the Beach!', 2019), Priscila Rezende's performance 'Bombril' (first presented in 2010), and Brenda Oelbaum's 'No Diet Day' interventions (2024). These movements leverage DIY methods to challenge prejudices related to gender, race, and body size, fostering networks of solidarity, awareness, and resistance. They significantly influence how marginalized bodies perceive themselves and how society views them, ultimately promoting greater inclusivity and understanding.

The perception of fatness has evolved significantly throughout history, shifting from a symbol of luxury to a pervasive social stigma. This transformation extends beyond physical appearance, intersecting with issues of class, social status, sexism, and disability. Through an analysis of Marie-Noëlle Hébert’s graphic memoir My Body in Pieces, this article explores the multifaceted dynamics surrounding fatness and its implications for individuals and society. By examining the factors that contribute to the ostracisation of fat bodies in contemporary society, this article highlights the complex interplay of societal norms and cultural ideals that contribute to shaping personal identities. A close reading of the graphic memoirs’ formal features reveals the psychological and emotional consequences of fat-shaming at both individual and social levels. In doing so, this article aims to deepen our understanding of the lived experiences of individuals subjected to fat-shaming while critically interrogating the broader societal structures that perpetuate, reinforce, and sustain such discrimination. Furthermore, it offers insights into the complexities of body image, identity formation, and representation, advocating for greater empathy and inclusivity in contemporary discussions surrounding fatness.

The article conducts an analysis of Cerdita by Carlota Pereda from the interdisciplinary field of Fat Studies. Through close reading, the aesthetic-ideological content of the film is explored as an artifact that constructs a particular discourse on fatness within our con-temporary social and media context. This is presented through four axes of analysis: the grotesque animalization of the fat body, control and violence toward the fat body in family and  social  environments,  the  pathologized  fat  desire,  and  the  emotional  transformation  of  the  protagonist.  The  main  objective  is  to  problematize  and  challenge  the  representa-tion of fatness presented in the film, which has been framed as a cultural product against weight stigma. However, from a critical anti-fatphobic, anti-speciesist, transfeminist, and decolonial perspective, it is essential to question whether the film can be considered anti-fatphobic–whether it not only portrays the fat stereotypes present in the social imaginary but also allows for the deconstruction of the dominant narrative, produce politizing affects or opens points of escape from such violence

Background Pre-pregnancy obesity increases the risk of perinatal complications. Post-pregnancy is a time of preparation for the next pregnancy and lifestyle advice in antenatal care and postpartum follow-up is therefore recommended. However, behavioral changes are difficult to achieve, and a better understanding of pregnant women's perspectives and experiences of pre-pregnancy weight development is crucial. We used a qualitative design and conducted semi-structured interviews with 14 women in Norway with pre-pregnancy obesity 3-12 months postpartum. Data were analyzed using thematic analysis. Four themes addressing women's experiences and understanding of their weight development were generated: (1) Unmet essential needs, (2) Genetic predisposition for obesity, challenging life course transitions and turning points, (3) Under a critical eye: an ever-present negative bodily awareness, and (4) Wrestling with food. Parents' inability to meet children's essential needs caused weight gain through an unbalanced diet, increased stress, and emotional eating patterns. Body criticism and a feeling of not belonging led to negative body awareness that influenced behavioral patterns and relationships. Participants reporting having had a good childhood more often described their weight development as a result of genetic predisposition, challenging life course transitions and turning points, such as illness and injuries. Nevertheless, these participants also described how eating patterns were influenced by stress and negative emotions. Conclusions Healthcare providers should pay attention to the insider perspectives of pre-pregnancy weight development. An open and shared understanding of the root causes of these women's weight development can form a basis for more successful lifestyle guidance.

This study analyzes Ambra Angiolini’s autobiographical novel InFame (2020) in the context of autobiographies by Italian actresses, highlighting her distinctive voice. Starting with the novel, which recounts her ten-year struggle with bulimia nervosa, the analysis focuses on the early phase of Angiolini’s television career, particularly her role as host of Non è la Rai, a period that coincides with the onset of her illness. Furthermore, drawing on theoretical frameworks from Fat Studies, the article examines the relationship between eating disorders and the beauty ideals promoted by mainstream media in Italy during the 1990s.

As Emily Violet Maddox explains about the work of disability in the writings of Walter Benjamin, "Redemption in a Benjaminian sense means that objects are ruptured from their place in the order of things. Thus, things or, as I will argue, bodies which have been ordered through their use values or their commodity value, can be redeemed by being used otherwise."1 In making this argument, Maddox takes up a formative approach that guides many contemporary disability studies methodologies developed as "cripistemologies" (a term theorized by Merri Lisa Johnson and Robert McRuer).2 Cripistemological approaches challenge the presumed desirability of the normal and reorient readers toward less beaten pathways. Such alternative vantage points and practices dislocate our expectations and foreground productive, more foundational interdependencies otherwise obscured by the myth of independence. The object, as Maddox explains, does not even have to be representative of a disabled person; genres, metaphors, and structures of feeling can all be cripped. For example, Maddox analyzes "the not-quite-human" figures that come into Benjamin's works as crip imaginings.3 The not-quite-human are those who disrupt received meaning and throw history out of joint by breaking the ground of accreted cultural meanings. One can also see this shared methodology of dislocation in Sari Altschuler's essay "Touching The Scarlet Letter: What Disability History Can Teach Us about Literature," where Altschuler demonstrates Nathaniel Hawthorne's growing fascination with blind cultures of "haptic reading" as a potential model for his alternative portrayal of Hester's daughter, Pearl, who learns to read by touching the embroidered A on her mother's dress.4 Likewise, Rosemarie Garland-Thomson's essay "How We Got to CRISPR: The Dilemma of Being Human" explores the reverberations of late nineteenth-and early twentieth-century eugenics in contemporary gene coding and its criteria of antiselection (the "choice" not to have certain kinds of children).5 Each of these works locates readings of disability even in texts (cultural, literary, and otherwise) that are not evidently populated by disabled characters and en gl ish lan g u a ge no t es 60:2, October 2022 doi 10.1215/00138282-9890868 © 2022 Regents of the University of Colorado plots.6 Collectively, they demonstrate how disability serves as a productive means by which to narrate and decipher literary, philosophical, and scientific modes of thought that don't appear to be about disability at all. Further, all these essays connect because disability teaches readers how to read (literally as in adapted educational pedagogies) for alternative perspectives that don't conform to practices dictated by narrow cultural norms. A central aspect of cripistemological approaches has been the productive traffic between critical race studies and cripqueer studies.7 The absence of racialized and sexual differences in the essays mentioned above exposes the struggles of disability studies to recognize a subject outside the consumptive contexts of the liberal and neoliberal humanist orders they critique. This catalog of ruptures would destabilize the productive dislocations offered by Maddox, Altschuler, and Garland-Thomson while exposing the texts they choose as embedded in the perspective of bourgeois subjectivities themselves. The critiques in these cripistemological interventions, for example, expose the technofetishism of liberal humanism but cannot break with their own unmarked assumptions of reproductive sexuality and Euro-American racialized universalisms. Thus I employ these comments as a jumpingoff point for my own reading of Black, disabled, queer narrative methods on display in Randall Kenan's 1989 novel, A Visitation of Spirits. Visitation follows two fourth-generation cousins, Jimmy Malachai Greene and Horace Thomas Cross, as they wrestle with the meaning of nonnormative desires taking shape in the heavily religious predominantly Black community of Tims Creek, North Carolina. After a failed alchemical transformation into a bird that will allow him an escape from what he believes to be his deviation from heteronormativity, Horace spends one night as a "demon" visiting community spaces-church, school, football field, theater, barn-that formed the crux of his communal scapegoating as a Black, psychiatrically disabled, gay teenager. This experience of social instability unmoors Horace and triggers an apparent psychiatric break (or what La Marr Jurelle Bruce refers to in the book How to Go Mad without Losing Your Mind: Madness and Black Radical Creativity as "a snap") that he navigates for the duration of the text.8 Following these visitations of communal institutions, he ultimately commits suicide by turning a gun on himself. Kenan's novel combines all key aspects of cripistemological analysis: (1) direct and tangential representations of Black, disabled, queer subjects as "narrative prosthesis," in which the inclusion of disabled bodyminds leaves the text discomforted;9 (2) "aesthetic nervousness," when the "dominant protocols of the novel" are upset by disability in the aesthetic realm;10 and, finally, (3) at the level of "disabled textuality," in which the nature of narration itself is significantly disrupted and becomes a cripqueer performative act.11 Kenan's work represents a critical example of what Houston A. Baker Jr. has called the critical African American literary project: the "mastery of form, and the deformation of mastery."12 Cripqueer Switchpoints: A "Break" with Form In this essay I want to explore the intersections of racialized cripqueer experience by arguing that Visitation requires a cripistemological reading to burrow into Horace's mounting encounters with community, peer group, and personal impositions of shame.13 I refer to these multiplying encounters with abjection in the title as

She is a critical race scholar as well as a curator, educator and social justice activist who specializes in American art and visual culture. Her scholarly commitment to the investigation of anti-Blackness within those fields has demonstrated-among others, in persuasively formulated statements 1 -how traditional art history and museum practice work specifically to uphold white supremacy. Morgan has held curatorial positions at the India napolis Museum of Art at Newfields, the Birmingham Museum of Art, and the Pennsylvania Academy of the Fine Arts. Before joining the Tufts faculty, she held various teaching positions where she merged the classroom and the museum gallery to create anti-racist paradigms for how curators can actively address the complexities of traditional art history, community engagement and scholarly innovation. In this conversation, Morgan discusses the endurance of Black performance, reforming museum practices and her work as an educator. Hanna Hölling: Kelli, your expertise in American art and visual culture, particularly your commitment to investigating anti-Blackness, provides a valu able perspective for examining how conservation operates and how it perpe tuates, not only objects, but also certain structures within the institutions that are often based on, and codify, white supremacy. Our current research centers on performance and the questions of whether it might be preserved. Art history and museum practices often have preconceived notions about what it means to preserve performance. With an awareness of the rich histories of Black perfor mance and Black tradition that it embodies, we are curious about the unique conditions of care and maintenance required for this type of performance. How can we meaningfully care for performance both inside and outside of museums? How can we preserve radical performativity? Given that these works often combine the radical presence and endurance of the Black body, 2 how can we ensure the preservation of their identity? Kelli Morgan: When I received your invitation to the conversation on this topic, Hanna, I thought, "oh my God, this is so important!" We rarely know how to think about performance. Often, performance is documented and sits in a file. And we don't necessarily talk about the interpersonal ways through which performance might be conserved-the cultural transmission and, for

Research has highlighted the growing prevalence of obesity across the age spectrum, including childbearing women. There have been numerous studies on maternal and fetal complications in mothers who are obese and pregnant; however, little is known about the experiences and feelings of the women who are pregnant and obese. This dissertation is a compendium of three manuscripts. The first manuscript is an integrative review that examines motivators and barriers in health behavior intervention studies in pregnant women who are obese, using the transtheoretical model stages of change. The second and third manuscripts are the result of a qualitative descriptive study that explored the experiences and feelings of the pregnant woman who is obese regarding her weight prior to and during pregnancy. The second manuscript details the women’s experiences and feelings regarding the changes pregnancy has made and how it has impacted their opinions of their bodies. Pregnancy had allowed many of the...

The public debate on obesity will turn on the question of who or what is responsible for causing and curing this emerging epidemic. Previous research suggests that public health problems become amenable to broad policy solutions when those problems can be reframed in systemic terms-specifically,in terms of involuntary risk,universal risk, environmental risk, and knowingly created risk. This article assesses the framing of obesity in news coverage since 1985 to determine whether obesity is being reframed in these terms. The data suggest that a vigorous frame contest is currently under way between arguments emphasizing personal responsibility for health and arguments emphasizing the social environment, including corporate and public policy. The evidence suggests that one of these frame dimensions (environmental risk) has moved decisively toward the systemic pole, while two frame dimensions (involuntary and knowingly created risk) have not moved toward the systemic pole, and the movement of the fourth dimension (risk to everyone) is uncertain.

Este trabajo analiza el impacto de la pandemia por COVID-19 en el aumento y exacerbación de los trastornos de la conducta alimentaria (TCA) en adolescentes, centrándose en factores psicosociales como el miedo al contagio, el distrés emocional, la influencia de los medios de comunicación y las redes sociales, y el culto al cuerpo idealizado. A través de una revisión teórica, se explora cómo el confinamiento y la virtualidad han intensificado la vulnerabilidad de los jóvenes frente a estos trastornos, especialmente en entornos educativos. Además, se proponen estrategias de intervención desde las instituciones escolares, destacando el rol de la Educación Sexual Integral (ESI) y el pensamiento crítico para deconstruir estereotipos corporales hegemónicos. El estudio concluye con recomendaciones para transformar la escuela en un espacio de contención y promoción de salud mental.

Palabras clave: Trastornos alimentarios, COVID-19, adolescencia, redes sociales, imagen corporal, escuela, intervención educativa.

Objective: The study investigated the direct and indirect pathways between eating self-efficacy and emotional eating behavior in women with overweight and obesity, evaluating the parallel mediating roles of shame and guilt related to body and weight. Materials and Methods: A total of 228 women between the ages of 18 and 70, with overweight and obesity (Body Mass Index≥ 25), were recruited through purposive sampling. Participants completed online questionnaires: Demographic Information Questionnaire (DIQ), Dutch Eating Behavior Questionnaire (DEBQ), Weight-and Body-Related Shame and Guilt Scale (WEB-SG), Weight Efficacy Lifestyle-Short Form (WEL-SF). Descriptive statistics and parallel mediation analysis (PROCESS model 4) with bootstrapping were used to test the hypothesized model. SPSS version 23 was used to analyze the data. Results: Higher levels of eating self-efficacy were directly associated with the lower levels of emotional eating behavior (P< 0.001), and indirectly related to reduced emotional eating by decreased weight-and body-related shame and guilt (P< 0.05). Shame and guilt served as partial, parallel mediators. The model explained 39% of the variance in emotional eating behavior (R 2 = 0.39). Conclusion: This study underscores the importance of addressing cognitive and emotional factors in interventions to improve eating behaviors and manage obesity in women, providing actionable insights for healthcare professionals and researchers.

Let's be honest when we think about why great empires collapse, we usually point to greed, lust, power, or corruption. And while these certainly play their part, there's another, quieter destroyer that no one talks about. It doesn't come with swords or war cries, but with overflowing plates and never-ending feasts. That destroyer? Gluttony. Gluttony isn't just about eating too much, it's about never being satisfied, always craving more, turning food into an obsession rather than a necessity. It's like a drug, no different from sex, video games, alcohol or narcotics, pulling people into a cycle they can't break. And when an entire society falls into that trap, history has shown us that disaster is never far behind.

El objetivo de este trabajo fue conocer el comportamiento alimentario de los adolescentes en los principales espacios sociales de consumo alimentario; así como los factores involucrados en éste y su relación con el cuerpo, desde una perspectiva socioantropológica. Se trabajó con encuestas aplicadas a 383 estudiantes de 15 a 18 años de edad, de la ciudad de Hermosillo, Sonora. La prevalencia de bajo peso fue 13.3%, 15.1% de sobrepeso y 10.2% de obesidad, siendo los hombres los que presentaron mayor bajo peso y obesidad. Se detectó un 5% de los adolescentes con riesgo en el comportamiento alimentario y 44% tuvo una percepción corporal errónea de sí mismo. Entre los principales factores involucrados en el comportamiento alimentario encontramos la presión social por la imagen corporal; el miedo a la obesidad; el rechazo por las grasas y azúcares; el aumento en el consumo alimentario individualizado y la preferencia por comidas rápidas de alto valor energético, privilegiando su sabor y el tiempo para consumirlos.

This article reflects the outcome of semi-structured interviews conducted in early 2022 with UK patients who had covid-19, interfaced with healthcare system because of this, and self-identified as a fat woman (cis or trans) with at least one other vector of marginality (race, ethnicity, dis/ability, class, or sexuality). the rationale for the project was to complexify and advance ongoing studies into the experience of fat women in UK health care settings with research that focuses on covid-19 using an intersectional approach. this has been done by centering the narratives of individuals whose identities are made more complex as a result of the overlapping positions of marginalisation they inhabit. From our interviews with five self-identified fat women, we drew out themes of healthism, hyper(in)visibility, fat stigma, and intersectionality, which are explored here using inductive thematic analysis, putting the experiences of our participants in conversation with fat studies literature.

Resumo: Dentre as diferentes formas de tratamento da obesidade mórbida, a cirurgia bariátrica vem sendo considerada o método de maior eficiência. Investigou-se, neste estudo, o Pólo de obesidade do Sistema Único de Saúde da cidade de Juiz de Fora-MG. ...