Titlebook: Cosmetic Surgery Narratives; A Cross-Cultural Ana Debra Gimlin Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 201

inchoate

obligation

,The Symbolic Boundaries of Surgical ‘Otherness’,rs and Farrah Fawcett,. who are characterized as having ‘gone too far’ in their pursuit of beauty and/or eternal youthfulness, and those like the so-called ‘cat lady’, Jocelyn Wildenstein, who have gained celebrity status due largely to their ‘extreme’ cosmetic modification.

障礙物

US Repertoires in a Changing Surgical Landscape,hoice, have become more commonplace. And in rather fewer instances, entirely new accounts which extol the beauty of the obviously modified, ‘unnatural’ body (such as those described briefly in Chapter 5) have emerged.

責(zé)問(wèn)

Conclusions,ketplace of employment or heterosexual romance. Such meanings are in turn reworked by women in their own accounting, at the same time that those accounts are constrained by culturally specific narratives and institutional structures. Where the general and specific are incompatible — as is more often

Innocence

Introduction, so, mostly young and almost exclusively female students to answer some questions about what they would be willing to do to be more beautiful. I begin by asking about practices that are pretty mundane: ‘Would you wear make-up?’ ‘Would you colour your hair?’ ‘Would you remove the hair from your under

巡回

Cosmetic Surgery in Two Healthcare Contexts,icantly higher prevalence of aesthetic operations in the US (ISAPS, 2010). Davis (1995) has argued that the organization of healthcare in any country both determines who has access to cosmetic surgery and shapes the discourses employed in expressing the practice’s controversial elements. Based on Da

Presbyopia

Accounts of Embodiment and Their Cultural Repertoires,ing point existing feminist discussions of the practice, tracing alternative interpretations of cosmetic surgery (i.e., as a reflection of structured gender inequalities or a potential resource for female agency and empowerment) in the literature from the late 1980s to the present, drawing out key i

canonical

monologue

微生物