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By Kathy Davis

Dubious Equalities and Embodied transformations explores plastic surgery as a cultural phenomenon of past due modernity. From its onset as a clinical uniqueness on the finish of the 19th century, plastic surgery has been in detail cherished to discourses of 'normalcy,' in addition to to gender, race, and different different types of distinction that experience formed its applied sciences and methods, its specialist ideologies, and the gadgets of its interventions. Davis considers how plastic surgery is taken up in representations of plastic surgery in clinical discourse and in pop culture, drawing on a variety of cultural manifestations together with televised 'infotainment,' renowned tune, functionality paintings, physician biographies, tales of sufferers, public debates, and clinical texts. Davis severely engages with the proposal of plastic surgery as a impartial know-how and indicates the way it is implicated within the surgical erasure of embodied difference.

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Extra info for Dubious Equalities and Embodied Differences: Cultural Studies on Cosmetic Surgery (Explorations in Bioethics and the Medical Humanities)

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His ambitions, values, and accomplishments become intertwined with the developments, discourses, and practices of plastic surgery. His career trajectory is reflected in the emergence and development of plastic surgery as a legitimate medical specialty. Personal accounts of his youth or relationships with family and friends are mobilized to illustrate his socialization into the world of plastic surgery, thereby reproducing its discourses of professionality. When the author presents himself as an adventurous pioneer, an idealistic man of science, or a compassionate physician, he also constructs his specialty as an exciting, revolutionary, and worthy field of medicine.

19-20) She suggests that this accounts for why many women may prefer to keep their surgery a secret from their husbands. ” By encouraging their husbands to have surgery to rejuvenate their appearance, these astute women pave the way for their own face-lifts-the strategy of “what’s good for the gander is also good for the goose” (20). In short, Noel justifies cosmetic surgery in terms of material necessity and women’s right to a youthful appearance. She employs a feminist discourse that situates women’s right to change an “ugly face” or “humiliating body” to their right to vote and demand political rights: a matter of being able to “choose one’s own destiny” (quoted in Haywood 1985, 30).

He hires a butler and gives parties to which the Gershwins are invited. Although he briefly contemplates marriage, he remains a bachelor, unable to find a woman who can compare with the beautiful Sylvia. While Maltz clearly enjoys his success, he also writes that he suffers occasionally from pangs of conscience at the many wealthy women who demanded to have their alreadybeautiful noses corrected or their still-youthful faces lifted.

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