Cosmetic Surgery Gender And Culture

Women's magazines teem with its promises and horror stories; feminists ardently debate its status as harmful or heroic; surgeons and regulators compete to define which procedures can be offered and how. Through its representation, cosmetic surgery impacts on us all, not just those who go 'under the knife'. This book investigates the ways in which cosmetic surgery is shaping gender, and in the process, it questions contemporary cultural studies assumptions about how we read the media.

This book examines British and American women's narratives of cosmetic surgery, exploring what those narratives say about the contemporary status of cosmetic surgery and 'local' ideas about its legitimate and illegitimate uses.

Nose reconstructions have been common in India for centuries. South Korea, Brazil, and Israel have become international centers for procedures ranging from eyelid restructuring to buttock lifts and tummy tucks. Argentina has the highest rate of silicone implants in the world. Around the globe, aesthetic surgery has become a cultural and medical fixture. Sander Gilman seeks to explain why by presenting the first systematic world history and cultural theory of aesthetic surgery. Touching on subjects as diverse as getting a "nose job" as a sweet-sixteen birthday present and the removal of male breasts in seventh-century Alexandria, Gilman argues that aesthetic surgery has such universal appeal because it helps people to "pass," to be seen as a member of a group with which they want to or need to identify. Gilman begins by addressing basic questions about the history of aesthetic surgery. What surgical procedures have been performed? Which are considered aesthetic and why? Who are the patients? What is the place of aesthetic surgery in modern culture? He then turns his attention to that focus of countless human anxieties: the nose. Gilman discusses how people have reshaped their noses to repair the ravages of war and disease (principally syphilis), to match prevailing ideas of beauty, and to avoid association with negative images of the "Jew," the "Irish," the "Oriental," or the "Black." He examines how we have used aesthetic surgery on almost every conceivable part of the body to try to pass as younger, stronger, thinner, and more erotic. Gilman also explores some of the extremes of surgery as personal transformation, discussing transgender surgery, adult circumcision and foreskin restoration, the enhancement of dueling scars, and even a performance artist who had herself altered to resemble the Mona Lisa. The book draws on an extraordinary range of sources. Gilman is as comfortable discussing Nietzsche, Yeats, and Darwin as he is grisly medical details, Michael Jackson, and Barbra Streisand's decision to keep her own nose. The book contains dozens of arresting images of people before, during, and after surgery. This is a profound, provocative, and engaging study of how humans have sought to change their lives by transforming their bodies.

Dubious Equalities and Embodied Differences explores cosmetic surgery as a cultural phenomenon of late modernity. From its onset as a medical specialty at the end of the nineteenth century, cosmetic surgery has been intimately liked to discourses of 'normalcy,' as well as to gender, race, and other categories of difference that have shaped its technologies and techniques, its professional ideologies, and the objects of its interventions. Davis considers how cosmetic surgery is taken up in representations of cosmetic surgery in medical discourse and in popular culture, drawing on a wide range of cultural manifestations including televised 'infotainment,' popular music, performance art, surgeon biographies, stories of patients, public debates, and medical texts. Davis critically engages with the notion of cosmetic surgery as a neutral technology and shows how it is implicated in the surgical erasure of embodied difference.

What makes a woman’s body beautiful? Plastic surgery, cosmetic surgery and non-surgical interventions such as Botox are changing women’s bodies physically and affecting cultural notions and expectations of what it means to be a woman. Yet where does the law stand? Is the renovation of women’s bodies legal? This book explores a range of topics, including: whether shape-changing by surgical and non-surgical means is ‘really’ what women want; the question of legal intervention when operations, injections and other methods go wrong; the impact of consent determinations on whether women can or cannot freely seek changes to their body structure; and the role which culture and social expectations play in women’s decision-making. Taking a legal perspective on the vast range of ‘beauty’ interventions available to women, Scutt discusses women’s perceptions of body and beauty, pressures on women to conform to ‘idealised’ notions of the perfect woman’s body, and outcomes of legal actions including those taken by individual women who are unhappy with results, as well as those launched against companies trading in products advertised as safe and for women’s benefit. Beauty, Women’s Bodies and the Law will appeal to readers with an interest in women’s and gender studies, law, and cultural studies.

Practices of cosmetic surgery have grown exponentially in recent years in both over-developed and developing worlds. What comprises cosmetic surgery has also changed, with a plethora of new procedures and an extraordinary rise of non-surgical operations. As the practices of cosmetic surgery have multiplied and diversified, so have feminist approaches to understanding them. For the first time leading feminist scholars including Susan Bordo, Kathy Davis, Vivian Sobchack and Kathryn Pauly Morgan, have been brought together in this comprehensive volume to reveal the complexity of feminist engagements with the phenomenon that still remains vastly more popular among women. Offering a diversity of theoretical, methodological and political approaches Cosmetic Surgery: A Feminist Primer presents not only the latest, cutting-edge research in this field but a challenging and unique approach to the issue that will be of key interest to researchers across the social sciences and humanities.

This book explores an innovative study of women who undergo cosmetic study and the doctors who carry it out. It situates cosmetic surgery as a personal choice made by women against the social and cultural reality of the way women's bodies are scrutinised in Western countries.

Versatile, trendy, and resilient, the global cosmetic surgery industry shows no signs of decline, especially with its promises, not just of aesthetic improvement, but of absolute transformation. Introducing the concept of "surface imagination," Rachel Hurst discusses the fantasy that a change to the exterior will enhance the interior, or that the outside is more significant because it fashions the inside. Drawing on psychoanalysis, feminist theory, popular culture, the history of medicine, and interviews with women who have undergone cosmetic procedures, Hurst explores the tensions between the two primary surfaces of cosmetic surgery: the photograph and the skin. The photograph, an idealized surface for envisioning the effects of cosmetic surgery, allows for speculation and retouching, predictably and without pain. The skin, on the other hand, is a recalcitrant surface that records the passage of time and heals unpredictably. Ultimately, Hurst argues, the fantasy of surface imagination corroborates the belief that one's body is mutable and controllable, and that control over one's body permits control over one's social, emotional, and mental suffering. Acknowledging the varied experiences and opinions of the patients interviewed, but also critiquing the promises made by the industry, Surface Imaginations develops an innovative approach to thinking about cosmetic surgical transformations through the seduction of surfaces.