By Deborah Harris-Moore
Opposed to the history of the so-called 'obesity epidemic', Media and the Rhetoric of physique Perfection seriously examines the discourses of actual perfection that pervade Western societies, laying off new mild at the rhetorical forces at the back of physique anxieties and severe equipment of weight reduction and beautification. Drawing on wealthy interview fabric with plastic surgery sufferers and supplying clean analyses of assorted texts from pop culture, together with internationally-screened reality-television indicates together with the most important Loser, severe Makeover and The Swan in addition to leisure programmes and documentaries, this publication examines the ways that Western media capitalise on physique anxiousness by way of proposing actual perfection as an ethical principal, when advertisements speedy and potent transformation how you can erase actual imperfections.With cognizance to modern traces of resistance to criteria of thinness and makes an attempt to redefine conceptions of good looks, Media and the Rhetoric of physique Perfection will entice students and scholars of pop culture, tv, media and cultural reviews, in addition to the sociology of the physique, feminist idea, physique transformation and plastic surgery.
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Extra resources for Media and the Rhetoric of Body Perfection: Cosmetic Surgery, Weight Loss and Beauty in Popular Culture
She most often is an emblem of scorn in the field of women’s studies, but has been, at the same time, a positive symbol in queer studies and some areas of cultural studies. Toffoletti, whose goal is to show Barbie’s contribution to posthuman theory, includes studies that have defended Barbie, including accounts by gay men who played with Barbies as kids and transgendered individuals who embody Barbie’s femininity and style. She also describes the cultural influence of Barbie 7 Media and the Rhetoric of Body Perfection historically, both as a representative of various female roles and cultural trends, but also as a popular collectible that embodies the history of women in fashion and industry.
Instead, “the split and contradictory self is the one who can interrogate positionings and be accountable; the one who can construct and join rational conversations and fantastic imaginings that can change history. Splitting, not being, is the privileged image for feminist epistemologies” (193). In terms of the media, women must not be seduced by identity claims or simple categories for identity, but must remain critical readers. Further, women are responsible in those media outlets and public arenas for choosing their language carefully, avoiding using simplistic categories or projecting images that could be viewed as stereotypical.
Bodies 115) Butler criticizes complete disavowal of any identity, because that very disavowal can reaffirm the power of the hegemonic identification and reveals, in some cases, that strong identification with particular identities is necessary for complete disavowal. ” If butchness requires femmeness, then to prescribe to one of these extremes is to maintain and reinforce the other (115). Placing this theory of disavowal and avowal, again, in relation to plastic surgery, weight loss, and body modification offers not only theoretical but methodological considerations.
Media and the Rhetoric of Body Perfection: Cosmetic Surgery, Weight Loss and Beauty in Popular Culture by Deborah Harris-Moore