Pygmalion's Many Faces

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Show simple item record Jones, Meredith en_US
dc.contributor.editor Cressida J. Heyes & Meredith Jones en_US 2010-05-28T09:41:57Z 2010-05-28T09:41:57Z 2009 en_US
dc.identifier 2008003075 en_US
dc.identifier.citation Jones Meredith 2009, 'Pygmalion's Many Faces', in NA (ed.), Ashgate, England & USA, pp. 171-187. en_US
dc.identifier.issn 978-0-7546-7699-7 en_US
dc.identifier.other B1 en_US
dc.description.abstract My local butcher's shop has an extraordinary painting on its wall. A young bull frolics on his hind legs, grinning and salivating. A starched white bib is tied in a bow around his neck and in his hoof he holds a silvery meat cleaver. He is strangely twisted around on himself, like a dog chasing its tail. This is because he is chopping his own rump into a neat row ofT-bone steaks. The bull is a comical and grotesque mix of hybrids, including provedore/consumer and victim/killer. Carole Spitzack describes a video of a cosmetic surgery operation: A staff of happy professionals surrounding a relaxed patient, the needles and knives almost beside the point, fading into the background, into the skin, the body. The patient appears happy about the prospect of her own effacement. (1988: 44) en_US
dc.language en_US
dc.publisher Ashgate en_US
dc.relation.isbasedon NA en_US
dc.title Pygmalion's Many Faces en_US
dc.parent Cosmetic Surgery: A Feminist Primer en_US
dc.journal.volume en_US
dc.journal.number en_US
dc.publocation England & USA en_US
dc.identifier.startpage 171 en_US
dc.identifier.endpage 187 en_US DVCTLE.Institute for Interactive Media and Learning en_US
dc.conference Verified OK en_US
dc.for 200200 en_US
dc.personcode 014099 en_US
dc.percentage 100 en_US Cultural Studies en_US
dc.classification.type FOR-08 en_US
dc.edition 1 en_US
dc.custom en_US en_US
dc.location.activity en_US
dc.description.keywords NA en_US
dc.staffid en_US
dc.staffid 014099 en_US

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