Pygmalion's Many Faces

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Cosmetic Surgery: A Feminist Primer, 2009, 1, pp. 171 - 187
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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)
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