Skintight: An Anatomy of Cosmetic Surgery
Skintight: An Anatomy of Cosmetic Surgery
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紧身：整容手术的解剖
DOI：
10.1111/j.1540-5931.2009.00726_7.x
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发表时间：
2009
期刊：
影响因子：
--
通讯作者：
M. Griffin
中科院分区：
文献类型：
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作者：
M. Griffin
1146 书评“改造文化”(80)。对于琼斯来说，“整容手术太复杂了……无法从代理和受害者这两个最常见的女权主义角度来分析该技术”(16)。在分析化妆文化时，琼斯展示了女权主义对整容手术的反应，她接受整容手术作为我们现代现实的一部分，同时建设性地审视其影响。琼斯对化妆文化的分析质疑了《极限化妆》等电视节目和其他流行的整容手术表现。电视、印刷杂志和互联网网站形成了化妆文化的“媒体景观”，使整容手术正常化，作为持续自我护理的一部分。在转型经济中，自我完善的劳动永远不会完成，“成为比存在更令人向往”(12)。在像《极限改造》这样的电视节目中，“每一集都是关于成为的过程——从手术期间开始，然后通过康复、修饰和日常生活中进一步的‘个人成长’继续的过程”(53)。整容手术前后的比喻已经成为历史的产物，因为今天的改造主题永远不会结束。在改造文化中，“之后”是新的“之前”，只是预示着下一部分的劳动”（55）。改造成为一种永久的生活方式，而不是单一的事件。琼斯的第三章概述了行动者网络理论及其主导意识形态，是各种学科的有用理论工具。由于演员网络理论同时考虑了人类和非人类演员，因此它可以揭示像 Botoxt 这样的品牌如何将医生、文化话语和人肉结合起来，形成整容手术实践。行动者网络理论戏剧性地重新概念化了权力动态，较少关注哪些实体拥有权力，而是关注行动者之间如何协商权力。例如，在这种网络经济中，权威的外科医生被一种“视觉专家分散了，不再以医生的形象聚集在一起”的模式所取代（73）。 化妆文化不断转型的一部分需要琼斯所说的“拉长的中年”。虽然延长的中年可能被理解为一种永葆青春的尝试，但琼斯的受访者坚持认为，他们正在“重新设计，而不是否认自己的衰老过程”(83)。在这个漫长的中年时期，整容手术不再是为了重获青春，而是更多地描绘永恒和展示适当的自我保健。受访者表示，他们的手术是为了“增强
1146 Book Reviews‘‘makeover culture’’(80). For Jones,‘‘cosmetic surgery is too complicated... to be analyzed in terms of agency and victimhood, the two most common feminist angles on the technology’’(16). In analyzing makeover culture, Jones demonstrates a feminist response to cosmetic surgery that accepts its practice as part of our modern reality while constructively examining its impact. Jones’ analysis of makeover culture interrogates television shows like Extreme Makeover and other popular representations of cosmetic surgery. Forming the ‘‘mediascape’’of makeover culture, television, print magazines, and Internet sites normalize cosmetic procedures as part of continuous self-care. In an economy of transformation, the labor of selfimprovement is never complete and ‘‘becoming is more desirable than being’’(12). In TV shows like Extreme Makeover,‘‘episodes are about the process of becoming—processes that begin during surgery and then continue through recovery, grooming and further ‘personal growth’in everyday life’’(53). The before/after cosmetic surgery trope becomes an artifact of history as today’s makeover subject is never finished. In makeover culture,‘‘‘after’is the new ‘before,’simply heralding the next portion of labour’’(55). Makeover becomes a perpetual lifestyle rather than a singular event. A useful theoretic tool for various disciplines, Jones’ third chapter outlines actor network theory and its dominant ideologies. Because it accounts for both human and nonhuman actors, actor network theory can reveal how a brand like Botoxt joins an assemblage of doctors, cultural discourses, and human flesh to form cosmetic surgery practice. Dramatically reconceptualizing power dynamics, actor network theory focuses less on which entities hold power and instead on how power is negotiated between actors. In this network economy, for example, the authoritative surgeon is replaced in a schema where ‘‘visual experts are dispersed, no longer holding together in the figure of the doctor’’(73).Part of makeover culture’s ceaseless transformation requires what Jones calls a stretched middle age. While the stretched middle age might be construed as an attempt to perpetuate youth, Jones’ interviewees insist that they are ‘‘redesigning, not denying, their ageing process’’(83). In this continuum of stretched middle age, cosmetic surgery is less about recapturing youth and more about portraying agelessness and demonstrating appropriate self-care. Interviewees report that their surgeries are about ‘‘enhancing the display of