دانلود رایگان مقاله لاتین طراح به عنوان کالای مصرفی از سایت الزویر
عنوان فارسی مقاله:
جراحی صورت، یا صورت طراح به عنوان کالای مصرفی جدید
عنوان انگلیسی مقاله:
(Un)saving face, or the designer face as a new consumer commodity
سال انتشار : 2016
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بخشی از مقاله انگلیسی:
2. The face as a construct
Scholars in various disciplines collectively identify the multifaceted nature of the face and define an evolution starting from merely a physical body part to a carrier of deep symbolic, cultural, and social meanings. Sociologist Synnott (1993) summarizes the findings of face research by function. As “the prime symbol of the self,” the face is physical, unique, personal, private, and intimate. As a source of verbal and non-verbal communication, the face is public, malleable, and subject to fashion. Semiotically, the face links to God, love, the self and the soul. Synnott shows how the birth of physiognomy establishes the face as a marker of character. Aristotle, the first scientist to view the face as a particularly suitable part of the body to signify mental character, wrote: “The face, when fleshy, indicates laziness, as in cattle… A small face marks a small soul, as in the cat and the ape… So the face must be neither large nor little: an intermediate size is therefore best” (Aristotle & Barnes, 1984, p.1246). Aristotle offers an early attempt to normalize facial standards, without influence from marketers. Instead, the message originates from a Greek philosopher who is fascinated by the natural human form and “facism” in particular. The face's function as a marker of fate was developed during the Renaissance with the rise of astrology. This time period attached cosmic significance to the face and transformed face-reading techniques from the descriptive to the predictive mode. From an astrological perspective, a face is viewed holistically, including moles, warts, and wrinkles. The specialized discipline of metoposcopy engaged in the reading of facial lines and spots. The belief was that past, present, and future were written in the face. Paintings of the 16–17th centuries document the “divine” significance of facial imperfections that were often plotted in detail in the portraits.
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کلمات کلیدی:
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