Ugly Woman Research Articles

Metamorphosis of a Tall and Ugly Woman Through Plastic Surgery During a 7-Year Period: An Analysis of The Life and Loves of a She-Devil.

The aim of this study is to analyze the process of metamorphosis of a tall and ugly woman through plastic surgery as depicted in The Life and Loves of a She-Devil (1983) of Fay Weldon. The process of plastic surgeries and the psychology of the protagonist of this novel were analyzed. A highly unattractive woman (Ruth, 185cm) takes revenge on her husband (Bobbo, 175cm) and his attractive lover (Mary Fisher, 160cm). To transform her appearance, Ruth remodels her jaw, has her teeth extracted (2-jaw surgery or facial contouring surgery), straightens and trims her nose (corrective rhinoplasty), flattens her cheekbones (reduction malarplasty), reduces her breast size (reduction mammoplasty), and shortens both her arms and legs (limb reduction surgery). Following the series of surgeries, Ruth ultimately made herself look identical to Mary Fisher, her husband's lover. She believes her inadequacies stem from her body's failure to meet societal beauty standards, prompting her decision to "remake" herself. She declares, "I will be what I want, not what God ordained." Ruth's aspiration is not to acquire a new face but to attain the face of Mary Fisher. When confronted with pain and harm, Ruth does not waver but acknowledges it. "Of course it hurts. Andersen's little mermaid wanted legs instead of a tail. And, like her, I welcome it. I don't complain." In this study, we derived insights into why patients who want to change their entire bodies undergo plastic surgery, what these patients really want, and patients' attitudes toward the pain caused by surgical procedures.

Aconite-Induced Metamorphosis From Beauty to Ugliness in a Japanese Tale.

The authors present a narrative that details the cause and process of a woman's transformation from beauty to ugliness in a Japanese tale. In " Tokaido Yotsuya Kaidan ," the metamorphosis from a beauty to an ugly woman is analyzed. After taking medication to recover from childbirth, Oiwa's face became disfigured and grotesque. Oiwa: It seems to be good for my blood, but when I drink it, it causes fraying and breakdown, causing sudden pain. I feel a numbing dullness. When she looked at herself in the mirror, she was shocked. Oiwa: What's wrong with my face? I hate this, it's such a disgusting thing. Neighbor: It was a lie that the medicine you drank was a helpful medicine that protects the appearance of people's faces. Your face is that of a wicked woman (). Oiwa: Is it really me? Why does she have the face of an evil woman? Her hair falls out in a gruesome combing scene, driving her mad. The poison Oiwa took was aconite, which grows wild in Japan. Both aconite tincture and raw aconite roots contain high concentrations of Aconitum alkaloids, which can penetrate the stratum corneum following the diffusion gradient. As her hair fell out during a horrific combing session, she abandoned her maternal role and sought revenge, having lost what she considered a symbol of her femininity. In treating female patients with facial disfigurement, it is important to be mindful of their psychological state, akin to that of Oiwa, who became disfigured through no fault of her own.

Features of Ugly but Capable Women of Ancient China.

The aim of this study was to analyze the appearance of women viewed as "ugly but capable" in ancient China. A Google search was conducted for the "Four Great Ugly Women." Information on 3 women was collected from Lienüzhuana, a collection of biographies of eminent women compiled by the Former Han period. With the addition of 1 (Huang Yueying), 7 "ugly but capable" women were analyzed. The manifestations of their ugliness in the texts were recorded. Among the 7 women, 5 exhibited physical manifestations, whereas the remaining 2 were simply described as "ugly" without specific characteristics. Among the discernible body characteristics of the 5 women deemed unattractive, the most common feature was dark skin (80%), followed by body shape (60%). Other frequently observed traits included sparse or yellow hair, an upturned or overly large nose, a convex forehead, and an unattractive neck (each at 40%), with the latter potentially exhibiting a protruding Adam's apple, a thick neck, or a neck mass. Less common features were sunken eyes, a large head, and a masculine skeleton, each occurring in 20% of cases. Based on the depiction of women considered unattractive, the authors can infer that dark skin, a fat body, a large or upturned nose, sparse hair, a protruding forehead, a thick neck, deep-set eyes, and a large head were elements associated with ugliness. Through the description of the ugly woman, authors can infer the standards of ugliness in ancient China.

The earliest description of an ugly woman in Japanese medical literature

The earliest description of an ugly woman in Japanese medical literature

Weaponizing free speech protections in U.S. higher education: the ugly impact of assaultive speech on Black women students

First Amendment protections for blackface in U.S. higher education have for too long fostered hostile educational environments for Black women and other racially minoritized and marginalized communities. Institutions dedicated to inclusive learning environments can no longer ignore these abuses and have an opportunity and obligation to challenge and disrupt the protections long afforded to assaultive speech. However, overturning these problematic gendered-anti-Black racist narratives of interpreting caricatures of Black women's bodies with blackface and exaggerated body parts as harmless entertainment of means centering the voices, perspectives and lived truths of Black women. I use what I call an Intersectionality Discourse Analysis to analyze two subsequent federal court cases involving a white fraternity's ugly woman contest at a public U.S. university and free speech theory. In my recommendations I urge institutional leaders to take an unapologetic stance in sanctioning assaultive speech and to petition the courts to support their decision-making.

여성주의 시각에서 본 두 영화 비교

This thesis analyzed two kinds of films with a gap of 17 years, ‘Shallow Hal’ and ‘I Feel Pretty’ and focused on male/female-oriented character, and visual images in order to find what different perspectives the two films have with respect to the female body. The film ‘Shallow Hal’ is like a fantasy that the male protagonist, ‘Hal’ has a strong female bias went into hypnosis and fat and ugly women looks slim to him. According to ‘I Feel Pretty’, the female protagonist, ‘René’ who lacks confidence in her looks fell under a spell one day and sees her appearance beautiful even though the same to others. Although both of the films have a common setting of ‘Their appearance looks beautiful’, the film ‘I Feel Pretty’ focuses on women’s positions and shows the modern world thus, it is different from ‘Shallow Hal’ which focuses men’s positions. As the perception of women’s appearance has changed after feminist movement, it is significant to compare the two films with a time difference.

Moral Value and Image of Women in The Novel of The Single Parasite Ayu Utami's Work

The purpose of this research is to describe the moral values ??and images of women contained in the novel The single parasite by Ayu Utami. This research uses a descriptive qualitative approach. The object and subject of this research study is Ayu Utami's novel Si ParasitLajang, published in 2013. The data of this study are the moral values ??and images of women contained in the novel The single parasite by Ayu Utami. The data source of this research is Ayu Utami's novel Si ParasitLajang. The data collection technique is done by reading the object of study in depth accompanied by an understanding of the moral values ??and images of women in the novel. This qualitative research data analysis technique is inductive in nature, namely an analysis based on the data obtained first by classifying the data that has been recorded in the data recording list for existing categories or classifications, the second data that has been classified is further analyzed to be used as a basis for interpretation all data and the third then concludes the research results. The results of the research on the moral values ??and images of women in the novel The single parasite by Ayu Utami are (1) the moral values ??in the novel The single parasite by Ayu Utami, namely: being responsible for the family, loyal, and care. (2) the image of women in the novel The single parasite by Ayu Utami is an educated woman, a woman who isindependent, women who have a high social life, beautiful women, ugly women, married women, single women, metropolitan women, brave women, and critical thinking women.

The Unique Affordances of Plainness in George Eliot'sSilas MarnerandMiddlemarch

AbstractBeautiful young women abound in George Eliot's oeuvre, from Hetty Sorrel to Gwendolen Harleth, but most of Eliot's novels also feature marriageable women who are described as plain, or even ugly. George Eliot struggled throughout her life to come to terms with society's judgment of her appearance, and its ramifications in her love life. Rather than being ridiculed or ostracized, Eliot's ugly women are granted a unique perspective on men and the roles available to a Victorian woman other than Angel in the House. Shielded from the male gaze, their gaze is more direct and discerning; spared from male flattery, their speech is direct and witty. In providing readers with female characters who are plain but happy, George Eliot illustrates the unique affordances offered to “ugly” women, herself included.

The Honeymoon, A Novel

The Honeymoon, A Novel

Homo Janus Bulgaricus: Psychology and Psychopathology (not only) of Bulgarians

This book will be released in January 2017. It contains a foreword, 110 essays, a self-portrait, Praise of snowdrop, 28 science-in-fiction, an interview and coda, 18 of them presented bilingual - in Bulgarian and English, on a total of 377 pages, 9 of them presented herein. FOREWORD Finally in this hollow, lonely village complete his search. In a small shabby house, the Truth sat nearby the fire. He had never seen a more old and ugly woman. - Are you the Truth? Old, wrinkled witch nodded solemnly. - Say what have to tell the world? What message to convey? The old woman spat in the fire and answered: - Tell them I`m young and beautiful! Robert Tompkins, `In Search of the Truth`

Semiology of Women Characters inThe Wife of Bath's TalBased on Judith Butler's Performative Acts Theory

Wife of Bath's Tale is a famous story from The Canterbury Tales. It is about a knight who raped a woman. In order to get rid of punishment, he has to find the answer of a puzzle: —what women like the most?‖ An ugly old woman saves his life, while putting a condition for giving the response. She reveals that women desire possessing men themselves. Then, she asks him if he likes to have a faithful wife or a beautiful one. As he asks for fidelity, she changes to a beautiful woman.

Mythological Characters of the Domestic Space in Russian Folk Beliefs: Lexicographic and Ethnographic Aspects

Russian mythological characters relating to the domestic space are described on the basis on folkloric, ethnographic, and lexicographic sources. The integration of evidence has revealed transformations undergone by views of the male and female goblins (domovoy and kikimora, respectively), allowing us to compare local beliefs and stories featuring them in urban and rural areas of Russia and to reconstruct common Russian ideas of goblins with reference to the notion of linguistic and cultural literacy. The results demonstrate that the idea of domovoy is quite popular even among urban dwellers, generally matching traditional Russian beliefs. The domovoy is believed to be a home and family patron, either invisible or small and shaggy, an old man or a tomcat, supposed to be entertained with food and invited for a housewarming. Unlike the image of domovoy, that of kikimora has undergone substantial changes. Modern urban residents view kikimora mostly as an untidy ugly woman, sometimes called kikimora bolotnaya, the second word being an adjective of boloto, ‘bog’, thus turning her into a forest rather than domestic spirit. The idea of kikimora as a home spirit is still held by villagers, who view her either as a ghost or as a poltergeist-like doll. Domestic mythical characters, then, have changed without losing their vigor.

“I’m No Swan”: The Ugly Plot from “Good Country People” to Eating the Cheshire Cat

MONICA CAROL MILLER Middle Georgia State University “I’m No Swan”: The Ugly Plot from “Good Country People” to Eating the Cheshire Cat. 1 FLANNERY O’CONNOR FAMOUSLY WROTE THAT THE REASON SOUTHERN literature is rife with freaks is because only southerners were able to recognize the freakish. Among the many characters considered under the umbrella of the freakish are ugly women, from O’Connor’s own Joy-Hulga in the 1955 short story “Good Country People” to more recent characters such as Helen Ellis’s Nicole Hicks in her 2000 novelEatingthe Cheshire Cat. These characters adopt an ugly appearance in order to opt out of the rigid expectations of southern gender roles: that they will conduct themselves in ways amenable to attracting appropriate male attention, marrying, and spending their time primarily as caregivers for their families. From Katherine Anne Porter’s Cousin Eva in her 1937 collection, The Old Order, whose weak chin doomed her to a life of spinsterhood, to Celie in Alice Walker’s 1982 novel The Color Purple, who was ugly but could work like a man, physically ugly female characters have stood in contrast to the more popular images of beautiful southern belles. While these characters have generally been considered under the capacious categories of the freakish or the grotesque, I am more interested in their less extreme—“ugly”—qualities. When asked in an interview about the influence of O’Connor on her work, Ellis zeroed in on O’Connor’s female characters like Joy-Hulga, observing that they were often physically ugly. Ellis went on to talk about her own southern childhood, and how “ugliness” was used to characterize not only appearance but also behavior. Like many raised in the South, Ellis grew up with the warning “Don’t be ugly!” to mean that she was misbehaving or acting inappropriately—a definition that, indeed, is a regionally-specific one (Personal Interview). This southern meaning of ugliness is helpful for identifying a tradition of ugly female characters who choose to adopt a physically ugly appearance as a way of 1 Portions of this essay appear in my book Being Ugly. 438 Monica Carol Miller opting out of the expectations of marriage and motherhood.2 This genealogy of ugly women includes, for example, any number of Lee Smith’s characters from the 1980s forward who, for various reasons, choose to opt out of marriage and motherhood by “letting themselves go” in a narrative form that I call the ugly plot.3 The ugly plot functions as a counterplot that undoes traditional love plots driven by compulsory heterosexuality, enabling characters with material advantages to choose a resistant, rebellious, and alternative existence outside of normative southern gender roles and marriage economies. Although we typically associate beauty with privilege, characters from O’Connor’s Joy-Hulga to Ellis’s Nicole demonstrate that ugliness also functions as a marker of privileged access to wealth and other resources. Despite advances in gender equity in the nation and the South, the myth of the southern belle simply will not die. In a 2011 article for the lifestyle magazine Garden and Gun, for example, Allison Glock insists upon the distinctiveness of southern women: To be born a Southern woman is to be made aware of your distinctiveness. And with it, the rules. The expectations. These vary some, but all follow the same basic template, which is, fundamentally, no matter what the circumstance, Southern women make the effort. Which is why even the girls in the trailer parks paint their nails. . . . And why you will never see Reese Witherspoon wearing sweatpants. Or Oprah take a nap. While there are numerous starting points for analyzing this description, what interests me is the relationship between beauty and “making an effort,” and the moral judgment implied by this relationship. Even if one is “born a Southern woman,” there is still a de Beauvoirean implication 2 See Freeman, The Wedding Complex, and Boone, Tradition Counter Tradition. 3 For Smith’s female characters, “letting yourself go” is a signal that a woman lacks the correct disposition for the compromises of marriage and motherhood. Certainly, “letting oneself go” contains an element of moral judgment, implying a failure of self-discipline...

Gendering Metamorphosis in d'Aulnoy's 'Babiole'

AbstractThis article explores how Marie-Catherine d'Aulnoy uses the fairy-tale trope of metamorphosis not only to blur the distinction between human and animal but also to comment upon notions of femininity and masculinity. In 'Babiole', the heroine is transformed into a guenon, a kind of female monkey also used to denote an ugly woman in seventeenth-century France. Although the monkey-princess undergoes a civilizing process, she is always viewed by others as an inferior creature whose animality defines her. Babiole's experience contrasts sharply with that of her male fairy-tale counterpart, the Prince Marcassin, who is transformed into a boar. By comparing Babiole to Prince Marcassin, we see the extent to which d'Aulnoy's choice of animal for each metamorphosis is not arbitrary.

The Apparition, and: A Catalogue of Lures

The Apparition, and: A Catalogue of Lures Cate Marvin (bio) To wish a ghost to press against your breasts. To desire an automobile that runs on breath. To intend a kind of crime that cannot be undone. To dream the field of his barnyard-kind breath. To withdraw one’s intent to make a harm. To negate the wish that one wished to harm. To never it out of your mind your unkindnesses. To further the dream of his hay-rough caress. To be someone utterly good without a past. To be one who moves without a sense of tense. To get that ghost out from the walls for a kiss. To pull his ghost out your head for a long talk. To make it all up, unsay everything ever said. To become so quiet you may as well be dead. To unthink the thinking he did unto you: true. To walk backwards across the campus lawn. To move in rewind, reverse-time, across a lawn. To not let yourself pass his bright bent on the green. To make it certain you were never once seen. To move away from the fence at which your back bent. To pull the very airplane down from that sky. To swing him back up to where he stood once. To put the mountain firm again beneath his feet. To hand him a meadow’s deep to wallow greenly into. To remove yourself from the spot across which the huge shadow moved. The barge moved so silently one could not have known just when to run. [End Page 79] And who runs from the hand of a shadow? But the blanket of it covered us, smothered us. To ask what should not be asked is to ask what cannot be answered. Where are you and when will you come back?I’ve been hanging out on the corner of you for forever.No one sells soda pop, no one walks by whistling. What’s it like up there, being a forever-person?Do you float upon a purple lightning cloud?Would send me beams of dreams if you loved me?If you and God play badminton, I bet you win every time. [End Page 80] A Catalogue of Lures Beneath the glitter those low lights suspended above the barroom, he winced a little as I reminded a man’s blank stare he and I’d already met. Later, I’d see he simply didn’t like my direct manner of address. Soon I’d consider he may not have found kindness in how I presumed to buy him drinks, perhaps thought me suspect of trying (indeed, it was trying) only to win his later-kiss, and no doubt he saw me glaring as he sucked the mojito I’d paid for down as he stood close to an ugly woman I’d long been jealous of, jealous only for the fact I was aware that she too was a passenger in his station waiting for his train to arrive. Later, I awoke to the fact he neither cared for my fashion, the orange cloth’s peacock feathers patterned across the silk that flew from my neck like an aviator’s scarf, nor was he impressed by my fondness for metallic shoes; he probably hated my too straight teeth too. No doubt he felt animosity also toward the hospital at which I’d been born, though he’d never once asked where I was from. Was it my candor that was so off-putting, the fact I’d have lain down like a mat before his feet and didn’t have a problem admitting that? It’s not like I have such a terrible laugh, or that I’m incapable of listening. If you asked, I could repeat the life of his story. I’m that good [End Page 81] a scholar, my ear’s a whirlpool, my eye threads the hook with its line. I have been capable of the behavior of statues. How many rivers have rushed by as I’ve stood fastened on the smart set of his teeth, the jaw with its flaws, the eyes refusing to meet with my eyes...

Who Is Afraid of the “Ugly Women”?: Problems of Writing Biographies of Nazi and Fascist Women in Countries of the Former Soviet Block

Who Is Afraid of the “Ugly Women”?: Problems of Writing Biographies of Nazi and Fascist Women in Countries of the Former Soviet Block

Patrizia Bettella. The Ugly Woman: Transgressive Aesthetic Models in Italian Poetry from the Middle Ages to the Baroque. University of Toronto Press, 2005.

Patrizia Bettella. The Ugly Woman: Transgressive Aesthetic Models in Italian Poetry from the Middle Ages to the Baroque. University of Toronto Press, 2005.

‘To make love to a Deformity’: praising ugliness in early modern England

This article discusses the fashion for witty celebrations of ugly women in early seventeenth‐century English literature. While apparently celebrating unconventional forms of beauty, texts ‘praising’ ugly women more accurately elevate masculine forms of artistic agency at the expense of the female body, which continues to be identified with ugly matter. Literary instances where ugliness is ‘celebrated’ work to contain the potentially threatening nature of the ugly female body. The article situates ‘deformed mistress’ texts in relation to wider early modern discourses of beauty and ugliness, discussing the extent to which categories of the artificial and the natural, in particular, are evaluated in gendered terms in this period.

Bodies of Knowledge

As different in approach and range as they undoubtedly are, these four books all share an interest in medieval representational practices out of which complex ideas and theories concerning bodies — indeed, out of which different bodies — emerge. Katharine Park’s Secrets of Women is a wonderfully rich study of anatomy and dissection in northern Italy as it developed from the fourteenth to the sixteenth century; Carole Rawcliffe’s Leprosy in Medieval England offers a dense and detailed examination of the treatment and theories surrounding leprosy in late medieval England; Nicola McDonald’s wide-ranging collection of essays explores a plethora of medieval obscenities ad related issues; and Patrizia Bettella’s The Ugly Woman examines the role of this reviled figure in Italian poetry from the Middle Ages to the Baroque.

:The Ugly Woman: Transgressive Aesthetic Models in Italian Poetry from the Middle Ages to the Baroque

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