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The scars of our pains, hurts, frustrations, and inner-most anger are the bedrocks to the birth of "THE DISFIGURED MASK!" Too often, the chariot of emotional instability is our voice and vessel that unleashes our human-animal within! Irrespective of the color of our skin, like a ticking time bomb we lay await for something, someone to aggravate the anger and hurt that stain like sin. Unveil the masks and you will see, some angry souls in deep misery; for even though we smile so bright in our lives there is no light! I pray that this book, THE DISFIGURED MASK, would be very instrumental in not only taming the "human-animal" within us, but transform our thoughts and actions to be more loving to each other; in our society and domestic relationships!
The scars of our pains, hurts, frustrations, and inner-most anger are the bedrocks to the birth of “THE DISFIGURED MASK!” Too often, the chariot of emotional instability is our voice and vessel that unleashes our human-animal within! Irrespective of the color of our skin, like a ticking time bomb we lay await for something, someone to aggravate the anger and hurt that stain like sin. Unveil the masks and you will see, some angry souls in deep misery; for even though we smile so bright in our lives there is no light! I pray that this book, THE DISFIGURED MASK, would be very instrumental in not only taming the “human-animal” within us, but transform our thoughts and actions to be more loving to each other; in our society and domestic relationships!
Introduction -- Emanuel Levinas -- Face value -- Facial disfigurement and its repairs -- Elephant people -- Narratives on facial disfigurement -- Conclusion.
The face, being prominent and visible, is the foremost marker of a person’s identity as well as their major tool of communication. Facial disfigurements, congenital or acquired, not only erase these significant capacities, but since ancient times, they have been conjured up as outrageous and terrifying, often connoting evil or criminality in their associations – a dark secret being suggested "behind the mask," the disfigurement indicating punishment for sin. Complemented by an original poem by Kenneth Sherman and a plastic surgeon’s perspective on facial disfigurement, this book investigates the exploitation of these and further stereotypical tropes by literary authors, filmmakers, and showrunners, considering also the ways in which film, television, and the publishing industry have more recently tried to overcome negative codifications of facial disfigurement, in the search for an authentic self behind the veil of facial disfigurement. An exploration of fictional representations of the disfigured face, this book will appeal to scholars of sociology, cultural and media studies, American studies and literary studies with interests in representations of disfigurement and the Other.
Offering readings of a range of fictional and biographical texts, including work by Richard Selzer, Nathaniel Hawthorne, Gaston Leroux, Willa Cather, Natalie Kusz, and Lucy Grealy, this book examines reactions to facially disfigured people on the basis of Emmanuel Levinas’ ethics of the face. Drawing on Levinas’ concern with the holistic dimension of the face as an encounter with the other’s "whole person" and the sense of moral obligation that this instils in us—a sense that disfigurement disrupts by drawing our attention to the disfigurement as a "spectacle" and threatening to limit our view of that individual—the author explores how we react to the facially disfigured and how we ought to react.
But she perseveres, staying by Sam's side, until he moves first a finger, then a foot, and finally starts to rebuild his life."--BOOK JACKET.
I'm a Beauty with Twist. I am Different, and my story is Different. I grew up as a normal black girl, however, I also grew up different-- I have a disability. I grew up in a precarious household, but I was also loved. All these life experiences created my story. Living a different life hasn't always been easy, matter fact there were times where I wanted to throw it all away. Nevertheless, despite the hardships, despite the medical challenges, and even the physical and emotional pain; I found purpose through it all and I found God in it all. It's not your traditional story, but it is my story and my prayer is that it will be used to change the world!
A New York Times Bestseller Finalist for the 2022 Kirkus Prize | Named a best book of the year by The Guardian "Enthralling. Harrowing. Heartbreaking. And utterly redemptive. Lindsey Fitzharris hit this one out of the park." —Erik Larson, author of The Splendid and the Vile Lindsey Fitzharris, the award-winning author of The Butchering Art, presents the compelling, true story of a visionary surgeon who rebuilt the faces of the First World War’s injured heroes, and in the process ushered in the modern era of plastic surgery. From the moment the first machine gun rang out over the Western Front, one thing was clear: humankind’s military technology had wildly surpassed its medical capabilities. Bodies were battered, gouged, hacked, and gassed. The First World War claimed millions of lives and left millions more wounded and disfigured. In the midst of this brutality, however, there were also those who strove to alleviate suffering. The Facemaker tells the extraordinary story of such an individual: the pioneering plastic surgeon Harold Gillies, who dedicated himself to reconstructing the burned and broken faces of the injured soldiers under his care. Gillies, a Cambridge-educated New Zealander, became interested in the nascent field of plastic surgery after encountering the human wreckage on the front. Returning to Britain, he established one of the world’s first hospitals dedicated entirely to facial reconstruction. There, Gillies assembled a unique group of practitioners whose task was to rebuild what had been torn apart, to re-create what had been destroyed. At a time when losing a limb made a soldier a hero, but losing a face made him a monster to a society largely intolerant of disfigurement, Gillies restored not just the faces of the wounded but also their spirits. The Facemaker places Gillies’s ingenious surgical innovations alongside the dramatic stories of soldiers whose lives were wrecked and repaired. The result is a vivid account of how medicine can be an art, and of what courage and imagination can accomplish in the presence of relentless horror.
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. From the theater mask and masquerade to the masked criminal and the rise of facial recognition software, masks have long performed as an instrument for the protection and concealment of identity. Even as they conceal and protect, masks – as faces – are an extension of the self. At the same time, they are a part of material culture: what are masks made of? What traces do they leave behind? Acknowledging that that mask-wearing has become increasingly weaponized and politicized, Sharrona Pearl looks at the politics of the mask, exploring how identity itself is read on this object. By exploring who we do (and do not) seek to protect through different forms of masking, Sharrona Pearl's long history of masks helps us to better understand what it is we value. Object Lessons is published in partnership with an essay series in The Atlantic.
War, modernism, and the academic spirit -- Women in peril -- Mirroring masculinity -- Opposing visions -- Opening the floodgates -- To see or not to see -- Being there -- Behind the mask -- Monsters in our midst.