DOCSLIB.ORG

I Tattooed Lives: the Indelible Experience of Meaning and Identity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I Tattooed Lives: the Indelible Experience of Meaning and Identity Tattooed Lives: The Indelible Experience of Meaning and Identity in Body Art by © Chris William Martin A thesis submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Sociology Memorial University August 2018 St. John’s, Newfoundland and Labrador i Abstract This dissertation explores the increasingly popular practice of tattooing from the perspective of tattoo enthusiasts and tattoo artists. While the topic of tattoos and tattooing have been researched by sociologists and cultural theorists in the past, this treatment of the subject uniquely combines the perspectives of symbolic interactionism, social semiotics, and Bauman’s ideas about liquid modernity, to help understand the meaning-making semiotic potential of tattoos for enthusiasts and artists within the context of their wider socio-cultural environments. This thesis is informed by in-depth qualitative research data gathered from over a year of ethnographic field research in a tattoo studio. It also offers enthusiast narratives which were gathered from semi-structured interviews. It is important to better understand a practice like tattooing in a post (or liquid) modern era which prizes a more ephemeral existence, especially in relation to fashion, technologies, and human relations. Appreciating the meanings and reasons behind tattoos and tattooing is highly relevant in order to understand why the practice is more common, culturally relevant, and artistic than ever before despite theories of impermanence associated with liquid modernity (Bauman 2000). Indeed, some estimates say that up to 40% of those 18-35 have at least one tattoo and that it is a billion-dollar industry (Pew Research 2008). My results show that despite liquid modern life, tattoo enthusiasts continue to indelibly mark their skin with ink to express (1) self- identity (2) cultural and gender shifts and (3) artistic and emotional connections. From the perspective of tattoo artists, this research shows how artists must demonstrate dramaturgical discipline and navigate symbolic interaction to effectively traverse the cultural shifts occurring in their practice and work with their clients to produce and co- construct body art. These cultural shifts have led tattooists to become better known as tattoo artists and caused for tattoos to be more artistically demanding and aesthetically sophisticated than ever before. ii For Alex iii Acknowledgments I would like to offer the deepest gratitude to all the people who made this work possible. This includes, first, and foremost, my mentor, friend, and the person who, in many ways, has made this work possible, Stephen Harold Riggins. Working with you has meant so much to me. I could not have done this without you, nor would I have wanted to. I offer the deepest thanks to all the tattoo artists and enthusiasts who shared their time and stories with me. I hope I do you justice and represent how unique you are. Specifically, I thank Alex Néron, Marta Jarzabek, Steph Courchaine, Julien Detillieux, and Yves Néron. You have made this work both possible and meaningful. Special thanks to my committee members Scott Kenney and Liam Swiss for your valuable and respected feedback. Thanks to Memorial University Department of Sociology for financial support as a graduate student conducting the research for this project. To my lovely and brilliant wife April Lee, I thank you from the bottom of my heart for listening to me and helping me do this. It was not always easy, but it would have been impossible without you. Thanks to my wonderful baby, Daisy for showing me what really matters. And a loving thanks to the rest of my family, Carol, Bob, Robby, Heather, and Hank. iv Table of Contents Acknowledgments iv List of Tables, Figures, and Appendices vii-viii Introduction 1 Chapter 1 Tattoos and Tattooing in the Era of Liquid Modernity 20 Chapter 2 Methodology 45 Chapter 3 The Art and Artist Behind Your Tattoo 70 Chapter 4 Tattoo Artists as Artists 92 Chapter 5 Permanence as Rebellion: Skin and Self 133 Chapter 6 Of Cultural Change and Gendered Bodies 164 Chapter 7 Tattoos as Artistic and Emotional Signifiers 183 Conclusions 208 References 214 Appendix A Pre-Interview Brief 226 Appendix B Research Consent Form 227 Appendix C Interview Schedule 231 v List of Tables Table 2.1 Selected background characteristics of research population Table 2.2 Ethnography as a product of the Chicago School of Sociology Table 4.1 Description of Select Popular Tattoo Art Style vi List of Figures Figure 0.1 A flyer advertising the fundraising efforts of the “Manchester Tattoo Appeal” Figure 3.1 Receiving the first of many tattoos from Alex at The Studio. Figure 3.2 The client waiting area of The Studio Figure 3.3 My left arm featuring a leopard as part of my tattoo sleeve Figure 4.2 and 4.3 Photos taken at the Royal Ontario Museum Figure 4.4 Photo courtesy of Tim Hendricks, reproduced with permission. Figure 4.5 The Semiotic Square distinction of craft vs. art in tattooing Figure 5.1 and 5.2 Dr. Harry’s black outline tattoos Figure 5.3 Zoë’s Frida Kahlo inspired tattoo Figure 5.4, Sadie’s origami crane tattoo Figure 6.1 and 6.2 Jones’ Japanese-influenced crouching tiger and a portion of Sato Masakiyo's “Tiger Hunt” Figure 6.3 Helen’s skate tattoo Figure 7.1 Helen’s camera tattoo Figure 7.2 Tattoo inspired by Pablo Picasso’s Les Demoiselles d’Avignon (1907) Figure 7.3 Portraiture tattoo of Hunter S. Thompson Figure 7.4 Susan’s quill pen and Canterbury Tales tattoo Figure 7.5 Rhyanne’s Banksy tattoo vii List of Appendices Appendix A. Pre-Interview Brief 226 Appendix B. Research Consent Form 227 Appendix C. Interview Schedule 231 viii Introduction My most recent tattoo is a daisy on my right hand. I see it now while I write. Getting a tattoo on the hand, neck, or face is a point of no return. It means crossing a symbolic line which carries a lot of significance in regard to things like job prospects or future situational identities (Thompson 2015). The tattoo was executed at “The Studio,” the ethnographic research site explored in this thesis. Our daughter Daisy will celebrate her first birthday in a couple of months. I like having a constant reminder of her, but I chose to tattoo my hand because its visibility symbolizes a key part of my identity. Both of my arms are tattoo sleeves; my chest, back, legs, and feet all have tattoos and most were acquired because of my research. Still, that evening, while driving, I looked down to see my freshly tattooed hand and an overwhelming wave of anxiety hit me. I pulled into a parking lot and contemplated. Did I go too far? The anxiety I felt is the fear of permanence. The fear is real even if a person could credibly argue that in the long run everything in life is ephemeral. Permanence in this work is considered primarily in its phenomenological sense as an idea shared by research participants as a subjective perception of the irreversible and irreducible. While tattoos change with time and space, both physically and with regard to its meanings, the initial practice of getting tattooed has a feeling of commitment to the finite. Indeed, as a concept, permanence is one of the major recurring themes explored in the following 1 pages. Readers will see it as an antecedent to fear and as a force to spur a sense of defiance. Sociologist Michael Atkinson divides the history of Western tattooing into six eras or generational moments: the colonist/pioneer (1760s-1870s), circus/carnival (1880s- 1920s), working-class (1920s-1950s), rebel (1950s-1970s), new age (1970s-1990s), and supermarket era(s) (1990s-2003). His book Tattooed: The Sociogenesis of Body Art (2003) is on the verge of becoming a classic within the tattoo literature. But today, it is time to update the history because the increasing social acceptance and artistic nature of tattooing is changing its meanings. We have also moved further into the era sociologist Zygmunt Bauman called liquid modernity. Ours is a world loud with desires in which stability and permanence must contend with insatiable consumerism, swift-paced existence, throw-away products, and a globalized world of humans ever competing for the newest and the best. Changing fashions and the transitory are increasingly powerful social forces and may be a challenge for practices like tattooing which command devotion, commitment, and permanence. In some ways tattooing is inconsistent with the spirit of the age. If Bauman is right, liquid modernity is more of a threat to tattooing than its earlier associations with deviance and disrepute.1 This thesis is about tattoos and tattooing in liquid modern times. I study the social semiotics (investigation of meaning-making potential) of tattoos for enthusiasts and artists 1 While Atkinson’s (2003: 46) supermarket era—characterized by choice—is still relevant in considering tattooing today, I suggest that framing the current period as the liquid modern era helps us appreciate the ambivalence we feel because of our choices. Overwhelmed with choice, the liquid modern citizen must navigate an uneven terrain and will often avoid making decisions (like getting a tattoo) because they are limiting, constraining, and permanent. 2 in the wider socio-cultural environments they inhabit. Although the research that informs this thesis took place in Canada and is of a Canadian context, I believe it has a degree of theoretical generalizability applicable to a broader Western context. For instance, in the narratives of tattoo enthusiasts in later chapters, which were collected and analyzed under a social semiotic lens, I will argue that tattoos provide an anchor of stability in the treacherous waters of contemporary society.
Load more

Recommended publications
  • Perception of Tattoos in Contemporary Japanese Society
    LUND UNIVERSITY • CENTRE FOR EAST AND SOUTH-EAST ASIAN STUDIES Perception of Tattoos in Contemporary Japanese Society Author: Monika Rusiňáková Supervisor: Paul O’Shea Master’s Programme in Asian Studies Spring semester 2019 Abstract This thesis analyses five in-depth interviews on Japanese tattoo culture conducted by the author and ten short interviews with tattooed Japanese people published by Japanese online tattoo magazine. The study focuses on inclusion and exclusion of tattooed Japanese people in contemporary Japanese society, relying on labeling theory and collectivism. The findings suggest that significant tattoo stigmatization prevails in contemporary Japanese society. Tattoos are often percieved as a bad label that is required to be concealed with cloths or make-up. Nonetheless, the label was accepted by the majority of the interviewees who did not want to advocate for their rights of individualistic self-expression. Having said that, there were some participants who refused to submit to the society’s demand for good adjustment. I argue that the willingness to good adjustment is corelated with the values of collectivism. Keywords: Tattoos, Japanese society, Labelling theory, Collectivism 1 TABLE OF CONTENTS 1. INTRODUCTION ............................................................................................................................... 3 1.1 Statement of Purpose and Research Question ............................................................................... 4 1.2 Research Value .............................................................................................................................
    [Show full text]
  • Performing Cultural Encounters in Costumes and Tattoos in Treaty Port Japan Author: Hui Wang
    The ‘Bodyscape’: Performing Cultural Encounters in Costumes and Tattoos in Treaty Port Japan Author: Hui Wang Stable URL: http://www.globalhistories.com/index.php/GHSJ/article/view/109 DOI: http://dx.doi.org/10.17169/GHSJ.2017.109 Source: Global Histories, Vol. 3, No. 1 (Apr. 2017), pp. 85–107 ISSN: 2366-780X Copyright © 2017 Hui Wang License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. The ‘Bodyscape’: Performing Cultural Encounters in Costumes and Tattoos in Treaty Port Japan HUI WANG Hui Wang is a M.A. student at Heidelberg University’s Cluster of Excellence “Asia and Europe in a Global Context” at the Center for Advanced Transcultural Studies. Transcultural Studies in Heidelberg deal with the transformations and entanglements of cultures following contacts and relationships between agents, concepts and institutions of various backgrounds. Hui Wang has received her Bachelor´s degree in Russian Studies. Her research interest is global visual and popular culture and its infrastructures, including both visual as well as material perfor- mances and digital cultures, with a current regional focus on the interactions of Japan and China with the rest of the world.
    [Show full text]
  • Copyright Ownership and the Need for Implied Licenses in the Realm of Tattoos Kyle Alan Ulscht
    Seton Hall University eRepository @ Seton Hall Law School Student Scholarship Seton Hall Law 5-1-2014 Copyright Ownership and the Need for Implied Licenses in the Realm of Tattoos Kyle Alan Ulscht Follow this and additional works at: https://scholarship.shu.edu/student_scholarship Recommended Citation Ulscht, Kyle Alan, "Copyright Ownership and the Need for Implied Licenses in the Realm of Tattoos" (2014). Law School Student Scholarship. 596. https://scholarship.shu.edu/student_scholarship/596 Copyright Ownership and the Need for Implied Licenses in the Realm of Tattoos Kyle Alan Ulscht This article argues that there is a need for an implied license to be issued when an individual is tattooed. In spite of a rich history spanning millennia, the legal community has not come up with an adequate system of determining copyright ownership in affixed tattoos. Complicating this lack of certainty in the field of copyright rights in tattoos is the general unwillingness of courts to invoke the de minimus use exception in cases of copyright violation. This unwillingness coupled with the ubiquitous nature of technology and social media could lead virtually every tattooed person to be held to be an infringer and prevent them from a variety of activities ranging from appearing in advertisements, or movies, to more common activities such as posting photos on Facebook, without a complicated trial or trail of paperwork and accounting. Fortunately courts, relying on theories of equity, have invented the concept of implied licenses for instances when a party commissions a work but does not meet the more formal requirements to own the copyright rights of that work.
    [Show full text]
  • Painting on a Canvas of Skin: Tattooing and the First Amendment Ryan J
    Painting on a Canvas of Skin: Tattooing and the First Amendment Ryan J. Walsht INTRODUCTION "I impose my own set of aesthetics and value judgments as to what beauty is and what it isn't in the context of thp image that [customers] choose," one tattooist says. "I [ ] manifest those qualities in a language."' That language, spoken fluently by an increasing number of self-described tattoo "artists," consists of unique images, honed techniques, innovative color schemes, and other artistic methods or themes. As the tattooists themselves describe it, their work is nothing short of pure art-as expressive as Leonardo's Mona Lisa or T.S. Eliot's The Four Quartets. Yet, unlike Leonardo's canvas or Eliot's verses, the First Amendment status of so-called "skin art" has yet to be determined. The First Amendment, applied to the states through the Fourteenth Amendment,. forbids laws "abridging the freedom of speech."' The Supreme Court has interpreted this language as protecting not only basic political expression, but also nontraditional communicative media' (such as dance,' film,' and music') and expressive conduct (such as burning an American flag'). The Court has also declared-with little explanation-that the First Amendment protects "artistic expression."9 Nonetheless, precedent leaves a fundamental question unanswered: What is artistic expression? t BA 2009, Hillsdale College; JD Candidate 2012,The University of Chicago Law School. 1 Clinton R. Sanders, Customizing the Body: The Art and Culture of Tattooing 28 (Temple 1989). 2 Gitlow v New York, 268 US 652,666 (1925). 3 US Const Amend I. 4 Throughout this Comment, certain types of media (for example, motion pictures) will be identified as "protected" under Court precedent.
    [Show full text]
  • Function Or Aesthetic
    ISSN: 1500-0713 ______________________________________________________________ Article Title: Meanings of Tattoos in the Context of Identity- Construction: A Study of Japanese Students in Canada Author(s): Mieko Yamada Source: Japanese Studies Review, Vol. XII (2008), pp. 3 - 21 Stable URL: https://asian.fiu.edu/projects-and-grants/japan- studies-review/journal-archive/volume-xii-2008/yamada- meanings-of-tattoos-in-the-context-of-identity-construction- p03.pdf MEANINGS OF TATTOOS IN THE CONTEXT OF IDENTITY-CONSTRUCTION: A STUDY OF JAPANESE STUDENTS IN CANADA Mieko Yamada Indiana University-Purdue University Fort Wayne Introduction Tattoo culture in Japan has been practiced for many reasons: body decoration, social status, religious practice, tribal custom, and punishment. While tattooing has been acknowledged as art, it has its negative connotations. In Japan, tattooed people tend to be stigmatized and frequently conceal their tattoos. Public places such as pools, baths, or saunas prohibit tattooed people on their premises.1 In contrast to these negative views about tattooing, however, its growing popularity has been noticeable. With the popularity of body arts, some Japanese are accepting tattoos as fashionable or as an art form.2 What accounts for these polarized attitudes? It is often said that Japanese cultural values emphasize collectivistic views such as conformity and uniformity. A number of scholars in the field of Japanese studies argue that Japanese views of individuality stress interdependency of the self.3 1 Stephen Mansfield, “The Indelible Art of the Tattoo,” Japan Quarterly 1/1 (1999): 30-41. 2 Stephen Mansfield, “Tattoos, body piercing gaining popularity,” Daily Yomiuri, October 5, 1994, p. 3; and Yasuo Saito, “Karada de shucho? Body Art [Self-expression with the body? Body Art],” Asahi Shinbun, August 26, 1997, p.
    [Show full text]
  • PANEL: Irezumi Vs. Tattoos: Perceptions of Japanese Tattooing from Past to Present
    H-Japan PANEL: Irezumi vs. Tattoos: Perceptions of Japanese Tattooing from Past to Present Discussion published by Janet Goodwin on Wednesday, November 27, 2019 Irezumi vs. Tattoos: Perceptions of Japanese Tattooing from Past to Present Date: Tuesday, December 3, 2019 Time: 7:00 - 9:00 p.m. (doors open at 6:30 p.m.) Temple University, Japan Campus, 1F Parliament Venue: (access map here) Yoshimi Yamamoto, Professor of Comparative Cultures at Tsuru University in Yamanashi Panelists: Megumu Kamata, Tattooer Moderator: Taro Nettleton, Assistant Professor of Art History, Temple University Japan Campus Admission: Free. Open to the public. Language: English [email protected] Registration: * Registration is encouraged, but not required. * 事前申込みなしでも参加できますので、直接会場へお越しください。 Overview: Japan has a long and varied history with tattoos. Irezumi, or traditional Japanese tattoos, translates literally to ‘inserting ink.’ Historically applied without the aid of electricity through the use of a bamboo stick with needles fastened to it, its imagery is drawn from ukiyo-e woodblock prints, particularly from Utagawa Kuniyoshi’s 108 Heroes of the Water Margin, and often features motifs of real and mythological power animals such as dragons, koi, shishi lions, and tigers. In Japan, tattoos were heavily stigmatized after criminalization in the Meiji period, and strong association with organized crime, popularized through yakuza genre films in the 1970s, still lingers today, despite being admired then and now by tattoo collectors and tattooists around the world. Within Japan and around the world, however, tattoos have many different meanings, from ritual tattoos and its reclamation among many indigenous communities, to the growing global popularity of tattoos worn as casual adornment.
    [Show full text]
  • Fashioning Tattooed Bodies: an Exploration of Japan's Tattoo Stigma
    Fashioning Tattooed Bodies: An Exploration of Japan’s Tattoo Stigma By John Skutlin, Chinese University of Hong Kong Abstract: This article uses a cultural anthropological approach to examine tattooing stigma in contemporary Japan, particularly in terms of how the stigma has developed and how tattooed individuals engage in various legitimation maneuvers to cope with it. Tattooing has a long history in Japan, and tattoo culture saw a major efflorescence in the Edo period (1603-1868). However, unlike many Western countries, where most tattoos are widely accepted as expressions of individual style and aesthetics, a confluence of historical and cultural factors have resulted in a general antipathy to the practice in Japan, particularly due to its association with yakuza organized crime groups. As increasing numbers of young people go under the needle for what they see as artistic “fashion tattoos,” reconciliatory strategies must be deployed in order to maintain social cohesion and assure adherence to group norms even while violating them. Through historical accounts and ethnographic data, this paper thus elucidates the complicated nature of stigma in Japan and the specific ways in which individuals fashion both their bodies and their strategies to legitimize themselves, showing how efforts to conceal tattoos – even when only partially successful – can be an effective means of reconciling themselves with the general society around them. Permalink: Date of Publication: Vol. 16, no. 1 (2019) https://www.usfca.edu/center-asia-pacific/ perspectives/v16n1/skutlin Citation: Skutlin, John. “Fashioning Tattooed Bodies: An Keywords: Exploration of Japan’s Tattoo Stigma.” Asia Pacific Tattoo, Japan, stigma management, legitimation Perspectives, Vol.
    [Show full text]
  • First Amendment Protection of Tattooing in a Barbie World
    CHEREP_FINAL 5/7/2011 11:48:32 AM COMMENT BARBIE CAN GET A TATTOO, WHY CAN’T I?: FIRST AMENDMENT PROTECTION OF TATTOOING IN A BARBIE WORLD INTRODUCTION Nearly one in four American adults under the age of fifty has a tattoo.1 Modern tattoos may commemorate important events in our lives, like the birth of a child or the death of a loved one; they may signify passionately held beliefs, through a peace sign or a Gadsden Flag; they may pay tribute to one’s heritage; or they may simply be a reminder of youthful indiscretions.2 The culture of tattoos has shifted greatly over the last fifty years; once seen as symbols of a countercultural movement, tattoos have pushed their way into the mainstream. At one point, tattooing was one of the fastest-growing retail businesses in the United States.3 Tattoo parlors, once viewed as hangouts for bikers, dropouts, and convicts, have to an extent transformed into high-end tattoo studios frequented by everyone from Hollywood’s rich and famous to middle-aged soccer moms.4 America’s recent embrace of tattooing has even spurred the creation of television shows, like L.A Ink, which draw millions of viewers into the world of custom tattooing.5 In 2009, one of the most mainstream symbols of Americana, Barbie, got into the act when Mattel introduced Totally Stylin’ Tattoos Barbie, who came complete with forty unique tattoos for both Barbie and the doll owner.6 1. Tattoos and Piercings Go Mainstream, But Risks Continue, NW. U. NEWSCENTER (June 12, 2006), http://www.northwestern.edu/newscenter/stories /2006/06/tattoos.html.
    [Show full text]
  • This Is My Tattoo,” Intersections 11, No
    intersections online Volume 11, Number 1 (Summer 2010) Matthew Hayes, “This is My Tattoo,” intersections 11, no. 1 (2010): 127-163. ABSTRACT What does it mean to own a tattoo? How does the tension between running a business and creating art affect the experience of producing and receiving a tattoo? This project consists of two parts: a written paper and a short documentary film. Based on original research, I explore what ownership means to tattoo artists and tattooed persons, and how this idea of ownership may or may not change when a tattoo is transmitted to film. Several participants conclude that the person who wears the tattoo ultimately owns the tattoo, while others believe all those involved in the experience have a stake in the ownership of their tattoo. While my conclusions are decidedly incomplete, partly a result of the originality of this work, I nevertheless draw attention to the significance of this tension to the way one looks at his or her tattoo after it is completed. I also explore in depth the complexities of using film as a research tool, as well as of conducting “field work” at home. http://depts.washington.edu/chid/intersections_Summer_2010/Matthew_Hayes_This_Is_My_Tattoo.pdf Video component of “This is My Tattoo”: http://vimeo.com/10670029 © 2010 Matthew Hayes, intersections. 126 Matthew Hayes This is My Tattoo 127 intersections Summer 2010 This is My Tattoo By Matthew Hayes1 Trent University, Ontario everal years ago I was slowly pacing the lobby of a tattoo studio in Toronto, S nervously anticipating the experience to come. While it was not my first, the tattoo that I was waiting to have applied on my skin was my largest to date, and it was going straight on my ribs, one of the most painful areas of the body to have tattooed (or so they say).
    [Show full text]
  • Tattooed Skin and Health
    Current Problems in Dermatology Editors: P. Itin, G.B.E. Jemec Vol. 48 Tattooed Skin and Health Editors J. Serup N. Kluger W. Bäumler Tattooed Skin and Health Current Problems in Dermatology Vol. 48 Series Editors Peter Itin Basel Gregor B.E. Jemec Roskilde Tattooed Skin and Health Volume Editors Jørgen Serup Copenhagen Nicolas Kluger Helsinki Wolfgang Bäumler Regensburg 110 figures, 85 in color, and 25 tables, 2015 Basel · Freiburg · Paris · London · New York · Chennai · New Delhi · Bangkok · Beijing · Shanghai · Tokyo · Kuala Lumpur · Singapore · Sydney Current Problems in Dermatology Prof. Jørgen Serup Dr. Nicolas Kluger Bispebjerg University Hospital Department of Skin and Allergic Diseases Department of Dermatology D Helsinki University Central Hospital Copenhagen (Denmark) Helsinki (Finland) Prof. Wolfgang Bäumler Department of Dermatology University of Regensburg Regensburg (Germany) Library of Congress Cataloging-in-Publication Data Tattooed skin and health / volume editors, Jørgen Serup, Nicolas Kluger, Wolfgang Bäumler. p. ; cm. -- (Current problems in dermatology, ISSN 1421-5721 ; vol. 48) Includes bibliographical references and indexes. ISBN 978-3-318-02776-1 (hard cover : alk. paper) -- ISBN 978-3-318-02777-8 (electronic version) I. Serup, Jørgen, editor. II. Kluger, Nicolas, editor. III. Bäumler, Wolfgang, 1959- , editor. IV. Series: Current problems in dermatology ; v. 48. 1421-5721 [DNLM: 1. Tattooing--adverse effects. 2. Coloring Agents. 3. Epidermis--pathology. 4. Tattooing--legislation & jurisprudence. 5. Tattooing--methods. W1 CU804L v.48 2015 / WR 140] GT2345 391.6’5--dc23 2015000919 Bibliographic Indices. This publication is listed in bibliographic services, including MEDLINE/Pubmed. Disclaimer. The statements, opinions and data contained in this publication are solely those of the individual authors and contributors and not of the publisher and the editor(s).
    [Show full text]
  • Tattoo World Agnieszka Marczak Rhode Island College
    Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 4-2007 Tattoo World Agnieszka Marczak Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Art Practice Commons, Asian History Commons, Cultural History Commons, European History Commons, Medicine and Health Commons, Other History of Art, Architecture, and Archaeology Commons, and the Social and Cultural Anthropology Commons Recommended Citation Marczak, Agnieszka, "Tattoo World" (2007). Honors Projects Overview. 29. https://digitalcommons.ric.edu/honors_projects/29 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. TATTOO WORLD By Agnieszka Marczak An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of Anthropology The Faculty of Arts and Sciences Rhode Island College 2007 2 TATTOO WORLD An Undergraduate Honors Project Presented By Agnieszka Marczak To The Department of Anthropology Approved: ______________________________________ _____________________ Project Advisor Date ______________________________________ _____________________ Chair, Department Honors Committee Date ______________________________________ _____________________ Department Chair Date 3 I. Introduction II. Cultural Context: Prehistory to Contact A. Europe B. Asia C. The Pacific III. Acculturation and Exchange: From Contact to the Modern Day IV. Issues in Tattoo Culture A. Commodification, Authenticity and Meaning B. The Impact of Technology and the Medical and Legal Concerns C. The Body as Canvas and the Functions of Tattoo V. Conclusion 4 Abstract This paper is a holistic look at the world of tattoo.
    [Show full text]
  • An Ethnographic Study of Tattooing in Downtown Tokyo
    一橋大学審査学位論文 Doctoral Dissertation NEEDLING BETWEEN SOCIAL SKIN AND LIVED EXPERIENCE: AN ETHNOGRAPHIC STUDY OF TATTOOING IN DOWNTOWN TOKYO McLAREN, Hayley Graduate School of Social Sciences Hitotsubashi University SD091024 社会的皮膚と生きられた経験の間に針を刺す － 東京の下町における彫り物の民族誌的研究－ ヘィリー・マクラーレン 一橋大学審査学位論文 博士論文 一橋大学大学院社会学研究科博士後期課程 i CONTENTS CONTENTS ................................................................................................................................... I ACKNOWLEDGEMENTS ........................................................................................................ III NOTES ........................................................................................................................................ IV Notes on Language .......................................................................................................... iv Notes on Names .............................................................................................................. iv Notes on Textuality ......................................................................................................... iv Notes on Terminology ..................................................................................................... iv LIST OF FIGURES ..................................................................................................................... VI LIST OF WORDS .................................................................................................................... VIII INTRODUCTION ........................................................................................................................
    [Show full text]