Customizing the Body (PDF file) - Print My Tattoo

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163 Conclusion symbolic demonstration of co-membership in a unique and somewhat alienated cultural group (see DiMaggio, 1987: 443; Laba, 1986). The central issue to be confronted by key members of the tattoo community is whether the advantages that originate from producing and consuming yet another mode of establishment cultural capital outweigh the intense pleasures of exclusionary identification with the deviant social group symbolized by the tattoo mark. In the final accounting, an enlarged market, increased income, decreased stigmatization, and artistic status can be very costly when purchased from those who control the social resources. Imperialism rarely works out well for those who are subjected to it.
Epilogue 2008: Body Modification Then and Now CLINTON R. SANDERS with D. ANGUS VAIL The only thing about social relationships, social structures, and other elements of social life that doesn’t change is that they are constantly changing. The perpetual emergence of social worlds is the rule rather than the exception and the worlds that Customizing the Body addressed in the late 1980s—the academic world of ethnographers, the intellectual world of those concerned with a sociology of the body and its modification, and the tattoo world—have been especially active sites of social change, development, and evolution. Good ethnography tends to transcend many of the changes in the worlds it describes because it explains the processes through which people produce those worlds, not the outcome of those processes. From this perspective, Customizing the Body is not specifically a book about tattooing. It is a book about how people experience, respond to, and enact definitions of the kinds of activities that are socially acceptable or unacceptable. It is a book about how people produce and define art. It is a book about how peoples’ relationships are characterized by both conflict and cooperation and how their identities, both purposively chosen and involuntarily assigned, are shaped by their physical appearance. These processes do not change, even if their manifestations might. Tattoos may look different today than they did in the late 1980s, but people still have to decide whether they think tattoos are tacky, sleazy, dangerous, or fun, and, more importantly, they still have to decide whether being tacky, sleazy, dangerous, or fun are characteristics they want to embody and display. Although sociologists and other social scientists disagree about many mat-
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CUSTOMIZING THE BODY
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Temple University Press 1601 North
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Preface to the Revised and Expanded
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ix Preface to the Revised and Expan
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Preface to the First Edition xxv Pr
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3 Introduction duction world that r
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5 Introduction Body painting is anc
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7 Introduction erogenous zones and
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9 Introduction painful, it is commo
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11 Introduction for example, Kayan
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13 Introduction underworld (Richie,
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15 Introduction a heavily tattooed
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17 Introduction pain and necessitat
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19 Introduction were typically seen
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21 Introduction the corporeal chang
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23 Introduction ent within worlds o
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25 Introduction surrounding tattoo
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27 Introduction These dominant pers
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29 Introduction style. the occupati
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31 Introduction communicable diseas
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33 Introduction is presented as res
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35 Introduction artistic endeavor.
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38 Becoming and Being a Tattooed Pe
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Figure 3. The Tattoo as Social Symb
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64 The Tattooist been my safe place
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66 The Tattooist and psychologicall
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68 The Tattooist Few tattooists mak
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70 The Tattooist people in the busi
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73 The Tattooist (The tattoo artist
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75 The Tattooist complete tattoo. I
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77 The Tattooist in her kitchen. Ev
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79 The Tattooist reer which strongl
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81 The Tattooist does it hurtT "Com
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83 The Tattooist THE TATTOOIST'S CA
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85 The Tattooist me to tattoo the b
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88 The Tattooist like Burger King .
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90 The Tattooist the individual to
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92 The Tattooist Tattooists also ha
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94 The Tattooist tomorrow and let y
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96 The Tattooist that there is a ch
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98 The Tattooist above, tattooists,
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100 The Tattooist and fifty. Those
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102 The Tattooist "totemic" desires
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104 The Tattooist available to them
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106 The Tattooist I refused a guy l
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108 The Tattooist This change in th
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f styles. (Photo by D. Angus Vail)
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214 Notes to Chapter 4 your mother
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216 Notes to Chapter 5 Chapter 5 1.
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218 Notes to Chapter 5 and resulted
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220 Notes to Epilogue 2008 only foo
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222 References ———. 1967. “
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224 References Cummings, William, a
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226 References Gittleson, N., G. Wa
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228 References Research. Hirschman,
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230 References University Press. Le
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232 References 6 (May): 18 ff. Parr
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234 References Carl (Shotsie) Gorma
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236 References Investigation of Con
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Index Adler, Patricia and Peter, 11
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241 Index Fellman, Sandi, 13, 160,
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243 Index O’Reilly, Samuel F., 16
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245 Index 214; process described, 4
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