Customizing the Body (PDF file) - Print My Tattoo

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227 References Hambly, W. D. 1974 [1925]. The History of Tattooing and Its Significance. Detroit: Gale Research. Hamburger, Ernest. 1966. “Tattooing as a Psychic Defense Mechanism.” International Journal of Social Psychiatry 12: 60–62. Hardy, D. E. 1982a. “The Name Game.” Tattootime 1 (Fall): 50–54. ———. 1982. “The Mark of the Professional.” Tattootime 1: 46–49. ———. 1983. “Inventive Cover Work.” Tattootime 2: 12–17. ———. 1987a. “Eternal Spiral.” Tattootime 4: 4–14. ———. 1987b. “Remains to be Seen.” Tattootime 4: 74–78. Hatfield, Elaine, and Susan Sprecher. 1986. Mirror, Mirror ....Albany: State University of New York Press. Hauser, Arnold. 1982. The Sociology of Art. Chicago: University of Chicago Press. Hawkes, Daina, Charlene Y. Senn, and Chantal Thorn. 2004. “Factors that Influence Attitudes Towards Women with Tattoos.” Sex Roles 50 (9/10): 593–604. Hawkins, Roger, and John Popplestone. 1964. “The Tattoo as an Exoskeletal Defense.” Perceptual and Motor Skills 19: 500. Heller, Nancy. 1987. Women Artists: An Illustrated History. New York: Abbeville. Hendershott, Anne. 2002. The Politics of Deviance. San Francisco: Encounter Books. Hennessy, Val. 1978. In the Gutter. London: Quartet. Henning, Edward. 1960. “Patronage and Style in the Arts: A Suggestion Concerning their Relations.” Journal of Aesthetics and Art Criticism 18: 464–471. Henslin, James. 1968. “Trust and the Cab Driver.” In Sociology and Everyday Life, ed. M. Truzzi, 138–158. Englewood Cliffs, NJ: Prentice- Hall. Hewitt, Kim. 1997. Mutilating the Body: Identities in Blood and Ink. Bowling Green, OH: Popular Press. Hill, Amie. 1972. “Tattoo Renaissance.” In Side-Saddle on the Golden Calf, ed. G. Lewis, 245–249. Pacific Palisades, CA: Goodyear. Hillier, Bevis. 1971. The World of Art Deco. New York: Dutton. Hirsch, Paul. 1972. “Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industry Systems.” American Journal of Sociology 77: 639–659. Hirschi, Travis. 1962. “The Professional Prostitute.” Berkeley Journal of Sociology 7: 37–48. Hirschman, Elizabeth. 1981a. “Retailing and the Production of Popular Culture.” In Theory in Retailing: Traditional and Nontraditional Sources, ed. R. Stampfli and E. Hirschman, 71–83. Chicago: American Marketing Association. ———. 1981b. “Comprehending Symbolic Consumption: Three Theoretical Issues.” In Symbolic Consumer Behavior, ed. E. Hirschman and M. Holbrook, 4–6. Ann Arbor, MI: Association for Consumer
228 References Research. Hirschman, Elizabeth, and Morris Holbrook, eds. 1981. Symbolic Consumer Behavior. Ann Arbor, MI: Association for Consumer Research. Hirschman, Elizabeth, and Ronald Stampfl. 1980. “Roles of Retailing in the Diffusion of Popular Culture: Microperspectives.” Journal of Retailing 56: 16–36. Holbrook, Morris, and William Moore. 1981. “Cue Configurality in Esthetic Responses.” In Symbolic Consumer Behavior, ed. E. Hirschman and M. Holbrook, 16–25. Ann Arbor, MI: Association for Consumer Research. Houghton, S. J., K. Durkin, E. Parry, Y. Turbet, and P. Odgers. 1996. “Amateur Tattooing Practices and Beliefs Among High-School Adolescents.” Journal of Adolescent Health 19 (6): 420–425. Hughes, Everett. 1971a. “Good People and Dirty Work.” In The Sociological Eye. 87–97. Chicago: Aldine. ———. 1971b. “Mistakes at Work.” In The Sociological Eye, 316–325. Chicago: Aldine. ———. 1971c. “Bastard Institutions.” In The Sociological Eye, 98–105. Chicago: Aldine. Irving, John. 2005. Until I Find You. New York: Random House. Irwin, John. 1987. “Reflections on Ethnography.” Journal of Contemporary Ethnography 16 (April): 41–48. Irwin, Katherine. 2001. “Legitimating the First Tattoo: Moral Passage Through Informal Interaction.” Symbolic Interaction 24 (1): 49–73. ———. 2003. “Saints and Sinners: Elite Tattoo Collectors and Tattooists as Positive and Negative Deviants.” Sociological Spectrum 23: 27–57. Jacobson, Yehuda, and Diana Luzzatto. 2004. “Israeli Youth Body Adornments: Between Protest and Conformity.” Young 12 (2): 155–174. Jacoby, Jack, and L. Kaplan. 1972. “The Components of Perceived Risk.” In M. Venkatesan (ed.), Proceedings, Third Annual Convention of the Association for Consumer Research, pp. 382–393. Jamiol, Paul. 1987. “Tattooing at the Peabody Museum.” Tattoo 8: 32–37. Janson, H. W. 1964. The History of Art. Englewood Cliffs, NJ: Prentice- Hall. Jeffreys, Sheila. 2000. “‘Body Art’ and Social Status: Cutting, Tattooing, and Piercing from a Feminist Perspective.” Feminism and Psychology 10 (4): 409–429. Jenkins, Emily. Tongue First: Adventures in Physical Culture. New York: Holt. Jensen, Joli. 1984. “An Interpretive Approach to Culture Production.” In Interpreting Television: Current Research Perspectives, ed. W. Rowland, Jr. and B. Watkins. 98–118. Beverly Hills: Sage. Jonaitis, Aldorna. 1983. “The Symbolism of Piercing: Tlingit Indian Labrets.” Paper presented at the Art of the Body Symposium, January, at University of California, Los Angeles. Jones, Edward, Amerigo Farina, Albert Hastorf, Hazel Markus, Dale Miller, and Robert Scott. 1984. Social Stigma: The Psychology of Marked
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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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xi Preface to the Revised and Expan
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xiii Preface to the Revised and Exp
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xv Preface to the Revised and Expan
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xvii Preface to the Revised and Exp
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xix Preface to the Revised and Expa
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Preface to the First Edition xxiii
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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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above: Tattoo by Filip Leu, The Le
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imi Hendrix and John Coltrane by Fi
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118 The Tattoo Relationship As is t
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120 The Tattoo Relationship he coul
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122 The Tattoo Relationship blouse
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124 The Tattoo Relationship name "R
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127 The Tattoo Relationship Positiv
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129 The Tattoo Relationship experie
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131 The Tattoo Relationship The reg
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133 The Tattoo Relationship Other p
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135 The Tattoo Relationship inexper
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137 The Tattoo Relationship the nee
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140 The Tattoo Relationship Followi
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142 The Tattoo Relationship expecte
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144 The Tattoo Relationship In rece
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146 The Tattoo Relationship tattooi
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148 The Tattoo Relationship the tat
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151 Conclusion tutional theory of a
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153 Conclusion arisen and learn fro
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155 Conclusion and give money to it
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157 Conclusion what are the chances
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159 Conclusion Works of Idea Art fr
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161 Conclusion the artistic redefin
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163 Conclusion symbolic demonstrati
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165 Epilogue 2008 ters, all would l
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167 Epilogue 2008 and the emphasis
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169 Epilogue 2008 The term “colle
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171 Epilogue 2008 design and execut
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173 Epilogue 2008 for three or four
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175 Epilogue 2008 1990s, become an
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Page 214 and 215: 187 Epilogue 2008 become more commi
Page 217 and 218: 190 Methodological Appendix Fairly
Page 219 and 220: 192 Methodological Appendix laborer
Page 221 and 222: 194 Methodological Appendix Figure
Page 223 and 224: 196 Methodological Appendix guys wh
Page 225 and 226: 198 Methodological Appendix increas
Page 227 and 228: 200 Methodological Appendix because
Page 229 and 230: 202 Methodological Appendix nomenon
Page 231 and 232: 204 Selected Tattoo Artist Websites
Page 233 and 234: 206 Notes to Preface to the Revised
Page 235 and 236: 208 Notes to Chapter 2 example, “
Page 237 and 238: 210 Notes to Chapter 2 of negative
Page 239 and 240: 212 Notes to Chapter 4 of female cl
Page 241 and 242: 214 Notes to Chapter 4 your mother
Page 243 and 244: 216 Notes to Chapter 5 Chapter 5 1.
Page 245 and 246: 218 Notes to Chapter 5 and resulted
Page 247 and 248: 220 Notes to Epilogue 2008 only foo
Page 249 and 250: 222 References ———. 1967. “
Page 251 and 252: 224 References Cummings, William, a
Page 253: 226 References Gittleson, N., G. Wa
Page 257 and 258: 230 References University Press. Le
Page 259 and 260: 232 References 6 (May): 18 ff. Parr
Page 261 and 262: 234 References Carl (Shotsie) Gorma
Page 263 and 264: 236 References Investigation of Con
Page 266 and 267: Index Adler, Patricia and Peter, 11
Page 268 and 269: 241 Index Fellman, Sandi, 13, 160,
Page 270 and 271: 243 Index O’Reilly, Samuel F., 16
Page 272: 245 Index 214; process described, 4
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