Customizing the Body (PDF file) - Print My Tattoo

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241 Index Fellman, Sandi, 13, 160, 211, 217 Fellowes, C. H., 18 Ferguson-Rayport, Shirley, 39 Field research, 189–202; danger and, 196–197; methodological development of, 189; participation and, 197–202; rewards of, 190; roles within, 192 Fine, Gary A., 62, 75, 102 Finn, Robin, 7 Fischer, J. L., 216 Fish, Pat, 33 Fisher, Angela, 8 Flesh peeling, 178 Fliegel, Norris, 29, 100 Flugel, J. C., 4 Fondiller, Harvey, 217 Foot Binding, 6-7 Fox, James, 40 Frazetta, Frank, 168 Freedman, Rita, 5 Frese, Wolfgang, 133 Fried, Fred and Mary, 16, 17, 18, 157 Fukushi, Masaichi, 217 Funk, “Philadelphia Eddie,” 217 Gans, Herbert, x, 29, 151, 155, 216 Garbin, Albeno, 62, 65 Gardner, James, 218 Gell, Alfred, 181 George, W., 118 Gitlin, Todd, 25 Goffman, Erving, xxiii, xviii, 2, 40, 41, 49, 133 Goldstein, Norman, 30, 37, 90 130, 183, 202, 209 Gombrich, E.H., 22 Gotch, C., 40, 47, 70, 88, 92, 207 Govenar, Alan, 14, 45, 118, 132 133, 137, 171, 209 Graffiti art, 161–162, 218 Grant, Neil, 217 Green, Norman, 157, 160 Greenley, James, 82, 128 Griff, Mason, 27, 63, 67, 81 Grime, 167 Grumet, Gerald, 38, 39 Guthrie, R. D, 5 Haigh, Susanna, 215 Haines, William, 38, 39 Hair, 5-6 Hall, Sarah, ix Hambly, W. D., 5, 9, 11 Hamburger, Ernest, 38 Hanley, Jack, 16 Hardy, D. E., 29, 34, 183, 209, 217 Hartford Courant, The, 210, 215, 217, 220 Hatfield, Elaine, 1, 7 Hauser, Arnold, 23, 216 Hawkes, Diana, 181 Heller, Nancy, 216 Hellraiser (Clive Barker), 216 Hennessy, Val, 4 Henning, Edward, 29 Henslin, James, 78, 143 Hewitt, Kim, xvi Hildebrand, Martin, 16 Hill, Amie, 19, 55 Hillier, Bevis, 199 Hirsch, Paul, 25 Hirschi, Travis, 143 Hirschman, Elizabeth, 117, 151, 216 Holbrook, Morris, 152 Horihide, 167 Horitoshi, 167 Horiyoshi II, 167 Horiyoshi III, 167 Houghton, S. J., 180 Huberman, A. M., 189 Huffman, Arthur, 39 Hughes, Everett, 72, 78, 92, 107 In the Realm of the Senses (Oshima), 200 Irebokuro, 12 Irezumi, 12, 15 Irving, John, vii, ix, xix Irwin, John, 202 Irwin, Katherine, xv–xvi Isherwood, Baron, 149
242 Index Jackobson, Yehuda, 181 Jamiol, Paul, 217 Janson, H. W., 151 Jeffreys, Sheila, 180 Jenson, Joli, 22 Jonaitis, Aldorna, 8 Jones, Edward, 1, 41 Kander, Joseph, 38 Katz, Fred, 62 Kealy, Edward, 3, 23, 28, 33, 157 Kelly, J., 118 Kitsuse, John, 35 Klofas, John, 161 Kohn, Harold, 38 Kriesberg, Louis, 91 Kuniyoshi, Utagawa, 12, 217 Kunzle, David, 7 Kurtzberg, Richard, 38, 39 Laba, Martin, 163 Laumann, Anne, viii Lavell, Sharie, 7 Lemes, Andrew, 210 Leu, Filip, 167, 168 Levy, Jerome, 9, 13, 17 Lewis, Carson, 7 Lewis, George, 22, 154, 155 Lewis, Steven, 1 Lofland, John, 58 Lofland, Lynn, 2 Lomax, Alan, 216 London, David, 131 Lovelock, Charles, 117–118 Lurie, Alison, 4 Lyon, Eleanor, 152 Magazines, tattoo related, ix–x, 165–166, 172–174, 175 Maines, Rachel, 216 Manfredi, John, 151, 153, 154 Manning, Peter, 201 Maori, 10 Martin, H. W., 62 Mascia-Lees, Francis, 183–184 Matsuda, Eiko, 200 Matza, David, 57 Mayer, Robert, 117 McCall, Michal, 23 Mcgregor, Francis, 7 McKay, Hugh, 40, 202, 209 McKenna, Elizabeth, 207 McKinstry, W., 117 Mennerick, Lewis, 91, 133, 134 Mercati Traiane (Rome), 217 Merton, Robert, 22 Meyer, Ursula, 33, 159 Miles, Matthew, 189 “Modern Primitives,” 176–177 Moore, William, 152 Morse, Albert, 137, 215 Mosher, Donald, 39, 207 Mukerji, Chandra, 151, 152, 153 154, 160 Museum of Conceptual Art (San Francisco), 191 Napoleon, T., 2 National Endowment for the Arts, 217 National Tattoo Association, 60, 84, 157 National Tattoo Museum (Philadelphia), 217 Nation of Graffiti Artists (NOGA), 161, 218 Neapolitan, Jerome, 3, 33, 157 Needleman, Burt, 1 Needleman, Carla, 216 “Neo-Japanese” (“Contemporary Japanese”) tattooing, 167 Newman, Gustave, 37, 39 “New Skool” tattooing, 167, 175–176 New Yorker, 34, 157 New York State Council on the Arts, 218 New York Times, The, 217, 218 Nicosia, Franco, 117 Nuba, 5, 8 Nye, Russel, 151 Oakland Art Museum, 217 Oettermann, Stephan, 13, 14, 15 Ohwada, Aki, 217 Omai, 15
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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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177 Epilogue 2008 eyebrows and “l
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179 Epilogue 2008 The most recent m
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181 Epilogue 2008 distinguish among
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183 Epilogue 2008 supposedly made i
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185 Epilogue 2008 and perceptions o
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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
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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 and 254: 226 References Gittleson, N., G. Wa
Page 255 and 256: 228 References Research. Hirschman,
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 270 and 271: 243 Index O’Reilly, Samuel F., 16
Page 272: 245 Index 214; process described, 4
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