removedjohncusack

NotesIntroduction:PicturingTattoos1.
GillesDeleuzeandFelixGuattari,AThousandPlateaus(Minneapolis,MN:UniversityofMinnesotaPress,1987),86.
2.
Inthisway,the"trouble"thatmyimagecausesisrelatedto,albeitslightlydifferentthan,thewayinwhichJudithButlermobilizesthetermtrouble.
JudithButler,GenderTrouble(NewYork:Routledge,1990).
3.
JosephRoach,"CultureandPerformanceintheCircum-AtlanticWorld,"inPerformativityandPerformance,ed.
AndrewParkerandEveKosofskySedgwick(NewYork:Routledge,1995),48.
4.
JosephRoach,CitiesoftheDead:Circum-AtlanticPerformance(NewYork:ColumbiaUniversityPress,1996),11.
5.
Ibid.
,12.
6.
Ibid.
,2.
7.
ItisimportanttonoteherethatIamnotnecessarilyreferringtolinearnotionofhistory.
"Prior"isaconstructionorfictionthatisenabledthroughtheprocessofsurrogationandtheactualcitationallinksbetweenandamongculturaleventsoccuralongmultiplepathwaysandinmultipledirections.
Arhizomaticdistribution,ifyouwill.
8.
Roach,CitiesoftheDead,3.
9.
ChapterOneprovidesanextendeddiscussionoftheassociationbetweentat-toosanddeviantbehavior.
10.
Roach,CitiesoftheDead,27.
11.
Ibid.
12.
Ibid.
13.
Ibid.
14.
Roach,CitiesoftheDead,27–28.
15.
W.
J.
T.
Mitchell,WhatdoPicturesWant(Chicago,IL:UniversityofChicagoPress,2005),xiii.
16.
See,forexample,PaulDuGay,StuartHall,LindaJanes,HughMackay,andKeithNegus,DoingCulturalStudies(London:Sage,1997).
ChapterOneVitalImages:ThePerformanceofPerformativity1.
StuartHall,"CulturalStudiesanditsTheoreticalLegacies,"inTheCulturalStudiesReader,ed.
SimonDuring(NewYork:Routledge,1999),107.
2.
DickHebdige,Subculture:TheMeaningofStyle(London:Methuen,1979),139.
3.
PeggyPhelan,Unmarked:ThePoliticsofPerformance(NewYork:Routledge,1993),2.
4.
WilliamDeMichele,TheIllustratedWoman(NewYork:ProteusPress,1992),73.
5.
JudithButler,BodiesthatMatter(NewYork:Routledge,1993),10.
6.
Citationalityreferstothewaysinwhichrepresentationsand/orperformancesexplicitlyorimplicitlyrefertoordependuponpriorandconcurrentrepre-sentationsfortheirmeaning.
Jennifer'spicture,forexample,couldbearguedtocitetheconventionsofwantedposterswiththeclose-upshotofthefacecenteredintheframe.
Alternately,theimagealsoarguablyreferstootherpop-ularculturalimagesofwomenwithshavedheads.
Forinstance,thephotowastakenandthebookpublishedintheearly1990s,whenSineadO'ConnorwasattheheightofherpopularityafterthereleaseofIDoNotWantWhatIHaven'tGot.
O'Connor'sfamouslyshavedheadandhersubsequentpoliti-calprotest—suchastearingaparttheimageofthePopeJohnPaulIIonSaturdayNightLive(October3,1992)inprotestofCatholicpriestsexualmisconduct—areconsequentlypartofthecitationalstoryofJennifer'simage.
7.
Otthasrecentlysuggested,forexample,thatthesearchforrepresentationalresistanceandnormativereproductionhasbecomepredictableandboring.
BrianOtt,"(Re)LocatingPleasureinMediaStudies:TowardanEroticsofReading,"CommunicationandCritical/CulturalStudies,1(2004):194–212.
WileyalsoindicatesthatdespiteLawrenceGrossberg'scallforanalternativeapproachtoissuesofpoliticsandagencyinculturalstudies,thatthereisacontinuedmodernistassumptionbehindculturalcritiquesofrepresentation.
StephenCroftsWiley,"SpatialMaterialism:Grossberg'sDeleuzianCulturalStudies,"CulturalStudies,19(January2005):63–99.
8.
Wiley,65.
Idonotmeantosay,however,thattherearenotcritiquesofthistypeofrepresentationaleconomy.
Clearly,therelianceontheworkofDeleuzeandGuattariinthisbookindicatesthattheepistemologyofrepre-sentationhasbeenlongunderfire.
9.
HansUlrichGumbrecht,ProductionofPresence:WhatMeaningCannotConvey(Stanford,CA:StanfordUniversityPress,2004),1.
10.
LawrenceGrossberg,"TheVictoryofCulture:PartOne,"Angelaki:JournalofTheoreticalHumanities,3.
3(1998):12,16.
11.
Wileydescribesthisasthelogicalstructureofidentitypolitics:"whichcon-flatesidentity,subjectivity,andagencyandassumesthatallthreecoincideinindividualorcollectiveactorsdefinedbylogicsofdifference"(65).
12.
Inarecentessay,Kosutsuggeststhattherewillnotsoonbeanendtotheasso-ciationbetweentattooinganddevianceandthatthishasrelativelypermanentlyNotes158markedtattooingasafringeartpracticeassociatedwith,inKosut'sargument,asylumart.
MaryKosut,"MadArtistsandTattooedPerverts:DeviantDiscourseandtheSocialConstructionofCulturalCategories,"DeviantBehavior,27(2006):73–95.
13.
MarkGustafson,"CuriouslyMarked:TattooingandGenderDifferenceinEighteenth-CenturyBritishPerceptionsoftheSouthPacific,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),24.
14.
Ibid.
,29.
15.
CharlesW.
MacQuarrie,"InsularCelticTattooing:History,MythandMetaphor,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),44.
16.
Ibid.
,33.
17.
HamishMaxwell-StuartandIanDuffield,"SkinDeepDevotions:ReligiousTattoosandConvictTransportationinAustralia,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),118–135.
18.
AbbyM.
Schrader,"BrandingtheOther/TattooingtheSelf:BodilyInscriptionamongConvictsinRussiaandtheSovietUnion,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),175.
Anderson'sdiscussionoftheuseoftattoosaspunishmentinIndianpenalcoloniesindicates,however,thatthispracticewasnotalwaysappropri-atedasameansofresistanceasIndiancolonistsoughttocoverorerasethetat-toos.
ClareAnderson,"Godna:InscribingIndianConvictsintheNineteenthCentury,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),102–117.
19.
JaneCaplan,"'NationalTattooing':TraditionsofTattooinginNineteenth-CenturyEurope,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),156–173.
20.
JamesBradley,"BodyCommodificationClassandTattoosinVictorianBritain,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),139.
21.
MargoDeMello,BodiesofInscription:ACulturalhistoryoftheModernTattooCommunity(Durham,NC:DukeUniversityPress,2000);SamuelSteward,BadBoysandToughTattoos(NewYork:HaworthPress,1990);ClintonSanders,CustomizingtheBody(Philadelphia,PA:TempleUniversityPress,1989);ElizabethSeaton,"ProfanedBodiesandPurloinedLooks:ThePrisoner'sTattooandtheResearcher'sGaze,"JournalofCommunicationInquiry,11.
2(1987):17–25.
22.
AlanB.
Govenar,"Introduction,"inStoneyKnowsHow:LifeasaTattooArtist,ed.
LeonardSt.
ClairandAlanB.
Govenar(Lexington,KY:UniversityofKentuckyPress,1981),xx.
23.
Govenar,"Introduction,"xx,xxi.
24.
Ibid.
,xxi.
25.
Althoughnotalwaysdirectlymentioned,itshouldcomeasnosurprisethatmuchofthetheorizationofthesocialinscriptionandresistancedynamicowesadebttoFoucault'sfamousworkinDisciplineandPunish.
The159Noteslanguageofdisciplinarypowercirculatesthoughmanyoftheargumentsregardingtheactoftattooingslavesandconflictsandtheiractsofresistingthatinscriptiveimposition.
SeeGustafsonandMaxwell-StewartandDuffieldparticularly.
Also,MichelFoucault,DisciplineandPunish(NewYork:Vintage,1979).
26.
SeeGustavNewman,"TheImplicationsofTattooinginPrisoners,"JournalofClinicalPsychology,43(1982):231–234;NormanGoldstein,"PsychologicalImplicationsofTattoos,"JournalofDermatologicSurgeryandOncology,5(1979):883–888;A.
J.
W.
Taylor,"TattooingamongMaleandFemaleOffendersatDifferentAgesinDifferentTypesofInstitutions,"GeneticPsychologyMonographs81(1970):81–119;J.
Briggs,"Tattooing,"MedicalTimes87(1958):1030–1039.
27.
NikkiSullivan,TattooedBodies:Subjectivity,Textuality,Ethics,andPleasure(Westport,CT:Praeger,2001),21.
28.
ArnoldRubin,"TheTattooRenaissance,"inMarksofCivilization:ArtisticTransformationsoftheHumanBody,ed.
ArnoldRubin(LosAngeles,CA:MuseumofCulturalHistory,UniversityofCalifornia,1988):233–264;JaneCaplan,"Introduction,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),xi;DeMello,BodiesofInscription;Sanders,CustomizingtheBody,18–20.
29.
DeMello,BodiesofInscription,143–151.
30.
VictoriaPitts,IntheFlesh:TheCulturalPoliticsofBodyModification(NewYork:Palgrave,2003),34.
31.
Ibid.
,35.
32.
Ibid.
,40.
33.
TV.
com,"MeetChrisNuez,"MiamiInkVideoGallery(accessedJuly28,2005).
http://www.
tv.
com/tracking/viewer.
htmltid13497&ref_id37627&ref_type101&om_actconvert&om_clkheadlinessh&tagheadlines;title;3.
34.
KatherineIrwin,"SaintsandSinners:EliteTattooCollectorsandTattooistsasPositiveandNegativeDeviants,"SociologicalSpectrum,23(2003):27–57.
35.
Irwin,38–41.
36.
Fortheideaaboutthefertilityofreproduction,IamindebtedtoW.
J.
T.
Mitchell.
37.
HarimanandLucaitesusethissenseofthetermintheiranalysesoficonicphotographicimages,forexample.
SeeRobertHarimanandJohnLucaites,"PerformingCivicIdentity:TheIconicPhotographoftheFlagRaisingonIwoJima,"QuarterlyJournalofSpeech88.
4(2002):363–393.
38.
Forexample,AmeliaJones'sworkonbodyarttendstowardsthisdeploymentoftheterm.
JaneBlocker'srevisitationofJones'workdoessoaswell.
Blockerrefers,forexample,to"performativeartisticpractice"(9).
AmeliaJones,BodyArt:PerformingtheSubject(Minneapolis,MN:UniversityofMinnesotaPress,1998);JaneBlocker,WhattheBodyCost:Desire,History,andPerformance(Minneapolis,MN:UniversityofMinnesotaPress,2004).
39.
RichardBauman,forinstance,definesperformanceasheightenedstatesofcommunicationoractivity.
RichardBauman,"Performance,"inFolklore,Notes160CulturalPerformances,andPopularEntertainments,ed.
RichardBauman(NewYork:OxfordUniversityPress,1992):41–49.
40.
J.
L.
Austin,"LectureI,"inHowtoDoThingsWithWords,ed.
J.
OUrmonsonandMarinaSbisa(Cambridge,MA:HarvardUniversityPress,1975),5.
41.
JacquesDerrida,"Signature,Event,Context,"inLimitedInc.
,ed.
GeraldGraff(Evanston,IL:NorthwesternUniversityPress,1988),17.
42.
Butler,BodiesthatMatter,2.
43.
Ibid.
,12–13.
44.
Ibid.
,12.
45.
ErvingGoffman,PresentationofSelfinEverydayLife(GardenCity,NY:Doubleday,1959).
46.
MarvinCarlson,Performance:ACriticalIntroduction(NewYork:Routledge,1996),3.
47.
See,forinstance,theethnographicworkofDwightConquergood,JoniJones,SoyiniMadisonandothers.
48.
Inusingthisparticularphrase,IamalludingtoByMeansofPerformance,ed.
RichardSchechnerandWillaAppel(Cambridge,UK:CambridgeUniversityPress,1990).
49.
DellaPollock,"Introduction,"inExceptionalSpaces:EssaysinPerformanceandHistory,ed.
DellaPollock(ChapelHill,NC:UniversityofNorthCarolinaPress,1998),22.
50.
RichardSchechnerfamouslydefinesperformanceasrestoredbehavior.
Performanceisalwaysarestorationofa(partof)apastbehaviororseriesofbehaviors.
SeeRichardSchechner,BetweenTheaterandAnthropology(Philadelphia,PA:UniversityofPennsylvaniaPress,1985).
51.
Withinacademicdiscussionsofagencyandbodyrepresentation,forexample,ithasbeentheextraordinaryand/orexcessivepracticesthathavegarneredthemostattention.
Performanceartistsandposthumancyborgsthathyperbolizeconfrontationswithnormativediscoursestendtobethoroughlydiscussedwhereasthemoreeverydayandmundaneactsareoverlooked.
ExceptionsincludeJaniceRadway,ReadingtheRomance(ChapelHill,NC:UniversityofNorthCarolinaPress,1984).
52.
Mitchell,WhatDoPicturesWant,90.
53.
MitchellarguesthroughoutWhatDoPicturesWantthatthesecondcom-mandment'sprohibitionofcreatingimagesinthelikenessofGodprovidestheculturalbackingforthevitalpowerofimages(133–134).
54.
Mitchell,WhatDoPicturesWant,31.
Myinterpretationheredifferssome-whatfromMitchell'sconclusion.
DespitethecomparisonthatMitchellmakesbetweenimagesandviruses(89),Mitchellalsosuggeststhatthelegsoftheimageimplyan"intelligenceandpurposivenessoftheirown"(31).
Inshort,heconcludesthat,atleastmetaphorically,theimageisanautonomousactor.
Asanalternative,Iamofferingthenotionofviralreproducibilityastheformoflifeoftheimage.
55.
Mitchell,WhatDoPicturesWant,46.
56.
Ibid.
,351.
AnothernotableexampleisinMitchell'sdiscussionoftheventriloquist-likeattributionofspeechactstoimages(140).
161Notes57.
Mitchell,WhatDoPicturesWant,351.
58.
HenrySussman,"DeterritorializingtheText:Flow-TheoryandDeconstruction,"MLN,115(2000):974–966.
Sussmansuggests,"DeleuzeandGuatarriinsistthatwetaketheirprojectionsofahighlyprivatizedandsingularconceptualsystem,whichisalwaysapotentialone,atheoryoftheas-if,withtheutterseriousnesswithwhichtheydo"(977).
59.
IamreferringherespecificallytoBaudrillard'sformulationofthesimu-lacrum,butonecouldeasilyalsocalluponothers.
JeanBuadrillard,"SimulacraandSimulations,"inSelectedWritings,ed.
MarkPoster(Stanford,CA:StanfordUniversityPress,1988):166–184.
60.
KevinDeluca,ImagePolitics(NewYork:TheGuilfordPress,1999).
Delucausesthephrase"imageevent"torefertothemediatacticsofenvironmentalandothersocialprotestmovements.
Deluca'sanalysissuggeststhattheseeventsareexamplesofrhetoricalexpressionthatcombinesthediscursivewiththenondiscursiveandtheemotionalwiththerationalinordertoeffect"critiquethroughspectacle"(22).
Thecartoons,fromtheperspectiveofagroupmanipulatingorusingimagestoperformsocialcritique,becomeanimageeventduepartlytotheMuslimcleric'sactofdeliveringtheimagesfromDenmarktovariouschurchleadersintheMiddleEast.
WhatdistinguishesmyapproachtoagencyfromDeluca'sisthequestionofuseorintent.
Agency,inthetermsofthisproject,isnotlimitedtoanindividualorgroupusinganimageorimagesforanyspecificpurpose.
61.
TomConley,"FromMultiplicitiestoFolds:OnStyleandForminDeleuze.
"TheSouthAtlanticQuarterly,96.
3(Summer1997):629–646,630.
62.
DeleuzeandGuattari,AThousandPlateaus,474–500.
63.
Ibid.
,504–505.
64.
Ibid.
,474.
65.
Thisis,ofcourse,DeleuzeandGuattari'scritiqueofaversionofpsycho-analysisorlinguisticsthatplacesastructureuponbehaviorinsuchawaythat(1)doesnothavetoattendtothespecificitiesoftheaction(2)bynecessitycreatesmomentsofexcessorexclusionwhichareeitherbrushedoffasanom-alousorintegratedBorg-likeintothecollective,and(3)guaranteesitsownstatusbyalwaysfindingthatwhichitislookingfor.
66.
Onesuchmechanismistheprocessofsignificationorthe"semioticmachine"(AThousandPlateaus,83).
67.
SeeMichelFoucault,DisciplineandPunish.
68.
ForathoroughdiscussionofthestructureandeffectsofthistattoodiscourseseeSullivan,13–46.
69.
Iamborrowingthephrase"stop-operation"fromBrianMassumi,ParablesfortheVirtual(Durham,NC:DukeUniversityPress,2002),7.
70.
JonathanCrary,TechniquesoftheObserver:OnVisionandModernityinthe19thCentury(Boston,MA:MITPress,1992),31.
71.
J.
MacgregorWise,"Assemblage,"inGillesDeleuze:KeyConcepts,ed.
CharlesJ.
Stivale(Ithaca,NY:McGill-Queen'sUniversityPress,2005),77.
72.
DeleuzeandGuattari,AThousandPlateaus,4.
73.
Wise,"Assemblage,"86.
Notes16274.
Wisereferstotheflowofagencyinhisdiscussionofassemblage(84).
AsIindicateearlier,however,theseflowstendtobeofdeterritorializinglinesofflight.
75.
Wise,"Assemblage,"77.
76.
DeleuzeandGuattari,AThousandPlateaus,83,87.
77.
Ibid.
,23.
78.
GillesDeleuze,TheFold:LeibnizandtheBaroque,trans.
TomConley(Minneapolis,MN:UniversityofMinnesotaPress,1993),20.
79.
DeleuzeandGuattari,AThousandPlateaus,506.
80.
IthinkthatmoveiswarrantedbecauseDeleuzeandGuattariinsistthatterritorializationanddeterritorializationnotbereducedtoabad/gooddualism.
OneinterpretationofDeleuzeandGuattarimightsuggest,forexample,thatagency(politicalresistancetopowerstructures)islocatedintheactivityofdeterritorialization.
Thecritical(readpolitical)enterprisewouldemphasizetheheightenedmovementofstructuresbreakingdown.
Thisversionofagencymightprivilegecultural,social,andartisticactivities'capacitiestoquestionanddestroystructure.
Thisversionofagencymerelyechoesthetypesofanalysisoftattooingthathaveendedupstuckintheboth/andeconomyofrepresentation,however.
Asanalternative,therefore,Iwanttousethisbooktoexplorethepossibilitiesforagencylocatedinterritorialization.
81.
DeleuzeandGuattarido,ofcourse,discussperformativitythoroughlyinthefourthplateau:"November20,1923:PostulatesofLinguistics.
"Theirdiscus-sionsuggeststhattheillocutionaryforceoftheperformativeutterancedoesnotcomefromthesubjectorfromintentionbecausetheactoftheperforma-tiveistoinfactproducethefieldofsubjectivity.
Theirprimarytargetistherelationbetweenthestatementandtheact,arguingthatthisisaninternalrelationofredundancy.
Myconcernislesswiththerelationbetweenstate-mentandactthanwiththeactivityofmeaningitself—asIhavestatedbefore,withtheperformanceofperformativity.
82.
DeleuzeandGuattari,AThousandPlateaus,21.
83.
Deleuze,TheFold.
84.
Conley,"FromMultiplicitiestoFolds,"639.
85.
DeleuzeandGuattari,AThousandPlateaus,13.
86.
Ibid.
,12.
87.
RichardSchechnercoinedthephrase"restoredbehavior"asadefinitionofperformance.
Thisdefinitionassumesthatbothaesthetic(theater,dance,opera,performanceart)andeveryday(socialandculturalritual)performancesareactions,orscripts,thatcanbestored,transmitted,manip-ulated,andtransformed.
SeeRichardSchechner,BetweenTheatreandAnthropology.
88.
Ott,"(Re)LocatingPleasureinMediaStudies,"194–212.
89.
Ibid.
,207.
90.
DeleuzeandGuattari,AThousandPlateaus,13,21.
91.
Ibid.
,493.
92.
Ibid.
,14.
163NotesChapterTwoModernDaySideshows:Class,Classification,andTattooConventions1.
Portionsofthischapterappearedinprintpreviouslyas:"MovementandResistance:(Tattooed)BodiesandPerformance,"CommunicationandCritical/CulturalStudies,4.
1(March2007):51–73.
2.
PierreBourdieu,"Distinction:ASocialCritiqueoftheJudgmentofTaste,"inSocialStratification:Class,Race,andGenderinSociologicalPerspective,ed.
DavidB.
Grusky(Boulder,CO:WestviewPress,1994),410.
3.
JohnFiske,ReadingthePopular(Boston,MA:UnwinHyman,1989),29.
4.
ElizabethGrosz,VolatileBodies(Bloomington,IN:IndianaUniversityPress,1994),139.
5.
BarbaraEhrenreich,FearofFalling:TheInnerLifeoftheMiddleClass(NewYork:HarperPerennial,1989),7.
6.
AnnaleeNewitzandMathewWray,"Whatis'WhiteTrash'StereotypesandEconomicConditionsofPoorWhitesintheUnitedStates,"inWhiteness:ACriticalReader,ed.
MikeHill(NewYork:NewYorkUniversityPress,1997),172.
7.
KajaSilverman,"FragmentsofaFashionableDiscourse,"inOnFashion,ed.
ShariBenstockandSuzanneFerriss(NewBrunswick,NJ:RutgersUniversityPress,1994),189.
8.
Grosz,VolatileBodies,138.
9.
Tattooscan,ofcourse,beremovedorbehiddenfromview.
Thedistinction,however,isthatthetattooondisplayisasignsignifyingsomethingmoresociallyandphysicallyimplicatingthanclothingorhairstyles.
Itisasignthatrepresentsachoicetobecomepermanentlyassociatedwithaparticularidentity-anidentitythatduringmostofthetwentiethcenturyintheU.
S.
hasbeenlabeledcriminalanddeviant.
10.
DavidSibley,GeographiesofExclusion(NewYork:Routledge,1995),80.
11.
Ibid.
,81.
12.
DeMello,BodiesofInscription,1,26–32,129–131.
13.
Ibid.
,21.
14.
MadameChinchilla,Stewed,ScrewedandTattooed(FortBragg,CA:IsadorePress,1997),62.
15.
Theterm"tattoocollectors"referstopeoplewhoarenottattooartists,havebeentattooedmorethanonce,probablyintendtobetattooedagain,areproudoftheirtattoos,andprobablyarenotshyaboutshowingtheirtattoos.
16.
ChrisPfoutsqtdinAmyKrakow,TheTotalTattooBook(NewYork:WarnerBooksInc.
,1994),156.
17.
DeMello,BodiesofInscription,28.
SeealsoKrakow,TotalTattooBook,154.
Theconventionflyeradvertisedthetattoocompetitionasa"live"event.
Thisdidnot,however,meanthattattooingwouldbepracticedonstage.
Rather,itmeantthat"live"bodies(asopposedtophotographs)wouldbeondisplay.
Therhetoricofthe"live"performancehintedclearlytothesideshowprecursor.
SeeNotes164CarlHammerandGideonBasker,FreakShow:SideshowBannerArt(SanFrancisco,CA:ChronicleBooks,1996).
18.
DeMello,BodiesofInscription,29.
19.
ThedistinctionIamdrawinghereisbetweenthecompetitionasaspecificeventandtheconventionasawhole.
Peoplewithtattoosprimarilypopulatetheconventionandthosetattoosareconspicuouslydisplayed.
Whileminglingontheconventionfloor,however,theattendeesinteractatmultiplelevelsandthetattooisnotalwaysthefocalpoint.
Whenonstage,however,thetattoosarethepremierattraction.
20.
TheExporeturnedtoNewOrleansin2006withajoint2005/2006eventfollowingthedevastationofthecitybyHurricaneKatrina.
21.
Itisimportanttonotethatatthisparticularconventionallofthebodiesenteredintocompetitionwerewhitebodies.
AlthoughIamunwillingtoassertanydefinitiveexplanationforthis,IwouldtentativelysuggestthatsincetattooingasanartisticpracticeisdominatedbywhitemenandthattattoosonHispanic,AfricanAmericanandAsianmenintheUnitedStatesareoftenassociatedwitheithercelebritystatus(athletes,musicians,actors,andmodels)orcriminality(gangmembership),thatthissettinghadlimitedappeal.
Iwouldfurthersuggestthattheincreasedpopularityoftattooingamongthemiddleclassisalargelywhitemiddle-classphenomenon.
22.
ChristineBraunberger,"RevoltingBodies:TheMonsterBeautyofTattooedWomen,"NWSAJournal,12.
2(2000):1–23.
Braunbergerconteststhatinherexperienceatconventions,therewasadistinctioninthestyleofperfor-manceofthemenandwomenonthetattoocompetitionstage.
Sheindicatesthatthemenseemed"grudging"tobeonstagebutthatthewomenwerenotatallembarrassedtotakethestagescantilycladinswimsuits(16).
ThiswasnotthecaseattheExpoIattended.
NaryaswimsuitdidIsee.
Also,therela-tivelevelofgrudgingnessseemedmorelinkedtopersonalityandaudiencesupportthantogender.
Menorwomenwhowereanimateddrewaudiencereactionandthosewhowerenot,didnot.
PerhapsthedifferenceinmyandBraunberger'sexperienceisbecausethecompetitionsBraunbergerdescribesappeartoawardprizesprimarilytothetattooedbodywhereastheExpocom-petitionwasclearlyabouttheartist.
Shecites,forexample,thecommentofa"veterantattoocollector"whofeltshewasnot"feminine-lookingenough"oneyearandsowentonadietandchangedhercostumeand"wonfirstplacethefollowingyear"(17).
IalsothinkthattheSouthernComfortExpowasnotonasgrandascaleassomeoftheseotherconventionsanddidnotfocussoexclusivelyonprofessionalorartistictattooing;itwasamuchmorehet-erogeneousclassmix.
Finally,SouthernComfortisinthedeepSouthandoffersaverydifferentculturalcontextthanconventionsheldinCaliforniaorNewYork.
23.
Chinchilla,Stewed,ScrewedandTattooed,62.
24.
Krakow,TotalTattooBook,155.
25.
Braunberger,"RevoltingBodies,"16.
26.
RichardBogdan,FreakShow(Chicago,IL:UniversityofChicagoPress,1988),241–256.
165Notes27.
TheHumanmarvelstraveledtogetherfrom1998–2005whenEnigmabeganperformingsolo.
FormoreinformationaboutEnigmaorKatzen,visittheWebsite:http://www.
humanmarvels.
com/(accessedFebruary1,2007).
28.
HammerandBasker,SideshowBannerArt,36.
29.
Bogdan,FreakShow,242.
30.
Ibid.
,247.
31.
RobertSherwood,HereWeAreAgain:RecollectionsofanOldCircusClown(Indianapolis,IN:TheBobbs-MerrillCompany,1926),151.
32.
Bogdan,FreakShow,104–110.
33.
MargotMifflin,BodiesofSubversion:ASecretHistoryofWomenandTattoo(NewYork:JunoBooks,1997),12.
34.
Itwasinthe1920sand1930swhenthetattooedperformerslosttheirpurelyvisualappealbecauseofaglutinthemarket.
Asaresult,tattooedmenandwomenbegantoperformactslikeswordswallowingandbecominghuman"blockheads"inordertomaintaintheiraudienceand,consequently,theirlivelihood.
35.
Sherwood's(HereWeAreAgain,149)accountofCaptainCostentenus'tat-tooingordeal,forinstance,indicatesthatitwaspunishmentforhisChristianity.
36.
Forthisuseoftheterm"dopplering,"IamadaptingfromBrianMassumi'suseofthetermindiscussinghypertextnavigation/reading/use.
BrianMassumi,ParablesfortheVirtual:Movement,Affect,Sensation(Durham,NC:DukeUniversityPress,2002),138–140.
37.
Butler,BodiesthatMatter,2.
38.
Itisalsointerestingtonotethatthecontestassumessomedistinctionbetweenmaleandfemaletattooedbodies.
Thisdistinctionimpliesthattattoodesignandstylearegendercoded.
39.
Bogdan,FreakShow,62–66.
40.
SteveGilbert,TattooHistory:ASourceBook(NewYork:JunoBooks,2000),141.
41.
Ibid.
,142.
42.
Bogdan,FreakShow,249.
43.
Sibley,GeographiesofExclusion,25.
44.
Bogdan,FreakShow,249.
45.
Govenar,"Introduction,"xviii.
46.
ForfurtherreadingaboutthepoweroftheaestheticgazetofinalizetheformoftheotherseeMikhailBakhtin,AuthorandHeroinAestheticActivity,"ArtandAnswerability:EarlyPhilosophicalEssaysbyM.
M.
Bakhtin,trans.
VadimLiapunovandKennethBrostrom,ed.
MichaelHolquistandVadimLiapunov(Austin,TX:UniversityofTexasPress,1990),4–256.
47.
MaryDouglas,PurityandDanger(Harmondsworth,UK:PenguinBooks,1970),4.
48.
Fiskeargues,forexample,thatself-displayisvulgar(29).
SeealsoMaureenTurim,"SeductionandElegance:TheNewWomanofFashioninSilentCinema,"inOnFashion,ed.
ShariBenstockandSuzanneFerriss(NewBrunswick,NJ:RutgersUniversityPress,1994),140–158.
TurimadditionallyNotes166indicatesthatnudityinnickelodeonfilmwasseenasadrawforlow-class,butnotmiddle-class,audiences(147).
49.
Sanders,CustomizingtheBody,18.
50.
Ibid.
,18.
51.
Steward,BadBoys,102–127.
52.
Ibid.
,94–95.
53.
Mifflin,BodiesofSubversion,38;Krakow,TotalTattooBook,27.
54.
Krakow,TotalTattooBook,28.
55.
Tattooingwas,forinstance,justrecentlylegalizedinSouthCarolina(2004)andOklahoma(2006).
56.
Mifflin,BodiesofSubversion,38.
57.
Ibid.
,148.
58.
TimothyA.
RobertsandSherylA.
Ryan,"TattooingandHigh-RiskBehaviorinAdolescents,"Pediatrics,110.
6(December2002):1058.
59.
RobertRaspaandJohnCusack,"PsychiatricImplicationsofTattoos,"AmericanFamilyPhysician(May1990):1481.
60.
Butler,BodiesthatMatter,10.
61.
DeMello,BodiesofInscription,143–151.
62.
ElmerPaceandLindaPacev.
CityofDesMoines,IowaandBrianDanner,UnitedStatesCourtofAppealsfortheEighthCircuit,U.
S.
App.
LEXIS3888,2000.
63.
UnitedStatesofAmericav.
AlfredYazzieandRaymondJones,UnitedStatesCourtofAppealsfortheTenthCircuit,U.
S.
App.
LEXIS18474,1999.
64.
DeMello,BodiesofInscription,5–6.
65.
Braunberger,"RevoltingBodies,"16.
66.
Sibley,GeographiesofExclusion,80.
67.
Bogdan,FreakShow,46.
68.
HammerandBasker,SideshowBannerArt,14.
69.
Bogdan,FreakShow,100.
70.
LeonardSt.
ClairandAlanGovenar,StoneyKnowsHow:LifeasaTattooArtist(Lexington,KY:UniversityofKentuckyPress,1981),32.
71.
Bogdan,FreakShow,101–102.
72.
HammerandBasker,SideshowBannerArt,19.
Thecardboardpiratesalsorecollectthecarnivalbanner.
73.
Ibid.
,10.
74.
Initsmodernmanifestation,however,authenticityislesstheconcernthanartisticvalue,andtheaudienceisagroupofpeersasopposedtooutsiders.
75.
PeterJackson,MapsofMeaning(NewYork:Routledge,1992),91–96.
76.
NeilHarris,CulturalExcursions(Chicago,IL:UniversityofChicagoPress,1990),20.
77.
Harris,21–22.
78.
DonWilmeth,VarietyEntertainmentandOtherAmusements:AReferenceGuide(Westport,CT:GreenwoodPress,1982),3.
79.
Ibid.
,95.
80.
Thisisaninterestingcontrasttothemid-nineteenthcentury.
Barnum'sAmericanMuseum,forexample,waslocatedintheheartofNewYorkatthe167NotescornerofBroadwayandAnn.
ItwasduringtheJacksonianinspired1840sthatBarnum'smuseumflourished,however,whenhisaudiencewasnotasclasssegregatedandthesocialattitudetowardthedisplayofhumanodditieswasgenerallyambivalent.
81.
Bogdan,FreakShow,48.
82.
Wilmeth,VarietyEntertainment,27.
83.
JustusD.
Doenecke,"Myths,MachinesandMarkets:TheColumbianExpositionof1893,"JournalofPopularCulture,7.
3(1973):540.
84.
Ibid.
,542.
85.
Wilmeth,VarietyEntertainment,22.
86.
Bogdan,FreakShow,58.
87.
AlthoughIthinkthisisaweakexplanationconsideringthattattooconven-tionsareaninternationalaffair.
TattooartistsfromtheUnitedStatestravelfromTokyotoAmsterdamtoattendconventions.
AtTattooVoodoo,forexample,therewerearoundfiftystudiosrepresentingfourcountriesincludingTheNetherlands,Austria,GermanyandtheUnitedStates.
AmericanartiststraveledfromasfarasNewYork,California,andMinnesota.
Tattooartistsalsochargeaminimumofaroundfiftydollarsforatattoothattheycanaccomplishinforty-fiveminutes.
Inotherwords,tattooartistsarenotneces-sarilypeopleofsmalleconomicmeans.
88.
TheimagesfromNewOrleansduringandafterHurricaneKatrinabothver-ifythewaysinwhichthecitywasdividedaswellassuggestthedisruptivepowerwhenthoselinesarecrossedbynatureandclass.
Seeing,forinstance,themarginsofsocietylockedintothecitycenterintheformoftheblackfacespleadingforhelpattheSuperdomeandConventionCenterdemonstratedhowthecentercanshiftquicklytothemarginwhenclassedandracedbodiesmovefromtheirprescribedplaces.
89.
Thisareamadeinternationalheadlinesin2005becauseitisalsothesiteoftheAstroDomethatservedasthenot-so-temporaryhousingforthethousandsofevacueesformNewOrleansduringandafterthedevestationofHurricaneKatrina.
Theclassimplicationsofhousingtheinfluxofthelow-incomeinnercitypopulationofNewOrleansinthesiteofapopularamusementvenuelikeaformersportsstadiumisnotlostuponthisauthor.
90.
KathyPeiss,CheapAmusements:WorkingWomenandLeisureinTurn-of-the-CenturyNewYork(Philadelphia,PA:TempleUniversityPress,1986),95.
91.
ChristopherGray,"Streetscapes/Roseland:AnOld-FashionedDancetotheMusicofTime,"NewYorkTimes(October13,1996).
lateedition,sec.
9:5.
92.
Peiss,CheapAmusements,94.
93.
ElisabethPerry,"CleaninguptheDanceHalls,"HistoryToday39,10(October1989):22.
94.
"LifeGoestoaParty,"Life,2.
5(April12,1937):82–85.
95.
Perrypointsoutthateventhoughthedime-a-danceor"taxidance"womenwerenotseenasprostitutes,theywereassociatedwithsexualdisorder(25).
96.
DavidFreeland,"LastDanceattheOrpheum,"NewYorkPress,18.
32(2005),http://www.
nypress.
com/18/32/news&columns/DavidFreeland.
cfm,par.
9.
(accessedJanuary25,2007).
Notes16897.
Bogdan,FreakShow,30.
98.
PatrickC.
EastoandMarcelloTruzzi,"TheCarnivalSocialSystem,"JournalofPopularCulture,7.
3(1973):555.
99.
Ibid.
100.
Ibid.
,552;Bogdan,FreakShow,10.
101.
EastoandTruzzi,559.
102.
MikhailBakhtin,"FormsofTimeandoftheChronotopeintheNovel,"TheDialogicImagination,ed.
MichaelHolquist,trans.
CarylEmersonandMichaelHolquist(Austin,TX:UniversityofTexasPress,1981),84.
103.
Ibid.
,248.
104.
Sibley,GeographiesofExclusion,81.
105.
Braunberger,"RevoltingBodies,"17.
106.
BarbaraKirshenblatt-Gimblett,DestinationCulture:Tourism,Museums,andHeritage(Berkley,CA:UniversityofCaliforniaPress,1998),55.
107.
JenniferDeVereBrody,"BlackCatFever:ManifestationsofManet'sOlympia,"TheatreJournal,53(2001):96.
ChapterThreeRosieGetsaTattoo:Gender,Fragmentation,andAdvertising1.
Consideringtheincreasingpopularity(oratleastvisibility)oftattoosamongcelebritycultureduringthetattoorenaissance,itisnotunusualthatmodelswithtattooswouldbecomeamoreprominentpresenceinadvertisingcam-paigns.
Thesebodies,ofcourse,arealsoproducedwithinaspecificvisualcontextthatconstructsadistinctdiscursiveconstruction.
Iwillreturntothislaterinthechapterbut,forexample,aGuessadvertisementusesthetattooedmalebodyinordertorefertodiscoursesofmid-twentiethcenturymas-culinity.
TheGuessmodelisshirtless,wearingGuessjeansandstandingata3/4profiletothecamera.
Hisbarebackandupperrightarmareadornedwithtattooimagesnostalgicofold-schooltattoodesignmostoftenattrib-utedtoSailorJerry.
Namely,abikini-cladwomanwearinghighheelswhosehairstyle,bikini,andshoesareallreminiscentofthemid-century.
Themodelalsohasshort,darkhairwhichisslickedbackJamesDeanstyleandthepatchonthejeansreads"workwear.
"TheGuessadvertisement,consequently,isaclearappropriationandreferencetogenderdiscourseinitsconstructiontattoosasasymbolofmasculinityofthe"goodolddays.
"2.
RayGun(September1999):6–7.
3.
AmyC.
Sims,"AthletesSellSkinSpacetoAdvertisers"(April1,2002).
Foxnews.
com,http://www.
foxnews.
com/story/0,2933,49197,00.
html(accessedDecember15,2005).
4.
AssociatedPress,"WomanTattoosWebAddressonForehead"(June30,2005).
CNN.
com,http://www.
cnn.
com/2005/US/06/30/forehead.
tattoo.
ap/index.
html%3Fsection'cnn_offbeat(accessedDecember15,2005).
5.
Butler,GenderTrouble.
169Notes6.
JohnSloop,DiscipliningGender:RhetoricsofSexIdentityinContemporaryU.
S.
Culture(Boston,MA:UniversityofMassachusettsPress,2004),6.
Sloop'srenditionisthat"genderiswhatwedoratherthanwhatweare"(6).
Thefoot-noteattheendofthisstatementclarifiesthatButlerisnotlocatinggenderintheintentionallyandmaterialactionsofawillingsubject,butratherthathercritiqueisalsothattheperformativityofgenderparticipatesinconstitutingthepossibilityofinteriority.
Thisiswhymyturnofthephraseeliminatesthesubject"we.
"7.
Butler,GenderTrouble,174.
8.
Ibid.
,6.
9.
Butler,BodiesthatMatter,126–127.
10.
AsWestandZimmermanpointout,however,genderarticulation(ormisar-ticulation)isnotalwaysobviouslyapparent.
SeeCandaceWestandDonH.
Zimmerman,"DoingGender,"inTheSocialConstructionofGender,ed.
JudithLorberandSusanA.
Farrell(London:SagePublications,1991),24–25.
11.
JoanAcker,"Hierarchies,Jobs,Bodies:ATheoryofGenderedOrganizations,"inTheSocialConstructionofGender,ed.
JudithLorberandSusanA.
Farrell(London:SagePublications,1991),167.
12.
Perhapsthemostpedestrianexampleofgenderedsocialspaceisthepublicrestroomandthequandarythe"male"and"female"designatorsposetoatransgenderedand/ortranssexualindividual.
Anotherinstanceofthisisthegenderingofnurseriesthroughdecor(blueorpink)basedonthesexofthebaby.
13.
MichaelKimmel,TheGenderedSociety(NewYork:OxfordUniversityPress,2000),95.
14.
Glamour(January2000):101.
Glamourisapopularwomen'smagazineintheU.
S.
featuringarticlesaboutwomen'sfashion,diet,exercise,healthandsocialissues.
AccordingtotheirWebsite,Glamour'sU.
S.
circulationtops2.
3millionandthemajorityofreadersarewomenbetweentheagesof18–39withamedianhouseholdincomeof$58,000.
"CondeNastMediaKit:Circulation/Demographics"(February2,2005);GlamourHomePage(accessedJanuary4,2006),http://www.
condenastmediakit.
com/gla/circulation.
cfm.
15.
Thereisnoexactdatefortheposter.
MelissaDabakis,"GenderedLabor:NormanRockwell'sRosietheRiveterandtheDiscoursesofWartimeWomanhood,"inGenderinAmericanHistorySince1890,ed.
BarbaraMelosh(NewYork:Routledge,1993),200.
16.
Ibid.
,199.
17.
Ibid.
18.
Theoneotheraddition/changemadetotheposterimageistheaddressfortheTampaxwebsiteinsmallprintinthebottomright-handcorneroftheadver-tisement.
19.
Roachinsists,ofcourse,thatthelocationofanoriginalisalwaysfraughtwithdifficultybecausethereisalwaysanelementofsurrogationinanyculturaltext.
20.
Dabakis,"GenderedLabor,"197–201.
21.
Ibid.
,199.
Notes17022.
Ibid.
,194.
23.
Ibid.
24.
Peiss,CheapAmusements,47.
Peisssuggestsinherdiscussionofleisureandlaborattheturnofthecenturyuntil1920,forexample,that"thesaleslady'spatinaofstyleandrefinementdifferentiatedherfromtheroughermannerofmanytobaccoorgarmentworkers"(47).
25.
ThecoverofLifeMagazine(October1,1923)depictedafinelymade-upwomaninhighheels,flowingdresswithlacyapron,andlongcurlyhairpinnedupridingavacuumcleaner.
Theillustrationwastitled"AModernWitch.
"26.
DavidR.
Shumway,"WatchingElvis:TheMaleRockStarasObjectoftheGaze,"inTheOtherFifties,ed.
JoelForeman(Chicago,IL:UniversityofIllinoisPress,1997),126.
27.
Dabakis,"GenderedLabor,"201.
28.
Ibid.
,191.
29.
Ibid.
30.
SarahM.
Evans,BornForLiberty:AHistoryofWomeninAmerica(NewYork:TheFreePress,1989),260.
31.
Mitchell,WhatDoPicturesWant,259.
32.
Iamreferringhereto,forexample,thedifferencesinassumedinthevaluesandactionsoffemalevs.
malepoliticians,CEOs,soldiers,etc.
Whiletheactualjobdescriptionsdon'tchange,theexpectationsforhowtofulfillthosedescriptionsissubtly(andsometimesnotsosubtly)differentforwomenthanitisformen.
33.
EdnieKaehGarrison,"U.
S.
Feminism—GrrrlStyle!
Youth(Sub)CulturesandtheTechnologiesoftheThirdWave,"FeministStudies,26.
1(Spring2000),145.
34.
Kimmel,TheGenderedSociety,268.
35.
Douglas,PurityandDanger,63.
36.
Ibid.
,40.
37.
Ibid.
38.
Douglaswasreferringtoculturalpracticesthatactuallykillanomaloushumansandanimals,butIthinktheanalogytoametaphoricaldeathwithinarepresentationaleconomyiscompelling.
39.
Govenar,"Introduction,"xxii.
40.
Ibid.
,xxiii.
41.
Ibid.
,xxii.
42.
Steward,BadBoys,58.
43.
Iamawareofthephallicimplicationsofthisstatement.
44.
NancyDuncan,"RenegotiatingGenderandSexualityinPublicandPrivateSpaces,"inBodySpace,ed.
NancyDuncan(NewYork:Routledge,1996),128.
45.
Bakhtin,"Chronotope,"249.
46.
JamesGilbert,AnotherChance:PostwarAmerica,1945–1985,2ndedition(Chicago,IL:DorseyPress,1986),116.
47.
MichaelKimmel,"ConsumingManhood:TheFeminizationofAmericanCultureandtheRecreationoftheMaleBody,1832–1920,"inTheMale171NotesBody:Features,Destinies,Exposures,ed.
LaurenceGoldstein(AnnArbor,MI:UniversityofMichiganPress,1995),21.
48.
GeraldEarly,TheCultureofBruising:EssaysonPrizeFighting,Literature,andModernAmericanCulture(Hopewell,NJ:EccoPress,1994).
49.
Early,90.
50.
Ibid.
,87.
51.
Steward,BadBoys,39.
52.
Govenar,"Introduction,"xxiii.
53.
Anotherfactorcontributingtotheclassificationoftattoosasdeviantinthemid-twentiethcenturywasanoutbreakofhepatitisinthe1950sandearly1960s(seeChapterTwo).
Asaconsequenceofthedisease,tattooingwasbannedinsomestates.
MargotMifflinarguesthatthesebanssecuredtattoo-ing'sassociationwithdeviancebecausetheyconstructedtattooingasan"outlaw"practice.
WithinthecontextoftheMarlboroadvertisement,"outlaw"isreconfiguredasfreedomfromsocialregulation.
Thecowboy"insomeloosemoment"exercisedhisindividualitybybreakingthelaw.
Ofcourse,theMarlboroadvertisementalsohasthecowboycostumedinawestern-stylesuit,implyingthathisyouthfulindiscretionhassincebeenreplacedbytheculturallysanctionedpracticeofland-owningbusinessmen.
Thebodilyfreedomofexpressionthetattoosymbolizesisdisplacedtoroam-ingtheranchandsmoking"alot"ofcigarette.
54.
TedPolhemus(photographsbyHouskRandall),TheCustomizedBody(NewYork:Serpent'sTail,1996),24.
Theparalleltrendforsoldiersandsailorstosymbolizegroupmembershipviatattooingwasalsobecomingcodedasdeviantbythemilitaryasitsoughttoregulatetheactivity.
Foramoredetaileddiscussionofthisissue,seeChapterTwo.
55.
Sanders,CustomizingtheBody,2.
56.
Steward,BadBoys,63.
57.
ByLeonardSt.
ClairandAlanB.
Govenar,StoneyKnowsHow:LifeasaTattooArtist(Lexington,KY:UniversityofKentuckyPress,1989),101.
58.
Steward,BadBoys,57.
59.
WardellB.
Pomeroy,"Foreword,"inBadBoysandToughTattoosbySamuelSteward(NewYork:TheHaworthPress,1990),2.
60.
Steward,BadBoys,5.
61.
Bogdan,FreakShow,241.
62.
Sherwood,HereWeAreAgain,149.
63.
Govenar,"Introduction,"xvi.
64.
KimHewitt,MutilatingtheBody:IdentityinBloodandInk(BowlingGreen,OH:BowlingGreenStateUniversityPopularPress,1997),75.
65.
Sanders,CustomizingtheBody,48.
66.
Ibid.
67.
JakeFogelnest,"21stCenturyGirls,"RayGun(September1999):25.
68.
UmJammerLammyadvertisement,RayGun(September1999):7.
69.
LauraGilbertandCrystalKile,Surfergrrrrls:LookEthel!
AnInternetGuideforUs!
(Seattle,WA:SealPress,1996).
qtdinGarrison,"U.
S.
Feminism,"141.
70.
Bogdan,FreakShow,251.
Notes17271.
Mifflin,BodiesofSubversion,30.
72.
Ibid.
,32.
73.
Ibid.
,23.
74.
RichardBauman,"Performance,"inFolklore,CulturalPerformances,andPopularEntertainments,ed.
RichardBauman(NewYork:OxfordUniversityPress,1992),46.
75.
Steward,BadBoys,48–49.
76.
Ibid.
,49.
Steward'sexperienceis,ofcourse,withaspecificclassofmaleclien-telewho,itseems,perceivedtattooingasamasculineexpressionofownershipandcontrolovertheirfemalepartners.
Itissignificant,nonetheless,becauseduringthiseratattooingwaslargelyalower-classpracticeandsoculturalinterpretationsoftattoosandtattooingwereformedwithinandinresponsetothiscommunity.
77.
MargotMifflinoffersaverycomprehensivedescriptiveanalysisofwomenandtattoosthroughoutthetwentiethcenturyintheU.
S.
inBodiesofSubversion.
78.
Mifflin,BodiesofSubversion,39.
79.
Braunberger,"RevoltingBodies,"15.
80.
TattoosoncelebritiesaresoprevalentthatMTVevennotedthetrendinayear-endcountdownofthetopninetrendsof1999.
81.
GilbertandKile,Surfergrrrrls,xx.
82.
Mifflin,BodiesofSubversion,100,167.
83.
Braunberger,"RevoltingBodies,"15.
84.
GarrisonindicatesinheressaythattheyoungwomenofthismovementrecognizetheineffectivenessofmainstreammediaincommunicatingtheirmessageandsorelymainlyonalternativesliketheInternet,punkmusic,andzines.
Mypointis,however,thatthemainstreammediahasco-optedtheimageinordertoeffacethepowerofthesubculturalmessage.
Punkfeminists,asaresult,sufferthesamefateasHebdigesuggestspunk(anti)fashionenduredinBritain.
85.
Garrison,"U.
S.
Feminism,"158.
86.
JeanBaudrillard,"SimulacraandSimulations,"inSelectedWritings,ed.
andtrans.
MarkPoster(Stanford,CA:StanfordUniversityPress,1988),166–184.
87.
Braunberger,"RevoltingBodies,"15.
88.
Thesepotentialrepositioningsoftheadvertisingimageactivatethepossibil-ityofwhatHutcheonsreferstoaspostmodernphotographiccritique:"Reappropriatingexistingrepresentationsthatareeffectivepreciselybecausetheyareloadedwithpreexistingmeaningandputtingtheminnewandironiccontextsisatypicalformofpostmodernphotographiccomplicitouscritique:whileexploitingthepoweroffamiliarimages,italsodenaturalizesthem,makesvisibletheconcealedmechanismswhichworktomakethemseemtransparent,andbringstotheforetheirpolitics.
"LindaHutcheons,ThePoliticsofPostmodernism(NewYork:Routledge,1989),44.
89.
Thefactthatthewarposterimageisinthepublicdomainhas,ofcourse,contributedtoitsproliferationastheimagecanbeusedwithoutpayingfees173Notesforpermission,licensingorviolatingcopyright.
Whatthisfactsuggestsisthatthereproductivepotentialofimagesisalsoimplicatedbythemachineofcapitalism.
90.
AquickGoogle(accessedDecember12,2006)searchfor"RosietheRivetertattoo"resultedinphotosofRosieetchedonthebacksandarmsofmenandwomenalike.
91.
BackUpYourBirthControl,http://www.
backupyourbirthcontrol.
org/index.
htm(accessedDecember12,2006).
92.
BackupYourBirthControl,"MaterialsOrderForm,"http://www.
backupyourbirthcontrol.
org/documents/Materials_Order_Form.
pdf(accessedDecember12,2006).
93.
Forimagesofpiercedheartsfromtheearly20thcentury,seeMichaelMcCabe,NewYorkCityTattoo:TheOralHistoryofanUrbanArt(Honolulu,HI:HardyMarksPublications,1997).
Forathoroughdiscussionofthesacredheart,seeKarmenMacKendrick,WordMadeSkin(NewYork:FordhamUniversityPress,2004),115–136.
94.
MacKendrick,WordMadeSkin,132.
95.
BernadetteWegenstein,"GettingUndertheSkin,or,HowFaceshaveBecomeObsolete,"Configurations,10(2002):221–259.
96.
Wegenstein'soverarchingargumentisthatpriortotherecentpowerofthefragmentedbodyparttobecomeitsowntotalityandovercodetheunityofthehumanbody,thefacewastheonlypartofthebodythathadthispower.
97.
TheOiBisaninversionofDeleuzeandGuattari'sconceptofthebody-with-out-organs(BwO).
Wegenstein'sclaimisthattheutopianpossibilityofthedemocraticmultiplicityoftheBwOhasbeenusurpedbytheovercodingofthebodybyindividualorgans.
WhileDeleuzeandGuattarri'sformulationbelievesinthepotentialofthedeterriorializedbody,Wegenstein'sperspec-tivesuggeststhatindividualpartsarethemselvesthesurfaceuponwhichthebodyisproduced.
98.
MacKendrick,WordMadeSkin,142.
99.
JohnStratton,"BuildingaBetterBody,"inSportcult,ed.
RandyMartinandTobyMiller(Minneapolis,MN:UniversityofMinnesotaPress,1999),158.
100.
JeanLucNancy,"Corpus,"inThinkingBodies,ed.
JulietFlowerMacCannellandLauraZakarin(Stanford,CA:StanfordUniversityPress,1994),24.
ChapterFourModernPrimitives:Exoticism,Hybridity,andPhotography1.
V.
ValeandAndreaJuno,ModernPrimitives:AnInvestigationofContemporaryAdornmentandRitual(SanFrancisco,CA:Re/SearchPublications,1989),5.
2.
DeMello,BodiesofInscription,176.
3.
Inparticular,exoticismandvisualrepresentationhavebeenthesubjectsofmultiplevolumes.
SeePeterMason,Infelicities:RepresentationsoftheExoticNotes174(Baltimore,MD:JohnsHopkinsUniversityPress,1998);FrederickN.
Bohrer,OrientalismandVisualCulture:ImaginingMesopotamiainNineteenth-CenturyEurope(Cambridge,UK:CambridgeUniversityPress,2003);AssenkaOksoloff,PicturingthePrimitive(NewYork:Palgrave,2001).
4.
HarrietGuest,"CuriouslyMarked:TattooingandGenderDifferenceinEighteenth-centuryBritishPerceptionsoftheSouthPacific,"inWrittenontheBody,ed.
JaneCaplan(Princeton,NJ:PrincetonUniversityPress,2000),83–101.
5.
KaterynaOlijnykLongley,"FabricatingOtherness:DemidenkoandExoticism,"in"New"Exoticisms,ed.
IsabelSantaolalla(Atlanta,GA:Rodopi,2000),23.
6.
OvidiCarbonell,"ExoticisminTranslation:Writing,Representation,andthePostcolonialContext,"in"New"Exoticisms,ed.
IsabelSantaolalla(Atlanta,GA:Rodopi,2000),52.
7.
ForanexplanationofthispositionseeIsabelSantaolalla,"Introduction,"in"New"Exoticisms,ed.
IsabelSantaolalla(Atlanta,GA:Rodopi,2000),9.
8.
EdwardSaid,Orientalism(NewYork:RandomHouse,1978),40.
9.
CraigLatrell,"AfterAppropriation,"TheDramaReview,44.
4(2000):44–55.
Latrellobjectstotheexotic-as-appropriationlogicbasedonitsinflexibilityandblindnesstocontext(44).
10.
Mason,Infelicities,2.
11.
Ibid.
12.
Ibid.
,3.
13.
Bohrer,OrientalismandVisualCulture,15.
14.
Mason,Infelicities,147–164.
15.
TheuseofthetermhybridityhereisdrawnfromHomiBhabhaastracedwithinthelineageofexoticperformativitydescribedthroughtheworkofMasonandBohrer.
16.
HomiBhabha,TheLocationofCulture(NewYork:Routledge,1994),86.
17.
WWW.
fakir.
org18.
ValeandJuno,ModernPrimitives,8.
19.
Modernprimitivetattooing,asexplainedbyMusafar,thereforebecomesanembodiedexpressionofMikhailBakhtin'sconceptofaestheticseeing.
MikhailBakhtin,"AuthorandHeroinAestheticActivity,"inArtandAnswerability:EarlyPhilosophicalEssaysbyM.
M.
Bakhtin,trans.
VadimLiapunovandKennethBrostrom,ed.
MichaelHolquistandVadimLiapunov(Austin,TX:UniversityofTexasPress,1990),4–256.
Bakhtindescribestheconnectionbetweenthe"I"andthe"other"intheaestheticactasbeingoneofanexcessofseeing.
Thisexcessislargelyconnectedtotheexteriorsurfaceofthebody,accordingtoBakhtin,becauseone'sownbodycannotbeexperi-encedbytheselfasanexteriorform(85).
Consequently,formiscreatedintheactofcontemplationofanotherandthatactisinherentlyproductive(24).
Concretedichotomiesofself/other,mind/body,subjectivity/objectivitydis-solveinthisactasthecontingencyofthesepositionsbecomesproducedinbothprocessandaestheticproduct;theserelationshipscease"tobefoundedonanecessaryprinciple"(5).
Theaestheticbodyisnotonlyproducedinits175Notesrepresentation,however.
Itsproductionalsodetachesitfromanyspecificlocationororigin.
Theprocessofcreatingthemodernprimitiveisindicativeofanessentiallyhumanandinteractive,ratherthanculturallyspecificandappropriative,condition.
20.
Anotherperformativeeffectofthisrhetoricisarehearsalofthesocialinscrip-tionvs.
individualresistantexpressiondialecticcirculatinginthediscourseofdeviancediscussedinChapterOne.
Scientificdiscourses,youwillrecall,dur-ingthelatenineteenthcenturyusedtherhetoricoftattoosexpressingperson-alityasameanstoclassifythetattooedfigureasadeviantorcriminal.
Modernprimitivediscourseshiftsthepowerrelationsbysuggestingthatinsteadofbeingsignsofcriminalityanddeviance,tattoosareexpressionsofhumanityaswellasbeingtheproductofsocialrelations.
21.
ValeandJuno,ModernPrimitives,8.
22.
Ibid.
23.
ThetermanchorisdrawnfromRolandBarthesdiscussionoftherelationbetweenlinguisticandiconicmessages.
SeeRolandBarthes,"RhetoricoftheImage,"inImage-Music-Text,ed.
andtrans.
StephenHeath(NewYork:HillandWang,1977),38–40.
24.
ThisconstructionissimilartotheeffectthatRosalindKraussdescribesintermsoffamilyphotographywhereimagesinphotographsproducea"theater"wherethefamilyis"togetherandwhole.
"RosalindKrauss,"ANoteonPhotographyandtheSimulacral,"inOverExposed:EssaysonContemporaryPhotography,ed.
CarolSquiers(NewYork:TheNewYorkPress,1999),174.
25.
Mason,Infelicities,160.
26.
DeMello,BodiesofInscription,176.
27.
Mason,Infelicities,159.
28.
Ibid.
29.
ValeandJuno,ModernPrimitives,13.
30.
KobenaMercer,"MortalCoil:ErosandDiasporainthePhotographsofRotimiFani-Kayode,"inOverExposed:EssaysonContemporaryPhotography,ed.
CarolSquiers(NewYork:TheNewYorkPress,1999),198.
31.
ValeandJuno,ModernPrimitives,96–100.
32.
See,forexample,ValeandJuno,ModernPrimitives,97;DeMello,BodiesofInscription,86;VictoriaLautman,TheNewTattoo(NewYork:WarnerBooksInc.
,1994),21.
33.
ValeandJuno,ModernPrimitives,98.
34.
Ibid.
,99.
35.
DeMello,BodiesofInscription,87–88.
36.
ValeandJuno,ModernPrimitives,98.
Alsonotethatthereferenceto"Ed"istoEdHardy.
Hardyisaprominenttattooartistandalsorepresented(althoughspecificallynotphotographically)inValeandJuno'svolume.
37.
RufusCamphausen,ReturnoftheTribal:ACelebrationofBodyAdornment(Rochester,VT:ParkStreetPress,1997),2.
38.
Ibid.
Alsonotetheassociationbetweenthemasculineandhandtattooing,seeChapterThree.
Notes17639.
ThisparticularphotographalsoappearsinDeMichele'sTheIllustratedWoman(44–45).
InDeMichele'stext,therearefivephotographsof"Gloria,"includingtheimagethatappearsinCamphausen'stext.
ThetattooartistisnamedasJonathanShaw(44).
Shawisawell-known,self-proclaimed"urban"tattooartistwhooperatesFunCityStudioinNewYorkCityandisperhapspartlyfamousfortattooingcelebritiessuchasJohnnyDepp(Krakow,TotalTattooBook,100–102).
40.
Chinchilla,Stewed,ScrewedandTattooed,47.
Inasectioncalled"ModernDayTribalRituals,"Chinchillanotesthat"bold,black,sculptural"designsthat"adaptwelltothenaturalcurvesofthehumanbody"arecharacteristicof"newtribalism"(47).
41.
Camphausen,ReturnoftheTribal,7.
42.
Polhemus,CustomizedBody,9.
43.
Ibid.
,23–24.
44.
Ibid.
,32.
45.
Ibid.
46.
Bhabha,LocationofCulture,36.
47.
Ibid.
48.
Ibid.
,37.
49.
Ibid.
,1–2.
50.
ColinTurnbull,"Liminality:ASynthesisofSubjectiveandObjectiveExperience,"inByMeansofPerformance,ed.
RichardSchechnerandWillaAppel(Cambridge,UK:CambridgeUniversityPress,1990):50–81.
Turnbullarguesthattransformation,asopposedtotransition,isthedefiningelementofliminalexperience(79).
51.
Bhabha,LocationofCulture,39.
52.
Camphausen,ReturnoftheTribal,10.
53.
Polhemus,CustomizedBody,24.
54.
ValeandJuno,ModernPrimitives,37.
55.
Ibid.
56.
ValeandJuno,ModernPrimitives,39.
57.
Ibid.
,38.
58.
Asamatterofform,ValeandJuno'squestionsareinitalics,whichforgesalinkbetweenitalicizedtextintheinterviewsandtheinterviewer'svoice.
59.
ValandJuno,ModernPrimitives,39.
60.
Ibid.
,5.
61.
Ibid.
62.
Ibid.
,39.
63.
Ibid.
64.
Ibid.
Theterm"psychedelia"alsoalludes,ofcourse,tothepracticeofusingdrugstotransportthemind;tohaveadisembodiedexperience.
Itisinterest-ingthatdrugsarealsoafocusinReturnoftheTribal.
Themind/bodydichotomydisintegratesyetagainbecausethepracticeofpainfulbodyalter-ationiscomparedtotheeffectsofpsychedelicdrugs;spiritual/mentaltrans-formationoccursthroughembodiedpractices.
65.
ValeandJuno,ModernPrimitives,68.
177Notes66.
Ibid.
,68–75.
67.
Ibid.
,75.
68.
ValeandJuno,ModernPrimitives,70–71.
69.
CaptainDonalsoindicatesthatFakirMusafarusedtobeacarnivalshowmanbefore"movingontootherthings"(ValeandJuno,ModernPrimitives,73).
70.
ValeandJuno,ModernPrimitives,68.
71.
Ibid.
,73.
72.
Bogdanexplainsthattattooexhibitionswanedinthe1930'sand"sometat-tooedmenresortedtobizarreperformancestomakethemselvesmoremar-ketableonthehighlycompetitivefreakmarket"(256).
73.
ValeandJuno,ModernPrimitives,73.
74.
Ibid.
,74.
75.
Ibid.
76.
Ibid.
,75.
77.
Ibid.
78.
Ibid.
79.
Ibid.
80.
Bogdan,FreakShow,105.
81.
Ibid.
,241.
82.
Ibid.
,242.
83.
GeorgeBurchett,MemoirsofaTattooist(NewYork:Crown,1958),24.
Rutherford'sexperiencealsosettheprecedentforseamenwho,uponreturningfromtheseaand/ormilitaryservice,foundacareerinexhibitingtheirtattooedbodies.
SeeBogdan,FreakShow,241.
TheconnectionbetweenAmericannavalservicemenandtattooscanalsobetracedtothistradition.
84.
Sherwood,HereWeAreAgain,148–150.
85.
SeeS.
Gilbert,TattooHistory,137.
86.
Ibid.
87.
Mifflin,BodiesofSubversion,10.
88.
CesareLombroso,"TheSavageOriginofTattooing"PopularScienceMonthly(April1896):800.
89.
Bogdan,FreakShow,249.
90.
Ibid.
,105–107.
91.
Ibid.
,105.
92.
NewYorkTimesqtd.
inMifflin,BodiesofSubversion,10.
93.
Sherwood,HereWeAreAgain,151.
94.
Bogdan,FreakShow,249.
95.
Polhemus,CustomizedBody,30.
96.
Ibid.
,36.
97.
Bogdan,FreakShow,106.
98.
Ibid.
,247.
99.
DeMello,BodiesofInscription,145.
100.
ValeandJuno,ModernPrimitives,5.
Notes178101.
Camphausen,ReturnoftheTribal,11.
Thetime-linetakesuppages5–13.
Thehistoryalsojumpsfrom1891to1939,makingonlyabriefreferencetotheperformanceofillustratedexhibitsatfairgroundsin1882.
Sideshowper-formancesarethusalsofoldedintotheoverarchingnarrativeoftribalism.
102.
Camphausen,ReturnoftheTribal,11.
103.
Ibid.
104.
Polhemus,CustomizedBody,24.
105.
Ibid.
106.
DeMello,BodiesofInscription,174.
BecauseModernPrimitivesmarksthistransition,itmaybethecasethat,unlikeitsfollowers,therewasmoreneedtoaccountforpopularworking-classdefinitionsandrepresentationsofbodymodificationwithinthisnewnarrative.
107.
ValeandJuno,ModernPrimitives,61.
108.
Ibid.
,60.
Interestingly,Hardy'stattooedbodyisnot,however,picturedinModernPrimitives.
PerhapstheaestheticofTattooMike(facialtattoos)andthehistoricfetishizingofCaptainDon(asa"survivoroftheforgottenera")moreeasilyfitintoValeandJuno'snarrativethandoesHardy'sgraffitiedbody.
109.
ChristopherInnes,AvantGardeTheatre,1892–1992(NewYork:Routledge,1993),18,192.
110.
FredericJameson,"Postmodernism,ortheCulturalLogicofLateCapitalism,"NewLeftReview,146(July–August1984):65–66.
111.
Ibid.
,66.
112.
Ibid.
,65.
113.
HalFoster,Recodings:Art,Spectacle,CulturalPolitics(PortTownsend,WA:BayPress,1985),196.
114.
GillesDeleuze,Foucault,ed.
andtrans.
SeanHand(Minneapolis,MN:UniversityofMinnesotaPress,1988);GillesDeleuze,TheFold.
115.
Conley,"FromMultiplicitiestoFolds,"640.
116.
Deleuze,Foucault,109.
117.
Ibid.
118.
Theagencyofthetattooedbodyasimagehereisdifferentfrom(althoughrelatedto)thespaceofresistancethatisprovidedwhenthosewhodon'tidentifywithmiddle-classandmodernprimitivistdiscoursespeakoutagainstthatdiscourse.
Inthesectionofherstudy"TattooMagazinesII:BikersWriteBack,"DeMellosuggeststhatcertain"lowbrow"(DeMello'sterm)tattoomagazineshavebecomeasiteformembersofthetattoocom-munityexcludedbymodernprimitivist-likerhetoricandperformancetoexpresstheirdisaffiliation(113–124).
DeMelloincludesexcerptsfromreader'sletterspublishedinmagazineslikeTattoo,whichbeganasabikermagazine.
Inoneparticularseries,letterwritersrespondtoapreviouslypublishedletterwhoseauthorsuggestedthatbiker-styletattooswereuglyandprojectanegativeimage.
Thebikerrespondentswerethusgivenadis-cursivespacetoarticulatetheirdisidentifiedidentity.
Inoneparticularlycolorfulresponsetothecritique,awritersays:"Soyouthinktheyareuglyandprojectanimagethatturnsoffmanypeople.
AllIcansayis,'Fuckyou179Notesandyourlongfingernails'"(115).
Thisresponseandotherslikeitindicatethattattooenthusiastswhodonotadheretothemodernprimitivephiloso-phytendtoviewthosewhodoaselitistandexclusionary.
Theymockthedis-tinctionmadebetweentattoosthatareold-schoolortrivialandthosethatrepresentneotribalbelongingandthustheyhighlighttheartificialityofthedifference.
Conclusion:Imag(e)IningAgencyandCriticism1.
RebeccaSchneider,"Intermediality,Infelicity,andScholarshipontheSlip,"TheatreSurvey47(November2006):253–260.
2.
Thisisnottosaythattheprocessandproductofcriticismingeneral,andtheroleandvalueoftheinterpretationofmeaninginparticular,hasnotbeenlongatopicofdiscussion.
See,forexample,SusanSontag,AgainstInterpretation(NewYork:Farrar,Straus&Giroux,1966).
3.
GavinButt,"Introduction:TheParadoxesofCriticism,"inAfterCriticism:NewResponsestoArtandPerformance,ed.
GavinButt(Malden,MA:Blackwell,2005),1.
4.
Gumbrecht,ProductionofPresence,1.
5.
MatthewReason,Documentation,DisappearanceandtheRepresentationofLivePerformance(NewYork:PalgraveMacmillan,2006).
6.
DellaPollock,"PerformingWriting,"inTheEndsofPerformance,ed.
PeggyPhelanandJillLane(NewYork:NewYorkUniversityPress,1998),73–103.
7.
GerryBrenner,PerformativeCriticism:ExperimentsinReaderResponse(Albany,NY:StateUniversityofNewYorkPress,2004).
8.
CraigGingrich-Philbrook,"Autoethnography'sFamilyValues:EasyAccesstoCompulsoryExperiences,"TextandPerformanceQuarterly,25(2005):299.
9.
Although,asGingrich-Philbrookaptlypointsout,theattentiontostyleandaestheticsinsomeofthediscourselacksprecision,sophistication,andanswer-abilitytothehistory,philosophyandpracticesofaestheticsandpoetics.
10.
TamiSpry,"PrefacetotheProceedings,"inTheGreenWindow:ProceedingsoftheGiantCityConferenceonPerformativeWriting,ed.
LynnC.
MillerandRonaldJ.
Pelias(Carbondale,IL:SouthernIllinoisUniversity,2001),viii–ix.
11.
JonathanGray,"PrefacetotheProceedings,"inTheGreenWindow:ProceedingsoftheGiantCityConferenceonPerformativeWriting,ed.
LynnC.
MillerandRonaldJ.
Pelias(Carbondale,IL:SouthernIllinoisUniversity,2001),vii–viii.
12.
Somestylesarecompilationoftextualfragments,poetry,personalnarrative,photoessays,autoethnography,etc.
Forsomeexcellentexamplesofperforma-tivewritingthatisconceptually,critically,andcreativelyengaged,see:MichaelBowman,"KillingDillinger,"TextandPerformanceQuarterly,20(2000):342–375;RuthLaurionBowmanandMichaelS.
Bowman,"OnTheBias:FromPerformanceofLiteraturetoPerformanceComposition,"inTheSageHandbookofPerformanceStudies,ed.
D.
SoyiniMadisonandJudithHamera(ThousandOaks,CA:Sage,2006):205–226.
Notes18013.
RonaldJ.
Pelias,AMethodologyoftheHeart:EvokingAcademicandDailyLife(WalnutCreek,CA:AltaMiraPress,2004).
14.
Ihaveexploredtheoperationofthesedialecticoppositionsintermsofperfor-mancepracticeandcriticismatlengthelsewhere.
SeeMindyFenske,"TheAestheticoftheUnfinished:EthicsandPerformance,"TextandPerformanceQuarterly,24(2004):1–19;MindyFenske,"TheMovementofInterpretation:ConceptualizingPerformativeEncounterswithMultimediatedPerformance,"TextandPerformanceQuarterly,26(2006):138–161.
15.
Gingrich-Philbrook,"Autoethnography'sFamilyValues,"306.
16.
Butt,"Introduction,"3–5.
17.
Ibid.
,4.
18.
Thesamecriticismhasbeenleveledatmanyauthorswhorevelinthecom-plexitiesandnuancesoflanguage—authorswhoexpectmuchoftheirreaders.
JudithButler,forexample,hassufferedfromthisattack.
19.
SeeFrederickC.
Corey,"Alexander,"CommunicationQuarterly,50(2002):344–358;Pollock,"PerformingWriting.
"20.
MaryPoovey,"CreativeCriticism:Adaptation,PerformativeWriting,andtheProblemofObjectivity,"Narrative,8.
2(2000),123.
21.
ElsewhereIhavepromptedperformativecriticismbasedonthemodelsofthevirus(infection)andtermite(consumption).
SeeFenske,"TheMovementofInterpretation.
"181NotesBibliographyAcker,Joan.
"Hierarchies,Jobs,Bodies:ATheoryofGenderedOrganizations.
"InTheSocialConstructionofGender,ed.
JudithLorberandSusanA.
Farrell,162–179.
London:SagePublications,1991.
Allison,Dorothy.
Skin:TalkingAboutSex,Class,andLiterature.
Ithaca,NY:Firebrand,1994.
Anderson,Clare.
"Godna:InscribingIndianConvictsintheNineteenthCentury.
"InWrittenontheBody,ed.
JaneCaplan,102–117.
Princeton,NJ:PrincetonUniversityPress,2000.
Armstrong,MyrnaL.
,D.
J.
Stuppy,D.
C.
Gabriel,andR.
R.
Anderson"MotivationforTattooRemoval.
"ArchivesofDermatology132(1996):412–416.
Armstrong,Tim.
"IntroductiontoAmericanBodies.
"InAmericanBodies,ed.
TimArmstrong,9–17.
NewYork:NewYorkUniversityPress,1996.
AssociatedPress.
"WomanTattoosWebAddressonForehead.
"June30,2005.
CNN.
com.
http://www.
cnn.
com/2005/US/06/30/forehead.
tattoo.
ap/index.
html%3Fsection'cnn_offbeat(accessedDecember15,2005).
Austin,J.
L.
HowtoDoThingsWithWords.
Cambridge,MA:HarvardUniversityPress,1975.
Bakhtin,M.
M.
"AuthorandHeroinAestheticActivity.
"InArtandAnswerability:EarlyPhilosophicalEssaysbyM.
M.
Bakhtin,ed.
MichaelHolquistandVadimLiapunov,trans.
VadimLiapunovandKennethBrostrom,4–256.
Austin,TX:UniversityofTexasPress,1990.
———.
"FormsofTimeandChronotopeintheNovel.
"InTheDialogicImagination,ed.
MichaelHolquist,trans.
CarylEmerson,84–258.
Austin,TX:UniversityofTexasPress,1981.
———.
TowardaPhilosophyoftheAct,ed.
VadimLiapunovandMichaelHolquist,trans.
VadimLiapunov.
Austin,TX:UniversityofTexasPress,1993.
Barthes,Roland.
CameraLucida.
NewYork:HillandWang,1980.
———.
Image-Music-Text.
NewYork:HillandWang,1977.
———.
Mythologies.
NewYork:HillandWang,1994.
Baudrillard,Jean.
"SimulacraandSimulations.
"InSelectedWritings,ed.
andtrans.
MarkPoster,166–184.
Stanford,CA:StanfordUniversityPress,1988.
Bauman,Richard.
"Performance.
"InFolklore,CulturalPerformances,andPopularEntertainments,ed.
RichardBauman,41–49.
NewYork:OxfordUniversityPress,1992.
Benjamin,Walter.
"TheWorkofArtintheAgeofMechanicalReproduction.
"InIlluminations,ed.
HannahArendt,trans.
HarryZohn.
NewYork:RandomHouse,1988.
Benson,Susan.
"InscriptionsoftheSelf:ReflectionsonTattooingandPiercinginContemporaryEuro-America.
"InWrittenontheBody,ed.
JaneCaplan,234–254.
Princeton,NJ:PrincetonUniversityPress,2000.
Bhabha,Homi.
TheLocationofCulture.
NewYork:Routledge,1994.
Bianchi,RobertS.
"TattooinAncientEgypt.
"InMarksofCivilization:ArtisticTransformationsoftheHumanBody,ed.
ArnoldRubin,21–29.
LosAngeles,CA:MuseumofCulturalHistory,UniversityofCalifornia,1988.
Blocker,Jane.
WhattheBodyCost:Desire,History,andPerformance.
Minneapolis,MN:UniversityofMinnesotaPress,2004.
Bogdan,Robert.
FreakShow.
Chicago,IL:UniversityofChicagoPress,1988.
Bohrer,FrederickN.
OrientalismandVisualCulture:ImaginingMesopotamiainNineteenth-CenturyEurope.
Cambridge,UK:CambridgeUniversityPress,2003.
Bourdieu,Pierre.
"Distinction:ASocialCritiqueoftheJudgementofTaste.
"InSocialStratification:Class,Race,andGenderinSociologicalPerspective,ed.
DavidB.
Grusky,404–429.
Boulder,CO:WestviewPress,1994.
Bowman,MichaelS.
"KillingDillinger.
"TextandPerformanceQuarterly20(2000):342–375.
Bowman,RuthLaurion,andMichaelS.
Bowman.
"OntheBias:FromPerformanceofLiteraturetoPerformanceComposition.
"InTheSageHandbookofPerformanceStudies,ed.
D.
SoyiniMadisonandJudithHamera,205–226.
ThousandOaks,CA:Sage,2006.
Bradley,James.
"BodyCommodificationClassandTattoosinVictorianBritain.
"InWrittenontheBody,ed.
JaneCaplan,136–155.
Princeton,NJ:PrincetonUniversityPress,2000.
Brain,Robert.
TheDecoratedBody.
NewYork:HarperandRowPublishers,1979.
Braunberger,Christine.
"RevoltingBodies:TheMonsterBeautyofTattooedWomen.
"NWSAJournal12,no.
2(2000):1–23.
Brecht,Bertold.
BrechtonTheatre,ed.
andtrans.
JohnWillet.
NewYork:HillandWang,1992.
Brenner,Gerry.
PerformativeCriticism:ExperimentsinReaderResponse.
Albany,NY:StateUniversityofNewYorkPress,2004.
Briggs,J.
"Tattooing.
"MedicalTimes87(1958):1030–1039.
Brouwer,Dan.
"ThePrecariousVisibilityPoliticsofSelf-Stigmatization:TheCaseofHIV/AIDSTattoos.
"TextandPerformanceQuarterly18(1998):114–136.
Burchett,George.
MemoirofaTattooist.
NewYork:Crown,1958.
Butler,Judith.
BodiesThatMatter.
NewYork:Routledge,1993.
———.
GenderTrouble.
NewYork:Routledge,1990.
Butt,Gavin.
"Introduction:TheParadoxesofCriticism.
"InAfterCriticism:NewResponsestoArtandPerformance,ed.
GavinButt,1–20.
Malden,MA:BlackwellPublishing,2005.
Camphausen,RufusC.
ReturnoftheTribal.
Rochester,VT:ParkStreetPress,1997.
Bibliography184Caplan,Jane.
"'NationalTattooing':TraditionsofTattooinginNineteenth-centuryEurope.
"InWrittenontheBody,ed.
JaneCaplan,156–173.
Princeton,NJ:PrincetonUniversityPress,2000.
Carbonell,Ovidi.
"ExoticisminTranslation:Writing,Representation,andthePostcolonialContext.
"In"New"Exoticisms,ed.
IsabelSantaolalla,511–564.
Atlanta,GA:Rodopi,2000.
Carlson,Marvin.
Performance:ACriticalIntroduction.
NewYork:Routledge,1996.
Cassuto,Leonard.
"'WhatanObjectYouHaveMadeofMe!
'TattooingandtheRacialFreakinMelville'sTypee.
"InFreakery:CulturalSpectaclesoftheExtraordinaryBody,ed.
RosemarieGarlandThomson,234–247.
NewYork:NewYorkUniversityPress,1996.
Chinchilla,Madame.
Stewed,ScrewedandTattooed.
FortBragg,CA:IsadorePress,1997.
"CondeNastMediaKit:Circulation/Demographics.
"February2,2005GlamourHomePageJanuary4,2006,http://www.
condenastmediakit.
com/gla/circulation.
cfm.
Conley,Tom.
"FromMultiplicitiestoFolds:OnStyleandForminDeleuze.
"TheSouthAtlanticQuarterly96(Summer1997):629–646.
Corey,FrederickC.
"Alexander.
"CommunicationQuarterly50(2002):344–358.
Crary,Jonthan.
TechniquesoftheObserver:OnVisionandModernityinthe19thCentury.
Cambridge,MA:MITPress,1992.
Dabakis,Melissa.
"GenderedLabor:NormanRockwell'sRosietheRiveterandtheDiscoursesofWartimeWomanhood.
"InGenderinAmericanHistorySince1890,ed.
BarbaraMelosh,182–204.
NewYork:Routledge,1993.
deCerteau,Michel.
ThePracticeofEverydayLife.
Berkeley,CA:UniversityofCaliforniaPress,1984.
Deleuze,Gilles.
DifferenceandRepetition,trans.
PaulPatton.
NewYork:ColumbiaUniversityPress,1994.
———.
TheFold:LeibnizandtheBaroque,trans.
TomConley.
Minneapolis,MN:UniversityofMinnesotaPress,1993.
———.
Foucault,trans.
SeanHand.
Minneapolis,MN:UniversityofMinnesotaPress,1986.
Deleuze,Gilles,andFelixGuattari.
AThousandPlateaus,tans.
BrianMassumi.
Minneapolis,MN:UniversityofMinnesotaPress,1987.
Deluca,Kevin.
ImagePolitics.
NewYork:TheGuilfordPress,1999.
DeMello,Margo.
BodiesofInscription:ACulturalHistoryoftheModernTattooCommunity.
Durham,NC:DukeUniversityPress,2000.
———.
"TheCarnivalesqueBody:WomenandTattoos.
"InPiercedHeartsandTrueLove:ACenturyofDrawingsforTattoos,ed.
DonEdHardy,72–79.
Honolulu,HI:HardyMarksPublications/NewYork:TheDrawingCenter,1995.
DeMichele,William.
TheIllustratedWoman.
NewYork:ProteusPress,1992.
Dennet,AndreaStulman.
"TheDimeMuseumFreakShowReconfiguredasTalkShow.
"InFreakery:CulturalSpectaclesoftheExtraordinaryBody,ed.
RosemarieGarlandThomson,315–326.
NewYork:NewYorkUniversityPress,1996.
Derrida,Jacques.
"LimitedIncabc.
"InLimitedInc.
,ed.
GeraldGraff,29–110.
Evanston,IL:NorthwesternUniversityPress,1988.
———.
OfGrammatology.
London:JohnHopkinsPress,1976.
185BibliographyDerrida,Jacques.
"SignatureEventContext.
"InLimitedInc,ed.
GeraldGraff,1–23.
Evanston,IL:NorthwesternUniversityPress,1988.
DeVereBrody,Jennifer.
"BlackCatFever:ManifestationsofManet'sOlympia.
"TheatreJournal53(2001):95–118.
Doenecke,JustusD.
"Myths,MachinesandMarkets:TheColumbianExpositionof1893.
"JournalofPopularCulture7(1973):535–549.
Douglas,Mary.
PurityandDanger:AnAnalysisofConceptsofPollutionandTaboo.
Harmondsworth,UK:PenguinBooks,1970.
Dreyfus,HubertL.
,andRabinow,Paul.
MichelFoucault:BeyondStructuralismandHermenuetics.
Chicago,IL:TheUniversityofChicagoPress,1983.
DuGay,Paul.
ProductionofCulture/CulturesofProduction.
CultureMediaandIdentities4.
London:Sage,1997.
Duncan,Nancy.
IntroductiontoBodySpace,ed.
NancyDuncan,211–218.
Seattle,WA:SealPress,2000.
Early,Gerald.
"TheRomanceofToughness.
"InTheCultureofBruising:EssaysonPrizeFighting,Literature,andModernAmericanCulture,ed.
GeraldEarly,86–109.
Hopewell,NJ:EccoPress,1994.
Easto,PatrickC.
andMarcelloTruzzi.
"TheCarnivalSocialSystem.
"JournalofPopularCulture7(1973):550–566.
Ehrenreich,Barbara.
FearofFalling:TheInnerLifeoftheMiddleClass.
NewYork:HarperPerennial,1989.
Evans,SarahM.
BornforLiberty:AHistoryofWomeninAmerica.
NewYork:TheFreePress,1989.
Falk,RobertP.
,andFrancesTeague.
"Parody.
"InTheNewPrincetonHandbookofPoeticTerms,ed.
T.
V.
F.
Brogan,219–221.
Princeton,NJ:PrincetonUniversityPress,1994.
Featherstone,Michael.
"TheBodyinConsumerCulture.
"InTheBody:SocialProcessandCulturalTheory,ed.
MikeFeatherstone,MikeHepworth,andBryanS.
Turner,170–193.
London:Sage,1991.
Fenske,Mindy.
"TheAestheticoftheUnfinished:EthicsandPerformance.
"TextandPerformanceQuarterly24(2004):1–19.
———.
"TheMovementofInterpretation:ConceptualizingPerformativeEncounterswithMultimediatedPerformance.
"TextandPerformanceQuarterly26(2006):138–161.
Fiedler,Leslie.
Freaks:MythsandImagesoftheSecretSelf.
NewYork:SimonandSchuster,1978.
Fiske,John.
ReadingthePopular.
Boston,MA:UnwinHyman,1989.
Fleming,Juliet.
"TheRenaissanceTattoo.
"InWrittenontheBody,ed.
JaneCaplan,61–82.
Princeton,NJ:PrincetonUniversityPress,2000.
Fogelnest,Jake.
"21stCenturyGirls.
"RayGunSeptember1999:25.
Foreman,Joel.
IntroductiontoTheOtherFifties,ed.
JoelForeman,1–23.
Chicago,IL:UniversityofIllinoisPress,1997.
Foster,Hal.
Recodings:Art,Spectacle,CulturalPolitics.
PortTownsend,WA:BayPress,1985.
Foucault,Michel.
DisciplineandPunish,trans.
AlanSheridan.
NewYork:VintageBooks,1979.
Bibliography186———.
"Nietzche,Genealogy,History.
"InLanguage,Counter-Memory,Practice,ed.
DonaldF.
Bouchard,139–164.
Ithaca,NY:CornellUniversityPress,1977.
Frank,ArthurW.
"ForaSociologyoftheBody:AnAnalyticalReview.
"InTheBody,ed.
MikeFeatherstone,MikeHepworth,andBryanTurner,36–102.
London:Sage,1991.
Freeland,David.
"LastDanceattheOrpheum.
"NewYorkPress18,no.
32(2005),http://www.
nypress.
com/18/32/news&columns/DavidFreeland.
cfm.
Fried,Fred,andMaryFried.
America'sForgottenFolkArts.
NewYork:PantheonBooks,1978.
Garrison,EdnieKaeh.
"U.
S.
Feminism—GrrrlStyle!
Youth(Sub)CulturesandtheTechnologiesoftheThirdWave.
"FeministStudies26(Spring2000):141–170.
Gathercole,Peter.
"ContextsofMaoriMoko.
"InMarksofCivilization:ArtisticTransformationsoftheHumanBody,ed.
ArnoldRubin,171–179.
LosAngeles,CA:MuseumofCulturalHistory,UniversityofCalifornia,1988.
Gerber,DavidA.
"TheCareersofPeopleExhibitedinFreakShows:TheProblemofVolitionandValorization.
"InFreakery:CulturalSpectaclesoftheExtraordinaryBody,ed.
RosemarieGarlandThomson,38–54.
NewYork:NewYorkUniversityPress,1996.
Gilbert,James.
AnotherChance:PostwarAmerica,1945–1985.
2ndedition.
Chicago,IL:DorseyPress,1986.
Gilbert,Steve.
TattooHistory:ASourceBook.
NewYork:JunoBooks,2000.
Gingrich-Philbrook,Craig.
"Autoethnography'sFamilyValues:EasyAccesstoCompulsoryExperiences.
"TextandPerformanceQuarterly25(2005):297–314.
Goffman,Erving.
PresentationofSelfinEverydayLife.
NewYork:Anchor,1959.
Goldstein,Norman.
"PsychologicalImplicationsofTattoos.
"JournalofDermatologicSurgeryandOncology5(1979):883–888.
Gould,Henry.
"TheUnhappyPerformative.
"InPerformativityandPerformance,ed.
AndrewParkerandEveKosofskySedgwick,19–44.
NewYork:Routledge,1995.
Govenar,AlanB.
"TheChangingImageofTattooinginAmericanCulture,1846–1966.
"InWrittenontheBody,ed.
JaneCaplan,212–233.
Princeton,NJ:PrincetonUniversityPress,2000.
———.
"ContinuityandChangeintheAestheticsofTattooing.
"InPiercedHeartsandTrueLove:ACenturyofDrawingsforTattoos,ed.
DonEdHardy,80–87.
Honolulu,HI:HardyMarksPublications/NewYork:TheDrawingCenter,1995.
———.
"Introduction.
"InStoneyKnowsHow:LifeasaTattooArtist,byLeonardSt.
ClairandAlanB.
Govenar,xi–xxxi.
Lexington:UniversityofKentuckyPress,1981.
Gray,Christopher.
"Streetscapes/Roseland:AnOld-FashionedDancetotheMusicofTime.
"NewYorkTimesOctober13,1996.
lateedition,sec.
9:5.
Gray,Jonathan.
"PrefacetotheProceedings.
"InTheGreenWindow:ProceedingsoftheGiantCityConferenceonPerformativeWriting,ed.
LynnC.
MillerandRonaldJ.
Pelias,vii–viii.
Carbondale,IL:SouthernIllinoisUniversity,2001.
Gritton,Joy.
"LabretsandTattooinginNativeAlaska.
"InMarksofCivilization:ArtisticTransformationsoftheHumanBody,ed.
ArnoldRubin,181–191.
LosAngeles,CA:MuseumofCulturalHistory,UniversityofCalifornia,1988.
187BibliographyGrossberg,Lawrence.
"TheVictoryofCulture:PartOne.
"Angelaki:JournalofTheoreticalHumanities3,no.
3(1998):3–30.
Grosz,Elizabeth.
VolatileBodies:TowardaCorporealFeminism.
Bloomington,IN:IndianaUniversityPress,1994.
Guest,Harriet.
"CuriouslyMarked:TattooingandGenderDifferenceinEighteenth-centuryBritishPerceptionsoftheSouthPacific.
"InWrittenontheBody,ed.
JaneCaplan,83–101.
Princeton,NJ:PrincetonUniversityPress,2000.
Gumbrecht,HansUlrich.
ProductionofPresence:WhatMeaningCannotConvey.
Stanford,CA:StanfordUniversityPress,2004.
Gustafson,Mark.
"TheTattoointheLaterRomanEmpireandBeyond.
"InWrittenontheBody,ed.
JaneCaplan,17–32.
Princeton,NJ:PrincetonUniversityPress,2000.
Hall,Stuart.
"CulturalStudiesanditsTheoreticalLegacies.
"InTheCulturalStudiesReader.
2ndedition,ed.
SimonDuring,97–112.
NewYork:Routledge,1999.
———.
"Encoding,Decoding.
"InTheCulturalStudiesReader.
2ndedition,ed.
SimonDuring,507–517.
NewYork:Routledge,1999.
Hambly,W.
D.
TheHistoryofTattooingandItsSignificance.
Detroit:GaleResearch,1974.
Hammer,Carl,andGideonBasker.
FreakShow:SideshowBannerArt.
SanFrancisco,CA:ChronicleBooks,1996.
Hardy,DonEd.
"CurrentEvents.
"InTattooHistory:ASourceBook,ed.
SteveGilbert,196–207.
NewYork:JunoBooks,2000.
———.
"TattooingasaMedium.
"InPiercedHeartsandTrueLove:ACenturyofDrawingsforTattoos,ed.
DonEdHardy,14–27.
Honolulu,HI:HardyMarksPublications/NewYork:TheDrawingCenter,1995.
Hariman,Robert,andJohnLucaites.
"PerformingCivicIdentity:TheIconicPhotographoftheFlagRaisingonIwoJima.
"QuarterlyJournalofSpeech88(2002):363–393.
Harris,Neil.
CulturalExcursions.
Chicago:UniversityofChicagoPress,1990.
Haynes,DeborahJ.
BakhtinandtheVisualArts.
NewYork:CambridgeUniversityPress,1995.
Hebdige,Dick.
Subculture:TheMeaningofStyle.
London:Methuen,1979.
Hewitt,Kim.
MutilatingtheBody:IdentityinBloodandInk.
BowlingGreen,OH:BowlingGreenStateUniversityPopularPress,1997.
Hewitt,Martin.
"Bio-PoliticsandSocialPolicy:Foucault'sAccountofWelfare.
"InTheBody:SocialProcessandCulturalTheory,ed.
MikeFeatherstone,MikeHepworth,andBryanS.
Turner,225–255.
London:Sage,1991.
Hoesterey,Ingeborg.
Pastiche:CulturalMemoryinArt,Film,Literature.
Bloomington,IN:IndianaUniversityPress,2001.
Horrocks,Roger.
MaleMythsandIcons:MasculinityinPopularCulture.
NewYork:St.
Martin'sPress,1995.
Hutcheon,Linda.
ThePoliticsofPostmodernism.
NewYork:Routledge,1989.
Innes,Christopher.
AvantGardeTheatre,1892–1992.
NewYork:Routledge.
1993.
Irwin,Katherine.
"SaintsandSinners:EliteTattooCollectorsandTattooistsasPositiveandNegativeDeviants.
"SociologicalSpectrum23(2003):27–57.
Jackson,Peter.
MapsofMeaning.
NewYork:Routledge,1992.
Bibliography188Jameson,Fredric.
"Postmodernism,ortheCulturalLogicofLateCapitalism.
"NewLeftReview146(July–August1984):53–92.
Jones,Amelia.
BodyArt:PerformingtheSubject.
Minneapolis,MN:UniversityofMinnesotaPress,1998.
Jones,C.
P.
"StigmaandTattoo.
"InWrittenontheBody,ed.
JaneCaplan,1–16.
Princeton,NJ:PrincetonUniversityPress,2000.
Kellner,Douglas.
"ReadingImagesCritically:TowardaPostmodernPedagogy.
"JournalofEducation170,no.
3(1988):31–52.
Kimmel,Michael.
"ConsumingManhood:TheFeminizationofAmericanCultureandtheRecreationoftheMaleBody,1832–1920.
"InTheMaleBody:Features,Destinies,Exposures,ed.
LaurenceGoldstein,12–41.
AnnArbor,MI:UniversityofMichiganPress,1995.
———.
TheGenderedSociety.
NewYork:OxfordUniversityPress,2000.
Kirshenblatt-Gimblett,Barbara.
DestinationCulture:Tourism,Museums,andHeritage.
Berkley,CA:UniversityofCaliforniaPress,1998.
Korn,Kenneth.
"BodyAdornmentandTattooing:ClinicalIssuesandStateRegulations.
"PhysicianAssistant20,no.
5(1996):85.
Kosut,Mary.
"MadArtistsandTattooedPerverts:DeviantDiscourseandtheSocialConstructionofCulturalCategories.
"DeviantBehavior27(2006):73–95.
Krakow,Amy.
TheTotalTattooBook.
NewYork:WarnerBooks,Inc.
,1994.
Krauss,Rosalind.
"ANoteonPhotographyandtheSimulacral.
"InOverexposed:EssaysonContemporaryPhotography,ed.
CarolSquiers,15–27.
NewYork:TheNewPress,1999.
Langellier,Kristin.
"'You'reMarked':BreastCancer,Tattoo,andtheNarrativePerformanceofIdentity.
"InNarrativeandIdentity:StudiesinAutobiography,Self,andCulture,ed.
JensBrockmeierandDovalCarbaugh,145–184.
AmsterdamandPhiladelphia:JohnBenjamins,2001.
Lash,Scott.
"GeneaologyandtheBody:Foucault/Deleuze/Nietzsche.
"InTheBody:SocialProcessandCulturalTheory,ed.
MikeFeatherstone,MikeHepworth,andBryanS.
Turner,256–280.
London:Sage,1991.
Latrell,Craig.
"AfterAppropriation.
"TheDramaReview44,no.
4(2000):44–55.
Lautman,Victoria.
TheNewTattoo.
NewYork:AbbevillePress,1994.
Librach,PhyllisBrasch.
"MuchAdoAboutTattoos.
"St.
LouisPressDispatch11(May1997),FiveStarLiftedition:C1.
"LifeGoestoaParty.
"Life2,15(April12,1937):82–85.
Lippert,Paul.
"Tattooing:TheImageBecomestheSelf.
"ETC37,2(1980):158–171.
Lombroso,Cesare.
"TheSavageOriginofTattooing.
"PopularScienceMonthly(April1896):793–803.
Lombroso,Cesare,andWilliamFerrero.
FemaleOffender.
NewYork:PhilosophicalLibrary,1958.
Longley,KaterynaOlijnyk.
"FabricatingOtherness:DemidenkoandExoticism.
"In"New"Exoticisms,ed.
IsabelSantaolalla,21–40.
Atlanta,GA:Rodopi,2000.
MacKendrick,Karmen.
WordMadeSkin.
NewYork:FordhamUniversityPress,2004.
MacQuarrie,CharlesW.
"InsularCelticTattooing:History,MythandMetaphor.
"InWrittenontheBody,ed.
JaneCaplan,32–45.
Princeton,NJ:PrincetonUniversityPress,2000.
189BibliographyMascia-Lees,FrancesE.
,andSharpe,Patricia.
"Introduction:Soft-TissueModificationandtheHorrorWithin.
"InTattoo,Torture,Mutilation,andAdornment,ed.
FrancesE.
Mascia-LeesandPatriciaSharpe,1–9.
NewYork:StateUniversityofNewYorkPress,1992.
———.
"TheMarkedandtheUn(re)marked:TattooandGenderinTheoryandNarrative.
"InTattoo,Torture,Mutilation,andAdornment,ed.
FrancesE.
Mascia-LeesandPatriciaSharpe,145–170.
NewYork:StateUniversityofNewYorkPress,1992.
Mason,Peter.
Infelicities:RepresentationsoftheExotic.
London:TheJohnsHopkinsUniversityPress,1998.
Massumi,Brian.
ParablesfortheVirtual.
Durham,NC:DukeUniversityPress,2002.
Matza,David.
BecomingDeviant.
EnglewoodCliffs,NJ:Prentice-Hall,Inc.
,1969.
Maxwell-Stewart,Hamish,andIanDuffield.
"SkinDeepDevotions:ReligiousTattoosandConvictTransportationinAustralia.
"InWrittenontheBody,ed.
JaneCaplan,118–135.
Princeton,NJ:PrincetonUniversityPress,2000.
McCabe,Michael.
NewYorkCityTattoo:TheOralHistoryofanUrbanArt.
Honolulu:HardyMarksPublications,1997.
McLaren,Peter.
"SchoolingthePostmodernBody:CriticalPedagogyandthePoliticsofEnfleshment.
"JournalofEducation170,no.
3(1988):53–78.
Melosh,Barbara.
"Introduction.
"InGenderandAmericanHistorySince1890,ed.
BarbaraMelosh,1–17.
NewYork:Routledge,1993.
———.
"ManlyWork:PublicArtandMasculinityinDepressionAmerica.
"InGenderandAmericanHistorySince1890,ed.
BarbaraMelosh,155–181.
NewYork:Routledge,1993.
Mercer,Kobena.
"MortalCoil:ErosandDiasporainthePhotographsofRotimiFani-Kayode"InOverExposed:EssaysonContemporaryPhotography,ed.
CarolSquiers,183–210.
NewYork:TheNewPress,1999.
Mifflin,Margot.
BodiesofSubversion:ASecretHistoryofWomenandTattoo.
NewYork:JunoBooks,1997.
Mitchell,W.
J.
T.
PictureTheory.
Chicago:UniversityofChicagoPress,1994.
———.
WhatDoPicturesWant.
Chicago:UniversityofChicagoPress,2005.
Morson,GarySaul,andCarylEmerson.
MikhailBakhtin:CreationofaProsaics.
Stanford,CA:StanfordUniversityPress,1990.
Nancy,JeanLuc.
"Corpus.
"InThinkingBodies,ed.
JulietFlowerMacCannellandLauraZakarin,17–31.
Stanford,CA:StanfordUniversityPress,1994.
Newitz,AnnaleeandMatthewWray.
"Whatis'WhiteTrash'StereotypesandEconomicConditionsofPoorWhitesintheUnitedStates.
"InWhiteness:ACriticalReader,ed.
MikeHill,168–184.
NewYork:NewYorkUniversityPress,1997.
Newman,Gustav.
"TheImplicationsofTattooinginPrisoners.
"JournalofClinicalPsychology43(1982):231–34.
Newman,SimonP.
"WearingTheirHeartsonTheirSleeves:ReadingtheTattoosofEarlyAmericanSeafarers.
"InAmericanBodies,ed.
TimArmstrong,18–31.
NewYork:NewYorkUniversityPress,1996.
Odell,George.
AnnalsoftheNewYorkStage.
Vol.
4.
NewYork:ColumbiaUniversityPress,1928.
Bibliography190Oettermann,Stephan.
"OnDisplay:TattooedEntertainersinAmericaandGermany.
"InWrittenontheBody,ed.
JaneCaplan,193–211.
Princeton,NJ:PrincetonUniversityPress,2000.
Oksoloff,Assenka.
PicturingthePrimitive.
NewYork:Palgrave,2001.
Ott,Brian.
"(Re)LocatingPleasureinMediaStudies:TowardanEroticsofReading,"CommunicationandCritical/CulturalStudies1(2004):194–212.
Peiss,Kathy.
CheapAmusements.
Philadelphia,PA:TempleUniversityPress,1986.
Pelias,RonaldJ.
AMethodologyoftheHeart:EvokingAcademicandDailyLife.
WalnutCreek,CA:AltaMiraPress,2004.
Perry,Elisabeth.
"CleaninguptheDanceHalls.
"HistoryToday39,no.
10(October1989):20–26.
Phelan,Peggy.
Unmarked:ThePoliticsofPerformance.
NewYork:Routledge,1993.
Pitts,Victoria.
InTheFlesh:TheCulturalPoliticsofBodyModification.
NewYork:PalgraveMacmillan,2003.
Polhemus,Ted,andHouskRandall.
TheCustomizedBody.
NewYork:Serpent'sTail,1996.
Pollock,Della.
"Introduction:MakingHistoryGo.
"InExceptionalSpaces,ed.
DellaPollock,1–45.
ChapelHill,NC:TheUniversityofNorthCarolinaPress,1998.
———.
"PerformingWriting.
"InTheEndsofPerformance,ed.
PeggyPhelanandJillLane,73–103.
NewYork:NewYorkUniversityPress,1998.
Pomeroy,WardellB.
ForewordtoBadBoysandToughTattoos,bySamuelM.
Steward.
NewYork:TheHaworthPress,1990.
Poovey,Mary.
"CreativeCriticism:Adaptation,PerformativeWriting,andtheProblemofObjectivity.
"Narrative8(2000):109–133.
Rabine,LeslieW.
"AWoman'sTwoBodies:FashionMagazines,Consumerism,andFeminism.
"InOnFashion,ed.
ShariBenstockandSuzanneFerriss,59–75.
NewBrunswick,NJ:RutgersUniversityPress,1994.
Radway,Janice.
ReadingtheRomance.
ChapelHill,NC:UniversityofNorthCarolinaPress,1984.
Raspa,RobertF.
,andJohnCusack.
"PsychiatricImplicationsofTattoos.
"AmericanFamilyPhysician(May1990):1481–1487.
Reason,Matthew.
Documentation,DisappearanceandtheRepresentationofLivePerformance.
NewYork:PalgraveMacMillan,2006.
Roach,Joseph.
CitiesoftheDead.
NewYork:ColumbiaUniversityPress,1996.
———.
"CultureandPerformanceintheCircum-AtlanticWorld.
"InPerformativityandPerformance,ed.
AndrewParkerandEveKosofskySedgwick,45–64.
NewYork:Routledge,1995.
Roberts,TimothyA.
andSherylA.
Ryan.
"TattooingandHigh-RiskBehaviorinAdolescents.
"Pediatrics110(December2002):1058–1063.
Rosencrans,JennipherAllen.
"WearingtheUniverse:SymbolicMarkingsinEalryModernEngland.
"InWrittenontheBody,ed.
JaneCaplan,46–60.
Princeton,NJ:PrincetonUniversityPress,2000.
Ross,Stephen.
"Introduction:Working-ClassFictions.
"ModernFictionStudies47(2001):1–11.
191BibliographyRubin,Arnold.
"TheTattooRenaissance.
"InMarksofCivilization:ArtisticTransformationsoftheHumanBody,ed.
ArnoldRubin,233–264.
LosAngeles,CA:MuseumofCulturalHistory,UniversityofCalifornia,1988.
Russo,MaryJ.
TheFemaleGrotesque:Risk,Excess,andModernity.
NewYork:Routledge,1994.
Said,Edward.
Orientalism.
NewYork:RandomHouse,1978.
Sanders,ClintonR.
CustomizingtheBody:TheArtandCultureofTattooing.
Philadelphia,PA:TempleUniversityPress,1989.
———.
"MarksofMischief:BecomingandBeingTattooed.
"JournalofContemporaryEthnography16(1988):395–432.
Santaolalla,Isabel.
"Introduction:Whatis'New'in'New'Exoticisms"In"New"Exoticisms,ed.
IsabelSantaolalla,9–17.
Atlanta,GA:Rodopi,2000.
Schechner,Richard.
BetweenTheatreandAnthropology.
Philadelphia:UniversityofPennsylvaniaPress,1985.
———.
PerformanceStudies:AnIntroduction.
NewYork:Routledge,2002.
Schechner,RichardandWillaAppel,ed.
ByMeansofPerformance.
Cambridge:CambridgeUniversityPress,1990.
Schneider,Rebecca.
"Intermediality,Infelicity,andScholarshipontheSlip.
"TheatreSurvey47(November2006):253–260.
Schrader,AbbyM.
"BrandingtheOther/TattooingtheSelf:BodilyInscriptionamongConvictsinRussiaandtheSovietUnion.
"InWrittenontheBody,ed.
JaneCaplan,174–192.
Princeton,NJ:PrincetonUniversityPress,2000.
Seaton,Elizabeth.
"ProfanedBodiesandPurloinedLooks:ThePrisoner'sTattooandtheResearcher'sGaze.
"JournalofCommunicationInquiry11,no.
2(1987):17–25.
Sherwood,RobertEdmund.
HereWeAreAgain:RecollectionsofanOldCircusClown.
Indianapolis,Indiana:TheBobbs-MerrillCompany,1926.
Shumway,DavidR.
"WatchingElvis:TheMaleRockStarasObjectoftheGaze.
"InTheOtherFifties,ed.
JoelForeman,124–143.
Chicago,IL:UniversityofIllinoisPress,1997.
Sibley,David.
GeographiesofExclusion.
NewYork:Routledge,1995.
Silverman,Kaja.
"FragmentsofaFashionableDiscourse.
"InOnFashion,ed.
ShariBenstockandSuzanneFerriss,183–196.
NewBrunswick,NJ:RutgersUniversityPress,1994.
Sims,AmyC.
"AthletesSellSkinSpacetoAdvertisers.
"April1,2002Foxnews.
com,http://www.
foxnews.
com/story/0,2933,49197,00.
html(accessedDecember15,2005).
Slinn,E.
Warwick.
"PoetryandCulture:PerformativityandCritique.
"NewLiteraryHistory30(1999):57–74.
Sloop,John.
DiscipliningGender:RhetoricsofSexIdentityinContemporaryU.
S.
Culture.
Boston,MA:UniversityofMassachusettsPress,2004.
Sontag,Susan.
AgainstInterpretation.
NewYork:Farrar,Straus&Giroux,1966.
Spry,Tami.
"PrefacetotheProceedings.
"InTheGreenWindow:ProceedingsoftheGiantCityConferenceonPerformativeWriting,ed.
LynnC.
MillerandRonaldJ.
Pelias,viii–ix.
Carbondale,IL:SouthernIllinoisUniversity,2001.
Steward,SamuelM.
BadBoysandToughTattoos.
NewYork:HaworthPress,1990.
Bibliography192Stratton,John.
"BuildingaBetterBody.
"InSportcult,ed.
RandyMartinandTobyMiller,151–172.
Minneapolis,MN:UniversityofMinnesotaPress,1999.
Sullivan,Nikki.
TattooedBodies.
London,Praeger,2001.
Sussman,Henry.
"DeterritorializingtheText:Flow-TheoryandDeconstruction.
"MLN115(2000):974–966.
Taylor,A.
J.
W.
"TattooingamongMaleandFemaleOffendersatDifferentAgesinDifferentTypesofInstitutions.
"GeneticPsychologyMonographs81(1970):81–119.
Taylor,MarkC.
"Skinscapes.
"InPiercedHeartsandTrueLove:ACenturyofDrawingsforTattoos,ed.
DonEdHardy,28–45.
Honolulu,HI:HardyMarksPublications/NewYork:TheDrawingCenter,1995.
Thomson,RosemarieGarland.
"FromWondertoError:AGeneaologyofFreakDiscourseinModernity.
"InFreakery:CulturalSpectaclesoftheExtraordinaryBody,ed.
RosemarieGarlandThomson,1–19.
NewYork:NewYorkUniversityPress,1996.
Turim,Maureen.
"SeductionandElegance:TheNewWomanofFashioninSilentCinema.
"InOnFashion,ed.
ShariBenstockandSuzanneFerriss,140–158.
NewBrunswick,NJ:RutgersUniversityPress,1994.
Turnbull,Colin.
"Liminality:ASynthesisofSubjectiveandObjectiveExperience.
"InByMeansofPerformance,ed.
RichardSchechnerandWillaAppel,50–81Cambridge,MA:CambridgeUniversityPress,1990.
Turner,Bryan.
"RecentDevelopmentsintheTheoryoftheBody.
"InTheBody:SocialProcessandCulturalTheory,ed.
MikeFeatherstone,MikeHepworth,andBryanS.
Turner,1–35.
London:Sage,1991.
Vale,V.
,andJuno,Andrea.
ModernPrimitives:AnInvestigationofContemporaryAdornmentandRitual.
SanFrancisco,CA:Re/SearchPublications,1989.
Wallis,Brian.
IntroductiontoArtAfterModernism:RethinkingRepresentation,ed.
BrianWallis,xi–xviii.
NewYork:NewMuseumofContemporaryArt.
Boston:Godine,1984.
Wegenstein,Bernadette.
"GettingundertheSkin,or,HowFaceshaveBecomeObsolete.
"Configurations10(2002):221–259.
West,Candace,andDonH.
Zimmerman.
"DoingGender.
"InTheSocialConstructionofGender,ed.
JudithLorberandSusanA.
Farrell,13–37.
London:SagePublications,1991.
Wiley,StephenCrofts.
"SpatialMaterialism:Grossberg'sDeleuzianCulturalStudies.
"CulturalStudies19(2005):65–99.
Williams,Raymond.
"Advertising:TheMagicSystem.
"InTheCulturalStudiesReader,2ndedition,ed.
SimonDuring,410–426.
NewYork:Routledge,1999.
Wise,J.
MacGregor.
"Assemblage.
"InGillesDeleuze:KeyConcepts,ed.
CharlesJ.
Stivale,77–87.
Ithaca,NY:McGill-Queen'sUniversityPress,2005.
193BibliographyIndex21stCenturyGirls94abject13advertising9–10,23,73,75–107,146,152,169n,173nAfrica109photography120AfterCriticism149,152,180nagency11–35,145–155assemblage30–32,145body37–73criticalmethodand3,7,8,10,12,32–35,145–155definition24,147disruptionas2,24,26,32,34,38,51,68,72,75,76,106,116,127,142,146–148embodiment22excessas12,14,23,30,78,113,116,161n,162nfold141–143,146,147,148fragmentationand76,105–107,147hybridityand115,127,140,147,148infection102–104,147,148performance22:ofreproduction8,23,26,145performativity8,12–13,20–21,24,26,85,115,145,148performativewriting149–152recombination104–107,146representation14,147resistance11–20socialpower25subject/subjectivity14–20,148territorialization24–35,95,111,140,147threshold68–69,71,72,101,111,145,147,148transformation13,35,146visualimage2,3,12,24,26,31,32–35,38,84,115,145–155Althusser,Louis26Americaneagle88,92assemblage26–35,60,76,85,95,145skin28stratification26Austin,J.
L.
21,113"HowtoDoThingswithWords"161nBakhtin,Mikhail53,166n,169n,171n,175nchronotope68,89bannerart/line61–62,68,69Barnum,P.
T.
1,6,47,92,133,152,167n,168nBarbie1Baroqueemblem32Barrymore,Drew99Barthes,Roland176nBaudrillard,Jean100,162n,173nBauman,Richard160n,161n,173nBhabha,Homi10,115–116,126–127,175n,177nBlocker,Jane160nbodypartsalsoseegender:bodyparts;tattoo(s)/tattooing:armandhandclassification9,37,38,46,52,53,71,76bodyparts––continuedfragmentation9–10,76,82,105–107,115,118,146–147,154Bogdan,Richard47,53,134,135,165nBohrer,Frederick113,114,175nBourdieu,Pierre9,39,164nBrando,Marlon90Braunberger,Christine46,58,98,99,165nBritainSeeUnitedKingdomBroadbent,Betty97Brody,JenniferDeVere72Butler,Judith9,12–14,21,50,77,78,84,157n,170n,181nButt,Gavin149CalvinKlein75Camphausen,Rufus123,137,176n,177n,179nCaplan,Jane16carnival42,61,64,67–68,97,131,alsoseedimemuseum;sideshowCostentenus47,52,92,93(fig2.
3),94,133,134,135,136,152,166nCaptainDonLeslie128,130–132,138,140,141,142,146,147,178n,179nCharmed99Cher99ChicagoWorld'sFair63–64,68Chinchilla,Madame43,46,177nclassdiscourse37–73boundaries41,60,64,67elite/upper39,40,56,62,63,64,65,66,67,69,89exoticism111,114,117,129,136–141gender83,87–95,103–104middle2,17,40,56,70,83,89–91,98,165n,179nperformativity39–42slumming40working1,2,39,57,63–67,82–83,94,104,111,114,117,129,136–138,142–143,146,147,179nclassificationdiscourse9,38,51–55,56,58,71,72,alsoseebodyparts;spaceCocteau,Jean129CommitteeonAmusementsandVacationResourcesofWorkingGirls66ConeyIsland63,128Conley,Tom141Cornell,Joseph42CristianaBros.
Circus130criticalmethodagencyin24,145–155both/and18as"coverup"154–155ethicsand152,154genealogy5–7ideologyand151–152limitsofinterpretation12,14performativewriting/criticism149–152as"rework"153–154space/timerelations152subjunctive("asif")23–24,33–35,148,152,154culturalmemorycriticalgenealogy5kinestheticimagination6,121performanceand7surrogation155CustomizedBody,The111,117,125–126,128,135–138,172nDabakis,Melissa82,83,170ndancehalls65–66Dean,James90,169nDeleuze,Gilles32,141,142,148Deleuze,GillesandFelixGuattari9,11,32,33,158n,162n,163nassemblage26–32bodywithoutorgans174ncriticismofpsychoanalysis33,162ncriticalmethod32–35performativity163nIndex196Deluca,Kevin162nDeMello,Margo17,56,57,119,121–122,138,179nDeMichele,William12,177nDepp,Johnny153,177nDerrida,Jacques21deviant/deviancediscourseclassand38,39,40,42,48,53,56,137identity20tattoosas14–20,52–55(actof)territorialization29,53dime-a-dance66,168ndimemuseum1,9,42,46,63,65Disneyland59,69,100,109,113DixieChicks99Douglas,Mary53,86,171nDuGay,Paul157nEarly,Gerald90Enigma47,57,166nEvans,Sarah84exoticismdiscourse2,4,10,109–143,174nclass111,114,117,129,136–141gender123,134–135,143performativity111–117"thirdspace"140–141Fani-Kayode,Rotimi120fold141–143,alsoseeagencyFoucault,Michel5,26,159nfragmentation10,75–76,105–107,alsoseeagency;bodypartsFrankenstein46,106,146freakseeillustratedpeople;sideshowGarrison,EdnieKaeh85,96,100,173ngenealogyofperformance5–7,33–34,152genderdiscourse2,9,74–107advertisement133,148body78,81,84bodyparts76,81,83,90,94,95,99,104–107,146classand83,87–95,103–104exoticismand123,134–135,143femininity13,82,83,84,86,95,99masculinity16,82,83,85,86,87–95,101,143,169nmodernprimitive134performance13,78,84,86,90,165nperformativity12–13,77–79,170nprocessesofenactment78space78,170ntension77,83,84–86,94,104territorialization95,101,104GeorgeBunnell'sMuseum133Gilbert,LauraandCrystalKile96Glamour79,170nGildedAge62Gingrich-Philbrook,Craig151,180nGoffman,Erving22Govenar,Alan16Graziano,Rocky90Grossberg,Lawrence14,149,158nGrosz,Elizabeth40Gumbrecht,HansUlrich14,149Hall,Stuart12,157nHariman,Robert160nHardy,Ed131,138,176nHebdige,Dick12,173nHewitt,Kim94Hildebrandt,Nora133Hutcheons,Linda173nHumanMarvels47,166nHurricaneKatrina165n,168nhybridity109–143,175nagency115,120,126–127body117,120difference116definition115exoticism111fold141–142,146"thirdspace"126–127threshold68ideology1,4,12,18,19,20,24,26,58,151,152197Index"illustrated"performers1,6,9,42,116,131–134,136men47,92,133,134–135narrativesof47,136styleofperformance46–47,48women48,97,133,134image-text111,114,127,141,142IndianseeNativeAmericanInnes,Christopher139Irwin,Katherine20Israels,Belle66Jameson,Fredric139Jett,Joan96JimRoseCircus47Jolie,Angelina99Jones,Amelia160nKatzan47,57,166nKidRock96Kimmel,Michael79,85,89Kinsey,Alfred91,92Krakow,Amy46Krauss,Rosalind176nLaMotta,Jake90LandmarkHotelMetaire,Louisiana43,64Lange,Dorothea83Latrell,Craig175Lefebvre,Henri139LeoBurnettInc.
79,87LifeMagazine66,83,88Lingus,Alphonso40Lombroso,Cesare53,91,134,136Lucaites,John160nMacKendrick,Karmen106,174nMarlboroMan10,79,87–95,105,106,137Mason,Peter113,174n,175nMassumi,Brian162n,166nMatza,David54Mercer,Kobena120MiamiInk19–20Mifflin,Margo54,97,99,172n,173nMitchell,W.
J.
T.
23–25,84,148,160n,161nmodernprimitive10,109–143ModernPrimitives109,111,117–122,128–132,135,136,137,138,139,140,142,179nMossimo75Musafar,Fakir117–120,135,137,175n,178nNationalTattooAssociation42NativeAmerican51,112,113,114,137Newman,Paul90NewAge17,56,135,136NewYorkCityTattooConvention43,44,55,61,66Nuez,Chris19O'Connell,James47orientalism111–113Ott,Brian158npastiche139–140Pelias,Ronald150Peiss,Kathy65,171nperformance22,alsoseeagency;sideshow;visualimageagency8,22,23,26,145criticalmethod149culturalmemory7discourse2,20documentation149embodiment3–4gender12,13,78,84,86,90,165nillustratedpeople46–47,48ofimages3,4,9,11,22,23–24,35,38,50,72–73,77,78,111,114metonymyand22,116mimesisand22,113,116Index198performancegenealogyseegenealogyofperformanceperformanceofperformativity24,25,35,148,151,163nperformativewritingseecriticalmethodperformativity3,4,9,20–22class39–42exoticism111–117gender12–13,77–79,170nvisualimage9,11,20–24,115,152Phelan,Peggy12,14PhilipMorris79,87Pike,Estelline130Pitts,Victoria18Polhemus,Ted125,137,172nPollock,Della149Poovey,Mary152punk96,100,137Randall,Housk125–126RayGun95Reason,Matthew149representation8,12,14,alsoseeagency;visualimageReturnoftheTribal111,117,122–124,128,136,137,138,139,177n,179nRivers,Joan99Roach,Joseph35,170n,genealogyofperformance5–8Rockwell,Norman79,81,82RockyHorrorPictureShow106RosietheRiveter9,154,174n,gender75–107SaturdayEveningPost79,81–82Tampaxadvertisement9,76,77,79,81,85–87,88,94–96,100,101–102,103,107,170nWWIIPoster82–85,95,101,103,104,173nRoselandBallroom43,61,65–66Rutherford,John132–33,178nsacredheart103–104,174nSaid,Edward111,112,113,138SailorJerry169nSanders,Clinton53,94,137,159SaturdayEveningPost79,81–82Schneider,Rebecca149Schechner,Richard22,161n,163nShelly,Mary106Sherwood,Robert47,92,133,134,166nSibley,David41sideshow1,9,46,128–136performance42,47–48,51,57,62,111,116,131,132–134space42,60,62–64,67,68,71subculture68,71SinclairHouse,The48SittingBull133Sloop,John77,170nSkinandInk102SouthernComfortTattooExpo43–55,59,165n,alsoseeTattooVoodoospaceborder/boundary60,64,67,68,6971,72,89,101smooth27,41,42,53striated26–28,29,30,32,41,102stronglyclassified41,60,64,67,70,71,103territorialized27threshold42,58,64,68–72,101,145,147vorticesofbehavior5,7weaklyclassified41,42,69,70,101space/time68,69,71,145–147,151Sparrow,PhilSeeSteward,SamuelSt.
Clair,Stoney91Steward,Samuel54,91–92,98,137,173nstratification41,145–147,alsoseeassemblageclass42,57tattooedbody115Stratton,John106Sullivan,Nikki17,162nSussman,Henry162n199IndexTampax9,76,77,79,81,85–87,88,94–96,100,101–102,103,107,170nTattoo179ntattoo(s)/tattooingagencyseeagencyarm87,94,103,104,122artists19,20,43,45,47,57,61,91,92,118–119,120–122,131,153–155Australia16Aztec125–126ban3,54,172nbikers16,54,57,98,179nbodyparts46,48,50–53,58,71,97,106,alsoseebodypartscelebrity99–100,165n,169nCeltic15ChicagoseeSteward,Samuel;ChicagoWorld'sFairChristianity15,92,103–104,131,133,alsoseesacredheartclassseeclasscollectors20,43,46,57,164nconvicts16,54,56,159ncover-up154–155criminality16,42,52,53,55,91,164n,165n,176n,alsoseeLombroso,Ceseardevianceseedeviant/devianceeroticism97–101exoticseeexoticismfemininityseegenderflash153,155gang54,91,98,137,165nhand91,122,128,176nHoustonseetattooconventionindividualexpression14–20Japan138legislationseetattoo(s)/tattooing:banmenseegenderMicronesia120–122military16–17,53,92,172n,178nNewYorkseeNewYorkCityTattooConvention;RoselandBallroompain47,92,94,128,132–133,135–136performanceseeillustratedpeople;sideshow;tattoocontests;tattooconventionspermanence15,27,40,75,122,127,138,155,164npiercedheart103–104,147,174npunishmentseetattoo(s)/tattooing:convictremoval154rework153–154RockofAges131sailors16,54,57,92,104,105,131,133,138,172nscholarship14–20scratcher57sexseetattoo(s)/tatttoing:eroticismskinseeassemblagesocialinscription14–20spirituality15,56,131,135,136stigma15subculture58,137,alsoseesideshow;punksubjectivityseeagency:subject/subjectivity;tattoo:scholarshiptribal109–143Victorian16tattoocontests42–52,141,145tattooconventions37–73HoustonHotRodTattooandKustumKultureArtShow43,57,60,61,64–66,70,72NewYorkCityTattooConvention55–58,61,65SouthernComfortTattooExpo43–55,59,165n"TattooMike"Wilson128–130,131,132,138,140,141,142,146,147,179nIndex200tattoorenaissance1,8,17,54,56,75,98,125,137,169nTattootime131TattooVoodoo43–55,58,59,60,61,62,64,66,69,154,168n,alsoseeSouthernComfortterritorializationagencyand24–35,72,73,101–102,104,111,141–149body46,50,53,55,105,118class68,71deterritorialization31,102,163ncriticalencounterand32–35discourse28,29,31,39,58,76,106–107exoticism111,114,115–117gender95–96,101movementwithin27–32socialspaceand42,60,66,67,72,114tattoos29trace21,28,29,31,32,33,34,35,56,76thresholdseeagency;spaceTurnbull,Colin177nUmJammerLammy75,79,95–96,100–101,105UnitedKingdomclassslumming40punk96,173ntattoodisplay16,48,132VirginiaTheater65visualevent3,8,22visualimage37agency2,3,11,12,23,24,26,31,32–35,38,72,84,102,115,145–155Christianity25criticismof3,5–7,12,25,72,145–155definition8discourse2,3,5,46lifeof/in23,25,26,106,148,154movement3–4,24,25,148performanceof3,4,9,11,22,23–24,35,38,50,72–73,77,78,111,114performativity9,11,20–24representation3,4,6,10,11,12,14,18,24,111,112,174nrealia119,120astrace31–32asvirus23,161nWarProductionCoordinatingCommittee79Wegenstein,Bernadette105,174nWhiteCity,The64,66,68,69Wiley,StephenCrofts14,158nWoodward,Irene48,49,96,152world'sfair42,152Chicago63–64,68Shantyville63,64,68WhiteCity64,66,68,69WorldWarI92WorldWarIIgendertension84,90RosietheRiveter76,94tattoos91,92women81,85Zulueta,Leo120–122201Index