Thesis (M.A.--Art History)--University of Auckland. / Title from title screen (viewed on 18 June 2009). Creation of machine-readable version: Aptara. Conversion to TEI.2-conformant markup: Samantha Callaghan. Creation of digital images: Aptara.

Thesis (M.S.W.)--Smith College School for Social Work, Northampton, Mass., 2009. / Includes bibliographical references (p. 85-89).

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 173-187).

This paper investigates the role of tattoo removal in postmodernity. Specifically, I suggest tattoo removal is a technology of self in which the tattooed person can attain absolution from a "sinful" tattoo. This paper explores the construction of the confessional act in two parts: the construction of the confessing subject and the construction of the medical clinic as the confessor's listener. Using the texts medical offices place on the internet to advertise their services, I investigate the text's interpellation of subjects desiring tattoo removal. I then examine the construction of the clinic's status in the confessional act. Websites and brochures on gang tattoo removal provide a dialogue in which the clinic negotiates and attains its powerful position in the confessional act. The paper concludes by investigating the implications of the tattoo remnant, the material effects of the technology of self, and the benefits of studying the body-skin in rhetoric.

The study examined how college students perceive older versus younger women based on their tattoo status (i.e., no tattoo, feminine tattoo, or masculine tattoo). A randomly assigned sample of 376 responded to a survey involving a 2 X 3 experiment designed to assess the impact of age (older versus younger) and tattoo status on four dependent measures: credibility, promiscuity, and attractiveness. Results indicate that older and younger women are perceived differently depending on their tattoo status. Not wearing a tattoo may lead to a more favorable perception of older women than wearing one, but wearing a feminine tattoo may engender a more favorable impression of older women than having a masculine tattoo. In contrast, avoiding to wear a tattoo may not be as helpful for the perception of younger women as it is for older women. Also, while younger women may be rewarded for gender role transgression with respect to tattoo status this is not so for older women.

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Tattooing is an ancient art. Tattoos have been used to worship gods, to show tribal membership, and to display wealth. However, in modern Western culture tattooing has been a devalued practice reserved for the those on the fringe of society. In the last twenty-five years, however, more mainstream people, including college students, have begun to get tattoos. Despite the increased acceptance of tattoos, a person aspiring to become a professional who gets a tattoo is putting her/his personal life and career at risk. This study examines the process by which college students become tattooed. Two models put forth by Sanders will be used to facilitate this examination. The findings reveal that college students come to be tattooed in a different manner than do others. College students are more risk averse. They choose small, easily concealed, non-violent tattoos. Their designs have themes such of nature, fraternity/sorority membership, and animal appreciation. These differences have led the author to term this form of tattoos, "College Tattoos." In future research, the first objective should be to gain an estimate of the population of tattooed college students. Next, research should examine the psychological profiles of tattooed college students to see how they might vary from those in the mainstream of college. This will allow researchers to see if College Tattoos are a form of psychopathology or if they are simply an alternate mode of self-expression. / Master of Science

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art, Durban Insititute of Technology, 2006. / The aim of this dissertation is to investigate and critically evaluate the use of skin as a form of identity in Zulu culture. This investigation wil /foc'uu on the historical and contemporary practices of scarification and ear - piercing in Zulu culture. 1 In Chapter One, Section One the candidate will discuss the scarification and tattooing i techniques, and refer to the decline in the practice of scarification in contemporary Africa. 'l The scarification and tattooing techniques have the following elements in common, incisions `made on the body or skin to create scar patterns or shapes. Chapter \xAEne, Section Two the candidate will discuss the different purposes of carification practiced by people in Africa Scarification has traditionally been used for any different purposes, such as rite of passage, tribal/clan identity, civilizing, beauty, sexual atttraction, healing and medicinal. In Chapter Two, Section One the candidate will discuss the concepts of culture and identity and propose a definition of identity and culture for the purposes of this dissertation. In Chapter Two, Section Two the candidate will write a personal history and describe the origins of his identity. Chapter 'two, Section Three will discuss the historical formulation 0. of Zulu identity and culture. Chapter Two, Section ]Foam will investigate how internal and external influences have changed Zulu identity and culture over time. / M

Para avaliar a eficiência da técnica do retalho em fechadura associada à pigmentação por tatuagem na reconstrução do complexo aréolo-papilar, foram estudadas 22 pacientes mastectomizadas que haviam sido submetidas à reparação mamária. Realizada a restauração dos complexos com a técnica proposta, medidas das projeções das papilas foram feitas em vários períodos até 18 meses de pós-operatório. A qualidade das pigmentações foi mensurada com notas de 0 a 3, dadas pelas pacientes e pelo cirurgião. Verificou-se uma perda da projeção da papila a aproximadamente 41,50% da projeção inicial. A média das notas atribuídas às tatuagens pelas pacientes e pelo cirurgião foram respectivamente de 1,72 e 1,44 (correspondendo à perda de tonalidade dos complexos) / In order to evaluate the efficiency of nipple areola complex reconstruction using the keyhole flap technique plus tattoo pigmentation, 22 patients who were submitted to mastectomy and breast repair were studied. After the restoration of the complexes with the proposed technique, nipples projection were measured during several periods until the 18th month after surgery and the tattoo quality was evaluated using grades from 0 to 3, which were given by the patients and by the surgeon. A loss of nipple projection to 41,50% of the initial projection was observed. The averages of the grades attributed respectively by the patients and the surgeon to the tattoos were 1,72 and 1,44 (corresponding to the loss of shade of the complexes)