<p>Förr förknippades tatueringar med sjömän och rebeller, nu är det betydligt vanligare och mer accepterat. Idag har det blivit populärare än någonsin och med en yngre kundkrets. Syftet med den här studien är vilka egenskaper som tillskrivs en vanlig kvinna med synliga tatueringar samt en kvinna utan synliga tatueringar. Deltagare i denna studie var 89 studenter på en högskola i åldrarna 19-49 år. Resultatet indikerade att kvinnan utan tatueringar tillskrevs delvis mera positivt än kvinnan med tatueringar, bland annat ansågs hon mer attraktiv och mindre sexuellt erfaren än kvinnan med tatueringar. Dock vad gäller utbildningsnivå och sexorientering/sexläggning så förknippades den tatuerade kvinnan inte med större negativa fördomar. Överlag finns det ingen större skillnad gällande utbildningsnivån för dessa kvinnor, båda ansågs gått ut högskolan.</p>

Förr förknippades tatueringar med sjömän och rebeller, nu är det betydligt vanligare och mer accepterat. Idag har det blivit populärare än någonsin och med en yngre kundkrets. Syftet med den här studien är vilka egenskaper som tillskrivs en vanlig kvinna med synliga tatueringar samt en kvinna utan synliga tatueringar. Deltagare i denna studie var 89 studenter på en högskola i åldrarna 19-49 år. Resultatet indikerade att kvinnan utan tatueringar tillskrevs delvis mera positivt än kvinnan med tatueringar, bland annat ansågs hon mer attraktiv och mindre sexuellt erfaren än kvinnan med tatueringar. Dock vad gäller utbildningsnivå och sexorientering/sexläggning så förknippades den tatuerade kvinnan inte med större negativa fördomar. Överlag finns det ingen större skillnad gällande utbildningsnivån för dessa kvinnor, båda ansågs gått ut högskolan.

An emerging concern for employers is the impact of visible body modification (VBM) in the workplace. Visible body modification includes tattoos, piercings, or implants that are both visible and observable on an individual’s body. The extant research on VBM suggests that employers are hesitant to hire those with visible tattoos or piercings, but fails to address how employees with VBM influence organizational outcomes. This dissertation examines how a specific type of VBM, visible tattoos, influences training and learning by investigating how a trainer’s visible tattoos affect trainees’ perceived trustworthiness and learning in a training context. The study used a sample of 164 undergraduate students and Amazon Mechanical Turk workers to assess reactions to a trainer’s visible tattoos. Subjects were randomly assigned to one of three treatment groups, with the two experimental groups having a trainer with one tattoo or full tattoo sleeves. The results indicated that there were no significant differences between groups for perceived trustworthiness or learning. Similarly, there was no support for the moderating effect of openness to experience, authoritarianism, or learning goal orientation. Social distance was found to moderate the relationship between the treatment and perceived trustworthiness. The findings of this study suggest that for the trainer and tattoos used, visible tattoos do not an impact on training outcomes. As this study was limited to one trainer with one type of tattoos, this preliminary evidence suggests that more research is needed to address the diversity of tattooing and VBM as a whole.

No description available.

One trend that is becoming overwhelmingly popular in mainstream America, particularly among the youth (prior to and as they enter the workforce) is getting tattoos (Armstrong, Owen, Roberts, & Koch, 2002; Chivers, 2002; Laumann & Derick, 2006), yet there is little empirical evidence on the impact of having tattoos in an employment context. The current dissertation sought to understand this impact by examining the influence of employee tattoos on customers’ stereotypical perceptions, attitudes toward the employee, organization, and products, and behavior toward the employee and organization across two studies. In the first study, customers viewed a marketing video in which the employee either had a visible tattoo or not. Customers reported more stereotypical perceptions of tattooed (versus nontattooed) employees, such that they perceived the tattooed employee as possessing more artistic traits, having a less favorable appearance, and being risker. Stereotypical perceptions of artistic traits were the strongest, and these perceptions mediated the relation between tattoo presence and evaluations of the employee, organization, and product. In a second field study, employees (who either had a tattoo or not) sold restaurant cards to customers at a convention to raise money for a charity organization. Results showed that customers engaged in more avoidance behaviors with tattooed (versus) nontattooed employees; however, there were no significant differences in purchasing behavior based on tattoo presence. The results of both studies provide insight into a mechanism for how tattoo presence impacts customers’ reactions to employees, organizations, and products. Implications and future research ideas are discussed.

No description available.

The dramatic increase in the masculine practice of tattooing among girls in Western societies is an area of interest for feminist researchers and visual culture educators. Girls’ tattoos are perceived as diverse practices of conformity, resistance, reclamation, and empowerment, and/or as contemporary markers of femininity, sexuality, and desire. Eleven adolescent girls with tattoos from the Central Okanagan region of British Columbia were interviewed during a 12 month period in 2007/2008. Discourse analysis was employed as a method to interpret and deconstruct girls’ narratives with respect to understanding why girls have adopted traditional Western male practices of tattooing as expressions of individuality or identity. Secondly, responses were examined with respect to girls’ knowledge of potential risks involved with tattooing. The majority of participants had strong attachments to their relatives and their tattoos signified a desire to maintain that close family relationship. Research findings indicated girls’ mothers were influential in their daughters’ decisions to get tattooed and in the type of image tattooed. Girls were adamant that popular media figures with tattoos and advertisements of models with tattoos could influence or encourage girls to engage in body art. Knowledge of potential risks was learned primarily from tattoo artists and relatives, with infection indicated as the main associated risk. Participants suggested the distribution of pamphlets in school counseling centres could inform students of potential risks and provide information related to safe body art practices. Participants believed societal norms respecting girls’ behaviors and practices were different than those experienced by their mothers. However size, placement, and image of their tattoos, their own biases, and their experiences with older relatives including grandmothers and some fathers indicate that traditional Western attitudes regarding femininity and the female body continue. In spite of this, girls believe that they have the freedom to choose how they enact femininity and assert their individuality, and they believe “if guys can do it, so can girls”. As visual culture educators we need to listen to and respect the voices of girls to achieve a greater understanding of how girls experience and perform gender through their everyday practices within the popular visual culture.

The dramatic increase in the masculine practice of tattooing among girls in Western societies is an area of interest for feminist researchers and visual culture educators. Girls’ tattoos are perceived as diverse practices of conformity, resistance, reclamation, and empowerment, and/or as contemporary markers of femininity, sexuality, and desire. Eleven adolescent girls with tattoos from the Central Okanagan region of British Columbia were interviewed during a 12 month period in 2007/2008. Discourse analysis was employed as a method to interpret and deconstruct girls’ narratives with respect to understanding why girls have adopted traditional Western male practices of tattooing as expressions of individuality or identity. Secondly, responses were examined with respect to girls’ knowledge of potential risks involved with tattooing. The majority of participants had strong attachments to their relatives and their tattoos signified a desire to maintain that close family relationship. Research findings indicated girls’ mothers were influential in their daughters’ decisions to get tattooed and in the type of image tattooed. Girls were adamant that popular media figures with tattoos and advertisements of models with tattoos could influence or encourage girls to engage in body art. Knowledge of potential risks was learned primarily from tattoo artists and relatives, with infection indicated as the main associated risk. Participants suggested the distribution of pamphlets in school counseling centres could inform students of potential risks and provide information related to safe body art practices. Participants believed societal norms respecting girls’ behaviors and practices were different than those experienced by their mothers. However size, placement, and image of their tattoos, their own biases, and their experiences with older relatives including grandmothers and some fathers indicate that traditional Western attitudes regarding femininity and the female body continue. In spite of this, girls believe that they have the freedom to choose how they enact femininity and assert their individuality, and they believe “if guys can do it, so can girls”. As visual culture educators we need to listen to and respect the voices of girls to achieve a greater understanding of how girls experience and perform gender through their everyday practices within the popular visual culture.

The dramatic increase in the masculine practice of tattooing among girls in Western societies is an area of interest for feminist researchers and visual culture educators. Girls’ tattoos are perceived as diverse practices of conformity, resistance, reclamation, and empowerment, and/or as contemporary markers of femininity, sexuality, and desire. Eleven adolescent girls with tattoos from the Central Okanagan region of British Columbia were interviewed during a 12 month period in 2007/2008. Discourse analysis was employed as a method to interpret and deconstruct girls’ narratives with respect to understanding why girls have adopted traditional Western male practices of tattooing as expressions of individuality or identity. Secondly, responses were examined with respect to girls’ knowledge of potential risks involved with tattooing. The majority of participants had strong attachments to their relatives and their tattoos signified a desire to maintain that close family relationship. Research findings indicated girls’ mothers were influential in their daughters’ decisions to get tattooed and in the type of image tattooed. Girls were adamant that popular media figures with tattoos and advertisements of models with tattoos could influence or encourage girls to engage in body art. Knowledge of potential risks was learned primarily from tattoo artists and relatives, with infection indicated as the main associated risk. Participants suggested the distribution of pamphlets in school counseling centres could inform students of potential risks and provide information related to safe body art practices. Participants believed societal norms respecting girls’ behaviors and practices were different than those experienced by their mothers. However size, placement, and image of their tattoos, their own biases, and their experiences with older relatives including grandmothers and some fathers indicate that traditional Western attitudes regarding femininity and the female body continue. In spite of this, girls believe that they have the freedom to choose how they enact femininity and assert their individuality, and they believe “if guys can do it, so can girls”. As visual culture educators we need to listen to and respect the voices of girls to achieve a greater understanding of how girls experience and perform gender through their everyday practices within the popular visual culture. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Thousands of women in Canada continue to be diagnosed every year with breast cancer, many undergoing surgical mastectomy as part of their treatment to eradicate or control the spread of disease. At present, the recommendation for breast conserving surgery (BCS) and breast reconstruction dominates discourse in oncological settings, limiting conversations about alternative options for women to consider following the removal of their breast(s). Interesting however is the decision, made by some women in contemporary society, to undertake unconventional practices such as being inscribed with tattoos where breasts once occupied space. Unfortunately, little is known about the experiences of women who have foregone reconstructive surgery and chose to be tattooed post mastectomy. A Gadamerian philosophical hermeneutic approach was used to explore the phenomenon of being tattooed post mastectomy. Six women with mastectomy tattoos were interviewed to learn about the experiences of being tattooed where breast(s) once occupied space. Participants in this study were between 48 and 65 years of age and tattooed from one month to five years after surgery. Meanings about being tattooed post mastectomy surfaced through conversation and photographs. Gadamer’s hermeneutic teachings were engaged to analyze women’s thoughts, feelings, and photographed images of participant tattoos, surfacing meaning about being tattooed where breasts once existed. To establish a passage for understanding, three publishable manuscripts constitute the body of the dissertation. The first manuscript presents my personal narrative [in part] of being diagnosed with breast cancer and undergoing a mastectomy without reconstruction. In the second manuscript, the socio-cultural context of why the mastectomized female body is considered abject in contemporary society is examined. Further, I explore how a mastectomy tattoo may be an emerging alternative for some women following the loss of their breasts(s). In the third manuscript the key interpretive discoveries through hermeneutic analysis of interviews and photographs are presented and include: (1) Feeling sad and damaged post mastectomy (2) Reclaiming self: Taking back power and control; and (3) Transformation: Embodying the tattoo as a novel representation of self. These interpretive findings suggest aesthetic options such as tattooing embolden participants to reclaim power and control lost to cancer and transformed their self perceptions of beauty, femininity, and sexual identity post mastectomy. This dissertation contributes to women’s health, specifically within the field of oncology by offering what I understand to be the first phenomenological study interpreting lived experiences of being tattooed post mastectomy. Understanding how women may feel sad and damaged following surgery opens avenues for empathetic questioning and therapeutic supports from nurses. Sharing experiences of women who found the process of designing and being tattooed transformational and empowering may introduce new options post mastectomy that include aesthetics and beauty. Gaining insight into this unique phenomenon can help make meaning about how aesthetic options such as tattooing can empower some women who may be searching for alternatives to breast reconstruction post mastectomy. Furthermore, challenging dominant discourses specific to how women’s bodies should look can create spaces for discursive conversations and optimistically expand options beyond those currently offered post mastectomy. / Graduate