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Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-03-20T13:12:18Z No. of bitstreams: 1 JULIA CABRAL RINALDI.pdf: 13361887 bytes, checksum: 8b1b23e8ac493b4ebccc6a9e3c1a5f75 (MD5) / Made available in DSpace on 2018-03-20T13:12:19Z (GMT). No. of bitstreams: 1 JULIA CABRAL RINALDI.pdf: 13361887 bytes, checksum: 8b1b23e8ac493b4ebccc6a9e3c1a5f75 (MD5) Previous issue date: 2017-12-11 / The relations with the body have suffered diverse influences during the western history, these were responsible for the creation of patterns and models to be followed; based on the concept of disciplines and disciplinary structures proposed by Foucault. In modernity, new subjections are responsible for changes in these relations, but instead of freeing the bodies of the various proposed patterns, they seem to create new patterns to be followed. Thereon, the body modification also gains new contours. From the understanding of these influences that affect the body within an economic system based on positivity, focused on the optimization of productivity and the weight of this regime on the individual, will be proposed some new disciplines that influence bodies in modernity. Emphasizing certain Internet subcultures and some notable aesthetic models in the network and conventional media, an analysis of popular aesthetics was developed on some Internet platforms based on one of the most common body modifications, tattoo. In these subcultures is possible to observe a popularization of the ink aesthetics, currently present also in conventional media. Thus, the selection of a corpus of analysis was indicated: four profiles with curators were selected - which present photos of individuals with tattoos - to create a visual database that can generate a debate and point out some notable tendencies of behavior and positioning network. The proposal is to develop a visual taxonomy of the aesthetics sought by tattooed individuals. Projecting the profile on the networks, becoming a celebrity, gaining visibility, showing a happy, full, successful life are goals sought by a population that is increasingly trapped in a world full of frustrations hidden in the mask made possible by social networks. This spectacle is part of the modern capitalist positivity. There is a tendency towards a hyperestethening of the world, a search for a perfect hyper-reality, for a happy, successful, lean life that seems to project a virtual hyper-reality, which, in turn, seeks to hide a feeling of frustration generalized. These modern hyper-realistic simulations published in network and the positivity of the capitalist system are like a social dystopia. / As rela??es com o corpo sofreram diversas influ?ncias durante a hist?ria ocidental, essas foram respons?veis pela cria??o de padr?es e modelos a serem seguidos; baseados no conceito de disciplinas e estruturas disciplinares propostos por Foucault. Na modernidade, novas sujei??es s?o respons?veis por mudan?as nessas rela??es, mas, ao inv?s de libertarem os corpos dos diversos padr?es propostos, parecem criar novos modelos a serem seguidos. Nisso, a modifica??o corporal (body modification) tamb?m ganha novos contornos. A partir do entendimento dessas influencias que incidem no corpo dentro de um sistema econ?mico pautado na positividade, voltado para a otimiza??o da produtividade e o peso desse regime sobre o indiv?duo, observamos algumas novas disciplinas que influenciam os corpos na modernidade. Enfatizando determinadas subculturas da internet e alguns modelos est?ticos not?veis na rede e na m?dia convencional, foi elaborada uma an?lise das aesthetics populares em algumas plataformas da internet com base numa das modifica??es corporais mais comuns, a tatuagem. Nessa subcultura observa-se uma populariza??o da est?tica ink, atualmente presente tamb?m na m?dia convencional. Sendo assim, foi indicada a sele??o de um corpus de an?lise: foram selecionados quatro perfis com curadoria ? que apresentam fotos de indiv?duos com tatuagens ? para cria??o de um banco de dados visuais que possa gerar um debate e apontar algumas tend?ncias not?veis de comportamento e posicionamento em rede. A proposta foi desenvolver uma taxonomia visual da est?tica almejada por indiv?duos tatuados. Projetar o perfil nas redes, tornar-se uma celebridade, ganhar visibilidade, mostrar uma vida feliz, plena, de sucesso, s?o objetivos almejados por uma popula??o que est? cada vez mais presa num mundo repleto de frustra??es escondidas na m?scara possibilitada pelas redes sociais. Esse espet?culo faz parte da positividade capitalista moderna. H? uma tend?ncia ? uma hiperestetiza??o do mundo, uma busca por uma hiper-realidade perfeita, por uma vida feliz, bem-sucedida, magra, que parece projetar uma hiper-realidade virtual, que, por sua vez, pretende esconder um sentimento de frustra??o generalizado. Esses simulacros hiper-realistas modernos publicados em rede e a positividade do sistema capitalista funcionariam ent?o como uma distopia social.

Made available in DSpace on 2016-04-29T13:31:19Z (GMT). No. of bitstreams: 1 Miriam Ximenes Pinho.pdf: 6783239 bytes, checksum: 005de88c724fc9bdfb776c626ad1c1f5 (MD5) Previous issue date: 2015-08-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / For centuries, the death was treated as a social and public event taking place accompanied by sacred rites. Right after the World War I, a precipitation of the dismantling of the traditional models of care for the dying and the bereaved just occurred. Death has become taboo and that same ban hit everything that it refers, including the mourning that has become an intimate and lonely experience. The desecration of death led to unritualized mourning, however, this did not imply neglect or abandonment of the Dead. Instead, we observe the emergence of new forms of relationship with the Dead in which the rites appear reconfigured, the manner of a bricolage. In order to study these new configurations we have chosen to investigate one of them that is called "in loving memory tattoos" produced due to a bereavement. This research suggests that in loving memory tattoos constitute an neurotic s individual (funeral) rite , that is, a private way of ritualizing mourning and paying funeral tribute in times of suppression of the death of social spaces and unritualized mourning. As we consider the making of a memorial tattoo a private rite, it was important to investigate the function of this rite that can both serve as a possible treatment of the real by the symbolic order in a kind of mourning written on the skin, as a rite that it aims to prolong the relationship with the departed one, producing an endless mourning in which the writing of the mourning never ends / Durante séculos, a morte foi tratada como um fato social e público que ocorria acompanhado por ritos sagrados. Logo após a Primeira Guerra, observou-se a precipitação do desmantelamento dos modelos tradicionais de cuidados aos agonizantes e amparo aos enlutados. A morte tornou-se tabu e essa mesma interdição atingiu tudo o que a ela se refere, incluindo o luto que se tornou uma experiência íntima e solitária. A dessacralização da morte levou à desritualização do luto, porém isso não implicou em abandono ou esquecimento dos mortos. Ao contrário, observamos a emergência de novas modalidades de relação com os mortos em que os ritos aparecem reconfigurados, ao modo de um bricolage. Com o intuito de estudar essas novas configurações, optamos por investigar uma delas, as chamadas tatuagens in memoriam produzidas em decorrência de um luto. Essa pesquisa sugere que as tatuagens in memoriam se constituem em um rito fúnebre individual do neurótico , isto é, um modo privado de ritualizar o luto e prestar tributo fúnebre em tempos de dessocialização da morte e desritualização do luto. Ao considerarmos a produção das tatuagens in memoriam um rito privado coube-nos investigar a função desse rito que pode tanto servir como tratamento possível do real pelo simbólico em forma de uma escrita do luto grafada no corpo, quanto um rito que visa prolongar a relação com o ser perdido, produzindo um luto interminável em que a escrita do luto não se conclui

Made available in DSpace on 2016-03-15T19:46:37Z (GMT). No. of bitstreams: 1 Fernando Cesar Marcelino.pdf: 2942882 bytes, checksum: 2c9765bcc7a9353d774aad96304605dc (MD5) Previous issue date: 2008-03-28 / This work approaches the evolution of tattoos from the first evidences of their existence to the present time and it also shows the different uses in each culture as a resource to express different messages on someone s body. It discusses, through the Discourse Analysis theory, the Ideology, discourse and Subject concepts. Culture and Identity are also examined in order to provide an analysis to prove if there is a specific tattoo type according to the sex and age of the tattooed person, as well as the reason a person decides for a definite tattoo. Based on the analysis of a questionnaire sent by internet, we listed the most common tattoos in the group of volunteers who answered it. We also analyzed the Gerative Sense Course, i.e., the fundamental, narrative and discursive levels in the discourse of each tattoo according to the French Discourse Analysis theory. This work is concluded with the comments about the achieved results and analyses the tattoo as a group identity element and as a symbol of freedom of the contemporary men and women. / Este trabalho aborda a evolução das tatuagens desde as primeiras provas de sua existência até os dias de hoje e mostra seus diferentes usos dentro de cada cultura como recurso para marcar em seus corpos diferentes mensagens. Apresenta, pela teoria da Análise do Discurso, os conceitos de Ideologia, Discurso e Sujeito; aborda, também, Cultura e Identidade para poder analisar se há um tipo específico de tatuagem de acordo com o sexo e idade da pessoa tatuada e quais são os motivos que levam um indivíduo a marcar seu corpo para sempre. Por meio de um questionário aplicado via internet, listam-se as tatuagens mais comuns no grupo de voluntários que responderam. Analisa o percurso gerativo do sentido, ou seja, os níveis fundamental, narrativo e discursivo de cada uma, baseado na teoria da Análise do discurso da linha francesa. Conclui comentando os resultados alcançados e analisa a tatuagem como forma de identidade de grupo e como símbolo de liberdade do homem e da mulher contemporâneos.

At various points in human history, tattooing has been ubiquitous on almost every continent on Earth, used for reasons of aestheticism, religious beliefs or for social purposes. To study the art of tattooing with respect to a particular culture, one must always be critical to any references to the practice (written, pictorial or artefactual) due to issues of translation and misinterpretation. Complete verification may only come with the discovery of actual tattooed human remains. In combination with artefactual and anthropological evidence, these remains not only provide physical proof of the practice in a culture's ancestry but also possess the ability to link various other forms of physical evidence, which on their own would remain speculative. By its very nature, tattooing may only exist while the bearer is alive. Once the owner dies, the skin, along with the tattoo, decomposes (under normal decomposition conditions) and is lost forever. However, tattoos may survive if the dermal layers of the skin are preserved, either by natural or artificial means. The processes of mummification in various civilisations have provided us with a rare opportunity to study the art and processes of tattooing in antiquity. Existing tattooed mummified remains have been found in: Egypt; Siberia; Eastern Central Asia; Greenland; Alaska and St. Lawrence Islands; Central Andes (Peru and Chile); Philippines; New Zealand and Italy. Existing literature regarding the analysis of tattooing inks and pigments once deposited into the skin is very limited. Comparatively, the industrial organic pigments used to colour the majority of modern tattooing inks sold today have not been officially approved by any regulating body and as such, manufacturers are not required to disclose the chemical ingredients of their products. Chemical identification of these tattoo pigments post-procedure will aid medical practitioners in the event of complications or for the purposes of tattoo removal. Forensically, tattoos are often one of the distinguishing features used in the identification of victims of crime or accidents. Experiments were carried out using an animal model (Sus scrofa) for the tattooing. Given the theoretically large but ultimately limited range of substances available to both ancient and modern tattooists, the premise of the experiment involved surveying the literature regarding possible tattooing pigments and either obtaining or reproducing a careful selection of these in the laboratory. These pigments were then tattooed onto the ii animal model and after allowing for the essential healing period, the tattooed areas were excised, with those tattooed with traditional pigments subjected to various simulated mummification environments.

This dissertation presents thirty-two poems and an introduction to the collection. In After My Third Tattoo, the poems’ speaker explores methods with which she perceives and constructs reality. Her exploration is the dramatic situation of each poem and the plot of the collection. The poems’ speaker regards physical objects, recalls experiences, and discovers how these objects and experiences hold psychological significance for her. With the intellectual and emotional associations she makes among objects and experiences, the speaker constructs, repeats and varies image patterns. Through her associations, she perceives overlaps in: the rational and emotional, the earthly and divine, the order imposed on her by society and the order that she builds through her own agency, and her perception and the perceptions of others. Finding agency through meditation and language liberates the speaker from identity-making terms that the lesbian speaker rejects.

Bien qu’ancien, l’engouement de l’Occident pour le tatouage ne paraît pas perdre de sa vigueur. Ainsi trouve-t-on dans ses villes quantité de studios de tatouage, Salons ou magazines spécialisés. L’iconographie de la marque semble être le fruit d’un étonnant syncrétisme, dont l’imaginaire « sauvage » est une importante partie. Tatouages maoris ou calligraphies arabes, dragons ou animaux sauvages, non issus de la culture occidentale, sont en effet des motifs très en vogue. Véritable mode d’expression cutané, le tatouage ethnique indique un certain regard sur le monde, sur l’Autre, comme le chemin que l’on choisit d’emprunter dans l’approche du « sentiment d’être soi ». Depuis les cabinets de curiosités du seizième siècle, le monde occidental collectionne l’Ailleurs en lui attribuant des qualifications parfois approximatives. Paroxysme de l’altérité, le « sauvage » s’oppose en tous points à une contemporanéité résolument urbaine. Il paraît en effet exister une « poétique du sauvage », faite de fantasmes exotiques, et trouvant dans le monde contemporain un écho particulier. Examinant au plus près la thématique des tatouages ethniques et la mettant en relation avec l’engouement grandissant de l’Occident pour les arts premiers et l’exotisme rêvé de l’Autre et de l’Ailleurs, cette thèse tente de déterminer quel est le rôle de cette « poétique du sauvage » dans la construction de soi. Recueillant les témoignages de tatoués ethniques et de tatoueurs, elle met au jour cinq grands types de motivations qui s’entrecroisent et s’inscrivent toutes dans le cadre du récit personnel. / Ancient as it may be the popularity for tattoo does not seem to wane in the West. Indeed, we can find a great number of tattoo studios, exhibitions or magazines in our cities. The iconography of the brand seems to be the result of an amazing syncretism of which the "wild" imagery is an important part. Maori tattoos, Arabic calligraphy, dragons and wild animals, not from Western culture, are indeed very popular patterns. True mode of expressions of the skin, the ethnic tattoo indicates a certain view of the world, a view of the Other, as the path one chooses to follow in order to search for a "sense of self". Since the cabinets of curiosities of the sixteenth century, the Western world collects the Elsewhere in assigning qualifications that are, sometimes, approximate ones. Paroxysm of otherness, in every aspect, the "savage" is in opposition to a decidedly urban contemporary reality. Indeed, a "poetics of the wild" made of exotic fantasies, seems to find an echo in the modern world and is particularly popular. Looking closer to the theme of ethnic tattoo and linking it with the growing popularity in the West for the tribal arts and dreams of the exotic Other and elsewhere, this thesis attempts to determine the role of this "poetics of the wild" in self-construction. Including testimonies from ethnic tattooed individuals, tattoo artists, it uncovers five major types of motivations that are intertwined and that are all part of a personal narrative.

Submitted by Isabela Leite Ferraz Cabral (isabelalferraz@hotmail.com) on 2018-04-19T13:07:04Z No. of bitstreams: 1 Isabela Leite Ferraz (após a defesa).pdf: 2321770 bytes, checksum: 6bfabab6d5e2449baea610ec9c7969ec (MD5) / Approved for entry into archive by Luciana Pizzani null (luciana@btu.unesp.br) on 2018-04-19T17:32:17Z (GMT) No. of bitstreams: 1 cabral_ilf_dr_bot.pdf: 2321770 bytes, checksum: 6bfabab6d5e2449baea610ec9c7969ec (MD5) / Made available in DSpace on 2018-04-19T17:32:17Z (GMT). No. of bitstreams: 1 cabral_ilf_dr_bot.pdf: 2321770 bytes, checksum: 6bfabab6d5e2449baea610ec9c7969ec (MD5) Previous issue date: 2018-02-21 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Justificativa e objetivo: o hábito de tatuar o corpo faz parte da cultura de muitos povos no mundo. A partir do início dos anos 1990, passou a ser utilizada por alguns grupos sociais e em faixa etária determinada como uma forma de arte no corpo. Os pigmentos podem conter componentes orgânicos e inorgânicos, metais e solventes. Há grande variação na composição química destes, o que dá origem às diferentes cores. Pouco se conhece sobre as possíveis implicações da introdução de uma agulha para realização de anestesia regional sobre uma pele tatuada. Alguns autores questionam se o pigmento contido na tatuagem pode desencadear aracnoidite química. Estudo experimental determinou infiltrado inflamatório linfoplasmacitário perivascular nas meninges de coelhos, 6 meses após punção subaracnoidea sobre pele tatuada. O objetivo desta pesquisa foi avaliar se a punção subaracnoidea realizada sobre a pele tatuada de coelhos ocasiona alterações histológicas precoces nas meninges. Material e Métodos: após a aprovação da Comissão de Ética e Pesquisa no Uso de Animais, foram utilizados 28 coelhos adultos jovens, da raça Grupo Genético de Botucatu, com pesos entre 3300 e 5400g e comprimento de medula espinal (espaço medido entre a base do crânio e o espaço lombossacral) entre 38 e 41 cm, fornecidos pelo Biotério da Faculdade de Medicina de Botucatu. Os animais foram divididos em 2 grupos (G): G1- punção subaracnoidea sobre tatuagem e injeção de solução salina a 0,9% e G2 - punção subaracnoidea sobre pele não tatuada e injeção de solução salina a 0,9%. Após anestesia venosa com xilazina e cetamina, os animais de G1 foram tatuados e, após 30 dias, sob a mesma anestesia, foi realizada a abordagem do espaço subaracnoideo, com agulha de Quincke 22G 21/2”, no espaço intervertebral entre a primeira e a segunda vértebra sacral, guiada por ultrassom. Os animais de G1 e G2 receberam as soluções correspondentes em volume de 5 μL por centímetro de medula espinal (aproximadamente 0,2 mL). Os animais foram avaliados clinicamente quanto à sensibilidade e à motricidade por 30 dias, após os quais foram sacrificados e retiradas as porções lombar e sacral da medula espinhal para exame histológico por microscopia óptica. Resultados: onze animais (78,6%) de G1 apresentaram lesões histológicas focais na pia-máter e aracnoide. Nos animais de G2 não foram encontradas alterações histológicas no tecido nervoso, nos vasos sanguíneos ou nas meninges. Conclusão: são precoces as alterações histológicas meníngeas desencadeadas pela introdução do pigmento da tatuagem após punção subaracnoidea. / Background: body tattooing is cultural for many people around the world. Since the early 1990s, it began to be used by some social groups and some age groups as a body art. The pigments may contain organic and inorganic components, metals and solvents. There is a great variation in the chemical composition of these pigments and that is why they produce different colors. We don’t know the possible implications of introducing a needle for performing regional anesthesia on a tattooed skin. Some authors question whether the pigment contained in the tattoo can trigger chemical arachnoiditis. One experimental study showed perivascular lymphoplasmacytic inflammatory infiltrate in rabbit meninges, 6 months after subarachnoid puncture on tattooed skin. The aim of this study was to evaluate if the subarachnoid puncture performed on the tattooed skin of rabbits already causes early histological changes in the meninges. Material and Methods: after Ethics Committee’s approval, it was used 28 young adult rabbits from Botucatu’s genetic group. The rabbits weights were between 3000 and 4500g and the length of spine (space measured from the base of the skull to lumbosacral space) were between 38 and 41 cm provided by the Medical Center of Botucatu Medical School. The animals were divided into 2 groups (G): in G1 group there was a subarachnoid puncture on tattooing and injection of 0.9% saline solution while in G2 group there was a subarachnoid puncture on non-tattooed skin and injection of 0.9% saline solution. After venous anesthesia with xylazine and ketamine, the G1 animals were tattooed. After 30 days, under the same anesthesia, the subarachnoid space were accessed, with Quincke's Needle 22G 21/2” , in the intervertebral space between the first and second sacral vertebra. All the procedure was ultrasound guided. The rabbits of G1 and G2 groups received the corresponding volume solutions of 5 μl per centimeter of spinal cord (approximately 0.2 mL). The animals were clinically assessed for sensitivity and motor function for 30 days. After that, they were sacrificed and the lumbar and sacral portions of the spinal cord were removed for histological examination by light microscopy. Results: eleven animals (78.6%) of G1 group had focal histological lesions in the pia mater and arachnoid. No histological changes were found in nervous tissue, blood vessels or meninges on G2 group. Conclusions: early meningeal histological changes are triggered by introduction of tattoo pigment into central nervous system after subarachnoid puncture. / FAPESP - Proc 2014/24053-9

Orientador: Eliana Marisa Ganem / Resumo: Justificativa e objetivo: o hábito de tatuar o corpo faz parte da cultura de muitos povos no mundo. A partir do início dos anos 1990, passou a ser utilizada por alguns grupos sociais e em faixa etária determinada como uma forma de arte no corpo. Os pigmentos podem conter componentes orgânicos e inorgânicos, metais e solventes. Há grande variação na composição química destes, o que dá origem às diferentes cores. Pouco se conhece sobre as possíveis implicações da introdução de uma agulha para realização de anestesia regional sobre uma pele tatuada. Alguns autores questionam se o pigmento contido na tatuagem pode desencadear aracnoidite química. Estudo experimental determinou infiltrado inflamatório linfoplasmacitário perivascular nas meninges de coelhos, 6 meses após punção subaracnoidea sobre pele tatuada. O objetivo desta pesquisa foi avaliar se a punção subaracnoidea realizada sobre a pele tatuada de coelhos ocasiona alterações histológicas precoces nas meninges. Material e Métodos: após a aprovação da Comissão de Ética e Pesquisa no Uso de Animais, foram utilizados 28 coelhos adultos jovens, da raça Grupo Genético de Botucatu, com pesos entre 3300 e 5400g e comprimento de medula espinal (espaço medido entre a base do crânio e o espaço lombossacral) entre 38 e 41 cm, fornecidos pelo Biotério da Faculdade de Medicina de Botucatu. Os animais foram divididos em 2 grupos (G): G1- punção subaracnoidea sobre tatuagem e injeção de solução salina a 0,9% e G2 - punção subaracnoidea s... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Background: body tattooing is cultural for many people around the world. Since the early 1990s, it began to be used by some social groups and some age groups as a body art. The pigments may contain organic and inorganic components, metals and solvents. There is a great variation in the chemical composition of these pigments and that is why they produce different colors. We don’t know the possible implications of introducing a needle for performing regional anesthesia on a tattooed skin. Some authors question whether the pigment contained in the tattoo can trigger chemical arachnoiditis. One experimental study showed perivascular lymphoplasmacytic inflammatory infiltrate in rabbit meninges, 6 months after subarachnoid puncture on tattooed skin. The aim of this study was to evaluate if the subarachnoid puncture performed on the tattooed skin of rabbits already causes early histological changes in the meninges. Material and Methods: after Ethics Committee’s approval, it was used 28 young adult rabbits from Botucatu’s genetic group. The rabbits weights were between 3000 and 4500g and the length of spine (space measured from the base of the skull to lumbosacral space) were between 38 and 41 cm provided by the Medical Center of Botucatu Medical School. The animals were divided into 2 groups (G): in G1 group there was a subarachnoid puncture on tattooing and injection of 0.9% saline solution while in G2 group there was a subarachnoid puncture on non-tattooed skin and injection of 0.... (Complete abstract click electronic access below) / Doutor