Using interpretive methods of social inquiry, this thesis explores the socio-political significance of body tattoos made of Chinese-like text, which have recently become popular Western phenomena. It theorizes how contemporary Western tattooing complicates bodily and social boundaries, providing context to interrogate ideas of authenticity. Coining the term "Chinesenough" (from “Chinese” and “enough”), I describe how many such tattoos do not reflect in Chinese what many wearers and viewers assume they do. I contrast how Chinesenough tattoos (re)produce whiteness to the multiple and contradictory Chinesenesses that are also (re)produced. Reading Chinesenough flash art on tattoo studio walls as objects constituting social space, I consider the social meaning of their English subtitles and manner of organization. I theorize the body’s absence from Chinesenough flash art while articulating my body’s sense experience of encountering the same. Finally, I produce and theorize five illustrations that carnivalize Chinesenough iconography to disrupt and transform the phenomenon.
| Identifer | oai:union.ndltd.org:TORONTO/oai:tspace.library.utoronto.ca:1807/32914 |
| Date | 31 August 2012 |
| Creators | Chan, Karen Bic Kwun |
| Contributors | Titchkosky, Tanya |
| Source Sets | University of Toronto |
| Language | en_ca |
| Detected Language | English |
| Type | Thesis |
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