{"id":858,"date":"2023-12-12T18:04:01","date_gmt":"2023-12-12T23:04:01","guid":{"rendered":"https:\/\/web.colby.edu\/ar473-fall2023\/?p=858"},"modified":"2023-12-22T12:24:30","modified_gmt":"2023-12-22T17:24:30","slug":"class-10-body-and-gender","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/ar473-fall2023\/2023\/12\/12\/class-10-body-and-gender\/","title":{"rendered":"Class 10: Body and Gender"},"content":{"rendered":"\n
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  1. Mary Kosut, “Tattoo Narratives” \n
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    1. Tattoos as a form of visual communication within a multiplicity of contexts; the tattooed body is communicative and active <\/li>\n\n\n\n
    2. Sign vehicles: conveys and transports meaning, presentation of the everyday self; allows for a mobile and transient signifer of the self \n
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      1. Meaningful for dentity and culture <\/li>\n<\/ol>\n<\/li>\n\n\n\n
      2. \u201cGrotesque and carnivalesque\u201d – disrupting conventional standards of beauty, fighting against gender norms, something labeled as unappealing\n
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        1. Mikhail Bakhtine: \u201cthe carnivalesque\u201d \u2192 determined period where people can let loose, leave constraints of mundane social life <\/li>\n\n\n\n
        2. \u201cCarnival\u201d comes before liturgical season of lent (40 days); eating meat, fried food, drinking, and costumes (transformation into something else) <\/li>\n<\/ol>\n<\/li>\n\n\n\n
        3. Kosat wants to account for diversity when studying tattoos; body is both biological and cultural, produced and constructed by its environment, and the different experiences and identities need to be accounted for\n
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          1. Body is an agent, action system, a mode of praxis; indispensable to keep one’s own narrative ongoing <\/li>\n<\/ol>\n<\/li>\n\n\n\n
          2. Social components of embodiment; disjunction between self and physical body? <\/li>\n\n\n\n
          3. Idea of the Gaze: power dynamic, shapes subject with gaze into an object that loses agency (put into position of inferiority without control), but also grants it visibility and a sense of social context –> what informs this gaze? How is the recipient determined? <\/li>\n\n\n\n
          4. Authentic construction of an identity, distinct from social conventions; also serves a talismanic function; personal landmark; rewriting identity; rebellion; conversation with yourself\n
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            1. Shifting meaning  <\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n\n\n\n
            2. Atkinson, “Pretty in Ink” \n
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              1. Framework of body projects, constant modification, communication (of femininity): assumption of tattooing as masculine, impure, ugly, not ideal, outside (all part of binary systems)\n
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                1. \u201cGrotesque\u201d- 16th century, found golden house of Nero in Rome underground, term developed to describe decorations as grotesque: something that was eclectic and encompassed different kinds of components (architectural, natural, animal elements- encompasses different realms, dynamic, cannot be contained \u2192 same thing happens during carnival, very expansive and uncontrolled)\n
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                  1. Gender and the grotesque; unconventional, unbounded forms of gender expression (something that doesn\u2019t fit into categories) <\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n\n\n\n
                  2. Foucault: ways in which society controls people, all about power\n
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                    1. Docile bodies, passive and submissive, demure, small (don\u2019t take up space) <\/li>\n\n\n\n
                    2. Models: unsexualized bodies that behave without personality (blank and empty expressions) <\/li>\n<\/ol>\n<\/li>\n\n\n\n
                    3. Negotiation for women, through tattoos: dainty tattoos (size, symbol, placement) as a form of acceptable deviance, allows women to negotiate their position in society and express themselves while still being socially accepted  <\/li>\n<\/ol>\n<\/li>\n\n\n\n
                    4. Braunberger: bodies in revolt\n
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                      1. Monster beauty of tattooed women; body in excess, becomes spectacle or show; invitation for visibility?\n
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                        1. Grotesque applied here too; “freak show”   <\/li>\n<\/ol>\n<\/li>\n\n\n\n
                        2. Monsters as hybrids, not one thing nor the other; combines aesthetics with anger, still form of beauty but born out of power and reclamation and authority\n
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                          1. Process of decolonization <\/li>\n<\/ol>\n<\/li>\n\n\n\n
                          2. Sexualization of the body that accompanies tattoos, even though it is seen as less desirable\n
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                            1. Beauty to beast <\/li>\n<\/ol>\n<\/li>\n\n\n\n
                            2. Introjection: absorption of cultural symbolism, 2 way flow between body and the world (interior and cultural exterior) \u2192 tattoo\n
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                              1. Alfred Gell comes up again  <\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n\n\n\n
                              2. Caplan, “Educating the Eye” \n
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                                1. Overlap of sexual theory (sexology) and criminology; very visible, socially controlled\n
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                                  1. Lombroso, Havelock Ellis- criminological studies that rely on biological justification (rationalizing discrimination…) <\/li>\n<\/ol>\n<\/li>\n\n\n\n
                                  2. Social hygiene, concept of deviance emerges \u2192 psychologization of crime\n
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                                    1. Degeneration: hereditary qualities, inevitable cycle  <\/li>\n<\/ol>\n<\/li>\n\n\n\n
                                    2. Double abjection (repels, revolting, shunned out of disgust) of tattoos: emblem of deviance, subjection to men, and also shows her own inferior will\n
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                                      1. \u201cBy being revolting it’s a revolt\u201d<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n\n\n\n
                                      2. Helen Cixous: laugh of the medusa <\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":11517,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/posts\/858"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/users\/11517"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/comments?post=858"}],"version-history":[{"count":2,"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/posts\/858\/revisions"}],"predecessor-version":[{"id":867,"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/posts\/858\/revisions\/867"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/media?parent=858"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/categories?post=858"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar473-fall2023\/wp-json\/wp\/v2\/tags?post=858"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}