IPLUSO 25106

History of Tattooing

• ApresentaçãoPresentation

  .
• ProgramaProgramme

  1. Etymological definition and connection to a particular epistemology of the body as a postructuralist technology of the self. 2. Tattoo in context: historical perspectives of meaning (geographical, cultural and historically specific) and technical considerations (manual and mechanical practices). 3. Prehistoric genesis. 4. Indigenous expressions. Case Studies: Polynesia, Philippines, Indonesia, Samoa, New Zealand, South and North America, Australia, Africa. 5. Orient: Case Studies: Asia, Middle East, Russia, Japan. 6. West. USA and Europe. 6.1. Colonialist narratives and orientalism: the questioning of race. 6.2. The so-called Tattoo Renaissance (1980s): class problematizations. 6.3. Artistic legitimacy (1990s): gender problematizations. 6.4. Contemporaneity. 6.4.1 Postcolonialism and decoloniality (modern primitives and other case studies). 6.4.2. Creation of meaning.
• ObjectivosObjectives

  It is intended to develop an ethnographic and dialogical look at Tattoo as historically situated, allowing the students to think about the impact of social transformations in the construction of aesthetic categories, as well as the consequent transformations on its cultural products and meanings. The students are expected to develop critical thinking on what tattoo is, what it can be, and in what way should it be considered, evaluated and taken part of. The students will be expected to learn the necessary skills to think about the complex interactions between actors, materials and institutions in the context of tattoo. In doing so, we expect to offer the theoretical basis for a fruitful conceptual, technical and formal exploration of tattooing, considering it essential to a well-founded artistic project.
• BibliografiaBibliography

  DEMELLO, M. (2000), Bodies of Inscription - A Cultural History of the Modern Tattoo Community, Duke University Press.  FRIEDMAN, A. (2015), The World Atlas of Tattoo, New Haven e Londres: Yale University Press.  BAGOT, P. et al (2014), Tattoo, Musée du Quai Branly.  ATKINSON, M. (2003), Tattooed: The Sociogenesis of a Body Art, Toronto: University of Toronto Press.  BOURDIEU, P. (1996), The Field of Cultural Production, Cambridge: Polity Press.  SANDERS, C. (1989), Customizing the Body: The Art and Culture of Tattooing, Philadelphia: Temple University Press.  SULLIVAN, N. (2001), Tattooed bodies: Subjectivity, textuality, ethics, and pleasure. Westport: Praeger.  
• MetodologiaMethodology

  The theoretical-practical nature of the lectures (ultimately visual) is expected to open a discussion and the questioning of key concepts and main figures of the syllabus. Assessment is continuous, distributed and without a final exam: the distributed component of the assessment will include the active participation in class and the elaboration of a final written work of research (with an optional practical component) on a subject contemplated by the syllabus. Based on the conceptual and methodological tools learned in class, students are expected to problematize tattooing from a global perspective or in one of its particular aspects and expressions. Assessment will take into account the relevance, coherence, rationale and critical approach of the work, and student monitoring will include class participation, research for the final written work.  
• LínguaLanguage

  Português
• TipoType

  Semestral
• ECTS

  6
• NaturezaNature

  Optional
• EstágioInternship

  Não