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tattoo</title> <meta name="description" content="Search results for: tattoo"> <meta name="keywords" content="tattoo"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="tattoo"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 14</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: tattoo</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> Religious Tattoos Symbols amongst Underground Communities in Surabaya and Sidoarjo, Indonesia: Their Functions and Significances</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Constantius%20Tri%20Handoko">Constantius Tri Handoko</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tattoos on the body of Christian youths seemed interesting as the majority of Christian look at tattoo and tattooing activity are prohibited. This research besides to understand the motivation behind why Christian youth in Surabaya and Sidoarjo, Indonesia being tattooed also focus on the regard to what functions and meanings of the tattoos are. By using visual discourse analysis, the tattoos had relation to the informants’ social lives dimension, such as the Christian symbol tattoos expressed their spiritual life journey, a faith symbol to God, as personal symbols (identity), art expression, as well as fashion. On the other hands, tattoos also became a hatred symbol to Jesus and the Christian faith, since the tattoo wearers who were a former Christians felt disappointed to God as they thought God never help them to survive in their lives. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=tattoo" title="tattoo">tattoo</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=belief" title=" belief"> belief</a>, <a href="https://publications.waset.org/abstracts/search?q=Christian" title=" Christian"> Christian</a> </p> <a href="https://publications.waset.org/abstracts/50109/religious-tattoos-symbols-amongst-underground-communities-in-surabaya-and-sidoarjo-indonesia-their-functions-and-significances" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50109.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">261</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> A Review of Current Practices in Tattooing of Colonic Lesion at Endoscopy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dhanashree%20Moghe">Dhanashree Moghe</a>, <a href="https://publications.waset.org/abstracts/search?q=Roberta%20Bullingham"> Roberta Bullingham</a>, <a href="https://publications.waset.org/abstracts/search?q=Rizwan%20Ahmed"> Rizwan Ahmed</a>, <a href="https://publications.waset.org/abstracts/search?q=Tarun%20Singhal"> Tarun Singhal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aim: The NHS Bowel Screening Programme recommends the use of endoscopic tattooing for suspected malignant lesions that later require surgical or endoscopic localisation, using local protocols as guidance. This is in accordance with guidance from the BSG (The British Society of Gastroenterologists). We used a well-recognised local protocol as a standard to audit current tattooing practice in a large district general hospital with no current local guidelines. Method: A retrospective quantitative analysis of 50 patients who underwent segmental colonic resection for cancer over a 6-month period in 2021. We reviewed historic electronic endoscopy reports recording relevant data on tattoo indication and placement. Secondly, we carried out an anonymous survey of 16 independent lower GI endoscopists on self-reported details of their practice. Results: In our study, 28 patients (56%) had a tattoo placed at the time of their colonoscopy. Of these, only 53% (n=15) had the tattoo distal to the lesion, with the measured distance of the tattoo from the lesion only being documented in 8 reports. Only seven patients (25%) had a circumferential (4 quadrant) placement of the tattoo. 13 patients had lesions either in the caecum or rectum, locations deemed unnecessary as per BSG guidelines. Of the survey responses collected, there were four different protocols being used to guide practice. Only 50% of respondents placed tattoos at the correct distance from the lesion, and 83% placed the correct number of tattoos. Conclusion: There is a lack of standardisation of practices in colonic tattooing demonstrated in our study with incomplete compliance to our standard. The inadequate documentation of tattoo location can contribute to confusion and inaccuracy in the intraoperative localisation of lesions. This has the potential to increase operation length and morbidity. There is a need to standardise both technique and documentation in colonoscopic tattooing practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colorectal%20cancer" title="colorectal cancer">colorectal cancer</a>, <a href="https://publications.waset.org/abstracts/search?q=endoscopic%20tattooing" title=" endoscopic tattooing"> endoscopic tattooing</a>, <a href="https://publications.waset.org/abstracts/search?q=colonoscopy" title=" colonoscopy"> colonoscopy</a>, <a href="https://publications.waset.org/abstracts/search?q=NHS%20BSCP" title=" NHS BSCP"> NHS BSCP</a> </p> <a href="https://publications.waset.org/abstracts/150874/a-review-of-current-practices-in-tattooing-of-colonic-lesion-at-endoscopy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/150874.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">120</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12</span> Comparative Study of Various Treatment Positioning Technique: A Site Specific Study-CA. Breast</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kamal%20Kaushik">Kamal Kaushik</a>, <a href="https://publications.waset.org/abstracts/search?q=Dandpani%20Epili"> Dandpani Epili</a>, <a href="https://publications.waset.org/abstracts/search?q=Ajay%20G.%20V."> Ajay G. V.</a>, <a href="https://publications.waset.org/abstracts/search?q=Ashutosh"> Ashutosh</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Pradhaan"> S. Pradhaan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Radiation therapy has come a long way over a period of decades, from 2-dimensional radiotherapy to intensity-modulated radiation therapy (IMRT) or VMAT. For advanced radiation therapy, we need better patient position reproducibility to deliver precise and quality treatment, which raises the need for better image guidance technologies for precise patient positioning. This study presents a two tattoo simulation with roll correction technique which is comparable to other advanced patient positioning techniques. Objective: This is a site-specific study is aimed to perform a comparison between various treatment positioning techniques used for the treatment of patients of Ca- Breast undergoing radiotherapy. In this study, we are comparing 5 different positioning methods used for the treatment of ca-breast, namely i) Vacloc with 3 tattoos, ii) Breast board with three tattoos, iii) Thermoplastic cast with three fiducials, iv) Breast board with a thermoplastic mask with 3 tattoo, v) Breast board with 2 tattoos – A roll correction method. Methods and material: All in one (AIO) solution immobilization was used in all patient positioning techniques for immobilization. The process of two tattoo simulations includes positioning of the patient with the help of a thoracic-abdomen wedge, armrest & knee rest. After proper patient positioning, we mark two tattoos on the treatment side of the patient. After positioning, place fiducials as per the clinical borders markers (1) sternum notch (lower border of clavicle head) (2) 2 cm below from contralateral breast (3) midline between 1 & 2 markers (4) mid axillary on the same axis of 3 markers (Marker 3 & 4 should be on the same axis). During plan implementation, a roll depth correction is applied as per the anterior and lateral positioning tattoos, followed by the shifts required for the Isocentre position. The shifts are then verified by SSD on the patient surface followed by radiographic verification using Cone Beam Computed Tomography (CBCT). Results: When all the five positioning techniques were compared all together, the produced shifts in Vertical, Longitudinal and lateral directions are as follows. The observations clearly suggest that the Longitudinal average shifts in two tattoo roll correction techniques are less than every other patient positioning technique. Vertical and lateral Shifts are also comparable to other modern positioning techniques. Concluded: The two tattoo simulation with roll correction technique provides us better patient setup with a technique that can be implemented easily in most of the radiotherapy centers across the developing nations where 3D verification techniques are not available along with delivery units as the shifts observed are quite minimal and are comparable to those with Vacloc and modern amenities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ca.%20breast" title="Ca. breast">Ca. breast</a>, <a href="https://publications.waset.org/abstracts/search?q=breast%20board" title=" breast board"> breast board</a>, <a href="https://publications.waset.org/abstracts/search?q=roll%20correction%20technique" title=" roll correction technique"> roll correction technique</a>, <a href="https://publications.waset.org/abstracts/search?q=CBCT" title=" CBCT"> CBCT</a> </p> <a href="https://publications.waset.org/abstracts/148066/comparative-study-of-various-treatment-positioning-technique-a-site-specific-study-ca-breast" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148066.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">135</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Narratives of the Body: Significance and Meanings of Tattoos of Selected Filipino LGBTs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Generoso%20Pamittan%20Jr.">Generoso Pamittan Jr.</a>, <a href="https://publications.waset.org/abstracts/search?q=Freddielyn%20Pontemayor"> Freddielyn Pontemayor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Through the years, the purpose of tattoos in the Philippines, has changed from being tribal and traditional-ritualistic to personal and individualistic. Hence it is interesting to know the stories and meanings behind tattoos of particular individuals. Using the frames of Anabela Pereira’s concept of ‘body art’ as ‘visual language’, this paper scrutinizes the tattoos of selected Filipino LGBTs to (1) unfold the stories behind their body symbols, (2) describe the meanings and significance of their tattoos, and (3) determine the dominant themes that are common among the tattoos of the selected LGBTs. Semi-structured interviews were conducted with selected respondents to obtain in-depth information about the tattoos. Photos of tattoos were also taken, with respondents’ consent, to describe and analyze the details of tattoos’ patterns/ designs. Based on the interviews and analysis, most of the immediate relatives of the selected LGBTs were initially against the idea of having tattoos because of social stigma. However, the LGBT respondents considered their tattoos as symbols of their penchant for something (arts, cooking, etc.), expression of their personality and life’s aspirations, assertion of their identity amidst heteronormative tendencies and symbols that constantly remind them of the significant people and milestones in their lives. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=body%20art" title="body art">body art</a>, <a href="https://publications.waset.org/abstracts/search?q=body%20tattoo" title=" body tattoo"> body tattoo</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=LGBT" title=" LGBT"> LGBT</a>, <a href="https://publications.waset.org/abstracts/search?q=tattoo" title=" tattoo"> tattoo</a> </p> <a href="https://publications.waset.org/abstracts/81557/narratives-of-the-body-significance-and-meanings-of-tattoos-of-selected-filipino-lgbts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81557.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">188</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">10</span> Origins of the Tattoo: Decoding the Ancient Meanings of Terrestrial Body Art to Establish a Connection between the Natural World and Humans Today</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sangeet%20Anand">Sangeet Anand</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Body art and tattooing have long been practiced as a form of self-expression for centuries, and this study studies and analyzes the pertinence of tattoo culture in our everyday lives and ancient past. Individuals of different cultures represent ideas, practices, and elements of their cultures through symbolic representation. These symbols come in all shapes and sizes and can be as simple as the makeup you put on every day to something more permanent such as a tattoo. In the long run, these individuals who choose to display art on their bodies are seeking to express their individuality. In addition, these visuals are ultimately a reflection of our own appropriate cultures deem as beautiful, important, and powerful to the human eye. They make us known to the world and give us a plausible identity in an ever-changing world. We have lived through and seen a rise in hippie culture today. This type of bodily decoration displayed by this fad has made it seem as though body art is a visual language that is relatively new. But quite to the contrary, it is not. Through cultural symbolic exploration, we can answer key questions to ideas that have been raised for centuries. Through careful, in-depth interviews, this study takes a broad subject matter-art, and symbolism-and culminates it into a deeper philosophical connection between the world and its past. The basic methodologies used in this sociocultural study include interview questionnaires and textual analysis, which encompass a subject and interviewer as well as source material. The major findings of this study contain a distinct connection between cultural heritage and the day-to-day likings of an individual. The participant that was studied during this project demonstrated a clear passion for hobbies that were practiced even by her ancestors. We can conclude, through these findings, that there is a deeper cultural connection between modern day humans, the first humans, and the surrounding environments. Our symbols today are a direct reflection of the elements of nature that our human ancestors were exposed to, and, through cultural acceptance, we can adorn ourselves with these representations to help others identify our pasts. Body art embraces the different aspects of different cultures and holds significance, tells stories, and persists, even as the human population rapidly integrates. With this pattern, our human descendents will continue to represent their cultures and identities in the future. Body art is an integral element in understanding how and why people identify with certain aspects of life over others and broaden the scope for conducting more analysis cross-culturally. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=natural" title="natural">natural</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolism" title=" symbolism"> symbolism</a>, <a href="https://publications.waset.org/abstracts/search?q=tattoo" title=" tattoo"> tattoo</a>, <a href="https://publications.waset.org/abstracts/search?q=terrestrial" title=" terrestrial "> terrestrial </a> </p> <a href="https://publications.waset.org/abstracts/128839/origins-of-the-tattoo-decoding-the-ancient-meanings-of-terrestrial-body-art-to-establish-a-connection-between-the-natural-world-and-humans-today" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128839.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">107</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> Tattooing: Personal Markings with Meaning: Themes Uncovered While Making a Video Documentary</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Byrad%20Yyelland">Byrad Yyelland</a>, <a href="https://publications.waset.org/abstracts/search?q=Robert%20Bianchi"> Robert Bianchi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> No longer the secret mark of outlaw bikers, criminals, and sailors, tattooing has become mainstream in much of the world. The current study showcases data gathered for a video documentary on the triangulated relationship connecting tattoos as a form of body modification, cultural norms, and personal meanings. This research has revealed that some religious belief systems, Buddhism in Thailand, is one example, connect tattooing with spirituality in an intimate manner. Buddhist monks provide tattoos using traditional bamboo implements and processes, and they pray over the tattoo, infusing magic into the tattoo and consequently, into the body of the receiver. In contrast, although there is no direct mention of tattooing in the Qur’an, many Islamic scholars argue that permanent tattooing is considered haram—forbidden for Muslims. Only the temporary henna is acceptable. In fact, tattooing is illegal in Qatar. Some Indigenous belief systems in Canada adopt a similar stance on the basis that we were all created by the Creator and as such, we do not have the right to alter what the Creator has made. Still other belief systems such as Spiritism in Brazil and mainstream Christianity in the West are more inclined to regard tattooing as a matter of personal choice. It is practically impossible for any culture to resist the dual impacts of time and globalization. Long term cultural change has resulted in mainstream acceptance of tattooing in the west and increased acceptance in Japan. Short-term cultural change is seen in Qatar where tattoos are on on public display amongst expats and migrant laborers. This tolerance of tattooed individuals was clearly evident with the choice of David Beckham as ambassador for the FIFA World Cup and during the corresponding tourist celebrations. Themes uncovered in this multicultural research also include individual meanings attributed to tattoo imagery and processes, experiences of personal empowerment, devotion to family, personal philosophy, gender identity, and aesthetics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=norms" title=" norms"> norms</a>, <a href="https://publications.waset.org/abstracts/search?q=tattooing" title=" tattooing"> tattooing</a>, <a href="https://publications.waset.org/abstracts/search?q=spirituality" title=" spirituality"> spirituality</a>, <a href="https://publications.waset.org/abstracts/search?q=personal%20motivations%20and%20personal%20meanings" title=" personal motivations and personal meanings"> personal motivations and personal meanings</a> </p> <a href="https://publications.waset.org/abstracts/163990/tattooing-personal-markings-with-meaning-themes-uncovered-while-making-a-video-documentary" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163990.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">73</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8</span> An Exploration of Athlete Tattoos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chen-Yu%20Chien">Chen-Yu Chien</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiow-Fang%20Shieh"> Shiow-Fang Shieh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tattoos are the most intimate form of body art. Unlike other art forms, tattoos emphasize breaking through tradition, innovation, and creativity. The designs created by tattoo artists are often regarded as true works of art. In recent years, there has been a notable increase in athletes with tattoos, thereby amplifying the beliefs and psychological expressions conveyed by tattoos on athletes compared to the past. The primary objectives of this study are 1. to explore and understand the presence and significance of tattoos for athletes and 2. to examine the impact of tattoos on athletes' performance. This study employs a semi-structured, in-depth interview method utilizing purposive sampling. The participants are athletes who have engaged in regular exercise for more than three years and have tattoos. A total of 10 athletes were interviewed, including 9 males and 1 female, aged between 24 and 43 years, each with different sports specializations. The sample was collected using snowball sampling. Results and Discussion: 1. For athletes, tattoos are not merely body decorations but serve to reinforce their inner beliefs, thereby enhancing their athletic performance. 2. Tattoos have a positive impact on the appearance of athletes. 3. The influence of tattoos on athletic performance extends beyond physical appearance, serving as a psychological motivation and support. 4. Individuals with tattoos tend to be more outgoing and extroverted, with higher impulsivity and adventurousness in their athletic endeavors. Conclusion: I. For athletes, tattoos not only have a positive impact on their appearance but also strengthen their internal beliefs. II. Athletes with tattoos exhibit not only greater extroversion and openness but also heightened impulsivity and adventurousness in their athletic performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=tattoo" title="tattoo">tattoo</a>, <a href="https://publications.waset.org/abstracts/search?q=athletes" title=" athletes"> athletes</a>, <a href="https://publications.waset.org/abstracts/search?q=athletic%20performance" title=" athletic performance"> athletic performance</a>, <a href="https://publications.waset.org/abstracts/search?q=psychological%20impact" title=" psychological impact"> psychological impact</a>, <a href="https://publications.waset.org/abstracts/search?q=body%20art" title=" body art"> body art</a> </p> <a href="https://publications.waset.org/abstracts/186419/an-exploration-of-athlete-tattoos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186419.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">61</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> A Better Quality of Henna Powder in the Experience of Biskra’s Rural Women </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Keltoum%20Benaissa">Keltoum Benaissa</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamed%20Belhamra"> Mohamed Belhamra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The henna powder is one of the more important natural cosmetic product used especially by the women in Algeria to dye their hair and to stain the hand, nails and feet. To obtain a better powder of henna is one of the concerns of bride’s mothers during the obtaining of this material very important for the wedding ceremony. For this objective, we led an investigation in the most producing henna regions in Biskra (a South East department in Algeria), interview with rural women concerning the manipulations made on post-harvest to obtain a good quality henna powder. The investigated rural women gave us the main as well as the necessary conditions to obtain desired dye since the stage of harvest of henna, the place of drying of the production, the collection of leaves and the ways of grinding it, all those steps to have finally the best tattoo on hands and feet of the bride. For this objective we led an investigation in the most producing henna regions in Biskra (a South East department in Algeria), interview with rural women concerning the manipulations made on post harvest to obtain a good quality henna powder. The investigated rural women gave us the main as well as the necessary conditions to obtain desired dye since the stage of harvest of henna, the place of drying of the production, the collection of leaves and the ways of grinding it, all those steps to have finally the best tattoo on hands and feet of the bride. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=henna" title="henna">henna</a>, <a href="https://publications.waset.org/abstracts/search?q=powder%20quality" title=" powder quality"> powder quality</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20experience" title=" women experience"> women experience</a>, <a href="https://publications.waset.org/abstracts/search?q=investigation" title=" investigation"> investigation</a>, <a href="https://publications.waset.org/abstracts/search?q=cosmetic%20plant" title=" cosmetic plant"> cosmetic plant</a> </p> <a href="https://publications.waset.org/abstracts/39755/a-better-quality-of-henna-powder-in-the-experience-of-biskras-rural-women" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39755.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">266</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> Comparison of Dubbing and Subtitling through Critical Discourse Analysis: Detecting Lexical Differences and Similarities in the Movie 'The Girl with the Dragon Tattoo'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saber%20Noie">Saber Noie</a>, <a href="https://publications.waset.org/abstracts/search?q=F.%20Jafarpour"> F. Jafarpour</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Translation of the movies was one of important issues of the translators. In this study, the notions of ‘foreignization’, ‘domestication’, and ‘critical discourse analysis’ (CDA) in translation studies were discussed. This study is a comparative study and attempts towards clarifying the lexical differences and similarities between dubbing and subtitling in audiovisual translation through CDA. The strategies proposed by Venuti (1995) and Newmark (1988) used first by researcher and then, the researcher went back to the Van Dijk’s CDA (1995), in the part dominance. This study shows that according to CDA, the dominant strategy in subtitling is foreignization and dominant strategy in dubbing is domestication. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=critical%20discourse%20analysis" title="critical discourse analysis">critical discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=CDA" title=" CDA"> CDA</a>, <a href="https://publications.waset.org/abstracts/search?q=dub" title=" dub"> dub</a>, <a href="https://publications.waset.org/abstracts/search?q=subtitle" title=" subtitle"> subtitle</a>, <a href="https://publications.waset.org/abstracts/search?q=foreignization" title=" foreignization"> foreignization</a>, <a href="https://publications.waset.org/abstracts/search?q=domestication" title=" domestication"> domestication</a> </p> <a href="https://publications.waset.org/abstracts/87932/comparison-of-dubbing-and-subtitling-through-critical-discourse-analysis-detecting-lexical-differences-and-similarities-in-the-movie-the-girl-with-the-dragon-tattoo" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87932.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">278</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> Culture and Deviance Told by Skin: Non Verbal Communication of Tattoos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Andreas%20Aceranti">Andreas Aceranti</a>, <a href="https://publications.waset.org/abstracts/search?q=Simonetta%20Vernocchi"> Simonetta Vernocchi</a>, <a href="https://publications.waset.org/abstracts/search?q=Marco%20Colorato"> Marco Colorato</a>, <a href="https://publications.waset.org/abstracts/search?q=Ludwig%20Conistabile"> Ludwig Conistabile</a>, <a href="https://publications.waset.org/abstracts/search?q=Martina%20Falappi"> Martina Falappi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study was born out of the necessity to delve into and understand the intricate world of tattoos, a millenary art that lays its foundation, although sometimes complex, for effective non-verbal communication. What is most astonishing about a phenomenon such as irreversibly branding the skin, which at first glance may appear superficial, especially in the eyes of those who do not fully understand its meaning, is the fact that it is actually one of the most enduring forms of communication: body modification through tattoos or ornamental dyes indicated the wearer's membership in a particular ethnic group, social class or religious community. Even within crime-based aggregations, tattoos had (and still have) the purpose of conveying one's affiliation to a particular group, thus making one's criminal identity known. The profession of a language and cultural mediator teaches that it is essential to be able to read between the lines to grasp all those aspects that words alone do not convey. Tattooing, therefore, becomes a tool of analysis and a language that is not secondary to be taken into account for an in-depth reading of the reality that surrounds us and of cultures different from our own. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=tattoo" title="tattoo">tattoo</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20tattoos" title=" cultural tattoos"> cultural tattoos</a>, <a href="https://publications.waset.org/abstracts/search?q=tattooing" title=" tattooing"> tattooing</a>, <a href="https://publications.waset.org/abstracts/search?q=non%20verbal%20communication" title=" non verbal communication"> non verbal communication</a> </p> <a href="https://publications.waset.org/abstracts/160310/culture-and-deviance-told-by-skin-non-verbal-communication-of-tattoos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160310.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">204</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> From Pink to Ink: Understanding the Decision-Making Process of Post-mastectomy Women Who Have Covered Their Scars with Decorative Tattoos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fernanda%20Rodriguez">Fernanda Rodriguez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Breast cancer is pervasive among women, and an increasing number of women are opting for a mastectomy: a medical operation in which one or both breasts are removed with the intention of treating or averting breast cancer. However, there is an emerging population of cancer survivors in European nations that, rather than attempting to reconstruct their breasts to resemble as much as possible ‘normal’ breasts, have turned to dress their scars with decorative tattoos. At a practical level, this study hopes to improve the support systems of these women by possibly providing professionals in the medical field, tattoo artists, and family members of cancer survivors with a deeper understanding of their motivations and decision-making processes for choosing an alternative restorative route - such as decorative tattoos - after their mastectomy. At an intellectual level, however, this study aims to narrow a gap in the academic field concerning the relationship between mastectomies and alternative methods of healing, such as decorative tattoos, as well as to broaden the understanding regarding meaning-making and the ‘normal’ feminine body. Thus, by means of semi-structured interviews and a phenomenological standpoint, this research set itself the goal to understand why do women who have undergone a mastectomy choose to dress their scars with decorative tattoos instead of attempting to regain ‘normalcy’ through breast reconstruction or 3D areola tattoos? The results obtained from the interviews with fifteen women showed that the disillusionment with one part of the other of breast restoration techniques had led these women to find an alternative form of healing that allows them not only to close a painful chapter of their life but also to regain control over their bodies after a period of time in which agency was taking away from them. Decorative post-mastectomy tattoos allow these women to grant their bodies with new meanings and produce their own interpretation of their feminine body and identity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=alternative%20femininity" title="alternative femininity">alternative femininity</a>, <a href="https://publications.waset.org/abstracts/search?q=decorative%20mastectomy%20tattoos" title=" decorative mastectomy tattoos"> decorative mastectomy tattoos</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20embodiment" title=" gender embodiment"> gender embodiment</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20stigmatization" title=" social stigmatization"> social stigmatization</a> </p> <a href="https://publications.waset.org/abstracts/127694/from-pink-to-ink-understanding-the-decision-making-process-of-post-mastectomy-women-who-have-covered-their-scars-with-decorative-tattoos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127694.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">120</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> From Forked Tongues to Tinkerbell Ears: Rethinking the Criminalization of Alternative Body Modification in the UK</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Luci%20V.%20Hyett">Luci V. Hyett</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The criminal law of England and Wales currently deems that a person cannot consent to the infliction of injury upon their own body, where the level of harm is considered to be Actual or Grevious. This renders the defence of consent of the victim as being unavailable to those persons carrying out an Alternative Body Modification procedure. However, the criminalization of consensual injury is more appropriately deemed as being categorized as an offense against public morality and not one against the person, which renders the State’s involvement in the autonomous choices of a consenting adult, when determining what can be done to one’s own body, an arbitrary one. Furthermore, to recognise in law that a person is capable of giving a valid consent to socially acceptable cosmetic interventions that largely consist of procedures designed to aesthetically please men and, not those of people who want to modify their bodies for other reasons means that patriarchal attitudes are continuing to underpin public repulsion and inhibit social acceptance of such practices. Theoretical analysis will begin with a juridical examination of R v M(B) [2019] QB 1 where the High Court determined that Alternative Body Modification was not a special category exempting a person so performing from liability for Grevious Bodily Harm using the defence of consent. It will draw from its reasoning which considered that ‘the removal of body parts were medical procedures being carried out for no medical reason by someone not qualified to carry them out’ which will form the basis of this enquiry. It will consider the philosophical work of Georgio Agamben when analysing whether the biopolitical climate in the UK, which places the optimization of the perfect, healthy body at the centre of political concern can explain why those persons who wish to engage in Alternative Body Modification are treated as the ‘Exception’ to that which is normal using the ‘no medical reason’ canon to justify criminalisation, rather than legitimising the industry through regulation. It will consider, through a feminist lens, the current conflict in law between traditional cosmetic interventions which alter one’s physical appearance for socially accepted aesthetic purposes such as those to the breast, lip and buttock and, modifications described as more outlandish such as earlobe stretching, tooth filing and transdermal implants to create horns and spikes under the skin. It will assert that ethical principles relating to the psychological impact of body modification described as ‘alternative’ is used as a means to exclude person’s seeking such a procedure from receiving safe and competent treatment via a registered cosmetic surgeon which leads to these increasingly popular surgery’s being performed in Tattoo parlours throughout the UK as an extension to other socially acceptable forms of self-modification such as piercings. It will contend that only by ‘inclusive exclusion’ will those ‘othered’ through ostracisation be welcomed into the fold of normality and this can only be achieved through recognition of alternative body modification as a legitimate cosmetic intervention, subject to the same regulatory framework as existing practice. This would assist in refocusing the political landscape by erring on the side of liberty rather than that of biology. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biopolitics" title="biopolitics">biopolitics</a>, <a href="https://publications.waset.org/abstracts/search?q=body%20modification" title=" body modification"> body modification</a>, <a href="https://publications.waset.org/abstracts/search?q=consent" title=" consent"> consent</a>, <a href="https://publications.waset.org/abstracts/search?q=criminal%20law" title=" criminal law"> criminal law</a> </p> <a href="https://publications.waset.org/abstracts/106589/from-forked-tongues-to-tinkerbell-ears-rethinking-the-criminalization-of-alternative-body-modification-in-the-uk" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/106589.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">107</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> The Role of Oral and Intestinal Microbiota in European Badgers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Emma%20J.%20Dale">Emma J. Dale</a>, <a href="https://publications.waset.org/abstracts/search?q=Christina%20D.%20Buesching"> Christina D. Buesching</a>, <a href="https://publications.waset.org/abstracts/search?q=Kevin%20R.%20Theis"> Kevin R. Theis</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20W.%20Macdonald"> David W. Macdonald</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the oral and intestinal microbiomes of wild-living European badgers (Meles meles) and will relate inter-individual differences to social contact networks, somatic and reproductive fitness, varying susceptibility to bovine tuberculous (bTB) and to the olfactory advertisement. Badgers are an interesting model for this research, as they have great variation in body condition, despite living in complex social networks and having access to the same resources. This variation in somatic fitness, in turn, affects breeding success, particularly in females. We postulate that microbiota have a central role to play in determining the successfulness of an individual. Our preliminary results, characterising the microbiota of individual badgers, indicate unique compositions of microbiota communities within social groups of badgers. This basal information will inform further questions related to the extent microbiota influence fitness. Hitherto, the potential role of microbiota has not been considered in determining host condition, but also other key fitness variables, namely; communication and resistance to disease. Badgers deposit their faeces in communal latrines, which play an important role in olfactory communication. Odour profiles of anal and subcaudal gland secretions are highly individual-specific and encode information about group-membership and fitness-relevant parameters, and their chemical composition is strongly dependent on symbiotic microbiota. As badgers sniff/ lick (using their Vomeronasal organ) and over-mark faecal deposits of conspecifics, these microbial communities can be expected to vary with social contact networks. However, this is particularly important in the context of bTB, where badgers are assumed to transmit bTB to cattle as well as conspecifics. Interestingly, we have found that some individuals are more susceptible to bTB than are others. As acquired immunity and thus potential susceptibility to infectious diseases are known to depend also on symbiotic microbiota in other members of the mustelids, a role of particularly oral microbiota can currently not be ruled out as a potential explanation for inter-individual differences in infection susceptibility of bTB in badgers. Tri annually badgers are caught in the context of a long-term population study that began in 1987. As all badgers receive an individual tattoo upon first capture, age, natal as well as previous and current social group-membership and other life history parameters are known for all animals. Swabs (subcaudal ‘scent gland’, anal, genital, nose, mouth and ear) and fecal samples will be taken from all individuals, stored at -80oC until processing. Microbial samples will be processed and identified at Wayne State University’s Theis (Host-Microbe Interactions) Lab, using High Throughput Sequencing (16S rRNA-encoding gene amplification and sequencing). Acknowledgments: Gas-Chromatography/ Mass-spectrometry (in the context of olfactory communication) analyses will be performed through an established collaboration with Dr. Veronica Tinnesand at Telemark University, Norway. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=energetics" title=" energetics"> energetics</a>, <a href="https://publications.waset.org/abstracts/search?q=fitness" title=" fitness"> fitness</a>, <a href="https://publications.waset.org/abstracts/search?q=free-ranging%20animals" title=" free-ranging animals"> free-ranging animals</a>, <a href="https://publications.waset.org/abstracts/search?q=immunology" title=" immunology"> immunology</a> </p> <a href="https://publications.waset.org/abstracts/100388/the-role-of-oral-and-intestinal-microbiota-in-european-badgers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100388.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">187</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Revealing Celtic and Norse Mythological Depths through Dragon Age’s Tattoos and Narratives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Charles%20W.%20MacQuarrie">Charles W. MacQuarrie</a>, <a href="https://publications.waset.org/abstracts/search?q=Rachel%20R.%20Tatro%20Duarte"> Rachel R. Tatro Duarte</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the representation of medieval identity within the world of games such as Dragon Age, Elden Ring, Hellblade: Senua’s sacrifice, fantasy role-playing games that draw effectively and problematically on Celtic and Norse mythologies. Focusing on tattoos, onomastics, and accent as visual and oral markers of status and ethnicity, this study analyzes how the game's interplay between mythology, character narratives, and visual storytelling enriches the themes and offers players an immersive, but sometimes baldly ahistorical, connection to ancient mythologies and contemporary digital storytelling. Dragon Age is a triple a game series, Hellblade Senua’s Sacrifice, and Elden Ring of gamers worldwide with its presentation of an idealized medieval world, inspired by the lore of Celtic and Norse mythologies. This paper sets out to explore the intricate relationships between tattoos, accent, and character narratives in the game, drawing parallels to themes,heroic figures and gods from Celtic and Norse mythologies. Tattoos as Mythic and Ethnic Markers: This study analyzes how tattoos in Dragon Age visually represent mythological elements from both Celtic and Norse cultures, serving as conduits of cultural identity and narratives. The nature of these tattoos reflects the slave, criminal, warrior associations made in classical and medieval literature, and some of the episodes concerning tattoos in the games have either close analogs or sources in literature. For example the elvish character Solas, in Dragon Age Inquisition, removes a slave tattoo from the face of a lower status elf in an episode that is reminiscent of Bridget removing the stigmata from Connallus in the Vita Prima of Saint Bridget Character Narratives: The paper examines how characters' personal narratives in the game parallel the archetypal journeys of Celtic heroes and Norse gods, with a focus on their relationships to mythic themes. In these games the Elves usually have Welsh or Irish accents, are close to nature, magically powerful, oppressed by apparently Anglo-Saxon humans and Norse dwarves, and these elves wear facial tattoos. The Welsh voices of fairies and demons is older than the reference in Shakespeare’s Merry Wives of Windsor or even the Anglo-Saxon Life of Saint Guthlac. The English speaking world, and the fantasy genre of literature and gaming, undoubtedly driven by Tolkien, see Elves as Welsh speakers, and as having Welsh accents when speaking English Comparative Analysis: A comparative approach is employed to reveal connections, adaptations, and unique interpretations of the motifs of tattoos and narrative themes in Dragon Age, compared to those found in Celtic and Norse mythologies. Methodology: The study uses a comparative approach to examine the similarities and distinctions between Celtic and Norse mythologies and their counterparts in video games. The analysis encompasses character studies, narrative exploration, visual symbolism, and the historical context of Celtic and Norse cultures. Mythic Visuals: This study showcases how tattoos, as visual symbols, encapsulate mythic narratives, beliefs, and cultural identity, echoing Celtic and Norse visual motifs. Archetypal Journeys: The paper analyzes how character arcs mirror the heroic journeys of Celtic and Norse mythological figures, allowing players to engage with mythic narratives on a personal level. Cultural Interplay: The study discusses how the game's portrayal of tattoos and narratives both preserves and reinterprets elements from Celtic and Norse mythologies, fostering a connection between ancient cultures and modern digital storytelling. Conclusion: By exploring the interconnectedness of tattoos and character narratives in Dragon Age, this paper reveals the game series' ability to act as a bridge between ancient mythologies and contemporary gaming. By drawing inspiration from Celtic heroes and Norse gods and translating them into digital narratives and visual motifs, Dragon Age offers players a multi-dimensional engagement with mythic themes and a unique lens through which to appreciate the enduring allure of these cultures. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=comparative%20analysis" title="comparative analysis">comparative analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=character%20narratives" title=" character narratives"> character narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=video%20games%20and%20literature" title=" video games and literature"> video games and literature</a>, <a href="https://publications.waset.org/abstracts/search?q=tattoos" title=" tattoos"> tattoos</a>, <a href="https://publications.waset.org/abstracts/search?q=immersive%20storytelling" title=" immersive storytelling"> immersive storytelling</a>, <a href="https://publications.waset.org/abstracts/search?q=character%20development" title=" character development"> character development</a>, <a href="https://publications.waset.org/abstracts/search?q=mythological%20influences" title=" mythological influences"> mythological influences</a>, <a href="https://publications.waset.org/abstracts/search?q=Celtic%20mythology" title=" Celtic mythology"> Celtic mythology</a>, <a href="https://publications.waset.org/abstracts/search?q=Norset%20mythology" title=" Norset mythology"> Norset mythology</a> </p> <a href="https://publications.waset.org/abstracts/172269/revealing-celtic-and-norse-mythological-depths-through-dragon-ages-tattoos-and-narratives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172269.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">70</span> 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