Atkinson, M. (2002). Pretty in ink: Conformity, resistance, and negotiation in
______women's tattooing. Sex Roles, 47(5/6), 219-236.


Braunberger, C. Revolting bodies: The monster beauty of tattooed women. NWSA
______Journal, 12(2), 1-23.


Carroll, L. & Anderson, R. (2002). Body piercing, tattooing, self-esteem, and body
______investment in adolescent girls. Adolescence, 37(147), 627-638.


DeMello, M. "Not just for bikers anymore": Popular representations of American
______tattooing. Journal of Popular Culture., 29(3)


Fenske, M. (2007). Movement and resistance: (Tattooed) bodies and performance.
______Communication and Critical/Cultural Studies, 4(1), 51-73.


Fisher, J. A. (2002). Tattooing the body, marking culture. Body & Society, 8(4),
______91-107.


Hawkes, D., Senn, C. Y. & Thorn, C. Factors that influence attitudes toward women
______with tattoos. Sex Roles, 50(9/10), 593.


Kosut, M. An ironic fad: The commodification and consumption of tattoos. The Journal of
______Popular Culture, 39(6) 1035-1048.


Sanders, C.R. (1988). Marks of mischief. Journal of Contemporary Ethnography,
______16(4), 395-432.


Schildkrout, E. (2002). Body art as a visual language. Anthronotes, 22(2)


Schildkrout, E. (2004). Inscribing the body. Annual Review of Anthropology, 33,
______319-345.