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Journal articles on the topic 'Burlesque (Théâtre)'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Cormac, Joanne. "From Satirical Piece to Commercial Product: The Mid-Victorian Opera Burlesque and its Bourgeois Audience." Journal of the Royal Musical Association 142, no. 1 (2017): 69–108. http://dx.doi.org/10.1080/02690403.2017.1286124.

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ABSTRACTCurrent studies of burlesque position it as a subversive genre that questioned cultural and social hierarchies and spoke to diverse audiences. Central to this interpretation are burlesque's juxtapositions of high and low culture, particularly popular and operatic music. This article problematizes this view, proposing that mid-Victorian burlesques lost their satirical bite. Demonstrating little concern for the tastes or interests of the poorer or the most elite members of the audience, they specifically targeted the bourgeoisie. The article places three mid-Victorian burlesques in the w

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2

Caputo, Nicoletta. "“The Farcical Tragedies of King Richard III”: The Nineteenth-Century Burlesques." Theatre Survey 62, no. 1 (2021): 25–50. http://dx.doi.org/10.1017/s0040557420000460.

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Unlike other Shakespearean tragedies, King Richard III was never turned into a comedy through the insertion of a happy ending. It did, however, undergo a transformation of dramatic genre, as the numerous Richard III burlesques and travesties produced in the nineteenth century plainly show. Eight burlesques (or nine, including a pantomime) were written for and/or performed on the London stage alone. This essay looks at three of these plays, produced at three distinct stages in the history of burlesque's rapid rise and decline: 1823, 1844, and 1868. In focusing on these productions, I demonstrat

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3

Chiummo, Carla. "Burlesque Connotations in the Pictorial Language in Bronzino’s Poetry." Renaissance and Reformation 40, no. 1 (2017): 211–38. http://dx.doi.org/10.33137/rr.v40i1.28454.

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Agnolo di Cosimo, better known as Bronzino, was not only one of the most celebrated painters at the court of Cosimo I in Florence; he was also a dazzling poet, as Vasari reminds us in his Vite. Bronzino was the author of a Petrarchan canzoniere, as well as of burlesque poems. In his sonetti caudati, and in his paradoxical capitoli, burlesque language—characterized by its erotic puns and double meanings—interacts with the pictorial field in a strikingly original way. This interaction hinges on Bronzino’s employment of pictorial discourse: from simple, well-known burlesque symbols and metaphors—

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4

MARVIN, ROBERTA MONTEMORRA. "Verdian opera burlesqued: a glimpse into mid-Victorian theatrical culture." Cambridge Opera Journal 15, no. 1 (2003): 33–66. http://dx.doi.org/10.1017/s0954586703000338.

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Through brief case studies of burlesques of Ernani, Il trovatore and La traviata written for nineteenth-century London, this essay makes a preliminary examination of the nature of Victorian operatic burlesques, why they existed, and how they functioned artistically and sociologically. My larger purpose is threefold: to investigate the manner in which burlesque interpreted the foreign art form of Italian opera in a culture self-consciously identified as English, to consider how these works traversed class differences in an evolving socio-cultural milieu, and to ask how we might understand the t

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Staśkiewicz, Joanna. "The new burlesque as an example of double-simulacrum." Forum Socjologiczne 8 (April 24, 2018): 111–22. http://dx.doi.org/10.19195/2083-7763.8.7.

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The new burlesque as an example of double-simulacrumThis article deals with the phenomenon of the new burlesque in a double sense: as a simulacrum of gender and sexuality construction and as a simulacrum of local myths. It shows, according to the simulacrum approach of Jean Baudrillard, the current research on burlesque and an example of the international comparison of the burlesque scenes in New Orleans USA, Berlin Germany, and Warsaw Poland. It poses the question of how the imaginings of gender roles, sexuality, and local “authenticity” are embodied in the new burlesque.

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Nych, O. B., and L. V. Serman. "TRANSLATION ASPECT OF BURLESQUE ENGLISH VOCABULARY." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 175–83. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-175-183.

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The peculiarities of the translation of Burlesque English vocabulary are analyzed in this article. The following translations of Burlesque items from English into Ukrainian shall be considered: translation by type of equivalence of lexical units; translation by means of variables and content phrases and complex agreements, as well as combined translation. The phenomenon of Burlesque is substantiated in the structure of the lexical-semantic system of contemporary English. Burlesque is a special way of reflecting the essence of the phenomena of reality, which can be commercial, ironic, sat

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Matias, Julia. "“Working On and Against” Classic Burlesque Conventions in Zyra Lee Vanity’s Irie Love." Canadian Theatre Review 189 (January 1, 2022): 27–32. http://dx.doi.org/10.3138/ctr.189.006.

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‘Classic burlesque’ refers to a style of contemporary burlesque performance that attempts to recreate some of the conventions of mid-century striptease. In this article, I explore the work classic burlesque does to cite, adapt, and preserve elements of historic striptease through its practitioners’ unique relationship with the archive and repertoire of historic burlesque. Though classic burlesque is fraught with much of the cultural baggage of the history it inherits, it creates an embodied act of preservation less concerned with historical authenticity than with preserving an attitude toward

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8

Staśkiewicz, Joanna. "Gelsomina transgressed: A subversion of Fellini’s world in the clownish neo-burlesque." Journal of Italian Cinema & Media Studies 9, no. 1 (2021): 63–81. http://dx.doi.org/10.1386/jicms_00051_1.

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Inspired by the character of Gelsomina from La Strada, this article deals with the figure of the female clown in the contemporary neo-burlesque. Beloved figures in Fellini’s world, clowns are a cultural symbol of failing, stumbling, being silly and being imperfect, as well as a metaphor for overstepping of social norms and rules. The article aims to bring a feminist focus to Fellini’s circus figures and discusses with the increasingly popularity of female clowns within the contemporary neo-burlesque scene. The central question posed by this article is whether these burlesque clowns can transfo

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9

Alexandrova, A. A. "AUTHORIAL MODALITY IN LOW POETIC BURLESQUE BY SAMUEL BUTLER “HUDIBRAS”." Memoirs of NovSU, no. 1 (2024): 118–24. http://dx.doi.org/10.34680/2411-7951.2024.1(52).118-124.

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The article deals with the question of subjective authorial modality in fictional texts. Different interpretations of the term are analyzed, and universal types of authorial modality are distinguished – heroic, tragic, comic and romantic. In order to reveal peculiarities of authorial modality, burlesque is analyzed. Burlesque is a comic secondary genre (imitating a certain text-typological model), comic effect of which is determined by sharp contrast between the subject of description and the style of expression. English-language low poetic burlesque by Samuel Butler "Hudibras" is subjected to

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10

BOSKIN, JOSEPH. "Burlesque and the city." Humor - International Journal of Humor Research 10, no. 1 (1997): 1–10. http://dx.doi.org/10.1515/humr.1997.10.1.1.

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11

Hodgson, Amanda. "Beyond the Opera House: Some Victorian Ballet Burlesques." Dance Research 38, no. 1 (2020): 7–24. http://dx.doi.org/10.3366/drs.2020.0288.

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Histories of ballet have tended to pay little attention to Victorian theatre dance that was not performed in the opera house or the music hall. A great deal of dance was embedded in such popular theatrical genres as melodrama, extravaganza and burlesque, and is therefore best understood in the context of the wider theatrical culture of the period. This essay examines two ballet burlesques performed at the Adelphi Theatre in the 1840s: The Phantom Dancers (a version of Giselle) and Taming a Tartar (based on Le Diable à quatre). When located in relation to the generic qualities of other theatric

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12

Hutton, Lewis J., and Adrienne Laskier Martin. "Cervantes and the Burlesque Sonnet." Sixteenth Century Journal 24, no. 1 (1993): 125. http://dx.doi.org/10.2307/2541807.

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Sieber, Harry, and Adrienne Laskier Martin. "Cervantes and the Burlesque Sonnet." MLN 107, no. 2 (1992): 410. http://dx.doi.org/10.2307/2904747.

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14

Lalo, Alexei. "Carnality and Eroticism in the History of Russian Literature: Toward a Genealogy of a Discourse of Silence." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 4 (2011): 8. http://dx.doi.org/10.21992/t9z033.

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The essay explores traditions of expressing the body and sexuality in Russian culture and literature. The main strategy that many authors used was that of silence ignoring (“keeping silent about”) the topic altogether. Alternatively, others have adhered to burlesques, in which an author presents carnality and eroticism in a deliberately ludicrous, grotesque way. The essay defines three historical determinants for the “strategy of silence” and the “strategy of burlesque” marking the history of Russia's literary representation. The first is a set of profound differences between Western and Russi

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15

Anasti, Theresa. "The (non)use of alcohol in topless establishments: Protection for women or gender policing?" Sexualities 23, no. 1-2 (2018): 81–107. http://dx.doi.org/10.1177/1363460717750822.

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This article considers current and proposed restrictions placed on the adult industry in Chicago in order to explore the attempts made through legislation to control legal forms of sex work, specifically exotic dancing and burlesque. I focus specifically on the recent debate within the city of Chicago as to whether or not alcohol should be allowed in places where women are topless. While exotic dance is often discussed as a type of exploitation and a cause of urban blight, burlesque is uniformly discussed as positive and empowering, which affects discussion around the introduction of alcohol i

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16

Nally, Claire. "Goth(ic) cabaret: Twenty-first century performance styles and subcultural burlesque." Punk & Post-Punk 13, no. 2 (2024): 203–16. http://dx.doi.org/10.1386/punk_00247_1.

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This article addresses the subcultural imagery deployed in the neo-burlesque communities, through the ways UK performers access the costume, iconography and spectacle of Goth, Gothic and horror. Taking several performances from recent events as case studies (Joe Black, Rosie Lugosi), I maintain that a critical intersection of burlesque and Goth(ic) allows for a reconsideration of both genres. I also suggest that the cabaret and burlesque scene complicates ideas of belonging in subculture, despite the popular narrative that subcultures such as Goth are overwhelmingly welcoming to minorities. Gi

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17

Dodds, Sherril. "Embodied Transformations in Neo-Burlesque Striptease." Dance Research Journal 45, no. 3 (2013): 75–90. http://dx.doi.org/10.1017/s0149767713000016.

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This article both argues for and contests the discourses of transformation that characterize the production and reception of neo-burlesque striptease. Through an experiential, ethnographic, and critical methodology, I reflect on how this genre engenders performances of transformation through the passage of dress to undress, at the performer–spectator exchange, and through shifting corporeal values, changing representations of female eroticism and the reclaiming of a nostalgic femininity within the neo-burlesquemise-en-scène. Yet in line with critical debates in cultural studies, I seek to ques

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18

Ferreday, D. "`Showing the girl': The new burlesque." Feminist Theory 9, no. 1 (2008): 47–65. http://dx.doi.org/10.1177/1464700108086363.

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19

Scott, Coleen. "The Costumes of Burlesque: 1866–2018." Dress 46, no. 2 (2020): 159–61. http://dx.doi.org/10.1080/03612112.2020.1787586.

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20

Pollack-Pelzner. "Shakespeare Burlesque and the Performing Self." Victorian Studies 54, no. 3 (2012): 401. http://dx.doi.org/10.2979/victorianstudies.54.3.401.

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21

MAHFOUZ, SAFI MAHMOUD. "Carnivalesque Homoeroticism in Medieval Decadent Cairo: Ibn Dāniyāl'sThe Love-Stricken One and the Lost One Who Inspires Passion." Theatre Research International 40, no. 2 (2015): 186–200. http://dx.doi.org/10.1017/s030788331500005x.

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This study explores the theme of carnivalesque homoeroticism in medieval decadent Cairo as portrayed by oculist andlittérateurIbn Dāniyāl in his third shadow playThe Love-Stricken One and the Lost One Who Inspires Passion. The playwright's satirical response to Sultan Baybars's campaign against vice in Egypt in the thirteenth century falls within the irreverent burlesque tradition. The article analyses the playwright's carnivalesque and satirical shadow play in light of Bakhtin's theory of carnival. He related the carnivalesque – a burlesque dramatic genre aiming to secretively challenge and s

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22

Nakhlik, Yevhen. "Trawestacyjne i burleskowe kody „Eneidy” Iwana Kotlarewskiego (The Travesty and Burlesque Codes of Ivan Kotliarevsky’s Aeneid)." Symbolae Philologorum Posnaniensium Graecae et Latinae 34, no. 2 (2025): 81–103. https://doi.org/10.14746/sppgl.2024.xxxiv.2.5.

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The article examines the relationship between the travesty and burlesque poem Aeneid (1794-1822) by the Ukrainian writer Ivan Kotliarevsky (1769-1838) and its sources – the Russian heroic-comic poem Aeneid by N. Osipov and A. Kotelnitsky and Virgil’s poem Aeneid. The codes of the comic (burlesque) travesty of the Ukrainian Aeneid are revealed: the code of three-textuality (Latin original – Russian and Ukrainian travesties), the code of Kotliarevsky’s situational and continuous approach to transforming the ancient plot and character images, the code of double textuality (occasional, according t

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23

Preece, Bronwyn. "Backwoods Burlesque: Off-the-Grid Tsk Tsk." Canadian Theatre Review 158 (April 2014): 18–21. http://dx.doi.org/10.3138/ctr.158.004.

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24

Truba, H. M. "FUNCTIONING OF AN EDUCATOR IN A DIGITAL ENVIRONMENT." Opera in Linguistica Ukrainiana, no. 31 (July 14, 2024): 407–20. http://dx.doi.org/10.18524/2414-0627.2024.31.309460.

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In the current period of development of higher education in Ukraine, there is active integration of digital technologies, which radically change the usual pedagogical approaches and methods of teaching. Digitalization of education opens paths to autonomy in learning and individualization of the educational process, simultaneously generating challenges associated with the need to adapt to a rapidly changing educational environment. The main goal of this article is to analyze the new opportunities and challenges arising from the implementation of digital technologies in the sphere of higher educ

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25

Coleman, Janet. "The Owl and the Nightingale and Papal Theories of Marriage." Journal of Ecclesiastical History 38, no. 4 (1987): 517–68. http://dx.doi.org/10.1017/s0022046900023630.

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In English and American Studies in German, summaries of theses and monographs, a supplement to Anglia, 1983, there is a notice of Hans Sauer's edition of the Middle English poem the Owl and the Nightingale with a German translation. Sauer stresses ‘that no completely satisfactory interpretation of this fascinating poem has been suggested so far. At best, only some of the aspects of O & N are covered by the various allegorical explanations or by reading it as a burlesque-satirical poem - these interpretations by no means explain its significance as a whole.’ The present paper suggests that

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26

Parker, Deborah. "Towards a Reading of Bronzino's Burlesque Poetry." Renaissance Quarterly 50, no. 4 (1997): 1011–44. http://dx.doi.org/10.2307/3039403.

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In his “Capitolo in Lode Del Dappoco,” a facetious tribute to the worthless person, the painter Agnolo Bronzino (1503-72) muses to his cat Corimbo about how he likes to spend his evenings: “Tu sai Corimbo, che tal volta io leggo/ così nel letto, per adormentarmi,/ o quando, com'or teco al fuoco seggo;/ e hai veduto anche scombiccherarmi/ qualche foglio e compor qualche cosetta/ per passar tempo e ‘1 cervel ricriarmi (You know Corimbo that I read like this in bed in order to fall asleep, or when as now, I sit with you at the fire; and you have seen me scribbling on some papers and composing som

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27

Konstantakos, Ioannis. "Mythological Burlesque, Parody, and Literary Games, from Epicharmus to Aristophanes." Veleia, no. 41 (March 3, 2024): 17–32. http://dx.doi.org/10.1387/veleia.24885.

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The literary history of mythological comedy, from Epicharmus, the inventor of the genre, to the Attic dramatists, is permeated by intertextual relations and cross-references between individual authors. Cratinus took over the Epicharmean form of myth burlesque and combined it with political satire of Athenian public life. Cratinus’ mythical plays owe to Epicharmus a number of comic themes and dramaturgical patterns: the portrayal of the cannibalistic Cyclops as a gourmet, the games of disguise and role-playing, the sophisticated meta-literary exploitation of the epic tradition and of the specta

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28

Ibarra, Xandra. "Aguas Calientes." TDR/The Drama Review 60, no. 1 (2016): 2–3. http://dx.doi.org/10.1162/dram_a_00519.

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Xandra Ibarra is an Oakland-based performance artist from the El Paso/Juarez border who performs under the alias of La Chica Boom. She uses hyperbolized modes of racialization and sexualization to test the boundaries between her own body and coloniality, compulsory whiteness, and Mexicanidad. Her practice integrates performance, sex acts, and burlesque with video, photography, and objects. Her work has been featured at El Museo de Arte Contemporañeo (Bogotá, Colombia), Popa Gallery (Buenos Aires, Argentina), Joe’s Pub (NYC), PPOW Gallery (NYC), Yerba Buena Center for the Arts (San Francisco),

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29

DENISOFF, DENNIS. "Theater, Burlesque, and Performance in the Nineteenth Century." Nineteenth Century Studies 19, no. 1 (2005): 159–63. http://dx.doi.org/10.2307/45197837.

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30

Campbell, Jill, Peter Lewis, and Robert D. Hume. "Fielding's Burlesque Drama: Its Place in the Tradition." South Central Review 7, no. 4 (1990): 83. http://dx.doi.org/10.2307/3189100.

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31

DENISOFF, DENNIS. "Theater, Burlesque, and Performance in the Nineteenth Century." Nineteenth Century Studies 19, no. 1 (2005): 159–63. http://dx.doi.org/10.2307/ninecentstud.19.2005.0159.

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32

Disman, Adriana. "The Politics of Burlesque: A Dialogue Among Dancers." Canadian Theatre Review 158 (April 2014): s1—s16. http://dx.doi.org/10.3138/ctr.158.001b.

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33

Simpson, Jacqueline. "“The Weird Sisters Wandering”: Burlesque Witchery in Montgomerie'sFlyting." Folklore 106, no. 1-2 (1995): 9–20. http://dx.doi.org/10.1080/0015587x.1995.9715888.

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34

Lund, Roger D. "Augustan Burlesque and the Genesis of Joseph Andrews." Studies in Philology 103, no. 1 (2006): 88–119. http://dx.doi.org/10.1353/sip.2006.0002.

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35

Jennifer Peeples, Pete Bsumek, Steve Schwarze, and Jen Schneider. "Industrial Apocalyptic: Neoliberalism, Coal, and the Burlesque Frame." Rhetoric and Public Affairs 17, no. 2 (2014): 227. http://dx.doi.org/10.14321/rhetpublaffa.17.2.0227.

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36

Greenspan, David. "The Myopia: An Epic Burlesque of Tragic Proportion." Theater 29, no. 2 (1999): 60–97. http://dx.doi.org/10.1215/01610775-29-2-60.

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37

MANOLACHE, Simona-Aida. "LE JEU AVEC LES REGISTRES DE LANGUE: SOURCE D’HUMOUR ET CASSE-TÊTE POUR LES TRADUCTEURS." Analele Universității din Craiova Seria Ştiinte Filologice Langues et littératures romanes 27, no. 1 (2024): 73–82. http://dx.doi.org/10.52846/aucllr.2023.01.06.

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In burlesque travesty, humor is first and foremost the result of a mismatch in language registers, such as the mismatch between the noble subject matter and the colloquial or even vulgar language used. In addition, comedy arises from the excessive accumul

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38

Owen, Louise. "“Work That Body”: Precarity and Femininity in the New Economy." TDR/The Drama Review 56, no. 4 (2012): 78–94. http://dx.doi.org/10.1162/dram_a_00215.

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Adapting elements of exotic dance, burlesque, and circus, fitness pole dancing is taught and practiced globally. Exemplifying post-feminism's putative “freedoms,” it represents a scene of precarious labor in the new economy, and evidences the continued purchase of older patriarchal constructions of “women's work” and “precarity” in capitalism.

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39

Chandler, David. "Morganeering, Or the Triumph of the Trust: A Satirical Burlesque on the Worship of Wealth, Alexander William Bickerton, edited with notes and introduction by Lyman Tower Sargent (2020)." Journal of New Zealand & Pacific Studies 10, no. 1 (2022): 104–6. http://dx.doi.org/10.1386/nzps_00104_5.

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Review of: Morganeering, Or the Triumph of the Trust: A Satirical Burlesque on the Worship of Wealth, Alexander William Bickerton, edited with notes and introduction by Lyman Tower Sargent (2020)Dunedin: University of Otago, lvi + 253 pp.,ISBN 978 0 47355 007 3 (pbk)ISBN 978 0 47355 009 7 (PDF)

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40

SEO, Jung Ah. "The Gesture and the Subversion in the Burlesque Film." Film Studies 82 (December 31, 2019): 277–307. http://dx.doi.org/10.17947/fs.2019.12.82.277.

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41

Bellemare, Alex. "Paris polymorphe: égarements et détours dans Polyandre de Charles Sorel." Nottingham French Studies 59, no. 1 (2020): 67–79. http://dx.doi.org/10.3366/nfs.2020.0272.

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Polyandre (1648), Charles Sorel's unfinished novel, deconstructs the picaresque schema which traditionally operates in seventeenth century comic novels. Sorel, in the preface which accompanies the last avatar of his comic trilogy, develops an aesthetic of diversity based on naturalness. An urban pícaro, Polyandre, a middle-aged man back in Paris after a provincial interlude, abandons the formative aspect of the ‘Grand Tour’ in favour of the art of perambulation. A bourgeois novel, depicting the life of the most varied and mediocre figures, Polyandre is also an impressive account of the topogra

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42

Cuadros, Muñoz Roberto. "Guerra lexicográfica de sexos en el siglo XIX: procedimientos satírico-burlescos en el Diccionario filosófico del amor y las mujeres y su réplica Cuatro palabritas sueltas." Cuadernos de Ilustración y Romanticismo 30 (January 26, 2025): 261–94. https://doi.org/10.25267/Cuad_Ilus_romant.2024.i30.13.

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From the current of burlesque, satirical dictionaries, and the use of language for ideological, political, linguistic and social confrontation in the 19th century, stereotypes about men and women were not spared either, which oscillated between biting criticism, moralistic vision or perhaps simple humor based on cliché. We contrast the ideas expressed in this regard in two publications linked to each other not only because the second is a reply of the first but because perhaps, we think, they come from the same author: Diccionario filosófico del amor y las muj

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43

Havard, Julia. "Crip slutaesthetics: Erotic object choreographies and temporal fractures in burlesque." Choreographic Practices 15, no. 1 (2024): 37–59. http://dx.doi.org/10.1386/chor_00073_1.

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Direct, communicative and largely accessible, the choreographic tools of nightlife performance often elicit dramatic reactions from spectators, whether sexy, funny, surprising, glamorous or all of the above. This article follows pleasure, joy, erotics and pain across crip slutaesthetics into the choreographies of crip nightlife, based on interviews with four burlesque artists based in the United States with diverse experiences of sickness, neurodivergence, trauma and disability. I use movement analysis alongside attention to other artistic practices foundational to burlesque such as prop and c

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44

Moskvitina, Daria. "The Mock-Shakespeare by Les Podervianskyi: Overcoming Soviet Experience." Cultural Intertexts 9/2019 (December 21, 2019): 134–42. https://doi.org/10.5281/zenodo.7853439.

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Shakespeare’s presence in the Soviet and early post-Soviet culture was ensured not only by translations, productions and general official appraisal, but also by travesty and mockery, which were typical of the underground cultural space. The paper considers the specificity of the Soviet Shakespeare appropriation with a special focus on its burlesque type. The case of the Ukrainian artist and playwright Les Podervianskyi, who employed Shakespeare’s plots and characters to mock Communist ideological clichés and stereotypes, is under study. The author aims at tracing the ways in

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45

Winkiel, Laura A. "Suffrage Burlesque: Modernist Performance in Elizabeth Robins's The Convert." MFS Modern Fiction Studies 50, no. 3 (2004): 570–94. http://dx.doi.org/10.1353/mfs.2004.0092.

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46

Allen, Robert C. "“The Leg Business”: Transgression and Containment in American Burlesque." Camera Obscura: Feminism, Culture, and Media Studies 8, no. 2 (1990): 42–69. http://dx.doi.org/10.1215/02705346-8-2_23-42.

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47

Bush, Harold K. "The Reverend Mark Twain: Theological Burlesque, Form, and Content." American Literary Realism 41, no. 1 (2008): 91–93. http://dx.doi.org/10.2307/27747312.

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Ross, Ciaran. "R.B. Sheridan’s The Critic : Handing down, handing on, handing back the Burlesque Tradition." Recherches anglaises et nord-américaines 29, no. 1 (1996): 131–44. http://dx.doi.org/10.3406/ranam.1996.1310.

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Abstract:

Le terme «tradition» est étudié ici comme principe de groupement du discours. The Critic engage une relation avec la tradition burlesque, mais elle n’est jamais identique à ces modèles sur lesquels la notion même de la tradition est fondée. Sheridan montre les limites de la complicité traditionnelle entre la scène et la salle, démystifie les conventions mais ne nie pas leur existence.

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Frank A. Domínguez. "The Burlesque, the Parodic and the Satiric: A Brief Preface." La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 38, no. 1 (2009): 43–53. http://dx.doi.org/10.1353/cor.0.0052.

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Stampino, Maria Galli. "Bodily Boundaries Represented: the Petrarchan, the Burlesque and Arcimboldo's Example." Quaderni d'italianistica 16, no. 1 (1995): 61–79. http://dx.doi.org/10.33137/q.i..v16i1.10384.

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