Relevant bibliographies by topics / Stripteasers

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Stripteasers'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Stripteasers"

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Peretti, Peter O., and Patrick O'Connor. "EFFECTS OF INCONGRUENCE BETWEEN THE PERCEIVED SELF AND THE IDEAL SELF ON EMOTIONAL STABILITY OF STRIPTEASERS." Social Behavior and Personality: an international journal 17, no. 1 (January 1, 1989): 81–92. http://dx.doi.org/10.2224/sbp.1989.17.1.81.

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Self-evaluations are made with reference to the perceived self and the ideal self. In the present research, an attempt was made to determine the extent to which low or high selfdiscrepancy between the perceived self and ideal self of stripteasers affected their emotional stability. It examined the possibility of low or high levels of emotional stability based on the degree of the discrepancy. Results indicated the emotional stability variables and the effect of the different levels of self-discrepancy on them.
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Ronai, Carol Rambo, and Rabecca Cross. "Dancing with identity: Narrative resistance strategies of male and female stripteasers." Deviant Behavior 19, no. 2 (April 1, 1998): 99–119. http://dx.doi.org/10.1080/01639625.1998.9968078.

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Hage, Kathrin. "Shocking Striptease." physiopraxis 13, no. 02 (February 20, 2015): 3. http://dx.doi.org/10.1055/s-0035-1546969.

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Hamilton, Mark James. "Shamanic striptease." Dance, Movement & Spiritualities 5, no. 1 (July 1, 2018): 47–70. http://dx.doi.org/10.1386/dmas.5.1.47_1.

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Huebner, Steven. "‘Striptease’ as Ideology." Nineteenth-Century Music Review 1, no. 2 (November 2004): 3–24. http://dx.doi.org/10.1017/s1479409800001336.

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Vincent d'Indy's Istar (1897), a set of variations for orchestra, commands attention for its unusual ground plan: the variations proceed from complex textures to simple ones. Analysis reveals how certain melodic and harmonic details unfold at larger structural levels. Istar's symmetries and organic construction are set in the context not only of previous variation sets but also of Debussy's Prélude à l'après-midi d'un faune, a symphonic poem of similar dimensions that was premiered shortly before d'Indy composed his piece. Resemblances between the two works suggest that d'Indy may have intended Istar as a response to Debussy. Juxtaposition of Debussy and d'Indy provides insight into the different connotations of modernity at the fin de siècle. Istar's programme and compositional strategies reflect d'Indy's firm historicism and commitment to tradition. Yet the work was received as experimental and daring in its day. In its materials Istar paradoxically illustrates a ‘backward progression’: its stylistic allusions move backward in time, yet the tonal direction aims forward towards the concluding tonic. Such idiosyncrasies provide insight into d'Indy's aesthetics and ideology, which sought to conflate commitment to progress with adherence to Faith.
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Lodge, David. "Textualidade como Striptease." Remate de Males 27, no. 1 (November 13, 2012): 11–14. http://dx.doi.org/10.20396/remate.v27i1.8636015.

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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 striptease that values ‘tease’ and a personal approach over codified technique. Using Zyra Lee Vanity’s Irie Love act as a case study, I offer that many performers choose to navigate the biases of the form because of the creative potential it affords them to challenge dominant histories of burlesque that perpetuate the erasure of marginalized artists. Vanity does so by reanimating the important contributions of marginalized artists in the history of striptease. While exclusionary standards still inform much of the practice, many of the conventions of classic burlesque are mobile and can be an important site of meaning-making for the artists who practice it.
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Kotz, Liz. "Striptease East and West." Afterimage 17, no. 3 (October 1, 1989): 13–18. http://dx.doi.org/10.1525/aft.1989.17.3.13.

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Desole, Angelo Pietro. "Da vedersi «anche a costo di grave sacrificio». I cattolici e lo spogliarello nell'Italia degli anni Cinquanta." Schermi. Storie e culture del cinema e dei media in Italia 6, no. 11 (July 22, 2022): 55–69. http://dx.doi.org/10.54103/2532-2486/16157.

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The article focuses on the representation of striptease in Italy in the late 50s. While the unveiling of the female body became more and more pervasive - in posters, in magazines, in theaters, in cinematography - Italian moralists sought strategies to contain the phenomenon. At the same time, many courts issued acquittal sentences which, in fact, liberalized striptease. At the center of the dispute was not female nudity (which had been showed since at least a decade) but rather the rules of behavior of women, disputed between the will to control and the desire to look. In both cases, considered as an object of the male will.
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Benjamin Kahan. "The Paradox of the Striptease." Criticism 55, no. 3 (2013): 515. http://dx.doi.org/10.13110/criticism.55.3.0515.

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Dissertations / Theses on the topic "Stripteasers"

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Bloom, Michael. "The bawdy politic : strips of culture and the culture of strip." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75963.

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This work develops a new approach to female strip dancing as cultural practice by using methods of cultural history, ethnographic field work and theoretical critique in order to reconstruct the historical setting in which strip dancing emerged, the varied sites where it continues to evolve, and the diverse interpretations of strip by its different practitioners.
Toward this end, the dissertation is divided into five major sections which link such forms of body movement and display to wider socio-historical movements of theory and practice; sexuality; commerce; pleasure and power; and culture.
It is then concluded that such small-scale or "stripped-down" studies following this model may advance critical understanding of human bodies and subjects in cultural theory and practice, by situating non-mechanistic notions of communication, culture and dance within detailed investigations that emphasize the complexity and specificity of the practice of everyday life.
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Semak, Lance, and University of Lethbridge Faculty of Arts and Science. "Surfaces: a novel." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2006, 2006. http://hdl.handle.net/10133/539.

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Surfaces is a novel which explores the lifestyle of exotic dancers who live and work throughout Southern Alberta, Canada. Several exotic dancers were interviewed and many academic and creative publications were consulted prior to the writing process. Elements of power, jealousy, obsession, drug addiction and depression turned up frequently in the research, and all are prevalent throughout the story. A young woman faces several problems when she returns to the world of exotic dancing: her boyfriend's jealousy pulls him into a downward spiral, an obsessive patron with deep pockets stalks her relentlessly and the forgotten mistakes of her past come back to haunt her. Those outside of the dancing industry try to persuade her to exit the field, yet she is diligent about dancing for a living. She does have long-term occupational goals that do not involve dancing, but she chooses to pursue them on her own terms.
v, 298 leaves ; 29 cm.
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Ebeid, Omar Randi. "The Effects of Labeling and Stigma on the Social Rejection of Striptease Performers." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5466/.

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This study uses survey data collected from a convenience sample of undergraduate students (N=89). A vignette survey design is employed to measure social rejection of striptease performers compared to a control group. Data is also collected on negative stereotypes held about striptease performers, which are correlated with social rejection. Link and Phelan's conceptualization of the stigma process provides the theoretical framework for this analysis. Findings suggest that striptease performers experience higher levels of social rejection and are perceived more negatively than the control group and that endorsement of negative stereotypes is associated with social rejection.
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Lerum, Kari A. "Doing the dirty work : emotion work, professionalism, and sexuality in a customer service economy /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/8904.

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McGrath, Moriah McSharry. "Neighboring in Strip City: A Situational Analysis of Strip Clubs, Land Use Conflict, and Occupational Health in Portland, Oregon." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1046.

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A lack of land use controls on sexually oriented businesses contributes to the unique configuration of Portland, Oregon's strip clubs: nearly fifty clubs are distributed throughout the city's neighborhoods. Considered a locally unwanted land use (LULU) by many, these strip clubs are regulated by a variety of formal and informal social processes in the absence of zoning. This qualitative study explores drivers and constraints shaping the spatial configuration of Portland's strip club industry as well as influences on land use conflict at strip club sites and working conditions for women who work as exotic dancers in the clubs. Data collection entailed review of documents (newspaper articles, legal and administrative decisions and records, and ballot measure pro/con statements); site observations; and in-person interviews with exotic dancers, strip club owners and managers, public employees who deal with strip clubs in their line of work, and people who live and work near strip clubs (n=43). Analysis follows Clarke's (2005) situational analysis methods. The study finds that strip clubs are not necessarily incompatible with residential locations and that such locations can confer benefits to dancers. The normalization of strip clubs in Portland decreases the place stigma associated with strip clubs but has a lesser impact on the person stigma of being an exotic dancer. With regard to land use conflict, the study finds that tolerance of sexual commerce is associated with urbanicity and that neighborhood socioeconomic status has a more complex relationship to community response than is suggested by the literature on land use conflict. Based on these findings, the dissertation argues that conflict resolution programs may be more effective than zoning at managing potential negative effects of sexually oriented businesses, and that improving working conditions for exotic dancers is a complex challenge. It proposes broader adoption of the sex work discourse, including the integration of labor issues in sex industry to advocacy efforts on behalf of other freelance and service sector workers.
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Hurley, Alicia H. "Bitten and spanked the male revue as a liminal setting /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1475Hurley/umi-uncg-1475.pdf.

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Thesis (M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Steve Kroll-Smith; submitted to the Dept. of Sociology. Includes bibliographical references (p. 64-65).
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Milner, Lauren E. "“Respectably Dull”: Striptease, Tourism and Reform in Postwar New Orleans." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1601.

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The French Quarter of New Orleans and its famous Bourbon Street receive millions of visitors each year and are the subjects of both scholarly study and the popular imagination. Bourbon Street’s history of striptease has largely been untouched by scholars. In the post-World War II period, nightclubs featuring striptease entertainment drew the attention of reform-minded city and police officials, who attempted to purge striptease from the city’s historic district in an effort to whitewash the city’s main tourist area and appeal to potential outside economic industrial opportunities. Through news articles, correspondence, tourism brochures, and published reports, this thesis explores how striptease endured on Bourbon Street despite various reform campaigns against it and shows that striptease was an integral part of the New Orleans tourist economy in the postwar period.
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Fargo, Emily Layne. ""The fantasy of real women" new burlesque and the female spectator /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211331939.

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Vernon, Sarah Caroline. "The private, the public and the pubic : striptease and naked power in Scotland." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2694/.

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Scottish strip clubs are a highly under researched area. While there is a plethora of research emanating from North America, strip club research is in its infancy in Scotland. The little research that has been conducted on Scotland?s strip clubs is unrepresentative (Bindel, 2004; AEWG, 2006). This project is an in depth participant observation based analysis of two Scottish strip clubs. The fieldwork was conducted over a period of seven years, with over 7000 hours of fieldwork based observations. Much like the work of Frank (2002) and Egan (2006) this research was conducted using a dancer-as-researcher role, giving me unrivalled access to a research setting and population that remains off-limits to most researchers. Drawing on North American based strip club studies, this research compares the interactions, service provision and operations of the Scottish clubs in relation to their North American counterparts. While a useful comparative tool, this research argues that the North American studies are not representative of Scottish strip clubs. North American clubs embody a strong customer service ethos in their service provision and organisational culture (Trautner 2005). The Scottish clubs in this study do not.There is a significant emphasis in North American studies on the use of counterfeit intimacy (Enck & Preston, 1988) as a standard sales technique used by dancers. This involves feigning intimacy and emotion in interactions with customers to elicit maximum financial gain; the dancer will aim to be ?anything you want her to be?. There is an assumption in these studies that service provision is dictated by a combination of club management and the customer?s wishes. This research highlighted that it was not the customer or management who determined service provision, but the dancers. Rather than embodying a fervent customer service ethos, Scottish strip clubs are non-customer oriented service providers. The impact of dancers on service provision and social control in the strip clubs used in this study contradict North American findings. Both clubs in this study embodied pro-dancer policies towards social control.While strip clubs throughout the world supply a similar service, the dancers in this study thought they were selling their nudity, not creating a fantasy. The sales technique most commonly used by dancers in this study to sell dances is ?Do you want to see me naked?? Their approach was in general brash, upfront and (arguably) more honest than the approaches reported in the North American literature.
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Chen, Chiung-Chi. "From the sublime to the obscene the performativity of popular religion in Taiwan /." Diss., Restricted to subscribing institutions, 2006. http://proquest.umi.com/pqdweb?did=1280132891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Stripteasers"

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editor, Hernández Mica, ed. Strip-tease: Traducción visual. Buenos Aires: Editorial Muerde Muertos, 2017.

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Scott, David Alexander. Behind the G-string: An exploration of the stripper's image, her person, and her meaning. Jefferson, N.C: McFarland & Co., 1996.

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Lara, Clifton, Ainslie Sarah, and Cook Julie, eds. Baby oil and ice: Striptease in East London. London: Do-Not Press, 2002.

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Rothe, Len. The bare truth-- stars of burlesque of the '40s and '50s. Atglen, PA: Schiffer Pub., 1998.

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Danielle, Egan, Frank Katherine, and Johnson Merri Lisa, eds. Flesh for fantasy: Producing and consuming exotic dance. New York: Thunder's Mouth Press, 2006.

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1935-, Boyd Bill, ed. Tempest Storm: The lady is a vamp. Atlanta, GA: Peachtree Publishers, 1987.

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laRock, Raki. Shut up and dance. Portland, OR: The author, 2001.

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Tracey, Lindalee. Growing up naked: My years in bump-and-grind. Vancouver: Douglas & McIntyre, 1997.

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Takeda, Mayumi. Faito! Tōkyō: Gentōsha, 1999.

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Wells, D. B. The terrestrial paradise. San Francisco, CA: MacAdam/Cage Pub., 2007.

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Book chapters on the topic "Stripteasers"

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Helmberg, G. "A Striptease of Entropy." In Beauty Is Our Business, 173–75. New York, NY: Springer New York, 1990. http://dx.doi.org/10.1007/978-1-4612-4476-9_20.

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Geuer, Lena. "9. Striptease de la pintura." In Arte argentino - Ästhetik und Identitätsnarrative in der argentinischen Kunst, 285–324. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460849-014.

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Liepe-Levinson, Katherine. "Striptease: Desire, Mimetic Jeopardy, and Performing Spectators." In Performance Studies, 41–53. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-1-137-05398-5_4.

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Hartman, Beth. "Striptease, Leisure, and Labor in the Midwestern United States." In Reflecting on America, 105–17. Second edition. | Walnut Creek, California : Left Coast Press, Inc., [2016] |: Routledge, 2017. http://dx.doi.org/10.4324/9781315089041-10.

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Fagot-Largeault, Anne. "The Legend of Philosophy’s Striptease (Trends in Philosophy of Science)." In French Studies In The Philosophy Of Science, 25–49. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-9368-5_1.

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Dodds, Sherril. "‘Naughty but Nice’: Re-Articulations of Value in Neo-Burlesque Striptease." In Dancing on the Canon, 105–35. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305656_7.

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"stripteaser, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1950238840.

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"Striptease." In Fashion Photography Archive. Bloomsbury, 2015. http://dx.doi.org/10.5040/9781474260428-fpa294.

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"Striptease:." In Pornotopia, 67–82. Zone Books, 2014. http://dx.doi.org/10.2307/j.ctv14gphzk.7.

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Lütticken, Sven. "Progressive Striptease." In Perform, Repeat, Record, 187–98. Intellect Books, 2014. http://dx.doi.org/10.2307/j.ctv36xvqzj.15.

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