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Journal articles on the topic 'Stripteasers'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Kahan, Benjamin. "The Paradox of the Striptease." Criticism 55, no. 3 (2013): 515–20. http://dx.doi.org/10.1353/crt.2013.0024.

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12

Hanna, Judith Lynne. "Striptease Spectators: Live and Imaginary." Sexuality & Culture 17, no. 1 (June 7, 2012): 67–82. http://dx.doi.org/10.1007/s12119-012-9139-0.

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13

Dodds, Sherril. "Embodied Transformations in Neo-Burlesque Striptease." Dance Research Journal 45, no. 3 (May 22, 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 question the extent to which utopian notions of transformation occur beyond the level of the “performance text” to incorporate change in the economic and social realities of neo-burlesque performers and audiences. In response I argue that neo-burlesque striptease is a site of class privilege in which performers have the necessary economic and intellectual capital through which to stage a critique of the striptease body, which could not necessarily be replicated in other sites of production. Yet I also recognize that neo-burlesque performance offers important opportunities for personal and social transformation through the ways in which women experience their disrobed bodies in an affirmative public space and through the creative control they exercise in the construction of their bodily display.

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14

Ricciardi Otty, Gabriella Ricciardi Otty. "My-body-for-others or my-body-for-itself? Reflections on my encounter with the art of striptease and the way it has transformed the relationship I have with my body." Journal of Psychological Therapies 5, no. 1 (March 23, 2020): 7–21. http://dx.doi.org/10.33212/jpt.v5n1.2020.7.

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My body-for-others or my body-for-itself? This is the question explored in this article. It is centred on my experience as a performer, student, and observer of the art of striptease and how my engagement with this art has facilitated for me a process of transition from the body-for-others—a bodily state characterised by a profound sense of scrutiny, loss, invisibility, and isolation—to the-body-for-itself, which, by contrast, is enriched by self-discovery and self-celebration and moves freely and sensually towards the world and others. The article discusses the process through which, in the context of our tenaciously restrictive visual culture, striptease can lead to a deeper intimacy between the performer and his or her body and to a greater capacity for bodily expression and fulfilment. It considers the role that loss and lust play in this process, as well as the healing and transformative power of eros. This article employs a combination of memoir and scholarly analysis. Diary entries, memories, and reflections are used to evoke the essence of this experience and to offer the reader a phenomenological grasp of striptease. Existential ideas, particularly those of Sartre and Merleau-Ponty, provide a framework to articulate and conceptualise its potentially transforming power while also capturing the complexities and ambiguities of my engagement with this art.

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15

Zabunyan, Elvan. "Striptease : désarticuler Duchamp par le genre." Cahiers philosophiques 131, no. 4 (2012): 64. http://dx.doi.org/10.3917/caph.131.0064.

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16

Carnes, Michelle. "Judith Lynne Hanna and “Striptease Culture”." American Anthropologist 113, no. 4 (November 25, 2011): 648–50. http://dx.doi.org/10.1111/j.1548-1433.2011.01378.x.

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17

Werb, Z. "CELL BIOLOGY:Enhanced: A Cellular Striptease Act." Science 282, no. 5392 (November 13, 1998): 1279–80. http://dx.doi.org/10.1126/science.282.5392.1279.

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18

Urish, Ben. "Narrative Striptease in the Nightclub Era." Journal of American Culture 27, no. 2 (June 2004): 157–65. http://dx.doi.org/10.1111/j.1537-4726.2004.00126.x.

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19

Díaz Barrero, Gloria Patricia. "Bailarinas exóticas, striptease e inmigración en Canadá." Colombia Internacional, no. 59 (January 2004): 142–59. http://dx.doi.org/10.7440/colombiaint59.2004.06.

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20

Liepe-Levinson, Katherine. "Striptease: Desire, Mimetic Jeopardy, and Performing Spectators." TDR/The Drama Review 42, no. 2 (June 1998): 9–37. http://dx.doi.org/10.1162/dram.1998.42.2.9.

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21

Schweitzer, Dahlia. "Striptease: The Art of Spectacle and Transgression." Journal of Popular Culture 34, no. 1 (June 2000): 65–75. http://dx.doi.org/10.1111/j.0022-3840.2000.3401_65.x.

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22

Tomasino, Renato. "Rita Renoir. Quando Artaud fa lo striptease." Mimesis Journal, no. 8, 1 (June 1, 2019): 95–114. http://dx.doi.org/10.4000/mimesis.1665.

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23

Chen, Chiung-chi. "Spectacle and Vulgarity: Stripper Dance at Temple Festivals in Contemporary Taiwan." TDR/The Drama Review 55, no. 1 (March 2011): 104–19. http://dx.doi.org/10.1162/dram_a_00051.

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Starting in the early 1980s, female striptease shows mounted on the backs of trucks, known as “electronic festooned vehicles” (EFVs), have been popular entertainments offered to the deities at temple festivals. The EFV takes the “realities” of contemporary Taiwanese society—sexism, capitalism, and social hierarchy—and re-presents them in an evocative/provocative form.

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24

Sally, Lynn. "Striptease: The Untold History of the Girlie Show." Journal of Popular Culture 39, no. 1 (February 2006): 176–77. http://dx.doi.org/10.1111/j.1540-5931.2006.00222.x.

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25

Noelle Kocot. "Zamboni After Peggy Munson’s Origami Striptease." WSQ: Women's Studies Quarterly 36, no. 3-4 (2008): 188–89. http://dx.doi.org/10.1353/wsq.0.0113.

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26

Díaz-Marcos, Ana María, and Luis Alfonso Meléndez. "ENTREVISTA A MAURY MARCANO, DIRECTORA DEL DOCUMENTAL COMO DIOS NOS TRAJO." RAUDEM. Revista de Estudios de las Mujeres 2 (May 22, 2017): 323. http://dx.doi.org/10.25115/raudem.v2i0.605.

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Esta entrevista tuvo lugar en el Festival del Cine del Mundo de Montreal el día 30de agosto del 2014. Ana María Díaz Marcos y Luis Alfonso Meléndez entrevistaron en los pasillos del festival a la escritora y directora de cine Maury Marcano, venezolana afincada en Buenos Aires. “Como Dios Nos Trajo” (2014) es su primer documental yexplora la experiencia de las mujeres que trabajan en los clubs de striptease en Caracas y Buenos Aires.

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27

Silva, Weslei Lopes. "CORPOS E SIMULACROS: ENCENAÇÕES DE STRIP-TEASE NA INTERNET." Astrolabio, no. 16 (June 30, 2016): 93–121. http://dx.doi.org/10.55441/1668.7515.n16.14238.

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Este texto se origina en una etnografía que tuvo como objetivo analizar cómo un grupo de mujeres articula la experiencia de trabajar en el mercado del striptease virtual y cómo perciben y experimentan el cuerpo en las interacciones con los clientes a través de internet. A partir de los conceptos de incorporación, performance, género y simulacro, trato de reflejar cómo ellas se construyen como web strippers a partir de su cuerpo, lo que requiere su modificación consecutiva para estar siempre adecuándolo a la "situación de mercancía". En este sentido, ellas buscan satisfacer los estándares estéticos vistos como apropiados para su ocupación e implementar innovaciones para el mercado del striptease, que se refieren principalmente a adoptar nuevas disposiciones corporales, diferentes prácticas y la incorporación de nuevos personajes. Más allá de ello, las escenas eróticas construidas por las web strippers, por el uso inventivo del cuerpo, se dan a partir de la constitución de femeninos performáticos, lo que exige temporalmente el “despido” de sí mismas y la composición de una otra mujer (u otras mujeres) para los espectáculos. Busco oportunizar las líneas, las experiencias, las interrelaciones, el trabajo diario de esas mujeres con el fin de conocer y entender su contexto operativo en el comercio sexual, y las formas como cada una, en sus valores, percibe y da sentido a la realidad.

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28

Boje, M. "Las Vegas Striptease Spectacles: Organization Power over the Body." M@n@gement 4, no. 3 (2001): 201. http://dx.doi.org/10.3917/mana.043.0201.

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29

Deane, Bradley. "Mummy Fiction and the Occupation of Egypt: Imperial Striptease." English Literature in Transition, 1880-1920 51, no. 4 (2008): 381–410. http://dx.doi.org/10.2487/elt.51.4(2008)0029.

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30

Pullen, Kirsten. "Striptease: The Untold History of the Girlie Show (review)." Theatre Journal 58, no. 2 (2006): 381–83. http://dx.doi.org/10.1353/tj.2006.0128.

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31

Meyer, Morris. "I Dream of Jeannie: Transsexual Striptease as Scientific Display." TDR (1988-) 35, no. 1 (1991): 25. http://dx.doi.org/10.2307/1146108.

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32

Proença, Luana Maftoum. "ESCONDER E REVELAR: Comentários sobre Viewpoints, Teatro e Striptease." Revista Rascunhos - caminhos da pesquisa em artes cênicas 1, no. 2 (December 1, 2014): 28–37. http://dx.doi.org/10.14393/rr-v1n2a2014-04.

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33

Devereux, Cecily. "“Last Night, I Did a Striptease for My Husband”." Feminist Media Studies 12, no. 3 (September 2012): 317–34. http://dx.doi.org/10.1080/14680777.2011.615598.

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34

Hanna, Judith Lynne. "Undressing the First Amendment and Corsetting the Striptease Dancer." TDR/The Drama Review 42, no. 2 (June 1998): 38–69. http://dx.doi.org/10.1162/dram.1998.42.2.38.

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35

Silva, Moises Lino e. "Queer sex vignettes from a Brazilian favela: An ethnographic striptease." Ethnography 16, no. 2 (May 20, 2014): 223–39. http://dx.doi.org/10.1177/1466138114534335.

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36

Peterson, Nora Martin. "The Impossible Striptease: Nudity in Jean Calvin and Michel de Montaigne." Renaissance and Reformation 37, no. 1 (May 16, 2014): 65–85. http://dx.doi.org/10.33137/rr.v37i1.21282.

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This essay examines the writings of Jean Calvin and Michel de Montaigne, two figures not commonly considered together. The article seeks to highlight a certain fascination with nudity, not only in these texts, but in sixteenth-century culture as a whole. Though it is a bodily phenomenon, I argue, representations of nudity are more than skin-deep; they go beyond the capacity of what the body is able to express. Writings about nudity, whether religious or secular, reflect a widespread anxiety about the relationship between truth and representation in early modern discourse. The preoccupation with surfaces in the texts of both writers highlights the continued epistemological crisis in sixteenth- century religion, culture, and writing. Cet essai examine les œuvres de Jean Calvin et de Michel de Montaigne, deux auteurs rarement étudiés dans leur rapport. Cet article cherche à souligner une certaine fascination pour la nudité, non seulement dans ces textes mais dans l’ensemble de la culture du seizième siècle. Bien que la nudité soit observable au niveau corporel, je soutiens que les représentations de la nudité sont bien plus profondes : elles vont au-delà de ce que le corps est capable d’exprimer. Les écrits sur la nudité reflètent une angoisse collective quant à la relation entre vérité et représentation dans le discours des débuts des temps modernes. Le souci lié aux surfaces, présent dans les textes de ces deux auteurs, souligne une crise épistémologique prolongée dans la religion, la culture et la littérature du seizième siècle.

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37

Moger, Angela S. "Dressing and Undressing the Princess of Cadignan: Female Drapery/Narrative Striptease." Romanic Review 95, no. 3 (May 1, 2004): 315–25. http://dx.doi.org/10.1215/26885220-95.3.315.

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38

Boffa, John, Chris George, and Komla Tsey. "Sex, alcohol and violence: a community collaborative action against striptease shows." Australian Journal of Public Health 18, no. 4 (February 12, 2010): 359–66. http://dx.doi.org/10.1111/j.1753-6405.1994.tb00265.x.

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39

López Villagrán, Gilberto. "Strippers masculinos en Ciudad de México: aproximación cualitativa." Iberoforum. Revista de Ciencias Sociales 3, no. 2 (December 12, 2023): 1–40. http://dx.doi.org/10.48102/if.2023.v3.n2.278.

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La presente investigación cualitativa se propone desnaturalizar la oferta del striptease masculino para públicos femeninos en Ciudad de México. La observación participante se realizó tanto en escenarios mexicanos como en el extranjero. Los hallazgos del estudio permitieron visibilizar, por un lado, un trabajo sexual masculino que no padece del estigma social que experimentan sus pares mujeres; por el otro, una oferta que reitera y normaliza una masculinidad hegemónica como performance, el racismo y la sobrevaloración del capital erótico. Dicho capital es un activo conspicuo con el que los strippers construyen estrategias con cuerpos de exhibición. Además, se analiza cómo el contexto de déficit institucional y la ingesta de esteroides promueven una actividad erótica en situación de riesgo.

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40

Bravin, Rodrigo, Hiran Pinel, and Herberth Gomes Ferreira. "Dançando para viver: pedagogia social e a aprendizagem da prostituta no striptease." INTERFACES DA EDUCAÇÃO 12, no. 34 (June 18, 2021): 265–92. http://dx.doi.org/10.26514/inter.v12i34.4691.

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O objetivo deste texto é descrever compreensivamente a aprendizagem de uma garota de programa na prática do pole dance e sua relação com a pedagogia social. Trata-se de uma pesquisa fenomenológica (FORGHIERI, 2014) e etnográfica (GIL, 2010) por possibilitar um “mergulho / envolvimento” no cotidiano e subjetividade do espaço pesquisado. A produção de dados aconteceu a partir da observação participante por favorecer o contato direto com os acontecimentos objetivos e subjetivos sem excessiva intermediação. Desvelar o processo de ensino e aprendizagem do pole dance significa adentrar ao mundo da prostituta, uma profissional aberta às diferenças variadas de clientela, marcadas não apenas pela violência, mas pela solidariedade, amizade – entre elas. Ao mesmo tempo, a dança a faz corpo de dançarina e atriz, profissões não marginalizadas pela contemporaneidade, pontuando possibilidades ou mesmo de resistir contra a hegemonia que, em muitos momentos, as inferioriza.Palavras-chave: Pedagogia social. Aprendizagem. Resistência.

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41

Sergey Ryabkov. ""The Political Striptease Show Amid the Coronavirus Pandemic Is Unattractive, Off-Putting"." International Affairs 66, no. 003 (June 30, 2020): 1–16. http://dx.doi.org/10.21557/iaf.60072913.

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42

Carmo, Carlos Eduardo Oliveira do. "Desnudando um corpo perturbador: a “bipedia compulsória” e o fetiche pela deficiência na Dança." Tabuleiro de Letras 13, no. 2 (December 26, 2019): 75. http://dx.doi.org/10.35499/tl.v13i2.7422.

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Este artigo apresenta a “bipedia compulsória”, conceito em desenvolvimento pelo autor, como uma estrutura social, política, econômica e cultural que determina padrões excludentes pautados na normatividade do corpo, subjugando e inferiorizando as potencialidades da pessoa com deficiência, tomadas por incapazes e inaptas. Estabelece diálogos com autores da Teoria Crip, que compreende a deficiência em seus aspectos históricos e culturais, em contraposição ao modelo social. Observa o fenômeno da “bipedia compulsória” pelo viés da Dança, trazendo uma análise dos espetáculos “Striptease-Bicho” e “O Corpo Perturbador”, que abordam o devoteísmo – fetiche pela deficiência – associando-o a determinados comportamentos hierárquicos recorrentes na Dança e nas relações sociais estabelecidas com as pessoas com deficiência. Entende tais relações pautadas pelo pensamento abissal (SANTOS, 2010), que determina diferenciações entre corpos aptos ou não para dançar.

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43

Hajok, Daniel. "Filmindizierungen im Spiegel der Zeit. Vom Striptease auf Super8 zur detailliert-realistischen Gewalt." Jugend Medien Schutz-Report 38, no. 6 (2015): 2–6. http://dx.doi.org/10.5771/0170-5067-2015-6-2.

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44

Ross, Becki, and Kim Greenwell. "Spectacular Striptease: Performing the Sexual and Racial Other in Vancouver, B.C., 1945-1975." Journal of Women's History 17, no. 1 (2005): 137–64. http://dx.doi.org/10.1353/jowh.2005.0012.

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45

Dodds, Sherril. "The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease." Dance Research Journal 46, no. 2 (August 2014): 39–56. http://dx.doi.org/10.1017/s0149767714000278.

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Although the face possesses potent social and symbolic meaning, the “dancing face” is rarely addressed in dance scholarship. In spite of its neglect, the face participates choreographically in the realization of aesthetic codes and embodied conventions that pertain to different dance styles and genres. I therefore turn to Gilles Deleuze and Felix Guattari's (1987) theory of “faciality” to understand the semiotic coding of the face in relation to the Busby Berkeley chorus girl. Although their work offers an important critique of universalist theorizations of facial expression, I argue that “facial choreography” offers scope to dismantle the legibility of the face that is produced through the overcoded “abstract machine of faciality.” To do so, I introduce the concept of a “choreographic interface” to explore how facial expression enters into a choreographic relationship with other faces and bodily territories. With this in mind, I explore two dancing bodies that engage the face in ways that complicate existing modalities of facial expression. I analyze a hip-hop battle and a neo-burlesque striptease number to show how the mobility and ambiguity of facial choreography opens a dialogic space through which meaning is generated and social and political critique take place.

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46

Hahnke, Karin, Marc Jacobsen, Andreas Gruetzkau, Joachim R. Gruen, Markus Koch, Masashi Emoto, Thomas F. Meyer, Anna Walduck, Stefan H. E. Kaufmann, and Hans-Joachim Mollenkopf. "Striptease on glass: Validation of an improved stripping procedure for in situ microarrays." Journal of Biotechnology 128, no. 1 (January 2007): 1–13. http://dx.doi.org/10.1016/j.jbiotec.2006.09.003.

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47

Serafim, José Francisco. "Corpo e cena em dois documentários de Frederick Wiseman." Revista VIS: Revista do Programa de Pós-Graduação em Arte 17, no. 2 (October 1, 2018): 33–45. http://dx.doi.org/10.26512/vis.v17i2.20638.

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Este texto busca trazer algumas considerações acerca de dois documentários de Frederick Wiseman, nos quais são enfatizados o trabalho do corpo que dança e a cena na qual ele esta inserido. As obras documentais A dança. Le ballet de l’Opéra de Paris (2009) e Crazy Horse (2011) apresentam de forma rigorosa o trabalho do corpo do(a) dançarino(a) para se chegar a um resultado considerado excelente pelos coreógrafos, sendo que no caso de A dança, o trabalho do corpo dialoga com o balé clássico e no caso do Crazy Horsecom números de dança e striptease de um cabaré parisiense. Wiseman utiliza nos dois filmes o mesmo estilo de montagem vinculado ao cinema direto, de não intervenção na cena filmada. A análise desses dois documentários nos dão pistas de como o audiovisual pode ser uma ferramenta de pesquisas do corpo em cena.

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48

Feindel, Janet. "Developing A Particular Class of Women." Canadian Theatre Review 59 (June 1989): 38–41. http://dx.doi.org/10.3138/ctr.59.009.

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A Particular Class of Women is a one-woman show, inspired by my experiences in the striptease industry where I worked on and off, for approximately ten years, between acting gigs. The title of the show comes from the following incident: in 1985 a stripper in Ontario was raped at knife point. The judge gave the rapist a very lenient sentence, saying that one had to bear in mind that the victim belonged to “a particular class of women whose profession it is to promote lust.” The title of the play not only reflects the contempt of the judge’s comments but the fact that strippers come from many walks of life, that no one class is drawn to the profession. But once they do become part of the strip world, they become a class of their own, a subculture with its own set of values and traditions.

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Mort, Frank. "Striptease: the erotic female body and live sexual entertainment in mid-twentieth-century London ∗." Social History 32, no. 1 (February 2007): 27–53. http://dx.doi.org/10.1080/03071020601081256.

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Colosi, Rachela. "Over ‘Sexed’ Regulation and the Disregarded Worker: An Overview of the Impact of Sexual Entertainment Policy on Lap-Dancing Club Workers." Social Policy and Society 12, no. 2 (September 28, 2012): 241–52. http://dx.doi.org/10.1017/s1474746412000462.

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In England and Wales, with the introduction of Section 27 of the Policing and Crime Act 2009, lap-dancing clubs can now be licensed as Sexual Entertainment Venues. This article considers such, offering a critique of Section 27, arguing that this legislation is not evidence-based, with lap-dancing policy, like other sex-work policies, often associated with crime, deviance and immorality. Furthermore, it is argued that sex-work policies are gradually being homogenised as well as increasingly criminalised. Other criticisms relate to various licensing loopholes which lead to some striptease venues remaining unlicensed and unregulated, potentially impacting on the welfare of erotic dancers. In addition, restrictions on the numbers of lap-dancing venues may exacerbate dancer unemployment, drawing these women into poverty. Finally, The Policing and Crime Act reflects how the political focus is being directed away from the exploitation of workers, on to issues relating to crime and deviance, despite limited evidence to support this focus.

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