The Happy Stripper: Pleasures and Politics of the New Burlesque
I.B.Tauris, 2008 - 232 páginas
If the burlesque stripper, with her bawdy spirit and unruly insubordination, has emerged for many as a new 'empowering' model for the sexually aware woman, then she also strikes horror in the heard of second wave feminism. Embodied by high profile artists such as Dita von Teese and Catherine d'Lish, the explosive revival of striptease, burlesque and overt female sexual performance has proved no less alluring to a new generation women artists familiar with the provocative work of 70's performance artists such as Hannah Wikle and Carolee Schneeman. Eloquent on 'prettiness' and power, desire and 'knowingness', money, sex and class, and with an extensive knowledge of burlesque's rich tradition, Wilson raises long overdue questions about women's erotic expression within a 'postfeminist' condition. The 'new burlesque' demands about all a response--this fresh, brazen, provocative book at last provides it.
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The happy stripper: pleasures and politics of the new burlesque
Vista de fragmentos - 2008
allure argues artist audience beauty behaviour bourgeois burlesque performer burlesque star burlesque's Camille Paglia Carolee Schneemann challenge Cherie Blair contemporary corset courtesan created cultural debate desire display Dita Von Teese dress economic empowered empowerment erotic exploitation expression fashion female body female performer female sexuality femi femininity feminism feminist film freedom gaze gender girls glamour Gypsy Rose Lee Hannah Wilke heterosexual hijab Horrible Prettiness Ibid ideal imagery Immodesty Blaize Jenny Saville late nineteenth century lesque Lola the Vamp London look Lydia Thompson Mae West mainstream male masculine middle-class Minsky's Burlesque naked nude Paglia parody play pleasure political pornographic pornography post-feminism post-feminist postfeminism prostitution question Quoted role Routledge Schneemann seductive seen sense sexy smile social society spectacle stereotypes stripper stripping striptease Teese's theatre tion traditional transgressive Ursula Martinez veil whilst Wilke's woman working-class York young women