Titlebook: Undressed for Success; Beauty Contestants a Brenda Foley Book 20051st edition Palgrave Macmillan, a division of Nature America Inc. 2005 cu

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Book 20051st editionnsive primary source research - newspapers, journals, trade publications, photography collections, press releases, memoirs, and interviews with both strippers and pageant contestants - and employs a wide array of gender, feminist, and performance theory to analyze them.

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2947-5767 lects extensive primary source research - newspapers, journals, trade publications, photography collections, press releases, memoirs, and interviews with both strippers and pageant contestants - and employs a wide array of gender, feminist, and performance theory to analyze them.978-1-137-04089-3Series ISSN 2947-5767 Series E-ISSN 2947-5775

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,“Stripping the Light Fantastic”: Historical Cross-Pollination in Staged Female Exposure,d to the back of a rampaging horse. Some reviewers, apparently at a loss to describe the flamboyant suggestiveness of her performance, took to calling the actress a “shape artist.”. “Menken is without a rival in her special line,” noted one clever reporter, “but it is not a clothes line.”. The year was 1861.

Conscientious

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,“Stripping the Light Fantastic”: Historical Cross-Pollination in Staged Female Exposure,o Wolf Mankowitz, was performed by Adah Issacs Menken in the New York production of the play . or . ... Menken reportedly undressed onstage behind the cover of several strategically placed actors and, emerging in a flesh-colored tunic and tights, produced the titillating appearance of nudity. Poster

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Artifice and Authenticity: Parallels in Performance Approach, employment of numerous visual cues to ensure the coherence of the performance event and to manipulate, and conform to, spectator perceptions and expectations. When the images presented by both forms are removed from their structured contextual positions, however, analysis of their discrete conditio

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Performing Normalcy,irl trying to get along.”. This response was only superficially flippant. Hart’s declaration is both a separation of her “self” from her “act” and an ironic twist on the social definitions of “wholesome” and “American.” Its insouciant humor relied on an assumption that Hart’s professional activities

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Economics and Advancement: Or, Flesh-for-Cash Transactions and the Cinderella Myth,ratives and department store salesgirls, to $6 to $15 a week for typists and stenographers.. According to Faye Dudden, as early as 1870, “the only profession that employed more women than the theatre […] was teaching.”. But by the 1920s, “theatrical choruses constituted the largest single category o

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Naked Politics: Regulating and Legislating Female Display,trip clubs. Early on in the business of entertainments with a particular focus on women’s bodies, elaborate rules (both established and unspoken) controlled female display even as they exploited the very notion of such surveillance. Just as a “sensational march through the streets became a commonpla