subject:(burlesque)

University of New Orleans

1. Cure, Barbie. Baring It All.

Degree: MA, English, 2014, University of New Orleans

URL: https://scholarworks.uno.edu/td/1909

► This collection of creative nonfiction encapsulates the author’s career as a burlesque performer in New Orleans. The goal of this thesis is to tell… (more)

Subjects/Keywords: memoir; burlesque; nonfiction; Nonfiction

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Cure, B. (2014). Baring It All. (Thesis). University of New Orleans. Retrieved from https://scholarworks.uno.edu/td/1909

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Cure, Barbie. “Baring It All.” 2014. Thesis, University of New Orleans. Accessed April 15, 2021. https://scholarworks.uno.edu/td/1909.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Cure, Barbie. “Baring It All.” 2014. Web. 15 Apr 2021.

Vancouver:

Cure B. Baring It All. [Internet] [Thesis]. University of New Orleans; 2014. [cited 2021 Apr 15]. Available from: https://scholarworks.uno.edu/td/1909.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Cure B. Baring It All. [Thesis]. University of New Orleans; 2014. Available from: https://scholarworks.uno.edu/td/1909

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Texas – Austin

2. Blake, Iris Sandjette. Burlesque : music, minstrelsy, and mimetic resistance.

Degree: MM, Music, 2013, University of Texas – Austin

URL: http://hdl.handle.net/2152/22731

► My project can be read as an intervention that aims to disrupt the "innocence" of burlesque's dominant historical narratives, where burlesque is fashioned as related… (more)

▼ My project can be read as an intervention that aims to disrupt the "innocence" of burlesque's dominant historical narratives, where burlesque is fashioned as related to minstrelsy but not as minstrelsy. A discussion of the White women as minstrel performers is lacking in the available burlesque histories because they have not addressed the meanings of musical sounds and movements, elements that constitute the core of burlesque. Using music as a lens to re-evaluate the meanings of burlesque performance, I show how burlesque, like minstrelsy, has functioned on the historical erasure of Black and Brown bodies. In burlesque, White women performers have predicated their departures from norms of White femininity on racist performances of "black"-ness. These minstrel performances were enabled by a White fetishization of musical sounds and movements coded Black or "Other." Building on the work of Jayna Brown and Sherrie Tucker, and responding to Susanne Cusick's call to address how musical performances might be read productively through Judith Butler's theory of performativity, I foreground music and embodiment to ask: How do burlesque artists perform and (re)perform gender, sexuality, and race? To unpack this question, I first look at historical (re)presentations of burlesque performance and music. After this historical section, I read key scenes from classic era films featuring burlesque music and performance, using semiotics to argue that these performances can be read as an extension of blackface minstrelsy. I discuss how certain jazz-influenced musical devices - horn smears, belting or "loud" singing, angular or jerky dancing - primarily functioned to signal "black"-ness, sex, and modernity to the intended White audience/spectator. In the next chapter, I examine the extent to which neo-burlesque could be considered a queering of burlesque by doing close readings of contemporary burlesque performances. From here, I look more critically at how racial and genre boundaries are created and maintained within contemporary burlesque, resulting in a new burlesque normativity. Finally, I highlight the work being done by burlesque performers of color who work within and against burlesque's dominant ideologies, subverting racist representations of people of color through mimetic resistance. Advisors/Committee Members: Seeman, Sonia Tamar, 1958- (advisor).

Subjects/Keywords: Burlesque; Music; Minstrelsy; Disidentification; Mimesis

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Blake, I. S. (2013). Burlesque : music, minstrelsy, and mimetic resistance. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/22731

Chicago Manual of Style (16^th Edition):

Blake, Iris Sandjette. “Burlesque : music, minstrelsy, and mimetic resistance.” 2013. Masters Thesis, University of Texas – Austin. Accessed April 15, 2021. http://hdl.handle.net/2152/22731.

MLA Handbook (7^th Edition):

Blake, Iris Sandjette. “Burlesque : music, minstrelsy, and mimetic resistance.” 2013. Web. 15 Apr 2021.

Vancouver:

Blake IS. Burlesque : music, minstrelsy, and mimetic resistance. [Internet] [Masters thesis]. University of Texas – Austin; 2013. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/2152/22731.

Council of Science Editors:

Blake IS. Burlesque : music, minstrelsy, and mimetic resistance. [Masters Thesis]. University of Texas – Austin; 2013. Available from: http://hdl.handle.net/2152/22731

University of New South Wales

3. Vassallo, Lauren. Burlesque: redefining the representation of women.

Degree: Design Studies, 2015, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/54899 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36148/SOURCE02?view=true

► This thesis explores the expression of women’s social roles in burlesque subculture in Sydney, Australia, between 2010 and 2015. The analysis reflects on the gender… (more)

Subjects/Keywords: Costume design; Burlesque; Subcultural style

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APA (6^th Edition):

Vassallo, L. (2015). Burlesque: redefining the representation of women. (Masters Thesis). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/54899 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36148/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Vassallo, Lauren. “Burlesque: redefining the representation of women.” 2015. Masters Thesis, University of New South Wales. Accessed April 15, 2021. http://handle.unsw.edu.au/1959.4/54899 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36148/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Vassallo, Lauren. “Burlesque: redefining the representation of women.” 2015. Web. 15 Apr 2021.

Vancouver:

Vassallo L. Burlesque: redefining the representation of women. [Internet] [Masters thesis]. University of New South Wales; 2015. [cited 2021 Apr 15]. Available from: http://handle.unsw.edu.au/1959.4/54899 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36148/SOURCE02?view=true.

Council of Science Editors:

Vassallo L. Burlesque: redefining the representation of women. [Masters Thesis]. University of New South Wales; 2015. Available from: http://handle.unsw.edu.au/1959.4/54899 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36148/SOURCE02?view=true

4. Ruimi, Claudine. La nourriture dans l'oeuvre d'Albert Cohen, un mariage miraculeux des contraires : Food in Albert Cohen’s Works, A Miraculous Marriage of Contraries.

Degree: Docteur es, Littératures française et comparée, 2013, Université Sorbonne Nouvelle – Paris III

URL: http://www.theses.fr/2013PA030100

►

L’étude du thème de la nourriture conduit à analyser trois fonctions de l’alimentation dans l’œuvre de Cohen. La première, indissociable du cadre de la diégèse,… (more)

▼

L’étude du thème de la nourriture conduit à analyser trois fonctions de l’alimentation dans l’œuvre de Cohen. La première, indissociable du cadre de la diégèse, concerne le cérémonial inhérent à la mise en scène des repas. Selon qu’ils se déroulent dans le milieu occidental ou au sein du groupe des Valeureux, ces moments de consommation débouchent rapidement sur une caractérisation des personnages et sur une mise à jour des liens socio-culturels qui les unissent ou les séparent. Partager un déjeuner ne constitue donc pas un simple geste de convivialité. C’est une action qui peut tendre vers la spiritualité d’une communion ou consacrer la rupture irrémédiable avec autrui. Mais c’est lorsque l’on quitte la table pour s’intéresser aux faits alimentaires ponctuels, multiples dans l’œuvre, que la nourriture de Cohen devient riche de significations. Constituant un réseau de signes symboliques qui affleurent dans les textes, l’alimentation correspond à une nouvelle forme de langage qui exprime les obsessions les plus intimes. Mère, religion, amour, réflexion sur le temps et sur l’absurdité de la vie, tous les domaines s’évaluent à l’aune de la nourriture : celle du passé et des souvenirs — tour à tour regrettée ou indésirable — celle du présent qui oscille entre le plaisir de l’instant et une lassitude existentielle, celle d’un futur incertain, qui ne garantit qu’une promesse de désillusions. De cet univers aux sombres perspectives émerge pourtant une figure de « vainqueur éternel », celle de Mangeclous. Le personnage burlesque est, en effet, celui qui a le dernier mot. Capable de sublimer l’art de la cuisine, il élabore une poétique aux accents parodiques qui se joue de la farce de l’existence. C’est en passant par la création de cet ogre mythique que l’auteur confère au champ alimentaire son unique et véritable richesse.

Focusing on the theme of food in Albert Cohen’s works allows us to identify three basic functions for food. The first function, which cannot be dissociated from the diegesis, has to do with the ceremony inherent in the staging of meals. Whether they take place in a Western setting or within the group of the Valeureux, these episodes of consumption often lead to a characterization of the protagonists and a presentation of the sociocultural links that both unite and separate them. Sharing a meal is much more than just enjoying a moment of conviviality. It can as easily result in a spiritual communion as in an irreversible break with someone else. Yet, food takes on a deeper meaning when studied in its multiple punctual manifestations rather than within the context of meals. Coalescing into a network of symbolic signs, food offers a new form of language through which the most intimate obsessions can be expressed.Motherhood, religion, love, time or the absurdity of life are so many themes that can be analyzed through the motif of food – be it the food of the past (either desired or scorned), the food of the present, which both provides a brief moment of pleasure and occasions an existential ennui, or the…

Advisors/Committee Members: Schaffner, Alain (thesis director).

Subjects/Keywords: Imaginaire; Poétique; Burlesque; Biblique; Nourriture; Imaginary; Poetics; Burlesque; Biblical; Food

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Ruimi, C. (2013). La nourriture dans l'oeuvre d'Albert Cohen, un mariage miraculeux des contraires : Food in Albert Cohen’s Works, A Miraculous Marriage of Contraries. (Doctoral Dissertation). Université Sorbonne Nouvelle – Paris III. Retrieved from http://www.theses.fr/2013PA030100

Chicago Manual of Style (16^th Edition):

Ruimi, Claudine. “La nourriture dans l'oeuvre d'Albert Cohen, un mariage miraculeux des contraires : Food in Albert Cohen’s Works, A Miraculous Marriage of Contraries.” 2013. Doctoral Dissertation, Université Sorbonne Nouvelle – Paris III. Accessed April 15, 2021. http://www.theses.fr/2013PA030100.

MLA Handbook (7^th Edition):

Ruimi, Claudine. “La nourriture dans l'oeuvre d'Albert Cohen, un mariage miraculeux des contraires : Food in Albert Cohen’s Works, A Miraculous Marriage of Contraries.” 2013. Web. 15 Apr 2021.

Vancouver:

Ruimi C. La nourriture dans l'oeuvre d'Albert Cohen, un mariage miraculeux des contraires : Food in Albert Cohen’s Works, A Miraculous Marriage of Contraries. [Internet] [Doctoral dissertation]. Université Sorbonne Nouvelle – Paris III; 2013. [cited 2021 Apr 15]. Available from: http://www.theses.fr/2013PA030100.

Council of Science Editors:

Ruimi C. La nourriture dans l'oeuvre d'Albert Cohen, un mariage miraculeux des contraires : Food in Albert Cohen’s Works, A Miraculous Marriage of Contraries. [Doctoral Dissertation]. Université Sorbonne Nouvelle – Paris III; 2013. Available from: http://www.theses.fr/2013PA030100

5. Abdessalem, Mouna. Le héros picaresque dans l'oeuvre de Charles Coypeau d'Assoucy : The picaresque hero in the work of Charles Coypeau Dassoucy.

Degree: Docteur es, Litterature francaise, 2017, Lyon; Université de la Manouba (Tunisie)

URL: http://www.theses.fr/2017LYSES041

►

Dassoucy a fait de ses Aventures burlesques un plaidoyer « historique ». Il se présente comme un personnage en quête de son existence, d'une cohérence… (more)

▼

Dassoucy a fait de ses Aventures burlesques un plaidoyer « historique ». Il se présente comme un personnage en quête de son existence, d'une cohérence de valeurs et de sentiments ; cette quête se définit comme une bataille contre les contraintes sociales,juridiques et religieuses, et génère une conception de la vie comme espace de liberté et d'aspiration à l'authenticité.Mon objectif était de rappeler les origines du genre pour mettre en évidence la spécificité du héros picaresque chez Dassoucy, tout à fait différente du picaresque traditionnel. Comme de nombreux écrivains de son époque, Théophile de Viau, Cyrano et Chapelle,Dassoucy nous montre l'envers du Grand~siècle. La pensée libertine n'est pas l'apanage de Dassoucy mais elle est beaucoup plus claire chez lui. Il s1agit de libertinage des moeurs, dont les traits apparaissent dans l'obscénité diogénique de l'auteur, dans ses impostures et surtout dans son discours libertin chargé de propos audacieux - obscènes ou blasphématoires. Toutes les contraintes sont rejetées, toutes les limites sont dépassées. La complexité de la réception du texte dassoucien dont la saisie échappe au commun des lecteurs, surtout celui habitué à la continuité et à la linéarité des textes classiques, fait la modernité de son libertinage. Le lecteur est dans ! 'obligation de s'adapter à cette nouvelle forme d'écriture en rompant avec ses habitudes et en déchiffrant l'écriture burlesque de Dassoucy.

Dassoucy turned his Burlesque adventures into a "historical" plea. The main character is in search of the meaning of his own life, a coherence of values and feelings; this quest is defined as a battle against social, legal and religious constraints,and generates a conception of life as an area of freedom and aspiration to authenticity. My objective was to point out the origins of the genre in order to highlight the specificity of the picaresque hero in Dassoucy's works, quite different from traditional picaresque. Like many writers of his time, Theophile de Viau, Cyrano and Chapelle, Dassoucy shows us the dark side of the Great Century. Libertine thought is not the prerogative of Dassoucy, but it is much clearer in his work. It is the libertinism of a way of life, whose features appear in the Diogenic obscenity of the author, in his impostures, and especially in his libertine discourse, loaded wîth audacious, obscene and blasphemous rernarks. Ali constraints are rejected. The complexity of the text constitutes the modernity of such a libertinism. The reader is obliged to break with his Iiterary conventions and habits in order to decipher the burlesque writing of Dassoucy.

Advisors/Committee Members: McKenna, Antony (thesis director), Abdelkefi, Hédia (thesis director), Bahier-Porte, Christelle (thesis director).

Subjects/Keywords: Héroisme; Modernité; Picaresque Hero; Libertinism; Burlesque literature

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Abdessalem, M. (2017). Le héros picaresque dans l'oeuvre de Charles Coypeau d'Assoucy : The picaresque hero in the work of Charles Coypeau Dassoucy. (Doctoral Dissertation). Lyon; Université de la Manouba (Tunisie). Retrieved from http://www.theses.fr/2017LYSES041

Chicago Manual of Style (16^th Edition):

Abdessalem, Mouna. “Le héros picaresque dans l'oeuvre de Charles Coypeau d'Assoucy : The picaresque hero in the work of Charles Coypeau Dassoucy.” 2017. Doctoral Dissertation, Lyon; Université de la Manouba (Tunisie). Accessed April 15, 2021. http://www.theses.fr/2017LYSES041.

MLA Handbook (7^th Edition):

Abdessalem, Mouna. “Le héros picaresque dans l'oeuvre de Charles Coypeau d'Assoucy : The picaresque hero in the work of Charles Coypeau Dassoucy.” 2017. Web. 15 Apr 2021.

Vancouver:

Abdessalem M. Le héros picaresque dans l'oeuvre de Charles Coypeau d'Assoucy : The picaresque hero in the work of Charles Coypeau Dassoucy. [Internet] [Doctoral dissertation]. Lyon; Université de la Manouba (Tunisie); 2017. [cited 2021 Apr 15]. Available from: http://www.theses.fr/2017LYSES041.

Council of Science Editors:

Abdessalem M. Le héros picaresque dans l'oeuvre de Charles Coypeau d'Assoucy : The picaresque hero in the work of Charles Coypeau Dassoucy. [Doctoral Dissertation]. Lyon; Université de la Manouba (Tunisie); 2017. Available from: http://www.theses.fr/2017LYSES041

University of Illinois – Urbana-Champaign

6. Prendergast, Ryan Michael. A hero's work of peace: Richard Strauss's Friedenstag.

Degree: M.Mus., Music, 2015, University of Illinois – Urbana-Champaign

URL: http://hdl.handle.net/2142/78675

► Richard Strauss’s one-act opera FRIEDENSTAG (DAY OF PEACE) has received staunch criticism regarding its overt militaristic content and compositional merits. The opera is one of… (more)

Subjects/Keywords: Strauss, Richard; Friedenstag; opera; Third Reich; burlesque

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Prendergast, R. M. (2015). A hero's work of peace: Richard Strauss's Friedenstag. (Thesis). University of Illinois – Urbana-Champaign. Retrieved from http://hdl.handle.net/2142/78675

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Prendergast, Ryan Michael. “A hero's work of peace: Richard Strauss's Friedenstag.” 2015. Thesis, University of Illinois – Urbana-Champaign. Accessed April 15, 2021. http://hdl.handle.net/2142/78675.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Prendergast, Ryan Michael. “A hero's work of peace: Richard Strauss's Friedenstag.” 2015. Web. 15 Apr 2021.

Vancouver:

Prendergast RM. A hero's work of peace: Richard Strauss's Friedenstag. [Internet] [Thesis]. University of Illinois – Urbana-Champaign; 2015. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/2142/78675.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Prendergast RM. A hero's work of peace: Richard Strauss's Friedenstag. [Thesis]. University of Illinois – Urbana-Champaign; 2015. Available from: http://hdl.handle.net/2142/78675

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Boise State University

7. Tigert, Merin Leigh. The Grotesque Menagerie.

Degree: 2011, Boise State University

URL: https://scholarworks.boisestate.edu/td/167

► The Grotesque Menagerie is an exploration of domestic and gender roles of the American West. The burlesque and the grotesque are used as the dissection… (more)

▼ The Grotesque Menagerie is an exploration of domestic and gender roles of the American West. The burlesque and the grotesque are used as the dissection tools throughout this manuscript to examine these roles, and in so doing pervert both the ideal and the abject. As the author, these poetic explorations and dissections leave me stuck in an odd androgyny: I am suspect of my own feminist preclusions and oddly obliged to interact with the established patriarchal tropes of the western poetic cannon. I do not reject the canon as a symbol of patriarchal power; I do not request the role of woman to be forefront; I am, at once, transfixed and emasculated. This androgyny is mirrored by the main character, a carnival barker or master of ceremonies, Whispering Ted. Ted is a female hysteric: at once attempting to embrace and subvert gender roles while being haunted by the perversion of the domestic ideal. Hysteric in Freudian terms, or as Mary Russo explains in her text The Female Grotesque: Risk, Excess, Modernity, Ted is “ungrounded and out of bounds, enacting her pantomime of anguish and rebellion” (Russo, 9). However, as the Burlesque degrades from the intention of woman as gender equal to woman as sexual object, as the intellectual attempts of this manuscript begin to unravel under the perceived and demanded audience gaze, so too does Ted unravel, both physically and emotionally. Ted embodies the voice of the author struggling to maintain both feminine and masculine roles, enacting the tearing discrepancies between forces. The Grotesque Menagerie is grotesque in three critical understandings of the term. The term grotesque was an exceedingly fortunate misnomer of sculptures and paintings uncovered in apertures during the excavation of Nero’s Domus Aurea. Grotto-esque, cave-like, earthy, dark, visceral: all traditional, if not Freudian, images and symbols for womanhood. Though I would not claim the Menagerie overtly feminist, the exploration of female sexuality inherent in the exploration of the domestic is unavoidable; the archetypes of cavernous female will surface because I cannot completely subvert the history of my language or poetics. However, post-Romantic grotesque is tied to the Freudian understanding of the unheimlich: the uncanny. From the German heimlich meaning the familiar, the home, we would consider the unheimlich as the opposite: the terrifying and horrifying elements of gothic or horror narratives. However, unheimlich implies heimlich and therefore the disorienting coupling of unfamiliar within the familiar. The Menagerie embraces these further implications of the uncanny, the unknown darkness implicit in home and domesticity. Simultaneously, and somehow not venturing far from the uncanny understanding, the third grotesque is tied to that which is outrageous: comedy, hilarity, and Camp. Both the uncanny (gothic) and humorous (carnival) grotesques are based in the abjection of identity and body brought to a point of spectacle, which both undermines and reinforces the existing social structure. As the poet…

Subjects/Keywords: Poetry; Grotesque; Burlesque; Domesticity; Creative Writing

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Tigert, M. L. (2011). The Grotesque Menagerie. (Thesis). Boise State University. Retrieved from https://scholarworks.boisestate.edu/td/167

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Tigert, Merin Leigh. “The Grotesque Menagerie.” 2011. Thesis, Boise State University. Accessed April 15, 2021. https://scholarworks.boisestate.edu/td/167.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Tigert, Merin Leigh. “The Grotesque Menagerie.” 2011. Web. 15 Apr 2021.

Vancouver:

Tigert ML. The Grotesque Menagerie. [Internet] [Thesis]. Boise State University; 2011. [cited 2021 Apr 15]. Available from: https://scholarworks.boisestate.edu/td/167.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Tigert ML. The Grotesque Menagerie. [Thesis]. Boise State University; 2011. Available from: https://scholarworks.boisestate.edu/td/167

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Arizona

8. Coan, Casely Emma. Kai(e)rotic Moments: Resistance and Alternate Futures in Burlesque Performance .

Degree: 2019, University of Arizona

URL: http://hdl.handle.net/10150/634414

► This dissertation examines the ways performance offers opportunities to resist sexist, racist, homophobic, transphobic, fat phobic, and ableist narratives. Through ethnographic research with the Tucson… (more)

▼ This dissertation examines the ways performance offers opportunities to resist sexist, racist, homophobic, transphobic, fat phobic, and ableist narratives. Through ethnographic research with the Tucson Libertine League (TLL) burlesque community in Tucson, AZ, I argue that the erotic desire/s of narrative striptease reveal the rhetorical possibility in burlesque performance – its capacity to be politically persuasive. Engaging an intersectional feminist methodology, I use interviews, observation, performance as method, and act analysis to study acts by a heterogenous group of woman-identified performers who identify as lesbian, queer, trans, fat, of color, and/or disabled, and center their performances around these intersectional subjectivities. My inclusion in this community as a performer allowed me to participate and observe from backstage, on stage, and in the audience. I also produced and performed in a 16-act show, “Tucson Libertine League presents: Future Fantasies” as a part of this project. Following Audre Lorde’s characterization of the erotic as a source of personal power and the Ancient Greeks’ depiction of the god Eros as foundational to human existence, I utilize a complex understanding of erotic desire beyond simply the sexual, to its reflection of deeper knowledges and self-determination. The nature of live performance means that burlesque performers have access only to their brief time on stage and the particular audience in front of them in order to utilize burlesque’s rhetorical potential. In response to a paucity of literature at the intersection of desire and kairos, the propitious moment for action, I develop the concept “kaieros:” the interpretation of the erotic (eros) as a kairotic opportunity for rhetorical intervention that signals a potential re/negotiation of meaning around performers’ intersectional subjectivities. The rhetorical encounter of performer-audience interaction during narrative striptease holds the potential to shift conceptualizations about what and whom can be desired, desirable, and desirous, and by whom. This momentary rhetorical potential is made possible by erotic desire’s mutability, its characterization as a fluid entity and experience (for both audience and performer). Desire becomes multivalent and powerful, capable not only of putting bodies and subjectivities in dynamic relationship with one another but also, by extension, of re/negotiating meanings around those bodies and subjectivities. This dissertation reveals two ways in which burlesque performers employ the rhetorical possibility of narrative striptease’s kaierotic exchange: by staging rageful resistance to racism, sexism, homophobia, transphobia, fat phobia, and ableism, thereby recruiting the audience into their protest; and by offering snapshots of potential alternate futures, utopic times and spaces where racism, sexism, homophobia, transphobia, fat phobia, and ableism no longer exist, and where these intersectional subjects are valued and desired. Not only do I underscore performance’s role in… Advisors/Committee Members: Licona, Adela C (advisor), Stryker, Susan (committeemember), Troutman, Stephanie (committeemember).

Subjects/Keywords: burlesque; desire; erotic; performance; rhetoric; sexuality

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Coan, C. E. (2019). Kai(e)rotic Moments: Resistance and Alternate Futures in Burlesque Performance . (Doctoral Dissertation). University of Arizona. Retrieved from http://hdl.handle.net/10150/634414

Chicago Manual of Style (16^th Edition):

Coan, Casely Emma. “Kai(e)rotic Moments: Resistance and Alternate Futures in Burlesque Performance .” 2019. Doctoral Dissertation, University of Arizona. Accessed April 15, 2021. http://hdl.handle.net/10150/634414.

MLA Handbook (7^th Edition):

Coan, Casely Emma. “Kai(e)rotic Moments: Resistance and Alternate Futures in Burlesque Performance .” 2019. Web. 15 Apr 2021.

Vancouver:

Coan CE. Kai(e)rotic Moments: Resistance and Alternate Futures in Burlesque Performance . [Internet] [Doctoral dissertation]. University of Arizona; 2019. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/10150/634414.

Council of Science Editors:

Coan CE. Kai(e)rotic Moments: Resistance and Alternate Futures in Burlesque Performance . [Doctoral Dissertation]. University of Arizona; 2019. Available from: http://hdl.handle.net/10150/634414

University of Canterbury

9. McCusker, Nicole Catherine. Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School.

Degree: MA, Anthropology, 2012, University of Canterbury

URL: http://dx.doi.org/10.26021/4996

► My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a… (more)

Subjects/Keywords: performance; art; burlesque; life drawing; the nude

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

McCusker, N. C. (2012). Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School. (Masters Thesis). University of Canterbury. Retrieved from http://dx.doi.org/10.26021/4996

Chicago Manual of Style (16^th Edition):

McCusker, Nicole Catherine. “Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School.” 2012. Masters Thesis, University of Canterbury. Accessed April 15, 2021. http://dx.doi.org/10.26021/4996.

MLA Handbook (7^th Edition):

McCusker, Nicole Catherine. “Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School.” 2012. Web. 15 Apr 2021.

Vancouver:

McCusker NC. Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School. [Internet] [Masters thesis]. University of Canterbury; 2012. [cited 2021 Apr 15]. Available from: http://dx.doi.org/10.26021/4996.

Council of Science Editors:

McCusker NC. Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School. [Masters Thesis]. University of Canterbury; 2012. Available from: http://dx.doi.org/10.26021/4996

University of Minnesota

10. Giusti, Jessica. "Burlesque Female Behemoths": transgressions of fat, Femme Burlesque.

Degree: PhD, Feminist Studies, 2012, University of Minnesota

URL: http://hdl.handle.net/11299/168202

► Burlesque Female Behemoths analyzes the rebirth of the American burlesque scene over the past two decades and considers the political and cultural landscapes that have… (more)

Subjects/Keywords: Burlesque; Corporeal epistemologies; Fat studies; Femme identity; Neo-Burlesque; Queer studies; Feminist studies

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Giusti, J. (2012). "Burlesque Female Behemoths": transgressions of fat, Femme Burlesque. (Doctoral Dissertation). University of Minnesota. Retrieved from http://hdl.handle.net/11299/168202

Chicago Manual of Style (16^th Edition):

Giusti, Jessica. “"Burlesque Female Behemoths": transgressions of fat, Femme Burlesque.” 2012. Doctoral Dissertation, University of Minnesota. Accessed April 15, 2021. http://hdl.handle.net/11299/168202.

MLA Handbook (7^th Edition):

Giusti, Jessica. “"Burlesque Female Behemoths": transgressions of fat, Femme Burlesque.” 2012. Web. 15 Apr 2021.

Vancouver:

Giusti J. "Burlesque Female Behemoths": transgressions of fat, Femme Burlesque. [Internet] [Doctoral dissertation]. University of Minnesota; 2012. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/11299/168202.

Council of Science Editors:

Giusti J. "Burlesque Female Behemoths": transgressions of fat, Femme Burlesque. [Doctoral Dissertation]. University of Minnesota; 2012. Available from: http://hdl.handle.net/11299/168202

11. Menand, Julie. Le père jésuite François Garasse : un écrivain engagé du premier dix-septième siècle : Father Garasse (1585-1631) : a committed writer in the first 17th century.

Degree: Docteur es, Lettres et Arts, 2016, Lyon

URL: http://www.theses.fr/2016LYSE2128

►

Le Père Jésuite François Garasse reste un écrivain du premier XVIIe siècle assez connu et peu étudié en dépit de son abondante production polémique, publiée… (more)

▼

Le Père Jésuite François Garasse reste un écrivain du premier XVIIe siècle assez connu et peu étudié en dépit de son abondante production polémique, publiée entre 1614 et 1626. Son œuvre est réputée illisible, par les valeurs qu’elle défend et la violence qu’elle déploie, par sa longueur et son manque de consistance, par son style même, enfin. Cependant, les travaux sur le libertinage ont conduit à s’intéresser à la figure du libertin telle qu’il la dessine dans sa Doctrine curieuse. De telles études invitent à reconsidérer le Père Garasse, qui apparaît comme le jésuite polémiste le plus lu et le plus connu entre 1617 et 1626, et comme un prédicateur à succès. L’ensemble de son œuvre, cependant, ne fait encore à ce jour l’objet d’aucune étude spécifique. Le Père Garasse, qui participe à l’ensemble des querelles de son temps, est étudié ponctuellement, de façon fragmentaire, et n’est que très peu analysé en tant que tel. Ce projet se propose d’inverser les perspectives, en s’intéressant au Père Garasse, non pas sous l’angle du libertinage ou du jansénisme naissant, mais sous l’angle qui est le sien, celui de la Réforme catholique et de ses combats, celui de la Compagnie de Jésus et de ses intérêts. Il s’agit d’envisager son œuvre polémique dans son ensemble et pour elle-même, d’un point de vue double, philosophique, théologique et moral d’une part, littéraire d’autre part ; il s’agit de s’attacher à établir s’il existe une pensée du Père Garasse, et à déterminer les formes par lesquelles elle s’énonce. Son œuvre, essentiellement polémique, est également à étudier dans le rapport qu’elle tisse avec les autres œuvres de son temps, qu’il s’agisse de rapports d’opposition, ou de filiation. Ce projet vise donc à mettre en perspective l’œuvre du Père Garasse, à la replacer dans le contexte de son époque, polémique et rhétorique, pour mieux en dégager la spécificité littéraire et philosophique.

Father François Garasse remains a jesuit writer of the first seventeenth century quite known and little studied, despite its abundant controversy production, published between 1614 and 1626.His work is deemed illegible, by the values it defends and the violence it deploys, by its length and lack of consistency, by its style, finally. However, works on libertinism led to interest in the figure of the libertine as he draws it in his Doctrine curieuse . Such studies invite to reconsider Father Garasse, which appears as the jesuit polemicist most read and most famous between 1617 and 1626, and as a successful preacher. His work, however, has not been studied yet in a whole. Father Garasse, who participates in all the quarrels of his time, is the subject to intermittent, piecemeal analysis. This project aims to reverse perspectives, focusing father Garasse, not in terms of libertinism or nascent Jansenism, but from his angle : Catholic Reformation and its fighting, Society of Jesus and its interests. His polemical work will be considered as a whole and for herself, in a double point of view, philosophical, theological and moral on one…

Advisors/Committee Members: Thirouin, Laurent (thesis director).

Subjects/Keywords: Compagnie de jésus; Polémique; Satire; Burlesque; Littérature religieuse; Libertinage; Jansénisme; Society of Jesus; Polemic; Satire; Burlesque; Religious literature; Libertinism; Jansenism

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Menand, J. (2016). Le père jésuite François Garasse : un écrivain engagé du premier dix-septième siècle : Father Garasse (1585-1631) : a committed writer in the first 17th century. (Doctoral Dissertation). Lyon. Retrieved from http://www.theses.fr/2016LYSE2128

Chicago Manual of Style (16^th Edition):

Menand, Julie. “Le père jésuite François Garasse : un écrivain engagé du premier dix-septième siècle : Father Garasse (1585-1631) : a committed writer in the first 17th century.” 2016. Doctoral Dissertation, Lyon. Accessed April 15, 2021. http://www.theses.fr/2016LYSE2128.

MLA Handbook (7^th Edition):

Menand, Julie. “Le père jésuite François Garasse : un écrivain engagé du premier dix-septième siècle : Father Garasse (1585-1631) : a committed writer in the first 17th century.” 2016. Web. 15 Apr 2021.

Vancouver:

Menand J. Le père jésuite François Garasse : un écrivain engagé du premier dix-septième siècle : Father Garasse (1585-1631) : a committed writer in the first 17th century. [Internet] [Doctoral dissertation]. Lyon; 2016. [cited 2021 Apr 15]. Available from: http://www.theses.fr/2016LYSE2128.

Council of Science Editors:

Menand J. Le père jésuite François Garasse : un écrivain engagé du premier dix-septième siècle : Father Garasse (1585-1631) : a committed writer in the first 17th century. [Doctoral Dissertation]. Lyon; 2016. Available from: http://www.theses.fr/2016LYSE2128

University of Newcastle

12. Wye, Stephen. An extravgagant burlesque: 19th century blackface minstrelsy and its contemporary revival.

Degree: PhD, 2018, University of Newcastle

URL: http://hdl.handle.net/1959.13/1385312

►

Research Doctorate - Doctor of Philosophy (PhD)

This project investigates the contextual and aesthetic frameworks for a creative work inspired by the practice and reception… (more)

▼

Research Doctorate - Doctor of Philosophy (PhD)

This project investigates the contextual and aesthetic frameworks for a creative work inspired by the practice and reception of racial transvestism and burlesque in the 19^th and 21^st centuries. Few Australians may be aware of the depth and reach of a particular form of racial transvestism — blackface minstrelsy — in Australia during the 19^th century. Likewise, few appear aware that “burlesque,” sometimes characterised today as “white-collar” striptease, once characterised an entire mode of 19^th-century theatrical entertainment. During the 19^th century, burlesques — parodies of mainstream operas and plays — came to be a fixture on blackface minstrel programmes. The exegesis investigates the practice of burlesque and blackface minstrelsy in the Hunter Valley, a region of colonial New South Wales, and, using available historical evidence, conjures a speculative fiction: a blackface minstrel burlesque with a provenance suggesting a regional “premiere” in 1869. This speculative fiction is framed in popular sensibilities redolent of 19^th-century humour — ludicrous and grotesque — and like some minstrel burlesques of the period, responds to a real event of some note: in this case, a public corroboree performed by Aboriginal groups to entertain a white colonial population in Maitland, NSW. Although representations of Australian Aborigines in colonial drama were strongly influence by minstrelsy (and minstrelsy could be a vehicle for mocking any ethnic minority), minstrelsy per se appears to have overlooked indigenous Australians in favour of (black) American racial targets. A latterday attempt to correct this apparent historical oversight, the speculative fiction perverts what may have been the first piece of colonial literature with an entirely indigenous cast of characters, G.W. Rusden’s Moyarra: An Aboriginal Legend. There is no score or libretto for this speculative fiction: its “existence” and, indeed many of its features, are inferred from a fake advertisement purportedly taken from local newspapers in 1869. But in turn, the speculative fiction based on Rusden’s text (Moyarra: An Un-Original Burlesque Extravaganza) itself becomes the subject for burlesque: a 21^st-century neo-burlesque with more contemporary references, Moyarra: An Extravagant Undress, here represented by libretto, score, and recording. In spirit and form, Moyarra: An Extravagant Undress is a 19^th-century burlesque treatment of the speculative fiction: the “low” vernacular libretto becomes “high” poetry; racial targets are cast aside in favour of post-humanist/technological targets; the music assumes a contemporary aspect and includes references to the modern canon of popular music; and the production acquires the trappings of a contemporary understanding of burlesque. While not entirely abandoning ludicrous and grotesque, the Extravagant Undress relies on a “camp” aesthetic or…

Advisors/Committee Members: University of Newcastle. Faculty of Education & Arts, School of Creative Industries.

Subjects/Keywords: burlesque; neo-burlesque; blackface minstrelsy; ethnic tranvestism; musical composition; composition; G.W. Rusden; Ned Faning; Hunter Valley, (NSW)

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Wye, S. (2018). An extravgagant burlesque: 19th century blackface minstrelsy and its contemporary revival. (Doctoral Dissertation). University of Newcastle. Retrieved from http://hdl.handle.net/1959.13/1385312

Chicago Manual of Style (16^th Edition):

Wye, Stephen. “An extravgagant burlesque: 19th century blackface minstrelsy and its contemporary revival.” 2018. Doctoral Dissertation, University of Newcastle. Accessed April 15, 2021. http://hdl.handle.net/1959.13/1385312.

MLA Handbook (7^th Edition):

Wye, Stephen. “An extravgagant burlesque: 19th century blackface minstrelsy and its contemporary revival.” 2018. Web. 15 Apr 2021.

Vancouver:

Wye S. An extravgagant burlesque: 19th century blackface minstrelsy and its contemporary revival. [Internet] [Doctoral dissertation]. University of Newcastle; 2018. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/1959.13/1385312.

Council of Science Editors:

Wye S. An extravgagant burlesque: 19th century blackface minstrelsy and its contemporary revival. [Doctoral Dissertation]. University of Newcastle; 2018. Available from: http://hdl.handle.net/1959.13/1385312

Boston University

13. Dixon, Dustin W. Myth-making in Greek and Roman comedy.

Degree: PhD, Classical Studies, 2015, Boston University

URL: http://hdl.handle.net/2144/16320

► Challenging the common notion that mythological comedies simply burlesque stories found in epic and tragedy, this dissertation shows that comic poets were active participants in… (more)

▼ Challenging the common notion that mythological comedies simply burlesque stories found in epic and tragedy, this dissertation shows that comic poets were active participants in creating and transmitting myths and argues that their mythical innovations influenced accounts found in tragedy and prose mythography. Although no complete Greek mythological comedy survives, hundreds of fragments and titles reveal that this type of drama was extremely popular; they were staged in Greece, Sicily, and Southern Italy and make up about one-half of all comedies produced in some periods. These fragments, supplemented by Plautus' Amphitruo (the only nearly complete mythological comedy), vase-paintings, and ancient testimonia, shed light on the vibrant tradition of comic mythology. In chapter one, I argue that ancient scholars' and prose mythographers' citations of comedies invite us to view comedians as authoritative myth-makers. I then survey the development of mythological comedy throughout the fifth and fourth centuries BCE. The plays' titles reveal common mythical topics as well as a number of comic myths that survived independent of the tragic tradition. In chapter two, I argue that Cratinus' Dionysalexandros and Epicharmus' Odysseus the Deserter are wildly innovative comedies that challenge previous accounts for mythological authority. In chapter three, Epicharmus' Pyrrha and Prometheus, Pherecrates' Antmen, and Cratinus' Wealth Gods are studied to show how comedians created new stories by fusing myths together and by combining myth and historical reality. In chapter four, I look at the affairs of Zeus to show the dramatists' different approaches to the same mythical material. While tragedians tend to focus on the suffering of Zeus' victims, comedians feature Zeus' humorously outlandish and usually harmless seductions. In chapter five, on the Amphitruo, I show how Plautus has transformed a myth about the birth of Heracles into a story about Jupiter's long-term affair with a pregnant woman. In chapter six, I enter the debate about comedy's influence on tragedy and argue that mythical variants invented by the comic poet Cratinus have been incorporated into Euripides' Trojan Women and Helen, which demonstrates that, as early as the fifth century, comic poets were seen as mythological authorities.

Subjects/Keywords: Classical literature; Burlesque; Comedy; Drama; Greek; Mythology; Tragedy

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APA (6^th Edition):

Dixon, D. W. (2015). Myth-making in Greek and Roman comedy. (Doctoral Dissertation). Boston University. Retrieved from http://hdl.handle.net/2144/16320

Chicago Manual of Style (16^th Edition):

Dixon, Dustin W. “Myth-making in Greek and Roman comedy.” 2015. Doctoral Dissertation, Boston University. Accessed April 15, 2021. http://hdl.handle.net/2144/16320.

MLA Handbook (7^th Edition):

Dixon, Dustin W. “Myth-making in Greek and Roman comedy.” 2015. Web. 15 Apr 2021.

Vancouver:

Dixon DW. Myth-making in Greek and Roman comedy. [Internet] [Doctoral dissertation]. Boston University; 2015. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/2144/16320.

Council of Science Editors:

Dixon DW. Myth-making in Greek and Roman comedy. [Doctoral Dissertation]. Boston University; 2015. Available from: http://hdl.handle.net/2144/16320

Colorado State University

14. Murti, Desideria Cempaka Wijaya. New Atheist Movement in the blogosphere: burlesque and carnivalesque as rhetorical strategies in visual productions, The.

Degree: MA, Communication Studies, 2013, Colorado State University

URL: http://hdl.handle.net/10217/80277

► This thesis examines the visual production of the New Atheist Movement in the Blogosphere. I argue that the images of New Atheism use burlesque and… (more)

Subjects/Keywords: blogs; burlesque; carnivalesque; New Atheist Movement; rhetoric; visual

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APA (6^th Edition):

Murti, D. C. W. (2013). New Atheist Movement in the blogosphere: burlesque and carnivalesque as rhetorical strategies in visual productions, The. (Masters Thesis). Colorado State University. Retrieved from http://hdl.handle.net/10217/80277

Chicago Manual of Style (16^th Edition):

Murti, Desideria Cempaka Wijaya. “New Atheist Movement in the blogosphere: burlesque and carnivalesque as rhetorical strategies in visual productions, The.” 2013. Masters Thesis, Colorado State University. Accessed April 15, 2021. http://hdl.handle.net/10217/80277.

MLA Handbook (7^th Edition):

Murti, Desideria Cempaka Wijaya. “New Atheist Movement in the blogosphere: burlesque and carnivalesque as rhetorical strategies in visual productions, The.” 2013. Web. 15 Apr 2021.

Vancouver:

Murti DCW. New Atheist Movement in the blogosphere: burlesque and carnivalesque as rhetorical strategies in visual productions, The. [Internet] [Masters thesis]. Colorado State University; 2013. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/10217/80277.

Council of Science Editors:

Murti DCW. New Atheist Movement in the blogosphere: burlesque and carnivalesque as rhetorical strategies in visual productions, The. [Masters Thesis]. Colorado State University; 2013. Available from: http://hdl.handle.net/10217/80277

University of Maryland

15. Walker, Jonelle. THE IRRECONCILABLE VOLATILITY OF BLOODY BETTY & THE ONLINE ARCHIVE.

Degree: Theatre, 2017, University of Maryland

URL: http://hdl.handle.net/1903/19515

► This project investigates volatile portrayals of rape and sexualized violence in gorelesque performances by Vancouver-based troupe Bloody Betty and the Deadly Sins, as well as… (more)

Subjects/Keywords: Performing arts; Women's studies; Bloody Betty; burlesque; gorelesque; online archive

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Walker, J. (2017). THE IRRECONCILABLE VOLATILITY OF BLOODY BETTY & THE ONLINE ARCHIVE. (Thesis). University of Maryland. Retrieved from http://hdl.handle.net/1903/19515

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Walker, Jonelle. “THE IRRECONCILABLE VOLATILITY OF BLOODY BETTY & THE ONLINE ARCHIVE.” 2017. Thesis, University of Maryland. Accessed April 15, 2021. http://hdl.handle.net/1903/19515.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Walker, Jonelle. “THE IRRECONCILABLE VOLATILITY OF BLOODY BETTY & THE ONLINE ARCHIVE.” 2017. Web. 15 Apr 2021.

Vancouver:

Walker J. THE IRRECONCILABLE VOLATILITY OF BLOODY BETTY & THE ONLINE ARCHIVE. [Internet] [Thesis]. University of Maryland; 2017. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/1903/19515.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Walker J. THE IRRECONCILABLE VOLATILITY OF BLOODY BETTY & THE ONLINE ARCHIVE. [Thesis]. University of Maryland; 2017. Available from: http://hdl.handle.net/1903/19515

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Georgia

16. Glenum, Lara. Maximum gaga with a critical introduction on Gurlesque poetics.

Degree: 2014, University of Georgia

URL: http://hdl.handle.net/10724/25454

► The Gurlesque describes an emerging field of female poets and who, taking a page form the burlesque, perform their femininity in a campy or overtly… (more)

Subjects/Keywords: Poetry; poetics; creative writing; Gurlesque; avant-garde; burlesque; camp; kitsch; grotesque

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APA (6^th Edition):

Glenum, L. (2014). Maximum gaga with a critical introduction on Gurlesque poetics. (Thesis). University of Georgia. Retrieved from http://hdl.handle.net/10724/25454

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Glenum, Lara. “Maximum gaga with a critical introduction on Gurlesque poetics.” 2014. Thesis, University of Georgia. Accessed April 15, 2021. http://hdl.handle.net/10724/25454.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Glenum, Lara. “Maximum gaga with a critical introduction on Gurlesque poetics.” 2014. Web. 15 Apr 2021.

Vancouver:

Glenum L. Maximum gaga with a critical introduction on Gurlesque poetics. [Internet] [Thesis]. University of Georgia; 2014. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/10724/25454.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Glenum L. Maximum gaga with a critical introduction on Gurlesque poetics. [Thesis]. University of Georgia; 2014. Available from: http://hdl.handle.net/10724/25454

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of New South Wales

17. Gibson, Emma. WOMANIFESTO: Sacred Satirist Spectacle and The Invention of Betty Grumble.

Degree: Art, 2015, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/54952 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36244/SOURCE02?view=true

► Womanifesto is a kaleidoscopic conversion of multiple woman hoods into a singular performance based entity, Betty Grumble. My research poesies tracks the cacophony of my… (more)

Subjects/Keywords: drag; feminism; performance art; betty; grumble; sex clown; ecosexual; burlesque

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APA (6^th Edition):

Gibson, E. (2015). WOMANIFESTO: Sacred Satirist Spectacle and The Invention of Betty Grumble. (Masters Thesis). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/54952 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36244/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Gibson, Emma. “WOMANIFESTO: Sacred Satirist Spectacle and The Invention of Betty Grumble.” 2015. Masters Thesis, University of New South Wales. Accessed April 15, 2021. http://handle.unsw.edu.au/1959.4/54952 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36244/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Gibson, Emma. “WOMANIFESTO: Sacred Satirist Spectacle and The Invention of Betty Grumble.” 2015. Web. 15 Apr 2021.

Vancouver:

Gibson E. WOMANIFESTO: Sacred Satirist Spectacle and The Invention of Betty Grumble. [Internet] [Masters thesis]. University of New South Wales; 2015. [cited 2021 Apr 15]. Available from: http://handle.unsw.edu.au/1959.4/54952 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36244/SOURCE02?view=true.

Council of Science Editors:

Gibson E. WOMANIFESTO: Sacred Satirist Spectacle and The Invention of Betty Grumble. [Masters Thesis]. University of New South Wales; 2015. Available from: http://handle.unsw.edu.au/1959.4/54952 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:36244/SOURCE02?view=true

The Ohio State University

18. Over, William Earl. The rehearsal and its place in the development of English burlesque drama in the seventeenth century.

Degree: PhD, Graduate School, 1975, The Ohio State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=osu1486996174507967

Subjects/Keywords: Theater; Buckingham; Burlesque; English drama

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Over, W. E. (1975). The rehearsal and its place in the development of English burlesque drama in the seventeenth century. (Doctoral Dissertation). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu1486996174507967

Chicago Manual of Style (16^th Edition):

Over, William Earl. “The rehearsal and its place in the development of English burlesque drama in the seventeenth century.” 1975. Doctoral Dissertation, The Ohio State University. Accessed April 15, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486996174507967.

MLA Handbook (7^th Edition):

Over, William Earl. “The rehearsal and its place in the development of English burlesque drama in the seventeenth century.” 1975. Web. 15 Apr 2021.

Vancouver:

Over WE. The rehearsal and its place in the development of English burlesque drama in the seventeenth century. [Internet] [Doctoral dissertation]. The Ohio State University; 1975. [cited 2021 Apr 15]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1486996174507967.

Council of Science Editors:

Over WE. The rehearsal and its place in the development of English burlesque drama in the seventeenth century. [Doctoral Dissertation]. The Ohio State University; 1975. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1486996174507967

19. Perez, Mirela Silva. A semiótica do burlesco: o figurino e a construção da personagem.

Degree: 2020, Pontifical Catholic University of São Paulo

URL: https://tede2.pucsp.br/handle/handle/23218

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Submitted by Filipe dos Santos ([email protected]) on 2020-08-25T11:11:46Z No. of bitstreams: 1 Mirela Silva Perez.pdf: 7676567 bytes, checksum: 539952e0f00e6cc7b9f282265a6e668a (MD5)

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Made available in DSpace on 2020-08-25T11:11:46Z (GMT). No. of bitstreams: 1 Mirela Silva Perez.pdf: 7676567 bytes, checksum: 539952e0f00e6cc7b9f282265a6e668a (MD5) Previous issue date: 2020-08-03

Pontifícia Universidade Católica de São Paulo - PUCSP

Burlesque dance as a form of expression of individuality and female empowerment, being the costume, the result of sign elements of glamor, fetish and deconstruction, the vehicle through which this individuality is expressed. The objective of this research will be to understand the role of Burlesque in the woman's self-affirmation process, and the importance of the costume in the characterization of the female individuality, an idea that will be proven through the analysis of the characters (as well as their numbers and costumes) created by the Burlesque dancers of the São Paulo’s art scene. The analyzes will be carried out based on Peirce semiotics using the repertoire acquired throughout the initial chapters, which have as their theme the pillars of the development of Burlesque - History, Glamor, Fetish and Deconstruction. Concluding that the Neoburlesque as a source of generalized diversity proposes new definitions of the feminine, and the costume is a constitutive vector of this identity

A dança Burlesca como forma de expressão da individualidade e empoderamento feminino, sendo o figurino - fruto de elementos sígnicos do glamour, fetiche e desconstrução - o veículo pelo qual essa individualidade se expressa. O objetivo dessa pesquisa será compreender o papel do Burlesco no processo de autoafirmação da mulher, e a importância do figurino na caracterização do individual feminino, ideia que será comprovada através das análises das personagens (bem como seus números e figurinos) criadas pelas dançarinas Burlescas da cena Paulistana. As análises serão realizadas com base na semiótica Peirciana usando do repertório adquirido ao longo dos capítulos iniciais, que possuem como tema os pilares do desenvolvimento do Burlesco – História, Glamour, Fetiche e Desconstrução. Concluindo que o Neoburlesco como fonte de diversidade generalizada propõe novas definições do feminino, e o figurino é vetor constitutivo dessa identidade

Advisors/Committee Members: Santaella, Lucia.

Subjects/Keywords: Burlesco; Figurino; Feminino; Burlesque; Costume; Feminine; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Perez, M. S. (2020). A semiótica do burlesco: o figurino e a construção da personagem. (Masters Thesis). Pontifical Catholic University of São Paulo. Retrieved from https://tede2.pucsp.br/handle/handle/23218

Chicago Manual of Style (16^th Edition):

Perez, Mirela Silva. “A semiótica do burlesco: o figurino e a construção da personagem.” 2020. Masters Thesis, Pontifical Catholic University of São Paulo. Accessed April 15, 2021. https://tede2.pucsp.br/handle/handle/23218.

MLA Handbook (7^th Edition):

Perez, Mirela Silva. “A semiótica do burlesco: o figurino e a construção da personagem.” 2020. Web. 15 Apr 2021.

Vancouver:

Perez MS. A semiótica do burlesco: o figurino e a construção da personagem. [Internet] [Masters thesis]. Pontifical Catholic University of São Paulo; 2020. [cited 2021 Apr 15]. Available from: https://tede2.pucsp.br/handle/handle/23218.

Council of Science Editors:

Perez MS. A semiótica do burlesco: o figurino e a construção da personagem. [Masters Thesis]. Pontifical Catholic University of São Paulo; 2020. Available from: https://tede2.pucsp.br/handle/handle/23218

20. Haney, Alyssa McNeil. Stripping (away) the stereotype: race, culture, and gender in neo-burlesque performance.

Degree: 2015, NC Docks

URL: http://libres.uncg.edu/ir/uncg/f/Haney_uncg_0154M_11726.pdf

► This project explores issues of performing the "exotic Other" in neo-burlesque dance. Using the examples of performers Dita Von Teese's "Opium Den," Jett Adore's "Zorro,"… (more)

Subjects/Keywords: Burlesque (Theater) $x Social aspects; Striptease $x Social aspects

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APA (6^th Edition):

Haney, A. M. (2015). Stripping (away) the stereotype: race, culture, and gender in neo-burlesque performance. (Thesis). NC Docks. Retrieved from http://libres.uncg.edu/ir/uncg/f/Haney_uncg_0154M_11726.pdf

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Haney, Alyssa McNeil. “Stripping (away) the stereotype: race, culture, and gender in neo-burlesque performance.” 2015. Thesis, NC Docks. Accessed April 15, 2021. http://libres.uncg.edu/ir/uncg/f/Haney_uncg_0154M_11726.pdf.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Haney, Alyssa McNeil. “Stripping (away) the stereotype: race, culture, and gender in neo-burlesque performance.” 2015. Web. 15 Apr 2021.

Vancouver:

Haney AM. Stripping (away) the stereotype: race, culture, and gender in neo-burlesque performance. [Internet] [Thesis]. NC Docks; 2015. [cited 2021 Apr 15]. Available from: http://libres.uncg.edu/ir/uncg/f/Haney_uncg_0154M_11726.pdf.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Haney AM. Stripping (away) the stereotype: race, culture, and gender in neo-burlesque performance. [Thesis]. NC Docks; 2015. Available from: http://libres.uncg.edu/ir/uncg/f/Haney_uncg_0154M_11726.pdf

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Université de Lorraine

21. Blanchemanche, Valérie. Espace graphique et oralités vivaces : lecture ethnocritique des premiers romans de Marcel Aymé : Graphic space and tenacious oralities : an ethnocritical reading of the early fiction of Marcel Aymé.

Degree: Docteur es, Langues, Littératures et Civilisations, 2019, Université de Lorraine

URL: http://www.theses.fr/2019LORR0222

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Cette étude propose de questionner les correspondances entre l’architecture apparente ou non des premiers romans de Marcel Aymé (1902-1967) et la présence des nombreux «… (more)

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Cette étude propose de questionner les correspondances entre l’architecture apparente ou non des premiers romans de Marcel Aymé (1902-1967) et la présence des nombreux « faits d’oralité » à l’œuvre ou mis en œuvre. L’approche ethnocritique de ces récits permet de croiser une poétique du romanesque et une anthropologie du symbolique. Nous nous appuyons tout d’abord sur la théorie du « roman parlant » liée à l’entre-deux guerres, période même de l’arrivée de Marcel Aymé dans le champ littéraire. Nous cartographions ensuite la présence et la conscience de la raison graphique en observant les jeux et enjeux d’une écriture composite. En effet, nous percevons à la fois les échos intertextuels avec la littérature classique mais aussi un intérêt pour d’autres formes de langages littéraires et cinématographiques. L’attention particulière à la voix narrative, le recours au burlesque et à l’ironie participent à la compréhension des choix esthétiques du jeune romancier et au style culturel de ces romans. Au centre de cette analyse, les personnages sont interrogés dans leur quête d’identité et dans leurs façons d’être en prise avec des systèmes étatiques et sociaux qui se concrétisent en particulier dans l’état-civil. Le rapport à l’image et la puissance de la numératie complètent la dynamique complexe de cette recherche identitaire. Voix publiques ou privées, singulières ou collectives, sonnantes ou dissonantes se font entendre dans la narration et sont examinées alors comme témoins des tensions culturelles internes aux communautés représentées. Une dernière partie lit les belligérances et/ ou les coalescences de l’habitus littératien et des oralités vivaces telles qu’elles apparaissent dans les romans de notre corpus (Brûlebois, Aller retour, La Table-aux-Crevés). Cette étude se veut aussi ouverte sur le monde ayméen dans son ensemble, attentive aux passerelles entre toutes les publications de l’auteur des articles de presse aux pièces de théâtre.

This study proposes to examine the relationship between the visible or non-visible structure of the first novels by Marcel Aymé (1902-1967) and the presence of numerous aspects of orality in the novels. An ethnocritical approach to these narratives makes it possible to combine a poetics of the novel with an anthropology of symbols. We base our study first of all on a theory of the “talking novel” (“roman parlant”) related to the period between the two world wars, which corresponds to the period when Marcel Aymé began publishing his work. Then we trace the presence and awareness of writing (as opposed to orality) through an examination of the stylistic effects of what could be called a composite form of writing and the role of these effects in the overall strategy of the author. In effect, we perceive intertextual echoes of the classics but also an interest in new forms of literary and cinematographic expression. The particular attention to narrative voice, but also the presence of the burlesque and of irony, are elements that help one to understand the aesthetic choices of the…

Advisors/Committee Members: Privat, Jean-Marie (thesis director).

Subjects/Keywords: Premiers romans; Raison graphique; Oralités; Roman parlant; Langages romanesques; Ethnocritique; Belligérances culturelles; Burlesque; Acculturation urbaine; First novels; Orality; Fictional styles; Ethnocriticsm; Cultural conflicts; Burlesque; Urban acculturation; 843.91

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Blanchemanche, V. (2019). Espace graphique et oralités vivaces : lecture ethnocritique des premiers romans de Marcel Aymé : Graphic space and tenacious oralities : an ethnocritical reading of the early fiction of Marcel Aymé. (Doctoral Dissertation). Université de Lorraine. Retrieved from http://www.theses.fr/2019LORR0222

Chicago Manual of Style (16^th Edition):

Blanchemanche, Valérie. “Espace graphique et oralités vivaces : lecture ethnocritique des premiers romans de Marcel Aymé : Graphic space and tenacious oralities : an ethnocritical reading of the early fiction of Marcel Aymé.” 2019. Doctoral Dissertation, Université de Lorraine. Accessed April 15, 2021. http://www.theses.fr/2019LORR0222.

MLA Handbook (7^th Edition):

Blanchemanche, Valérie. “Espace graphique et oralités vivaces : lecture ethnocritique des premiers romans de Marcel Aymé : Graphic space and tenacious oralities : an ethnocritical reading of the early fiction of Marcel Aymé.” 2019. Web. 15 Apr 2021.

Vancouver:

Blanchemanche V. Espace graphique et oralités vivaces : lecture ethnocritique des premiers romans de Marcel Aymé : Graphic space and tenacious oralities : an ethnocritical reading of the early fiction of Marcel Aymé. [Internet] [Doctoral dissertation]. Université de Lorraine; 2019. [cited 2021 Apr 15]. Available from: http://www.theses.fr/2019LORR0222.

Council of Science Editors:

Blanchemanche V. Espace graphique et oralités vivaces : lecture ethnocritique des premiers romans de Marcel Aymé : Graphic space and tenacious oralities : an ethnocritical reading of the early fiction of Marcel Aymé. [Doctoral Dissertation]. Université de Lorraine; 2019. Available from: http://www.theses.fr/2019LORR0222

Université Paris-Sorbonne – Paris IV

22. Garnier, Sylvain. Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653) : Erato and Melpomene or the enemy sisters : poetic language and dramatic poetics in french theater from Jodelle to Scarron (1553-1653).

Degree: Docteur es, Littérature et civilisation française, 2017, Université Paris-Sorbonne – Paris IV

URL: http://www.theses.fr/2017PA040148

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L'expression poétique semble inhérente au théâtre classique. Pourtant, les pièces de la seconde moitié du XVIIe siècle, en particulier les tragédies, sont le fruit de… (more)

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L'expression poétique semble inhérente au théâtre classique. Pourtant, les pièces de la seconde moitié du XVIIe siècle, en particulier les tragédies, sont le fruit de principes « réguliers » qui ont cherché à dépoétiser le théâtre et ont largement réussi dans cette entreprise. Pour rendre compte de ce processus, il est nécessaire de retracer l'histoire de la poésie au théâtre depuis la naissance de la tragédie humaniste, au milieu du XVIe siècle, jusqu'à l'instauration de ce que la postérité appellera le classicisme. Il apparaît ainsi que l'élocution lyrique s'est progressivement déplacée au fil du temps du genre tragique vers le genre comique en suivant l'évolution de la poésie lyrique depuis le style sublime de la Pléiade jusqu'à l'expression burlesque de Scarron en passant par la simplicité malherbienne, l'ingéniosité mariniste ou l'enjouement galant. L'expression lyrique glisse ainsi progressivement des chœurs et des discours pathétiques de la tragédie humaniste vers les soupirs, les chansons et les pointes des amants de la tragi-comédie et de la pastorale avant d'être parodiée dans la parlure ridicule des personnages de la comédie burlesque. Parallèlement à ce mouvement, les penseurs réguliers théorisent l'opposition fondamentale du langage poétique et du langage dramatique, rendant ainsi presque impossible le développement d'une tragédie régulière poétique.

Poetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible.

Advisors/Committee Members: Forestier, Georges (thesis director).

Subjects/Keywords: Poésie dramatique; Poésie lyrique; Élocution lyrique; Tragédie humaniste; Tragi-Comédie; Pastorale; Comédie burlesque; Dramatic poesy; Lyric poesy; Elocutio; Humanist tragedy; Tragi-Comédy; Pastoral; Burlesque comedy

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Garnier, S. (2017). Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653) : Erato and Melpomene or the enemy sisters : poetic language and dramatic poetics in french theater from Jodelle to Scarron (1553-1653). (Doctoral Dissertation). Université Paris-Sorbonne – Paris IV. Retrieved from http://www.theses.fr/2017PA040148

Chicago Manual of Style (16^th Edition):

Garnier, Sylvain. “Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653) : Erato and Melpomene or the enemy sisters : poetic language and dramatic poetics in french theater from Jodelle to Scarron (1553-1653).” 2017. Doctoral Dissertation, Université Paris-Sorbonne – Paris IV. Accessed April 15, 2021. http://www.theses.fr/2017PA040148.

MLA Handbook (7^th Edition):

Garnier, Sylvain. “Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653) : Erato and Melpomene or the enemy sisters : poetic language and dramatic poetics in french theater from Jodelle to Scarron (1553-1653).” 2017. Web. 15 Apr 2021.

Vancouver:

Garnier S. Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653) : Erato and Melpomene or the enemy sisters : poetic language and dramatic poetics in french theater from Jodelle to Scarron (1553-1653). [Internet] [Doctoral dissertation]. Université Paris-Sorbonne – Paris IV; 2017. [cited 2021 Apr 15]. Available from: http://www.theses.fr/2017PA040148.

Council of Science Editors:

Garnier S. Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653) : Erato and Melpomene or the enemy sisters : poetic language and dramatic poetics in french theater from Jodelle to Scarron (1553-1653). [Doctoral Dissertation]. Université Paris-Sorbonne – Paris IV; 2017. Available from: http://www.theses.fr/2017PA040148

University of Alabama

23. Landis, Ryan. Opera on the prairie: a biographical and musical analysis of Felix Vinatieri and the American volunteer.

Degree: 2015, University of Alabama

URL: http://purl.lib.ua.edu/125671

► Felix Vinatieri (1834-1891), an Italian composer, immigrated to the United States in 1859 and eventually settled in Yankton, South Dakota. His service as bandmaster with… (more)

▼ Felix Vinatieri (1834-1891), an Italian composer, immigrated to the United States in 1859 and eventually settled in Yankton, South Dakota. His service as bandmaster with the Seventh Cavalry under General George Armstrong Custer has led scholars of his music thus far to remain focused solely on his band music. However, also of great interest are his American comic operas; these compositions, dating from 1877 to 1891, are among the earliest surviving operas composed west of the Mississippi. The composer's favorite, The American Volunteer, was to have been presented at the Columbian World's Fair in Chicago in 1893, but plans were abandoned after his death from pneumonia on December 5, 1891. This document has several purposes. The first is to provide a brief biographical sketch of the life of Felix Vinatieri. Second, it will provide an abbreviated development of opera within the United States, specifically focused upon how American burlesque developed out of proceeding styles and genres. Third, it will provide a closer examination of The American Volunteer, and consider why Vinatieri referred to it as a burlesque opera. Finally, this document will produce a functional performance edition of three selections from The American Volunteer. These selections will be analyzed and comparisons will be made to the music of Vinatieri's contemporaries. Material for this study comes from a variety of sources. Primary sources were drawn largely from two collections, The Vinatieri Archive at the National Music Museum which held musical manuscripts, newspaper articles, military documents, and other resources; and The Dakota Territorial Museum which contained family accounts, and early history for the Dakota Territories and its residents. The study of Vinatieri's music has revealed a competent composer who, though not innovative in his compositional style, was willing to push boundaries with the content and topics contained in his work. Being one of the earliest operas composed west of the Mississippi River The American Volunteer has historical importance and deserves greater consideration. (Published By University of Alabama Libraries) Advisors/Committee Members: Houghtaling, Paul, Pappas, Nikos, Meester, Donna, Robinson, Thomas, Whitaker, Jonathan, Williams, Susan, University of Alabama. School of Music.

Subjects/Keywords: Electronic Thesis or Dissertation; – thesis; Music; Performing arts; Theater history; American; Burlesque; Opera; Vinatieri

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Landis, R. (2015). Opera on the prairie: a biographical and musical analysis of Felix Vinatieri and the American volunteer. (Thesis). University of Alabama. Retrieved from http://purl.lib.ua.edu/125671

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Landis, Ryan. “Opera on the prairie: a biographical and musical analysis of Felix Vinatieri and the American volunteer.” 2015. Thesis, University of Alabama. Accessed April 15, 2021. http://purl.lib.ua.edu/125671.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Landis, Ryan. “Opera on the prairie: a biographical and musical analysis of Felix Vinatieri and the American volunteer.” 2015. Web. 15 Apr 2021.

Vancouver:

Landis R. Opera on the prairie: a biographical and musical analysis of Felix Vinatieri and the American volunteer. [Internet] [Thesis]. University of Alabama; 2015. [cited 2021 Apr 15]. Available from: http://purl.lib.ua.edu/125671.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Landis R. Opera on the prairie: a biographical and musical analysis of Felix Vinatieri and the American volunteer. [Thesis]. University of Alabama; 2015. Available from: http://purl.lib.ua.edu/125671

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Texas A&M University

24. Persky, Julia Christine. Self-Authoring and Performance: Classroom Burlesque as a Strategy for Cultural and Identity Affirmation.

Degree: PhD, Curriculum and Instruction, 2018, Texas A&M University

URL: http://hdl.handle.net/1969.1/192050

► Children in early childhood and elementary classrooms are often marginalized due to a variety of identity markers, which create borders within learning spaces and limit… (more)

▼ Children in early childhood and elementary classrooms are often marginalized due to a variety of identity markers, which create borders within learning spaces and limit access to social and academic success. Students who face marginalization are frequently subjected to systems that colonize both, bodies and minds. Such systems do not recognize the cultural identities of children and frequently misinterpret resistance to normalization and assimilation as discipline problems. Teachers exacerbate the problem because they teach from their own points of view and fail to understand the differences that exist between them and their students. Thus, when children perform their cultural identities, teachers often perceive difference as deviance. This study employed the theoretical frameworks of Postcolonial Theory and Border Theory. Additionally, burlesque, applied as symbolic frame, served as a metaphor for the subversive performances by students as they transgressed borders that negatively constructed and marginalized them. The study explored the strategies implemented by the burlesque community that have transgressed traditional social boundaries – rooted in racism, classism, and sexism – and which have served to establish a carefully cultivated and maintained community of acceptance. Results from the study revealed several strategies that could easily be modified for use in schools. Namely, the burlesque community functions as a collective, they work collaboratively, address issues as they arise, they provide adequate support for community members as needed, they are intentional about meeting community needs, and they are authentic and accessible. Similar use of these steps and strategies in schools could minimize borders and boundaries, and thus transform learning spaces so children are allowed authentic expression of identity, and classroom communities of acceptance are created. Further, results from the deconstructive analysis of several texts showed six themes of disruption employed by the burlesque community, and also implemented by children; visibility, constraint removal, voice, the returned gaze, spectacle, and pleasure in identity. Results showed that students made active use of these mechanisms to interrupt conventional social norms, and made way for performances that resisted domination and oppression through behaviors that parodied public education, made a mockery of classrooms, resisted conformity and preserved identity. Advisors/Committee Members: Viruru, Radhika (advisor), Lincoln, Yvonna (advisor), Burlbaw, Lynn M. (committee member), Neshyba, Monica (committee member).

Subjects/Keywords: Burlesque; Postcolonial Theory; Border Theory; Resistance; Identity; Cultural Relevance; Diversity; Early Childhood Education; Elementary Education

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Persky, J. C. (2018). Self-Authoring and Performance: Classroom Burlesque as a Strategy for Cultural and Identity Affirmation. (Doctoral Dissertation). Texas A&M University. Retrieved from http://hdl.handle.net/1969.1/192050

Chicago Manual of Style (16^th Edition):

Persky, Julia Christine. “Self-Authoring and Performance: Classroom Burlesque as a Strategy for Cultural and Identity Affirmation.” 2018. Doctoral Dissertation, Texas A&M University. Accessed April 15, 2021. http://hdl.handle.net/1969.1/192050.

MLA Handbook (7^th Edition):

Persky, Julia Christine. “Self-Authoring and Performance: Classroom Burlesque as a Strategy for Cultural and Identity Affirmation.” 2018. Web. 15 Apr 2021.

Vancouver:

Persky JC. Self-Authoring and Performance: Classroom Burlesque as a Strategy for Cultural and Identity Affirmation. [Internet] [Doctoral dissertation]. Texas A&M University; 2018. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/1969.1/192050.

Council of Science Editors:

Persky JC. Self-Authoring and Performance: Classroom Burlesque as a Strategy for Cultural and Identity Affirmation. [Doctoral Dissertation]. Texas A&M University; 2018. Available from: http://hdl.handle.net/1969.1/192050

The Ohio State University

25. Wellman, Elizabeth Joanne. Taught It to the Trade: Rose La Rose and the Re-ownership of American Burlesque, 1935-1972.

Degree: PhD, Theatre, 2015, The Ohio State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=osu1439764548

► Declaring burlesque dead has been a habit of the twentieth century. Robert C. Allen quoted an 1890s letter from the first burlesque star of the… (more)

▼ Declaring burlesque dead has been a habit of the twentieth century. Robert C. Allen quoted an 1890s letter from the first burlesque star of the American stage, Lydia Thompson in Horrible Prettiness: Burlesque and American Culture (1991): “[B]urlesque as she knew it `has been retired for a time,’ its glories now `merely memories of the stage.’” In 1931, Bernard Sobel opined in Burleycue: An Underground History of Burlesque Days, “Alas! You will never get a chance to see one of the real burlesque shows again. They are gone forever…” In 1938, The Billboard published an editorial that began, “On every hand the cry is `Burlesque is dead.’” In fact, burlesque had been declared dead so often that editorials began popping up insisting it could be revived, as Joe Schoenfeld’s 1943 op-ed in Variety did: “[It] may be in a state of putrefaction, but it is a lusty and kicking decomposition.” It is this “lusty and kicking decomposition” which characterizes the published history of burlesque. Since its modern inception in the late nineteenth century, American burlesque has both been framed and framed itself within this narrative of degeneration. This narrative consistently reaffirms that the burlesque that came before was superior, worthwhile, real, or legitimate, and that the current state of burlesque is dire, on the edge of complete moral and artistic decay. In many ways, this narrative of perpetual degeneracy is burlesque’s most salient feature. This dissertation examines the narrative of degeneracy in American burlesque between 1935 and 1972, as it permeates popular culture, impacts the development of the burlesque circuit, and is disrupted or re-interrogated by performers who began operating their own burlesque theaters, offering a cultural study of the stripper in popular discourse, the American burlesque circuit, and the career of Rose La Rose in the hopes of achieving what cultural historian John Storey calls “an active undoing." Advisors/Committee Members: Schlueter, Jennifer (Committee Chair).

Subjects/Keywords: Theater; Theater History; Theater Studies; Performing Arts; Dance; Womens Studies; burlesque; striptease; stripping; strippers; exotic dance; Rose La Rose; Toledo, Ohio; popular entertainment; burlesque circuit; American burlesque; popular culture; women; performance; cultural studies

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Wellman, E. J. (2015). Taught It to the Trade: Rose La Rose and the Re-ownership of American Burlesque, 1935-1972. (Doctoral Dissertation). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu1439764548

Chicago Manual of Style (16^th Edition):

Wellman, Elizabeth Joanne. “Taught It to the Trade: Rose La Rose and the Re-ownership of American Burlesque, 1935-1972.” 2015. Doctoral Dissertation, The Ohio State University. Accessed April 15, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1439764548.

MLA Handbook (7^th Edition):

Wellman, Elizabeth Joanne. “Taught It to the Trade: Rose La Rose and the Re-ownership of American Burlesque, 1935-1972.” 2015. Web. 15 Apr 2021.

Vancouver:

Wellman EJ. Taught It to the Trade: Rose La Rose and the Re-ownership of American Burlesque, 1935-1972. [Internet] [Doctoral dissertation]. The Ohio State University; 2015. [cited 2021 Apr 15]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1439764548.

Council of Science Editors:

Wellman EJ. Taught It to the Trade: Rose La Rose and the Re-ownership of American Burlesque, 1935-1972. [Doctoral Dissertation]. The Ohio State University; 2015. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1439764548

26. Κίτσου, Σταματία. Χαρίτιον (P.Oxy. 413 recto) : Εισαγωγή - κείμενο και μετάφραση, ερμηνευτικό υπόμνημα.

Degree: 2014, University of Patras

URL: http://hdl.handle.net/10889/7656

►

Στόχος της μετά χείρας εργασίας είναι η παρουσίαση του Μίμου της Χαριτίου (εισαγωγή, κείμενο -κριτικό υπόμνημα, μετάφραση, ερμηνευτικό υπόμνημα) και η εστίαση στα προβλήματα που… (more)

Subjects/Keywords: Μίμος; Αυτοκρατορική περίοδος; Κωμωδία; Χαρίτιον; Ινδική γλώσσα; 882.02; Μime; Comedy; Imperial era; Charition; Indian dialect; Burlesque; Vaudeville; P.Oxy. 413 recto

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Κίτσου, �. (2014). Χαρίτιον (P.Oxy. 413 recto) : Εισαγωγή - κείμενο και μετάφραση, ερμηνευτικό υπόμνημα. (Masters Thesis). University of Patras. Retrieved from http://hdl.handle.net/10889/7656

Chicago Manual of Style (16^th Edition):

Κίτσου, Σταματία. “Χαρίτιον (P.Oxy. 413 recto) : Εισαγωγή - κείμενο και μετάφραση, ερμηνευτικό υπόμνημα.” 2014. Masters Thesis, University of Patras. Accessed April 15, 2021. http://hdl.handle.net/10889/7656.

MLA Handbook (7^th Edition):

Κίτσου, Σταματία. “Χαρίτιον (P.Oxy. 413 recto) : Εισαγωγή - κείμενο και μετάφραση, ερμηνευτικό υπόμνημα.” 2014. Web. 15 Apr 2021.

Vancouver:

Κίτσου �. Χαρίτιον (P.Oxy. 413 recto) : Εισαγωγή - κείμενο και μετάφραση, ερμηνευτικό υπόμνημα. [Internet] [Masters thesis]. University of Patras; 2014. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/10889/7656.

Council of Science Editors:

Κίτσου �. Χαρίτιον (P.Oxy. 413 recto) : Εισαγωγή - κείμενο και μετάφραση, ερμηνευτικό υπόμνημα. [Masters Thesis]. University of Patras; 2014. Available from: http://hdl.handle.net/10889/7656

University of South Africa

27. Van der Westhuizen, Pieter Christoffel. Parodie en pastiche in die (post)modernistiese drama/teater .

Degree: 1997, University of South Africa

URL: http://hdl.handle.net/10500/3432

► The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude… (more)

Subjects/Keywords: Postmodernism; Parody; Satire; Irony; Burlesque; Anachronism; Fictionality; Theatre; Drama

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Van der Westhuizen, P. C. (1997). Parodie en pastiche in die (post)modernistiese drama/teater . (Doctoral Dissertation). University of South Africa. Retrieved from http://hdl.handle.net/10500/3432

Chicago Manual of Style (16^th Edition):

Van der Westhuizen, Pieter Christoffel. “Parodie en pastiche in die (post)modernistiese drama/teater .” 1997. Doctoral Dissertation, University of South Africa. Accessed April 15, 2021. http://hdl.handle.net/10500/3432.

MLA Handbook (7^th Edition):

Van der Westhuizen, Pieter Christoffel. “Parodie en pastiche in die (post)modernistiese drama/teater .” 1997. Web. 15 Apr 2021.

Vancouver:

Van der Westhuizen PC. Parodie en pastiche in die (post)modernistiese drama/teater . [Internet] [Doctoral dissertation]. University of South Africa; 1997. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/10500/3432.

Council of Science Editors:

Van der Westhuizen PC. Parodie en pastiche in die (post)modernistiese drama/teater . [Doctoral Dissertation]. University of South Africa; 1997. Available from: http://hdl.handle.net/10500/3432

University of New Mexico

28. Davis, Samantha. Mixing the Roman miles: Character Development in Terence's Eunuchus.

Degree: Department of Foreign Languages and Literatures, 2016, University of New Mexico

URL: http://hdl.handle.net/1928/32236

► In my thesis I explore Terences innovative development of three stock characters: Chaerea, the adulescens amator, Thraso, the miles gloriosus, and Gnatho, the parasitus. In… (more)

Subjects/Keywords: Terence; stock characters; Roman social history; Eunuchus; New Comedy; Mythological Burlesque; Mythology; Soldiers; Mid-Republican Rome

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Davis, S. (2016). Mixing the Roman miles: Character Development in Terence's Eunuchus. (Masters Thesis). University of New Mexico. Retrieved from http://hdl.handle.net/1928/32236

Chicago Manual of Style (16^th Edition):

Davis, Samantha. “Mixing the Roman miles: Character Development in Terence's Eunuchus.” 2016. Masters Thesis, University of New Mexico. Accessed April 15, 2021. http://hdl.handle.net/1928/32236.

MLA Handbook (7^th Edition):

Davis, Samantha. “Mixing the Roman miles: Character Development in Terence's Eunuchus.” 2016. Web. 15 Apr 2021.

Vancouver:

Davis S. Mixing the Roman miles: Character Development in Terence's Eunuchus. [Internet] [Masters thesis]. University of New Mexico; 2016. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/1928/32236.

Council of Science Editors:

Davis S. Mixing the Roman miles: Character Development in Terence's Eunuchus. [Masters Thesis]. University of New Mexico; 2016. Available from: http://hdl.handle.net/1928/32236

Texas Tech University

29. Shipley, Martha Sue. Dramatic functions of burlesque in representative Renaissance plays.

Degree: Engineering Science and Mechanics, 1971, Texas Tech University

URL: http://hdl.handle.net/2346/19751

Subjects/Keywords: English drama – Early modern and Elizabethan; Burlesque (Literature)

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Shipley, M. S. (1971). Dramatic functions of burlesque in representative Renaissance plays. (Thesis). Texas Tech University. Retrieved from http://hdl.handle.net/2346/19751

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Shipley, Martha Sue. “Dramatic functions of burlesque in representative Renaissance plays.” 1971. Thesis, Texas Tech University. Accessed April 15, 2021. http://hdl.handle.net/2346/19751.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Shipley, Martha Sue. “Dramatic functions of burlesque in representative Renaissance plays.” 1971. Web. 15 Apr 2021.

Vancouver:

Shipley MS. Dramatic functions of burlesque in representative Renaissance plays. [Internet] [Thesis]. Texas Tech University; 1971. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/2346/19751.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Shipley MS. Dramatic functions of burlesque in representative Renaissance plays. [Thesis]. Texas Tech University; 1971. Available from: http://hdl.handle.net/2346/19751

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

30. King, Portia Jane. Shake it hard : feminist identity and the burly-Q.

Degree: 2008, University of Missouri – Columbia

URL: http://hdl.handle.net/10355/5798

► Can a woman remove her clothes knowing about the gaze of the other and still maintain feminist ideals? Can she legitimately use her body to… (more)

Subjects/Keywords: Burlesque (Theater); Feminism and theater; Social movements

…sexualized body. There are many differences between the burlesque of the mid to late nineteenth… …century and the burlesque of the twenty-first; however, the traditional burlesque roots are… …clearly exhibited. I will examine the historical rise, fall, and revival of burlesque in the… …United States and how burlesque has been both reinvented and reinforced by the neo-burlesque… …social activism and feminism can and do lineup with historical burlesque ideals. Historical…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

King, P. J. (2008). Shake it hard : feminist identity and the burly-Q. (Thesis). University of Missouri – Columbia. Retrieved from http://hdl.handle.net/10355/5798

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

King, Portia Jane. “Shake it hard : feminist identity and the burly-Q.” 2008. Thesis, University of Missouri – Columbia. Accessed April 15, 2021. http://hdl.handle.net/10355/5798.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

King, Portia Jane. “Shake it hard : feminist identity and the burly-Q.” 2008. Web. 15 Apr 2021.

Vancouver:

King PJ. Shake it hard : feminist identity and the burly-Q. [Internet] [Thesis]. University of Missouri – Columbia; 2008. [cited 2021 Apr 15]. Available from: http://hdl.handle.net/10355/5798.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

King PJ. Shake it hard : feminist identity and the burly-Q. [Thesis]. University of Missouri – Columbia; 2008. Available from: http://hdl.handle.net/10355/5798

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

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