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Conclusion: Nasty Women and Female Chauvinist Pigs
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Chapters in this book
- Frontmatter i
- Contents xi
- Preface: Revelations and Disidentification xiii
- Introduction: Definitions and Methodologies 1
- 1. Burlesque as Popular Performance: MsTickle’s Explicit Body as Palimpsest 54
- 2. Burlesque as Monster/Beauty: Beautiful Monsters and the Monstrosity of Beauty in Dita Von Teese 72
- 3. Burlesque as Unruly: Dirty Martini and the Political Efficacy of an Invisible Wink 94
- 4. Burlesque as Pretty/Funny: The Comedic Stylings of Little Brooklyn’s Burlesquing Burlesque 118
- 5. Burlesque as Parodic Pageantry: The Agitprop Theatrics of Bambi the Mermaid’s Miss Coney Island Pageant 147
- 6. Burlesque as Camp: Gender Becoming in World Famous *BOB*’s “One Man Show” 170
- 7. Burlesque as Revolution: The Ridiculous Theatre of Julie Atlas Muz 193
- Conclusion: Nasty Women and Female Chauvinist Pigs 226
- Acknowledgments 233
- Notes 237
- Bibliography 265
- Index 277
Chapters in this book
- Frontmatter i
- Contents xi
- Preface: Revelations and Disidentification xiii
- Introduction: Definitions and Methodologies 1
- 1. Burlesque as Popular Performance: MsTickle’s Explicit Body as Palimpsest 54
- 2. Burlesque as Monster/Beauty: Beautiful Monsters and the Monstrosity of Beauty in Dita Von Teese 72
- 3. Burlesque as Unruly: Dirty Martini and the Political Efficacy of an Invisible Wink 94
- 4. Burlesque as Pretty/Funny: The Comedic Stylings of Little Brooklyn’s Burlesquing Burlesque 118
- 5. Burlesque as Parodic Pageantry: The Agitprop Theatrics of Bambi the Mermaid’s Miss Coney Island Pageant 147
- 6. Burlesque as Camp: Gender Becoming in World Famous *BOB*’s “One Man Show” 170
- 7. Burlesque as Revolution: The Ridiculous Theatre of Julie Atlas Muz 193
- Conclusion: Nasty Women and Female Chauvinist Pigs 226
- Acknowledgments 233
- Notes 237
- Bibliography 265
- Index 277
