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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Baring It All

Cure, Barbie 18 December 2014 (has links)
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 her story using the techniques of creative nonfiction – specifically, the memoir. This is not merely a story of her career – it is a piece about her relationships, the author conquering her fears, and how she rises up to meet her goals. Part I tells of how the author discovers this new world and how she finds her place in it. Part II is the author’s personal narrative of her revelation to her family. This story will introduce those who are unfamiliar with burlesque to a world of theatrics, sparkle, erotic subtexts, and this story needs the techniques of creative nonfiction to do it justice.
2

Hudibras in the burlesque tradition

Richards, Edward Ames, January 1937 (has links)
Thesis (Ph. D.)--Columbia University, 1937. / Vita. Published also without thesis note. Bibliography: p. [171]-180.
3

"The fantasy of real women" new burlesque and the female spectator /

Fargo, Emily Layne, January 2008 (has links)
Thesis (M. A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 98-120).
4

Hudibras in the burlesque tradition

Richards, Edward Ames, January 1937 (has links)
Thesis (Ph. D.)--Columbia University, 1937. / Vita. Published also without thesis note. Bibliography: p. [171]-180.
5

Die literarische Travestie : terminologische Systematik und paradigmatische Analyse (Deutschland, England, Frankreich, Italien) /

Stauder, Thomas. January 1993 (has links)
Diss.--Universität Erlangen-Nürnberg, 1992. / Notes bibliogr. p. 363-471. Bibliogr. p. 509-550.
6

From text to performance : the Lydia Thompson Burlesque Company on the nineteenth century British and American stage /

Smith, Valerie Rae. January 1900 (has links)
Thesis (Ph.D.)--Tufts University, 2005. / Adviser: Laurence Senelick. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 270-290). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
7

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

Ruimi, Claudine 14 October 2013 (has links)
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 food of an uncertain future, mostly synonymous with a feeling of disillusionment. Out of this universe of somber prospects,however, emerges the figure of Mangeclous, the “eternal victor.” Indeed the last word belongs to this burlesque character. In his ability to transcend the art of cooking, Mangeclous conjures up a poetics with parodic overtones that mocks the masquerade of existence. It is only in creating this mythical ogre that Cohen manages to imbue the motif of food with its true richness.
8

Burlesque : music, minstrelsy, and mimetic resistance

Blake, Iris Sandjette 17 December 2013 (has links)
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. / text
9

The rehearsal and its place in the development of English burlesque drama in the seventeenth century /

Over, William Earl January 1975 (has links)
No description available.
10

Le héros picaresque dans l'oeuvre de Charles Coypeau d'Assoucy / The picaresque hero in the work of Charles Coypeau Dassoucy

Abdessalem, Mouna 23 October 2017 (has links)
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.

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