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Hearing Sex: An Ethnographic and Eth...

Hartman, Elizabeth.

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Hearing Sex: An Ethnographic and Ethnomusicological Study of Striptease in the Midwestern U.S.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Hearing Sex: An Ethnographic and Ethnomusicological Study of Striptease in the Midwestern U.S./
作者:	Hartman, Elizabeth.
面頁冊數:	281 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
Contained By:	Dissertation Abstracts International77-10A(E).
標題:	Cultural anthropology. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10117212
ISBN:	9781339786155

Hearing Sex: An Ethnographic and Ethnomusicological Study of Striptease in the Midwestern U.S.
Hartman, Elizabeth.

Hearing Sex: An Ethnographic and Ethnomusicological Study of Striptease in the Midwestern U.S. - 281 p.

Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.

Thesis (Ph.D.)--Northwestern University, 2016.

This dissertation examines music, sound, and political economy in relation to contemporary striptease practices. I consider what it means to produce and consume striptease, both as a stigmatized dance form with a long but largely undocumented history and as a new middle-class pastime. Drawing on field- and archival work conducted predominantly in Minneapolis and St. Paul, Minnesota, the study illuminates how stripping has become a prominent leisure activity available for purchase within the global marketplace. No longer limited to gentlemen's clubs featuring exotic dancers, members of the middle class can now pay to participate in pole dancing classes in the suburbs, or take in nostalgia-infused neo-burlesque shows at the theater. Significantly, many consumers today are women.

ISBN: 9781339786155Subjects--Topical Terms:

2122764
Cultural anthropology.

Hearing Sex: An Ethnographic and Ethnomusicological Study of Striptease in the Midwestern U.S.
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520 $a This dissertation examines music, sound, and political economy in relation to contemporary striptease practices. I consider what it means to produce and consume striptease, both as a stigmatized dance form with a long but largely undocumented history and as a new middle-class pastime. Drawing on field- and archival work conducted predominantly in Minneapolis and St. Paul, Minnesota, the study illuminates how stripping has become a prominent leisure activity available for purchase within the global marketplace. No longer limited to gentlemen's clubs featuring exotic dancers, members of the middle class can now pay to participate in pole dancing classes in the suburbs, or take in nostalgia-infused neo-burlesque shows at the theater. Significantly, many consumers today are women.
520 $a Although striptease practices are often understood to be primarily visual and haptic phenomena, they are also fundamentally aural. Through an examination of technological shifts, the development of striptease-specific music and movement repertoires, skill acquisition, and gendered divisions of sonic and dance labor, I argue that sound design is a key facet of the new striptease economy, facilitating the mainstream acceptance of activities like fitness pole dancing and neo-burlesque while exotic dance largely remains a wage-labor taboo. Thus, what is at stake is not just the recognition of the essential nonvisual aspects of sexualized dance, but also how notions of (un)acceptability are manifested through sound, often with raced, classed, and gendered implications.
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