Notice bibliographique
Résumé
Reviewed by: Gypsy: The Art of the Tease Judith Lynne Hanna Rachel Shteir . Gypsy: The Art of the Tease. New Haven: Yale University Press, 2009. Pp. 222, illustrated. $24 (Hb); $15 (Pb). In Gypsy, Rachel Shteir gives us a delightfully written, rich picture of an amazing, multi-talented, hard-working woman who goes from stripped-off-rags to riches. Highlighting the complexity of Gypsy Rose Lee (born Rose Louise Hovick), Shteir asserts, [W]hen you strip away Gypsy's witty veneer, what you get instead of a cracked foundation is a glimpse of the narrow line between self-invention and the tragedy emerging from lost souls. And you find here that, whether or not she is telling the truth, Gypsy is neither a puppet nor someone's wallflower daughter forced to take it off - she is a complex and ravishing creature whose act and life reveal self-invention, poignancy, and street smarts. (186) And Shteir's subject was, indeed, such a smart, complex, and self-reinventing woman. Sexy and witty, Gypsy popularized an intellectualized version of striptease, which she wove through her various professional roles. She understood how moving and joking, being sexy and funny simultaneously, could "seduce" others. Gypsy set the precedent for lap dancing when in some striptease numbers she "leapt onto customers' laps" (49). Self-educated, she appreciated literature and the arts. She became an author whose articles appeared in The New Yorker and Mademoiselle and who wrote novels about herself; an actress in film and on Broadway; and a volunteer for the war effort. An activist in the Burlesque Artists' Association, Gypsy advocated for strippers' improved working conditions. She hobnobbed with socialites and stellar figures in the theatrical world. A millionaire, she adapted with the times and her physical maturity. Gypsy became a TV-talk-show emcee and also endorsed products, from Smirnoff Vodka to Voila Gourmet Dog Food. Shteir gives a variety of perspectives on Gypsy's career. As she notes, Gypsy was loved by the public, though ridiculed by some of the critics. [End Page 260] Nonetheless, her legend lives on in books (Keith Garebian's The Making of Gypsy, Erik Preminger's Gypsy and Me: On the Road and at Home with Gypsy Rose Lee), numerous articles, musicals (Gypsy, On Your Toes), and a ballet (Slaughter on Tenth Avenue), even as the art of striptease that she helped to popularize has declined. Shteir attributes the beginnings of this decline to an increasingly popular view that striptease was a gimmick, to the location of its performance venues in slums that were ultimately razed, to the advent of Playboy, and to the widespread attention lavished on Alfred Kinsey's reports, which lessened the taboo attraction of striptease and offered alternative access to the naked female body. Ben Urish (2004) argues, on the other hand, that support of lavish theatrical striptease productions diminished because the coming of television captured the public's attention. Shteir asks where Gypsy belongs: "To what we would now call the sex industry?" (l22). I have observed that, for reasons of political solidarity, some prostitutes and others today have redefined the term sex work to refer to any sort of labour in which sexual pleasure or entertainment is provided in exchange for money (Hanna 2010). Yet, of dancers in particular, Dave Manack, publisher and editor of Exotic Dancer Bulletin, says, "It seems doubtful that anyone in our industry would willingly identify themselves as working in the 'sex industry.' We've never referred to it that way in our magazines or at the Expo, ever. 'Sex worker' is a damaging term; it refers to a prostitute, not a dancer." Not one of the hundreds of striptease dancers I have been interviewing in clubs since 1995 refers to herself as other than dancer, entertainer, or stripper, problematizing Shteir's proposition that Gypsy belongs to "the sex industry." In an equally troubling way, Shteir writes of the aesthetics of the tease, "It is difficult to escape the banality of striptease. Everyone looks the same, more or less, when they take off their clothes. Striptease is not an art form, or at least not in the sense that painting is" (129). However, in the nearly 150...
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,002 | 0,001 |
| Bibliométrie | 0,003 | 0,004 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,002 | 0,002 |
| Science ouverte | 0,001 | 0,001 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,021 | 0,005 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».