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The emergence of modernity has typically focused on Western male actors and privileged politics and economy over culture. The contributors to this volume successfully unsettle such perspectives by emphasizing the social history, artistic practices, and symbolic meanings of female performers in popular music of Asia.Women surfaced as popular icons in different guises in different Asian countries through different routes of circulation. Often, these women established prominent careers within colonial conditions, which saw Asian societies in rapid transition and the vernacular and familiar articulated with the novel and the foreign. These female performers were not merely symbols of times that were rapidly changing. Nor were they simply the personification of global historical changes. Female entertainers, positioned at the margins of intersecting fields of activities, created something hitherto unknown: they were artistic pioneers of new music, new cinema, new forms of dance and theater, and new behavior, lifestyles, and morals. They were active agents in the creation of local performance cultures, of a newly emerging mass culture, and the rise of a region-wide and globally oriented entertainment industry.Vamping the Stage is the first book-length study of women, modernity, and popular music in Asia, showcasing cutting-edge research conducted by scholars whose methods and perspectives draw from such diverse fields as anthropology, Asian studies, cultural studies, ethnomusicology, and film studies. Led by an impressive introduction written by Weintraub and Barendregt, fourteen contributors analyze the many ways that women performers supported, challenged, and transgressed representations of existing gendered norms in the entertainment industries of China, Japan, India, Indonesia, Iran, Korea, Malaysia, and the Philippines. Placing women's voices in social and historical contexts, the essays explore salient discourses, representations, meanings, and politics of "voice" in Asian popular music.Historicizing the artistic sounds, lyrical texts, and visual images of female performers, the essays reveal how women used popular music to shape the ideas, practices, and meanings of modernity in various Asian contexts and time frames. The ascendency of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, women as business entrepreneurs and independent income earners, and particularly as models for new life styles. Women's voices, mediated through new technologies of film and the phonograph, changed the soundscape of global popular music and resonate today in all spheres of modern life.

Popular music --- Women singers --- Women entertainers

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There are no clear demarcation lines between magic, astrology, necromancy, medicine, and even sciences in the pre-modern world. Under the umbrella term 'magic,' the contributors to this volume examine a wide range of texts, both literary and religious, both medical and philosophical, in which the topic is discussed from many different perspectives. The fundamental concerns address issue such as how people perceived magic, whether they accepted it and utilized it for their own purposes, and what impact magic might have had on the mental structures of that time. While some papers examine the specific appearance of magicians in literary texts, others analyze the practical application of magic in medical contexts. In addition, this volume includes studies that deal with the rise of the witch craze in the late fifteenth century and then also investigate whether the Weberian notion of disenchantment pertaining to the modern world can be maintained. Magic is, oddly but significantly, still around us and exerts its influence. Focusing on magic in the medieval world thus helps us to shed light on human culture at large.

Magic --- Magicians. --- Conjurers --- Conjurors --- Enchanters --- Illusionists (Magicians) --- Legerdemainists --- Sorcerers --- Entertainers --- Tricksters --- Wizards --- History. --- Esoteric sciences --- History of civilization --- Magic.

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This book addresses the notion posed by Thomas Kilroy in his definition of a playwright’s creative process: ‘We write plays, I feel, in order to populate the stage’. It gathers eclectic reflections on contemporary Irish theatre from both Irish theatre practitioners and international academics. The eighteen contributions offer innovative perspectives on Irish theatre since the early 1990s up to the present, testifying to the development of themes explored by emerging and established playwrights as well as to the (r)evolutions in practices and approaches to the stage that have taken place in the last thirty years. This cross-disciplinary collection devotes as much attention to contextual questions and approaches to the stage in practice as it does to the play text in its traditional and revised forms. The essays and interviews encourage dialectic exchange between analytical studies on contemporary Irish theatre and contributions by theatre practitioners.v>.

Theater --- History. --- Theater. --- Actors. --- Contemporary Theatre. --- Performers and Practitioners. --- National/Regional Theatre and Performance. --- Theatre Industry. --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors

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Whatkind of woman dances naked for money? Bernadette Barton takes us insidecountless strip bars and clubs, from upscale to back road as well as those thatspecialize in lap dancing, table dancing, topless only, and peep shows, toreveal the startling lives of exotic dancers. Originally published in 2006, the product of years of first-hand research in strip clubs around the country, Stripped is a classic portrait of what it’s like for those who choose to strip as a profession. Barton explores why women begin stripping, the initial excitement and financial rewards of the work, the dangers of the life—namely, drugs and prostitution—and, inevitably, the difficulties in staying in the business over time, especially for their relationships, sexuality and self-esteem. In this completely revised and updated edition, Barton returns to the strip clubs she originally studied to observe the major changes in the industry that have occurred over the last decade. She examines how “raunch culture” affects exotic dancers’ treatment by their clientele, who are now accustomed to seeing nudity and sexualized performance in accessible, R and X -rated media from a variety of outlets, particularly the Internet. Barton explores how new media has transformed exotic dancing, allowing dancers to build an online brand, but also introducing possibilities for customers to take unauthorized nude photos and videos of the entertainers.. And finally, Barton speaks to new dancers as well as dancers she interviewed in the previous edition, examining how the toll of stripping still impacts the lives of exotic dancers in a changing industry. Incorporating new scholarship, new observations, and increased awareness of emerging media technology, Barton brings a fresh and important perspective on the challenges that women face working in the still-thriving world of exotic dancing.Whatkind of woman dances naked for money? Bernadette Barton takes us insidecountless strip bars and clubs, from upscale to back road as well as those thatspecialize in lap dancing, table dancing, topless only, and peep shows, toreveal the startling lives of exotic dancers. Originally published in 2006, the product of years of first-hand research in strip clubs around the country, Stripped is a classic portrait of what it’s like for those who choose to strip as a profession. Barton explores why women begin stripping, the initial excitement and financial rewards of the work, the dangers of the life—namely, drugs and prostitution—and, inevitably, the difficulties in staying in the business over time, especially for their relationships, sexuality and self-esteem. In this completely revised and updated edition, Barton returns to the strip clubs she originally studied to observe the major changes in the industry that have occurred over the last decade. She examines how “raunch culture” affects exotic dancers’ treatment by their clientele, who are now accustomed to seeing nudity and sexualized performance in accessible, R and X -rated media from a variety of outlets, particularly the Internet. Barton explores how new media has transformed exotic dancing, allowing dancers to build an online brand, but also introducing possibilities for customers to take unauthorized nude photos and videos of the entertainers.. And finally, Barton speaks to new dancers as well as dancers she interviewed in the previous edition, examining how the toll of stripping still impacts the lives of exotic dancers in a changing industry. Incorporating new scholarship, new observations, and increased awareness of emerging media technology, Barton brings a fresh and important perspective on the challenges that women face working in the still-thriving world of exotic dancing.

Stripteasers. --- Striptease --- Strip-tease --- Burlesque (Theater) --- Nudity in the performing arts --- Lap dancing --- Dancers, Exotic --- Ecdysiasts --- Exotic dancers --- Peelers (Burlesque) --- Strip-teasers --- Strippers (Burlesque) --- Entertainers --- Sex workers --- Social aspects.

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Roman comedy evolved early in the war-torn 200s BCE. Troupes of lower-class and slave actors traveled through a militarized landscape full of displaced persons and the newly enslaved; together, the actors made comedy to address mixed-class, hybrid, multilingual audiences. Surveying the whole of the Plautine corpus, where slaves are central figures, and the extant fragments of early comedy, this book is grounded in the history of slavery and integrates theories of resistant speech, humor, and performance. Part I shows how actors joked about what people feared - natal alienation, beatings, sexual abuse, hard labor, hunger, poverty - and how street-theater forms confronted debt, violence, and war loss. Part II catalogues the onstage expression of what people desired: revenge, honor, free will, legal personhood, family, marriage, sex, food, free speech; a way home, through memory; and manumission, or escape - all complicated by the actors' maleness. Comedy starts with anger.

Theater --- Latin drama (Comedy) --- Actors --- Theater and society --- Slavery --- Civilization, Classical --- Society and theater --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Classical civilization --- Civilization, Ancient --- Classicism --- Abolition of slavery --- Antislavery --- Enslavement --- Mui tsai --- Ownership of slaves --- Servitude --- Slave keeping --- Slave system --- Slaveholding --- Thralldom --- Crimes against humanity --- Serfdom --- Slaveholders --- Slaves --- History --- History and criticism --- Social conditions --- Social status --- Social aspects --- E-books --- Civilization, Classical. --- History. --- History and criticism. --- Social conditions. --- Plautus, Titus Maccius. --- Enslaved persons