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FASHION SHOWS, STRIP SHOWS AND BEAUTY PAGEANTS:'''FASHION SHOWS, STRIP SHOWS AND BEAUTY PAGEANTS:
  
[[File:h.t]]
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THE THEATRE OF THE FEMININE IDEAL
  
Notes to Chapter I:
+
by
  
Mary Ellen Diehl, How to Produce a Fashion Show (New York: Fairchild, 1976) 8.
+
TARA MAGINNIS
  
Ebony Fashion Fair Magazine 1988-1989 (Chicago: Johnson, 1988) 12, 30-1.
+
B.A., San Francisco State University, 1981
  
Thelma Hunt Shirley, Success Guide to Fashion Shows (Chicago: Fashion Imprints, 1978) 131.
+
M.A., California State University, Fresno, 1985
  
Geoffrey Gorer, Hot Strip Tease: And Other Notes on American Culture (London: Cresset, 1937) 77.
+
'''
  
"Stores Prove Wonderlands," The San Francisco Call 4 mar. 1911: 10.
+
'''
  
Gorer, 43-4.
+
A Dissertation Submitted to the Graduate Faculty
  
Stripper, dir. by Jerome Gary, Prod. Arnon Milchan, International Pictures Inc., 1986.
+
of the University of Georgia in Partial Fulfillment
  
Morton Minsky and Milt Macklin, Minsky's Burlesque (New York: Arbor, 1986) 97-8.
+
of the
  
"Actresses In Fashion Show," The New York Times 8 Oct. 1915: 11.
+
Requirements for the Degree
  
"Handsome Gowns on Living Models Tempt Visitors," The San Francisco Call 6 Sept. 1912: 12.
+
DOCTOR OF PHILOSOPHY '''
  
Diehl, 82.
+
'''ATHENS, GEORGIA
  
Minsky, 51.
+
1991
  
Minsky, 51.
+
'''
  
Rowland Barber, The Night They Raided Minsky's (New York: Simon and Schuster, 1960) 200-1.
+
'''(C) 1991
  
A notable exception to this was the 1991 Miss America 70th Anniversary Pageant televised in September 1990. On that occasion the production numbers spilled out onto the runway, and included 29 former Miss Americas, the hosts Gary Collins and Miss America 1971 Phyllis George, and special guest Bert Parks. Interestingly the male lead singer and male "Miss America Dancers" in the production numbers did not use the runway. But Bert Parks, did, for the record, sing "There She Is" to the 29 former Miss Americas as he walked between them down the runway--a Miss America first.
+
Tara Michele Maginnis
  
Frank Deford, There She Is: The Life And Times of Miss America (New York: Viking, 1971) 227.
+
All Rights Reserved
  
Deford, 278.
+
'''
  
Corinth states: "The word 'mannequin,' meaning someone who wears a garment to show how it looks, was first used at the House of Worth. A reporter for La Vie Parisienne visited Worth one day with a companion who asked to have someone put on a dress so she could see the effect. A vendeuse obliged. The reporter later wrote an article about the visit, titling it 'Entree de Mlle. Mannequin.' Until that time, the word 'mannequin' referred only to a dummy or dress stand." (14).
+
'''FASHION SHOWS, STRIP SHOWS AND BEAUTY PAGEANTS:
  
Helen Fraser, Assignment in Modeling (New York: McGraw-Hill, 1950) 219.
+
THE THEATRE OF THE FEMININE IDEAL
  
Jacque Mercer, How to Win a Beauty Contest (Phoenix: Curran, 1960) 106, 110.
+
by
  
1990 Judges Committee Manual; For Official Miss America Preliminary Pageants (Atlantic City: The Miss America Organization, 1989) 8-9.
+
TARA MAGINNIS
  
Marie Leaser Farris and Verna Meer Slade, The Beauty Pageant Manual: A Complete Training Guide (Atlanta: Pageant Manual, 1987) 102.
+
'''
  
"Fashion Forecast: Suiting Up For The 90's," Pageantry Spr. 1990: 4-5.
+
'''
  
This fact is too widely acknowledged to give a single source for this statement. Alexander noted in the Thirties that "Some girls sew their own costumes. Madge Carmille has a tiny machine she takes everywhere with her..." and that a stripper "buys her own wardrobe and she has to have changes every week." During this time Gypsy Rose Lee claimed to have made all her own costumes, as did Tempest Storm and Blaze Starr in the Fifties. Strippers "Misty" and Lauri Lewin in the Seventies also claim to have provided their own costumes, although Lewin claims to have bought her wardrobe from vintage clothing stores and only altered them to fit. The girls in the Eighties documentary Stripper also mostly appear to be providing their own costumes. Sara Costa and her mother are seen shopping for accessories and sewing her wardrobe. And stitching strippers and sewing machines are present in the background of several scenes, seemingly too ordinary a sight to merit special attention of their own.
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==This work is dedicated to==
  
Stripper.
+
Marle Winkler Simon
  
Stripper.
+
Who, sensibly,
  
Ann Corio and Joseph Di Mona, This Was Burlesque (New York: Grosset and Dunlap, 1968) 105.
+
would have thought this work was
  
Corio, 99.
+
a lot of words
  
Corio, 103.
+
to no great purpose.
  
Corio, 103.
+
But, being my Grandmother,
  
Corio, 104.
+
she would have told me it was brilliant
  
Irving Zeidman, The American Burlesque Show (New York: Hawthorne, 1967) 157.
+
anyway.
  
Zeidman, 149.
+
'''
  
Zeidman, 148.
+
'''
  
Stripper.
+
==Acknowledgements==
  
Lois Banner, American Beauty (New York: Knopf, 1983) 269-70.
+
'''
  
Farris, 1.
+
'''I would like to thank a number of people for helpin
  
Geoffrey Dunn and Mark Schwartz (directors),'' Miss...or Myth?'', produced by Dunn, Schwartz and Claire Rubach. Gold Mountain Productions, 1987. Distributed by the Cinema Guild (New York).
+
gathering the information that went into this work, most
  
Ann Simonton, At Issue: Do Beauty Pageants Have Value? (P.M. Editorial Services, 1989).
+
significantly the librarians of the Marin County Library,  
  
Kathrin Perutz, Beyond The Looking Glass; America's Beauty Culture (New York: Morrow, 1970) 214-15.
+
Civic Center Branch, for helping me to find an inordinate
  
Deidre English, "The Politics of Porn, Can Feminists Walk the Line?," The Best of Mother Jones (San Francisco: Foundation for National Progress, 1985) 52.
+
amount of data on what must have seemed to be the most
  
Fraser, 230.
+
bizarre, kinky and trivial group of topics. Additionally, I
  
Lucy Duff-Gordon, ["Lucille"], Discretions And Indiscretions (New York: Frederick A. Stokes Company, 1932) 78.
+
wish to thank Fairchild Books and Visuals for permission to
  
Hart Crane, The Complete Poems And Selected Letters And Prose of Hart Crane (New York: Liveright, 1933) 100.
+
reproduce the runway diagrams from How to Produce a Fashion
  
Barbara Peterson Burwell and Polly Peterson Bowles, Becoming A Beauty Queen: The Complete Guide (New York: Prentice Hall, 1987) xvii.
+
Show, Grove-Weidenfeld for permission to reproduce the
  
G. and C. Merriam Co., Webster's New Collegiate Dictionary (Springfield: Merriam-Webster, 1956) 411.
+
illustration of the Hanimichi bridge from The Kabuki
  
Actually the E-string is narrowest, however there are two E-strings on a violin, and one is also the widest, hence the choice of G-string to indicate a narrow strip of fabric. In Lady of Burlesque the film based on Gypsy Rose Lee's book The G-String Murders, Barbara Stanwyck in the lead, sang a musical number entitled "Take it Off the E-String, Put it On the G-String."
+
Theatre, Penguin USA for permission to reproduce the  
  
John Elsom, Erotic Theatre (New York: Taplinger, 1974) 171-73.
+
photographs from There She Is, and the Miss America Pageant
  
H.M. Alexander, Striptease: The Vanished Art of Burlesque (New York; Newmarket, 1987) 97.
+
organization, Negrete's American International Organization,  
  
Banner, 264.
+
Madison Square Gardens Productions, and Pageants
  
Susan Dworkin, Miss America 1945; Bess Myerson's Own Story (New York; Newmarket, 1987) 97.
+
Incorporated for sending me useful literature. Tara L.  
  
Farris, 50.
+
Baxter of Media Watch also kindly provided assistance and
  
Farris, 116.
+
information, as did Dixie Evans ("The Marilyn Monroe of
  
Kay Corinth, Fashion Showmanship (New York: Wiley, 1970) 17.
+
Burlesque") the president of The Burlesque Historical
  
Diehl, 7.
+
Society of America. Most significantly, my parents Leo and
  
Shirley, 131.
+
Marion Maginnis provided every kind of support possible
  
Earle Ernst, The Kabuki Theatre (New York: Simon and Schuster, 1960) 201.
+
(including videotaping pageants, typing rough drafts of this
  
Leonard Cabell Pronko, Theatre East and West: Perspectives Towards a Total Theatre (Berkeley: U of California P, 1967) 142.
+
work, and keeping me sane) and really deserve much more
  
James Roose-Evans, Experimental Theatre; From Stanislavski To Today (New York: Universe, 1970) 55-58.
+
thanks than anyone could adequately express in words.'''
  
Deford, 225.
+
'''Back to
  
Elsom, xiv.
+
[[1pagesDissertationDissabst|This work isdedicated toAcknowledgementsDissertationIndex/]]On to
  
Helen Bullitt Lowry, "Rude Intrusion of Facts Into Fashions," New York Times 1 Aug. 1920: III-15.
+
[[1pagesDissertationDissch1a| Chapter I]]'''
 
+
Lowry, "Rude," III-15.
+
  
 
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Revision as of 01:36, 23 January 2014

FASHION SHOWS, STRIP SHOWS AND BEAUTY PAGEANTS:FASHION SHOWS, STRIP SHOWS AND BEAUTY PAGEANTS:

THE THEATRE OF THE FEMININE IDEAL

by

TARA MAGINNIS

B.A., San Francisco State University, 1981

M.A., California State University, Fresno, 1985

A Dissertation Submitted to the Graduate Faculty

of the University of Georgia in Partial Fulfillment

of the

Requirements for the Degree

DOCTOR OF PHILOSOPHY

ATHENS, GEORGIA

1991

(C) 1991

Tara Michele Maginnis

All Rights Reserved

FASHION SHOWS, STRIP SHOWS AND BEAUTY PAGEANTS:

THE THEATRE OF THE FEMININE IDEAL

by

TARA MAGINNIS

This work is dedicated to

Marle Winkler Simon

Who, sensibly,

would have thought this work was

a lot of words

to no great purpose.

But, being my Grandmother,

she would have told me it was brilliant

anyway.

Acknowledgements

I would like to thank a number of people for helpin

gathering the information that went into this work, most

significantly the librarians of the Marin County Library,

Civic Center Branch, for helping me to find an inordinate

amount of data on what must have seemed to be the most

bizarre, kinky and trivial group of topics. Additionally, I

wish to thank Fairchild Books and Visuals for permission to

reproduce the runway diagrams from How to Produce a Fashion

Show, Grove-Weidenfeld for permission to reproduce the

illustration of the Hanimichi bridge from The Kabuki

Theatre, Penguin USA for permission to reproduce the

photographs from There She Is, and the Miss America Pageant

organization, Negrete's American International Organization,

Madison Square Gardens Productions, and Pageants

Incorporated for sending me useful literature. Tara L.

Baxter of Media Watch also kindly provided assistance and

information, as did Dixie Evans ("The Marilyn Monroe of

Burlesque") the president of The Burlesque Historical

Society of America. Most significantly, my parents Leo and

Marion Maginnis provided every kind of support possible

(including videotaping pageants, typing rough drafts of this

work, and keeping me sane) and really deserve much more

thanks than anyone could adequately express in words.

Back to

This work isdedicated toAcknowledgementsDissertationIndex/On to

Chapter I

File:H.t

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