This ethnographic study, based on the grounded theory methodology of Glaser and Strauss (1967) emphasizes male exotic dancing as a career and investigates a predominantly male-for-male gender arrangement of the occupation. Analysis of the data suggests that the men in this occupation understand their labor as titillation, a pleasurable erotic flirtation, for the entertainment of the consumer.; The construction of a virtual self accommodates consumer desire for an encounter with a sexually receptive performer. The encounter occurs within a set of nested contexts—cultural, situational, and subjective. Each context has a different set of obligations, expectations, norms, and signs. The creation of an erotic virtual self entails an assessment of the various contexts and a creative response in the coordination of the available repertoire of behavioral, emotional, visual, and sexual conventions. Central to the virtual self is a constructed sexuality that is not reflective of the desires of the dancer; rather it reflects the desires of the consumer. Unlike a prostitute's performance which is understood as negotiated and directed by the customer, the dancer's performance is believed by the consumer to be a natural and spontaneous expression of the dancer's inner self. The contemporary trend in “reality” entertainment, the panopticon, is an extension of the dancer's experience of a constructed self for the entertainment of the viewer.; Ultimately the alienation of the dancer from this virtual self may result in behaviors and encounters that violate the normative and moral expectations of the dancer's actual self. Accommodation, rejection, or departure from the occupation may result from continued trespasses. Further, the experience of the male dancer presages the depth of alienation the contemporary service worker may experience from portions of the self as “personalized” connection between consumer and laborer becomes a matter of job description within the service economy.
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机译：这项民族志研究基于格拉瑟和斯特劳斯（Glaser and Strauss，1967）的扎实理论方法论，强调男性异国舞蹈是一项职业，并调查了该职业中男性对男性的性别安排。对数据的分析表明，从事这一职业的男性将其劳动理解为滴滴涕，一种愉悦的色情调情，供消费者娱乐。虚拟自我的构建适应了消费者与性接受表演者相遇的愿望。这种相遇发生在一系列嵌套的上下文中-文化，情境和主观。每个环境都有不同的义务，期望，规范和标志。色情虚拟自我的创建需要对各种情境进行评估，并在协调行为，情感，视觉和性习俗的可用曲目时做出创造性的反应。虚拟自我的核心是一种构造的性，不能反映舞者的欲望。而是反映了消费者的需求。与妓女的表演不同，顾客认为表演是由顾客协商和指挥的，消费者认为舞者的表演是舞者内在自我的自然而自然的表达。全景娱乐是“现实”娱乐的当代趋势，是舞者为观众娱乐而构建的自我的体验的延伸。最终，舞者与虚拟自我的疏远可能导致行为和遭遇违反舞者实际自我的规范和道德期望。持续的侵入可能会导致住宿，拒绝或离开职业。此外，男舞者的经历预示着当代服务工作者可能会从自我的某些部分经历异化的深度，因为消费者和劳工之间的“个性化”联系成为服务经济中工作描述的问题。
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