aesthetic irony
aesthetic rebellion
AIDS-era art
alternative aesthetics
androgyny in art
art and sexuality
artificiality in art
artistic masquerade
avant-garde sexuality
camp and literature
camp history
camp in theater
camp sensibility
camp sensibility in film
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cross-gender expression
cultural rebellion
cultural satire
decadent aesthetics
drag performance
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exaggerated mannerisms
exaggerated persona
exaggerated style
fashion and performance
flamboyant expression
gay cultural history
gay visual culture
gender fluidity
gender parody
high versus low culture
homoerotic imagination
homoerotic subtext
homosexual identity
humor and resistance
humor in queer art
identity through performance
ironic distance
irony and aesthetics
kitsch appreciation
opera and sexuality
parody and pastiche
parody in popular music
performative camp
performative excess
performative identity
performative irony
performativity and identity
pop culture aesthetics
pop culture critique
post-Stonewall culture
postmodern performance
queer aesthetics
queer cultural critique
queer cultural influence
queer expression in media
queer performance
queer representation
queer subtext in film
queer theory
queer visibility
self-conscious eroticism
sexual identity politics
social commentary through style
style as protest
stylized exaggeration
subcultural style
subversive humor
theatrical artifice
theatrical expression
visual excess
visual flamboyance
Product details
- ISBN 9780870238789
- Weight: 463g
- Dimensions: 156 x 234mm
- Publication Date: 14 Dec 1993
- Publisher: University of Massachusetts Press
- Publication City/Country: US
- Product Form: Paperback
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The concept of camp has never been easy to define. Derived from the French verb ""camper"" (to pose) it has been variously interpreted as a style that favours exaggeration, an ironic attitude toward the cultural mainstream and a form of aestheticism that celebrates artifice over beauty. At the same time, camp has been long associated with homosexual culture, or at least with a self-conscious eroticism that questions traditional gender constructions. The 16 essays on camp included in this book explore the relationship between style and homosexuality, showing how camp has made its way into every aspect of our cultural lives: theatre, popular music, opera, film, and literature. Beginning with an overview of what camp is, where it came from and how it operates, the chapters address topics ranging from the ""high camp"" of Whitman and Proust to the ""low camp"" of drag-queen culture and gay fanzines. Together they carry forward a conversation that began more than 25 years ago, before Stonewall and AIDS, when Susan Sontag published her memorable ""Notes on Camp"".
