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Full-Text Articles in Dramatic Literature, Criticism and Theory
Neoclassicism And Camp In Sir William Hamilton’S Naples, Ersy Contogouris
Neoclassicism And Camp In Sir William Hamilton’S Naples, Ersy Contogouris
ABO: Interactive Journal for Women in the Arts, 1640-1830
Susan Sontag, in her now-classic “Notes on Camp” (1964), traces the origins of camp to the eighteenth century (13, 14, 33). And although it is precisely the baroque and rococo art movements against which Winckelmann rebelled that Sontag identifies as camp, it is worth reflecting on whether the notion of imitation that is central to both movements – imitation of ancient works in the case of neoclassicism, and imitation as parody in the case of camp (Meyer 7) – might not bring the two closer. Once the conceptual chasm separating neoclassicism and camp has begun to be bridged, we can …
Sterne’S Sentimental Temptations: Sex, Sensibility, And The Uses Of Camp, Julie Beaulieu
Sterne’S Sentimental Temptations: Sex, Sensibility, And The Uses Of Camp, Julie Beaulieu
ABO: Interactive Journal for Women in the Arts, 1640-1830
Laurence Sterne’s lack of commitment to the tenets of sentimentality in A Sentimental Journey—present in his ability to mock and praise the individual capacity to feel, and more precisely, in his satirical reading of the “cult of sensibility,” the new ideological imperative to have and to showcase deep, sentimental feelings—remains as one of the central challenges for readings of the novel. To explore Sterne’s portrayal of sensibility in A Sentimental Journey, I turn to camp sensibility, and the discussions that followed Susan Sontag’s “Notes on Camp.” Sterne’s novel could be read as camp, perhaps most notably in his …
Eighteenth-Century Camp Introduction, Ula Lukszo Klein, Emily Mn Kugler
Eighteenth-Century Camp Introduction, Ula Lukszo Klein, Emily Mn Kugler
ABO: Interactive Journal for Women in the Arts, 1640-1830
A blend of the silly and the extravagant that puts the serious into conversation with the ridiculous, camp today is often signified by elements of eighteenth-century Europe with its elaborate hairstyles, exaggerated silhouettes, affected courtiers, and a rise in the consumption of exotic goods, candelabras, masks, and other markers of elite excess (often with a nod to the era’s demise in the form of either the French Revolution or subsequent Victorian strictures). Camp’s relation to queer modes of performance and its prioritization of style over (or in conjunction with) substance offers a queer aesthetic lens to re-evaluate the eighteenth century …