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[o]" accesskey="o"> Log in</a></li> </ul> </div> </div> <div id="p-user-menu-anon-editor" class="vector-menu mw-portlet mw-portlet-user-menu-anon-editor" > <div class="vector-menu-heading"> Pages for logged out editors <a href="/wiki/Help:Introduction" aria-label="Learn more about editing">learn more</a> </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="pt-anoncontribs" class="mw-list-item"><a href="/wiki/Special:MyContributions" title="A list of edits made from this IP address [y]" accesskey="y">Contributions</a></li><li id="pt-anontalk" class="mw-list-item"><a href="/wiki/Special:MyTalk" title="Discussion about edits from this IP address [n]" accesskey="n">Talk</a></li> </ul> </div> </div> </div> </div> </nav> </div> </header> </div> <div class="mw-page-container"> <div class="mw-page-container-inner"> <div class="vector-sitenotice-container"> <div id="siteNotice"></div> </div> <div class="vector-column-start"> <div class="vector-main-menu-container"> <div id="mw-navigation"> <nav id="mw-panel" class="vector-main-menu-landmark" aria-label="Site"> <div id="vector-main-menu-pinned-container" class="vector-pinned-container"> </div> </nav> </div> </div> <div class="vector-sticky-pinned-container"> <nav id="mw-panel-toc" aria-label="Contents" data-event-name="ui.sidebar-toc" class="mw-table-of-contents-container vector-toc-landmark"> <div id="vector-toc-pinned-container" class="vector-pinned-container"> <div id="vector-toc" class="vector-toc vector-pinnable-element"> <div class="vector-pinnable-header vector-toc-pinnable-header vector-pinnable-header-pinned" data-feature-name="toc-pinned" data-pinnable-element-id="vector-toc" > <h2 class="vector-pinnable-header-label">Contents</h2> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-toc.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-toc.unpin">hide</button> </div> <ul class="vector-toc-contents" id="mw-panel-toc-list"> <li id="toc-mw-content-text" class="vector-toc-list-item vector-toc-level-1"> <a href="#" class="vector-toc-link"> <div class="vector-toc-text">(Top)</div> </a> </li> <li id="toc-Origins_and_development" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Origins_and_development"> <div class="vector-toc-text"> 1 Origins and development </div> </a> <ul id="toc-Origins_and_development-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Camp_in_contemporary_culture" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Camp_in_contemporary_culture"> <div class="vector-toc-text"> 2 Camp in contemporary culture </div> </a> <button aria-controls="toc-Camp_in_contemporary_culture-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Camp in contemporary culture subsection </button> <ul id="toc-Camp_in_contemporary_culture-sublist" class="vector-toc-list"> <li id="toc-Fashion" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fashion"> <div class="vector-toc-text"> 2.1 Fashion </div> </a> <ul id="toc-Fashion-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Film" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Film"> <div class="vector-toc-text"> 2.2 Film </div> </a> <ul id="toc-Film-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Literature" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Literature"> <div class="vector-toc-text"> 2.3 Literature </div> </a> <ul id="toc-Literature-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Music"> <div class="vector-toc-text"> 2.4 Music </div> </a> <ul id="toc-Music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Photography" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Photography"> <div class="vector-toc-text"> 2.5 Photography </div> </a> <ul id="toc-Photography-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Television" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Television"> <div class="vector-toc-text"> 2.6 Television </div> </a> <ul id="toc-Television-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Theatre" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Theatre"> <div class="vector-toc-text"> 2.7 Theatre </div> </a> <ul id="toc-Theatre-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Distinguishing_between_kitsch_and_camp" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Distinguishing_between_kitsch_and_camp"> <div class="vector-toc-text"> 3 Distinguishing between kitsch and camp </div> </a> <ul id="toc-Distinguishing_between_kitsch_and_camp-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 4 See also </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 5 References </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> 6 Sources </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> 7 Further reading </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 8 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Camp (style)</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 27 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-27" aria-hidden="true" > 27 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Camp" title="Camp – Asturian" lang="ast" hreflang="ast" data-title="Camp" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target">Asturianu</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Est%C3%A8tica_camp" title="Estètica camp – Catalan" lang="ca" hreflang="ca" data-title="Estètica camp" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Camp_(arddull)" title="Camp (arddull) – Welsh" lang="cy" hreflang="cy" data-title="Camp (arddull)" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target">Cymraeg</a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Camp_(kunst)" title="Camp (kunst) – Danish" lang="da" hreflang="da" data-title="Camp (kunst)" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target">Dansk</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Camp_(Kunst)" title="Camp (Kunst) – German" lang="de" hreflang="de" data-title="Camp (Kunst)" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Camp" title="Camp – Spanish" lang="es" hreflang="es" data-title="Camp" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Kampo_(kulturo)" title="Kampo (kulturo) – Esperanto" lang="eo" hreflang="eo" data-title="Kampo (kulturo)" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Camp" title="Camp – Basque" lang="eu" hreflang="eu" data-title="Camp" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Camp_(style)" title="Camp (style) – French" lang="fr" hreflang="fr" data-title="Camp (style)" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%BA%A0%ED%94%84_(%EC%96%91%EC%8B%9D)" title="캠프 (양식) – Korean" lang="ko" hreflang="ko" data-title="캠프 (양식)" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Camp_(arte)" title="Camp (arte) – Italian" lang="it" hreflang="it" data-title="Camp (arte)" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A7%D7%90%D7%9E%D7%A4" title="קאמפ – Hebrew" lang="he" hreflang="he" data-title="קאמפ" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%99%E1%83%94%E1%83%9B%E1%83%9E%E1%83%98" title="კემპი – Georgian" lang="ka" hreflang="ka" data-title="კემპი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Camp_(st%C3%ADlus)" title="Camp (stílus) – Hungarian" lang="hu" hreflang="hu" data-title="Camp (stílus)" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Camp_(cultuuruiting)" title="Camp (cultuuruiting) – Dutch" lang="nl" hreflang="nl" data-title="Camp (cultuuruiting)" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%AD%E3%83%A3%E3%83%B3%E3%83%97_(%E6%A7%98%E5%BC%8F)" title="キャンプ (様式) – Japanese" lang="ja" hreflang="ja" data-title="キャンプ (様式)" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Kamp_(estetyka)" title="Kamp (estetyka) – Polish" lang="pl" hreflang="pl" data-title="Kamp (estetyka)" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Camp" title="Camp – Portuguese" lang="pt" hreflang="pt" data-title="Camp" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Camp_(stil)" title="Camp (stil) – Romanian" lang="ro" hreflang="ro" data-title="Camp (stil)" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9A%D1%8D%D0%BC%D0%BF_(%D1%8D%D1%81%D1%82%D0%B5%D1%82%D0%B8%D0%BA%D0%B0)" title="Кэмп (эстетика) – Russian" lang="ru" hreflang="ru" data-title="Кэмп (эстетика)" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Camp_(stil)" title="Camp (stil) – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Camp (stil)" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target">Srpskohrvatski / српскохрватски</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Camp" title="Camp – Finnish" lang="fi" hreflang="fi" data-title="Camp" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Camp" title="Camp – Swedish" lang="sv" hreflang="sv" data-title="Camp" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Camp" title="Camp – Turkish" lang="tr" hreflang="tr" data-title="Camp" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9A%D0%B5%D0%BC%D0%BF_(%D0%B5%D1%81%D1%82%D0%B5%D1%82%D0%B8%D0%BA%D0%B0)" title="Кемп (естетика) – Ukrainian" lang="uk" hreflang="uk" data-title="Кемп (естетика)" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Camp_(phong_c%C3%A1ch)" title="Camp (phong cách) – Vietnamese" lang="vi" hreflang="vi" data-title="Camp (phong cách)" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%9D%8E%E6%99%AE%E9%A3%8E" title="坎普风 – Chinese" lang="zh" hreflang="zh" data-title="坎普风" data-language-autonym="中文" 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.hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">"Campy" redirects here. For other uses, see <a href="/wiki/Campy_(disambiguation)" class="mw-disambig" title="Campy (disambiguation)">Campy (disambiguation)</a>.</div> Camp is an <a href="/wiki/Aesthetics" title="Aesthetics">aesthetic</a> and sensibility that regards something as appealing or amusing because of its heightened level of artifice, affectation and exaggeration,<a href="#cite_note-1">[1]</a><a href="#cite_note-:1-2">[2]</a><a href="#cite_note-:4-3">[3]</a> especially when there is also a playful or <a href="/wiki/Irony" title="Irony">ironic</a> element.<a href="#cite_note-4">[4]</a><a href="#cite_note-:10-5">[5]</a> Camp is historically associated with <a href="/wiki/LGBT_culture" class="mw-redirect" title="LGBT culture">LGBTQ+ culture</a> and especially <a href="/wiki/Gay_men" title="Gay men">gay men</a>.<a href="#cite_note-:1-2">[2]</a><a href="#cite_note-MallaMcGillis2005-6">[6]</a><a href="#cite_note-:2-7">[7]</a><a href="#cite_note-:3-8">[8]</a> Camp aesthetics disrupt <a href="/wiki/Modernism" title="Modernism">modernist</a> understandings of <a href="/wiki/High_art" class="mw-redirect" title="High art">high art</a> by inverting traditional aesthetic judgements of beauty, value, and taste, and inviting a different kind of aesthetic engagement.<a href="#cite_note-MallaMcGillis2005-6">[6]</a> Camp art is distinct from but often confused with <a href="/wiki/Kitsch" title="Kitsch">kitsch</a>. The American writer <a href="/wiki/Susan_Sontag" title="Susan Sontag">Susan Sontag</a> emphasized its key elements as embracing frivolity, excess and artifice.<a href="#cite_note-Eiss2016-9">[9]</a> Art historian <a href="/wiki/David_Carrier" title="David Carrier">David Carrier</a> notes that, despite these qualities, it is also subversive and political.<a href="#cite_note-:20-10">[10]</a> Camp may be sophisticated,<a href="#cite_note-:5-11">[11]</a> but subjects deemed camp may also be perceived as being dated, offensive or in <a href="/wiki/Bad_taste_(aesthetics)" class="mw-redirect" title="Bad taste (aesthetics)">bad taste</a>.<a href="#cite_note-:14-12">[12]</a><a href="#cite_note-:10-5">[5]</a> Camp may also be divided into high and low camp (i.e., camp arising from serious versus unserious matters), or alternatively into naive and deliberate camp (i.e., accidental versus intentional camp).<a href="#cite_note-:4-3">[3]</a><a href="#cite_note-:5-11">[11]</a><a href="#cite_note-13">[13]</a><a href="#cite_note-:6-14">[14]</a> While author and academic Moe Meyer defines camp as a form of "queer parody",<a href="#cite_note-:2-7">[7]</a><a href="#cite_note-:3-8">[8]</a> journalist <a href="/wiki/Jack_Babuscio" title="Jack Babuscio">Jack Babuscio</a> argues it is a specific "gay sensibility" which has often been "misused to signify the trivial, superficial and 'queer'".<a href="#cite_note-15">[15]</a> Camp, as a particular style or set of mannerisms, may serve as a marker of identity, such as in camp talk, which expresses a gay male identity.<a href="#cite_note-:17-16">[16]</a> This camp style is associated with <a href="/wiki/Theories_of_humor#Incongruity_theory" title="Theories of humor">incongruity</a> or <a href="/wiki/Juxtaposition" title="Juxtaposition">juxtaposition</a>, theatricality, and <a href="/wiki/Humour" title="Humour">humour</a>,<a href="#cite_note-:16-17">[17]</a> and has appeared in film, <a href="/wiki/Cabaret" title="Cabaret">cabaret</a>, and <a href="/wiki/Pantomime" title="Pantomime">pantomime</a>.<a href="#cite_note-:7-18">[18]</a><a href="#cite_note-:18-19">[19]</a><a href="#cite_note-CampWaters-20">[20]</a> Both <a href="/wiki/High_culture" title="High culture">high</a> and <a href="/wiki/Low_culture" title="Low culture">low forms of culture</a> may be camp,<a href="#cite_note-:4-3">[3]</a><a href="#cite_note-:8-21">[21]</a><a href="#cite_note-:3-8">[8]</a> but where high art incorporates beauty and value, camp often strives to be lively, audacious and dynamic.<a href="#cite_note-MallaMcGillis2005-6">[6]</a> Camp can also be <a href="/wiki/Tragedy" title="Tragedy">tragic</a>, <a href="/wiki/Sentimentality" title="Sentimentality">sentimental</a> and ironic, finding beauty or <a href="/wiki/Black_comedy" title="Black comedy">black comedy</a> even in suffering.<a href="#cite_note-:7-18">[18]</a> The humour of camp, as well as its frivolity, may serve as a <a href="/wiki/Coping" title="Coping">coping mechanism</a> to deal with <a href="/wiki/Homophobia" title="Homophobia">intolerance</a> and <a href="/wiki/Social_exclusion" title="Social exclusion">marginalization</a> in society.<a href="#cite_note-:10-5">[5]</a><a href="#cite_note-:15-22">[22]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Origins_and_development">Origins and development</h2>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=1" title="Edit section: Origins and development">edit</a>]</div> In his 1972 book Gay Talk, writer Bruce Rodgers traces the term camp to 16th century British theatre, where it referred to men dressed as women (<a href="/wiki/Drag_(entertainment)" title="Drag (entertainment)">drag</a>).<a href="#cite_note-:10-5">[5]</a><a href="#cite_note-23">[23]</a> Camp may have derived from the gay slang <a href="/wiki/Polari" title="Polari">Polari</a>,<a href="#cite_note-24">[24]</a> which borrowed the term from the Italian campare,<a href="#cite_note-:11-25">[25]</a><a href="#cite_note-:8-21">[21]</a> or from the French term se camper, meaning "to pose in an exaggerated fashion".<a href="#cite_note-26">[26]</a><a href="#cite_note-27">[27]</a> A similar sense is also found in French theatre in <a href="/wiki/Moli%C3%A8re" title="Molière">Molière</a>'s 1671 play <a href="/wiki/Les_Fourberies_de_Scapin" class="mw-redirect" title="Les Fourberies de Scapin">Les Fourberies de Scapin</a>.<a href="#cite_note-:6-14">[14]</a> Writer <a href="/wiki/Susan_Sontag" title="Susan Sontag">Susan Sontag</a> and linguist <a href="/wiki/Paul_Baker_(linguist)" title="Paul Baker (linguist)">Paul Baker</a> place the "soundest starting point" for the modern sense of camp, meaning flamboyant, as the late 17th and early 18th centuries.<a href="#cite_note-Sontag2009-28">[28]</a><a href="#cite_note-:23-29">[29]</a> Writer <a href="/wiki/Anthony_Burgess" title="Anthony Burgess">Anthony Burgess</a> theorized it may have emerged from the primary sense of the word, as in a military encampment, where gay men would subtly advertize their sexuality in all-male company through a particular style and affectation.<a href="#cite_note-30">[30]</a> By 1870, British <a href="/wiki/Crossdresser" class="mw-redirect" title="Crossdresser">crossdresser</a> <a href="/wiki/Boulton_and_Park" title="Boulton and Park">Frederick Park</a> referred to his "campish undertakings" in a letter produced in evidence at his examination before a magistrate at <a href="/wiki/Bow_Street" title="Bow Street">Bow Street</a>, London, on suspicion of illegal homosexual acts; the letter does not make clear what these were.<a href="#cite_note-31">[31]</a> In 1909, the <a href="/wiki/Oxford_English_Dictionary" title="Oxford English Dictionary">Oxford English Dictionary</a> gave the first print citation of camp, described as an "etymologically obscure" use of the word, as "ostentatious, exaggerated, affected, theatrical; <a href="/wiki/Effeminacy" title="Effeminacy">effeminate</a> or homosexual" behavior.<a href="#cite_note-32">[32]</a> In the UK's pre-<a href="/wiki/Gay_liberation" title="Gay liberation">liberation</a> <a href="/wiki/Gay_culture" class="mw-redirect" title="Gay culture">gay culture</a>, the term was used as a general description of the aesthetic choices and behavior of working-class <a href="/wiki/Gay_men" title="Gay men">gay men</a>.<a href="#cite_note-newton-33">[33]</a><a href="#cite_note-34">[34]</a> The term camp is still sometimes used in the UK to describe a gay man who is perceived as outwardly garish or eccentric, such as <a href="/wiki/Matt_Lucas" title="Matt Lucas">Matt Lucas</a>' character <a href="/wiki/Daffyd_Thomas" class="mw-redirect" title="Daffyd Thomas">Daffyd Thomas</a> in the English comedy skit show <a href="/wiki/Little_Britain_(sketch_show)" class="mw-redirect" title="Little Britain (sketch show)">Little Britain</a>.<a href="#cite_note-35">[35]</a> From the mid-1940s, numerous representations of camp speech or camp talk, as used by gay men, began to appear in print in America, France and the United Kingdom.<a href="#cite_note-:17-16">[16]</a> By the mid-1970s, camp was defined by the college edition of <a href="/wiki/Webster%27s_New_World_Dictionary" title="Webster's New World Dictionary">Webster's New World Dictionary</a> as "banality, mediocrity, artifice, [and] ostentation ... so extreme as to amuse or have a perversely sophisticated appeal".<a href="#cite_note-36">[36]</a><figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Carmen_Miranda_in_The_Gang%27s_All_Here_trailer.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Carmen_Miranda_in_The_Gang%27s_All_Here_trailer.jpg/220px-Carmen_Miranda_in_The_Gang%27s_All_Here_trailer.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Carmen_Miranda_in_The_Gang%27s_All_Here_trailer.jpg/330px-Carmen_Miranda_in_The_Gang%27s_All_Here_trailer.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Carmen_Miranda_in_The_Gang%27s_All_Here_trailer.jpg/440px-Carmen_Miranda_in_The_Gang%27s_All_Here_trailer.jpg 2x" data-file-width="628" data-file-height="472" /></a><figcaption><a href="/wiki/Carmen_Miranda" title="Carmen Miranda">Carmen Miranda</a> in the trailer for <a href="/wiki/The_Gang%27s_All_Here_(1943_film)" title="The Gang's All Here (1943 film)">The Gang's All Here</a> (1943)</figcaption></figure>In America, the concept of camp was also described by <a href="/wiki/Christopher_Isherwood" title="Christopher Isherwood">Christopher Isherwood</a> in 1954 in his novel <a href="/wiki/The_World_in_the_Evening" title="The World in the Evening">The World in the Evening</a>, and later by <a href="/wiki/Susan_Sontag" title="Susan Sontag">Susan Sontag</a> in her 1964 essay '<a href="/wiki/Notes_on_%22Camp%22" title="Notes on "Camp"">Notes on "Camp"</a>'.<a href="#cite_note-Sontag2019-37">[37]</a> Two key components of the "radical spectacle of camp" were originally feminine performances: <a href="/wiki/Swish_(slang)" title="Swish (slang)">swish</a> and <a href="/wiki/Drag_(entertainment)" title="Drag (entertainment)">drag</a>.<a href="#cite_note-:11-25">[25]</a> With swish's extensive use of superlatives and drag's exaggerated female impersonation, camp occasionally became extended to all things "over the top", including women posing as female impersonators (<a href="/wiki/AFAB_queen" title="AFAB queen">faux queens</a>) such as <a href="/wiki/Carmen_Miranda" title="Carmen Miranda">Carmen Miranda</a>, while also retaining its meaning as "queer parody".<a href="#cite_note-:2-7">[7]</a><a href="#cite_note-:3-8">[8]</a><a href="#cite_note-:92-38">[38]</a> In her study of <a href="/wiki/Drag_queen" title="Drag queen">drag</a>, cultural anthropologist <a href="/wiki/Esther_Newton" title="Esther Newton">Esther Newton</a> argued that camp has three major features: incongruity, theatricality, and humour.<a href="#cite_note-:16-17">[17]</a> In his 1984, writer George Melly argued that the camp sensibility allowed almost anything to be seen as a camp, and that this was a way of projecting one's own queer sensibility upon the world to therefore reclaim it. Conversely, he argued, the biggest threat to camp wasn't heterosexuals ("who tend to accept it, although usually at a fairly broad and superficial level"), but "a neo-puritanism, a received conformism" emerging among gay people at the time.<a href="#cite_note-:19-39">[39]</a> The rise of <a href="/wiki/Postmodernism" title="Postmodernism">postmodernism</a> and <a href="/wiki/Queer_theory" title="Queer theory">queer theory</a> has made camp a common perspective on aesthetics, not solely identified with gay men.<a href="#cite_note-MallaMcGillis2005-6">[6]</a><a href="#cite_note-:12-40">[40]</a> Women (especially <a href="/wiki/Lesbian" title="Lesbian">lesbians</a>), trans people, and people of colour have described new forms of camp, such as dyke camp (including subcategories such as cubana and high-femme dyke camp)<a href="#cite_note-41">[41]</a><a href="#cite_note-:13-42">[42]</a> and queer of color camp.<a href="#cite_note-:13-42">[42]</a><a href="#cite_note-43">[43]</a> Camp has also been a subject of <a href="/wiki/Psychoanalytic_theory" title="Psychoanalytic theory">psychoanalytic theory</a>, where it has been portrayed as a form of performance or masquerade. Scholar Cynthia Morrill has argued that the conception of "camp-as-masquerade" ignores the specifically queer sensibility of camp by interrogating queerness through a <a href="/wiki/Heteronormativity" title="Heteronormativity">heteronormative</a> lens (i.e., solely in relation to the <a href="/wiki/Phallogocentrism" title="Phallogocentrism">symbol of the phallus</a>).<a href="#cite_note-:12-40">[40]</a> Camp has become prevalent in mainstream <a href="/wiki/Popular_culture" title="Popular culture">popular entertainment</a> such as theatre, cinema, TV and music.<a href="#cite_note-MallaMcGillis20052-44">[44]</a><a href="#cite_note-:92-38">[38]</a> In reaction to its popularisation, critics such as <a href="/wiki/Jack_Babuscio" title="Jack Babuscio">Jack Babuscio</a> and Jeanette Cooperman have argued that camp requires the <a href="/wiki/Social_alienation" title="Social alienation">alienation</a> of LGBTQ+ people from the mainstream to maintain its edge.<a href="#cite_note-:212-45">[45]</a><a href="#cite_note-:222-46">[46]</a> Poet and scholar Chris Philpot, like Cooperman, nevertheless argues that camp can still be a viable "survival strategy" for <a href="/wiki/Social_exclusion" title="Social exclusion">marginalized</a> queer people, so long as it evolves with them.<a href="#cite_note-:212-45">[45]</a> Curator Andrew Bolton, after his show Camp: Notes on Fashion at the New York <a href="/wiki/Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">Metropolitan Museum of Art</a>, explains that context is also important for understanding the power and relevance of camp: "Camp tends to come to the fore through moments of social and political instability, when our society is deeply polarized. The 1960s is one such moment, as were the 1980s, so, too, are the times in which we're living."<a href="#cite_note-:222-46">[46]</a> <div class="mw-heading mw-heading2"><h2 id="Camp_in_contemporary_culture">Camp in contemporary culture</h2>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=2" title="Edit section: Camp in contemporary culture">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Fashion">Fashion</h3>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=3" title="Edit section: Fashion">edit</a>]</div> <a href="/wiki/Patrick_Kelly_(fashion_designer)" title="Patrick Kelly (fashion designer)">Patrick Kelly</a>'s designs have been described as camp and "Radical Cheek" for his ironic use of bold colours, antiquated or incongruous styles, and reclaimed racist symbols.<a href="#cite_note-:21-47">[47]</a><a href="#cite_note-48">[48]</a> He designed a banana dress in reference to <a href="/wiki/Josephine_Baker" title="Josephine Baker">Josephine Baker</a> and dedicated a whole collection to her. He used mismatched buttons when creating his own take on a <a href="/wiki/Chanel" title="Chanel">Chanel</a> suit. By the time he died in 1990, he had dressed noted queer icons such as <a href="/wiki/Grace_Jones" title="Grace Jones">Grace Jones</a> and <a href="/wiki/Isabella_Rossellini" title="Isabella Rossellini">Isabella Rossellini</a>. His grave is marked with a stylized <a href="/wiki/Golliwog" title="Golliwog">golliwog</a>—a reclaimed symbol for his label—featuring big gold earrings and bright red lips.<a href="#cite_note-:22-49">[49]</a><a href="#cite_note-50">[50]</a><a href="#cite_note-:21-47">[47]</a><figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Camp_-_Notes_on_Fashion_at_the_Met_(73879).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e5/Camp_-_Notes_on_Fashion_at_the_Met_%2873879%29.jpg/220px-Camp_-_Notes_on_Fashion_at_the_Met_%2873879%29.jpg" decoding="async" width="220" height="173" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e5/Camp_-_Notes_on_Fashion_at_the_Met_%2873879%29.jpg/330px-Camp_-_Notes_on_Fashion_at_the_Met_%2873879%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e5/Camp_-_Notes_on_Fashion_at_the_Met_%2873879%29.jpg/440px-Camp_-_Notes_on_Fashion_at_the_Met_%2873879%29.jpg 2x" data-file-width="4086" data-file-height="3204" /></a><figcaption>Clothing designs from <a href="/wiki/Camp:_Notes_on_Fashion" title="Camp: Notes on Fashion">Camp: Notes on Fashion</a></figcaption></figure>The 2019 <a href="/wiki/Met_Gala" title="Met Gala">Met Gala</a>'s theme was <a href="/wiki/Camp:_Notes_on_Fashion" title="Camp: Notes on Fashion">Camp: Notes on Fashion</a>, co-chaired by <a href="/wiki/Anna_Wintour" title="Anna Wintour">Anna Wintour</a>, <a href="/wiki/Serena_Williams" title="Serena Williams">Serena Williams</a>, <a href="/wiki/Lady_Gaga" title="Lady Gaga">Lady Gaga</a>, <a href="/wiki/Harry_Styles" title="Harry Styles">Harry Styles</a>, and <a href="/wiki/Alessandro_Michele" title="Alessandro Michele">Alessandro Michele</a>.<a href="#cite_note-51">[51]</a> The show featured tributes to <a href="/wiki/Queer" title="Queer">queer</a> and camp figures, including a bronze statue of <a href="/wiki/Vatican_Museums" title="Vatican Museums">the Vatican</a>'s <a href="/wiki/Hermes_(Museo_Pio-Clementino)" title="Hermes (Museo Pio-Clementino)">Belvedere Antinous</a>, portraits of <a href="/wiki/Louis_XIV" title="Louis XIV">Louis XIV</a> and <a href="/wiki/Oscar_Wilde" title="Oscar Wilde">Oscar Wilde</a>, and celebrations of Black and Latinx <a href="/wiki/Ball_culture" title="Ball culture">ball culture</a> and the <a href="/wiki/Harlem_Renaissance" title="Harlem Renaissance">Harlem Renaissance</a>.<a href="#cite_note-:222-46">[46]</a> <a href="/wiki/Dapper_Dan_(designer)" title="Dapper Dan (designer)">Dapper Dan</a>—whose luxurious fashion has been credited with camping up the <a href="/wiki/Hip_hop_music" title="Hip hop music">hip-hop</a> genre—designed seven camp outfits for <a href="/wiki/Gucci" title="Gucci">Gucci</a>, worn at the gala by <a href="/wiki/21_Savage" title="21 Savage">21 Savage</a>, <a href="/wiki/Omari_Hardwick" title="Omari Hardwick">Omari Hardwick</a>, <a href="/wiki/Regina_Hall" title="Regina Hall">Regina Hall</a>, <a href="/wiki/Bevy_Smith" title="Bevy Smith">Bevy Smith</a>, <a href="/wiki/Ashley_Graham" title="Ashley Graham">Ashley Graham</a> and <a href="/wiki/Karlie_Kloss" title="Karlie Kloss">Karlie Kloss</a> (he wore the seventh).<a href="#cite_note-:22-49">[49]</a><a href="#cite_note-52">[52]</a> Lady Gaga's entrance took 16 minutes, as she arrived to the gala alongside an entourage of five dancers carrying umbrellas, a make up artist, and a personal photographer to snap pictures of Gaga's poses.<a href="#cite_note-:0-53">[53]</a> Gaga arrived in a hot pink <a href="/wiki/Brandon_Maxwell" title="Brandon Maxwell">Brandon Maxwell</a> gown with a 25-foot train<a href="#cite_note-54">[54]</a> and went through a series of four "reveals," paying homage to <a href="/wiki/Drag_show" title="Drag show">drag culture</a>,<a href="#cite_note-:0-53">[53]</a> debuting a new outfit each time, until reaching her final look: a bra and underwear with fishnets and platform heels.<a href="#cite_note-55">[55]</a> Other notable ensembles included <a href="/wiki/Katy_Perry" title="Katy Perry">Katy Perry</a> wearing a gown that looked like a chandelier, designed by <a href="/wiki/Moschino" title="Moschino">Moschino</a>; and <a href="/wiki/Kacey_Musgraves" title="Kacey Musgraves">Kacey Musgraves</a> appearing as a life-size <a href="/wiki/Barbie" title="Barbie">Barbie</a>, also by Moschino.<a href="#cite_note-56">[56]</a> <div class="mw-heading mw-heading3"><h3 id="Film">Film</h3>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=4" title="Edit section: Film">edit</a>]</div> Famous representatives of camp films are, for example, <a href="/wiki/John_Waters" title="John Waters">John Waters</a> (<a href="/wiki/Pink_Flamingos" title="Pink Flamingos">Pink Flamingos</a>, 1972) and <a href="/wiki/Rosa_von_Praunheim" title="Rosa von Praunheim">Rosa von Praunheim</a> (<a href="/wiki/The_Bed_Sausage" title="The Bed Sausage">The Bed Sausage</a>, 1971), who mainly used this style in the 1970s, and who created films which achieved <a href="/wiki/Cult_status" class="mw-redirect" title="Cult status">cult status</a>.<a href="#cite_note-CampWaters-20">[20]</a><a href="#cite_note-CampPraunheim-57">[57]</a> The 1972 musical <a href="/wiki/Cabaret_(1972_film)" title="Cabaret (1972 film)">Cabaret</a> is also seen as an example of the aesthetic, with film critic Esther Leslie describing the camp in the film thus:<blockquote>Camp thrives on tragic gestures, on lament at the transience of life, on an excess of sentiment, an ironic sensibility that art and artifice is preferable to nature and health, in a Wildean sense.<a href="#cite_note-:7-18">[18]</a></blockquote>Australian writer/director Baz Luhrmann's <a href="/wiki/Red_Curtain_Trilogy" title="Red Curtain Trilogy">Red Curtain Trilogy</a>, in particular the film <a href="/wiki/Strictly_Ballroom" title="Strictly Ballroom">Strictly Ballroom</a> (1992), has been described as camp.<a href="#cite_note-58">[58]</a> The term camp is also used prominently in the horror genre, with examples including <a href="/wiki/Killer_Klowns_from_Outer_Space" title="Killer Klowns from Outer Space">Killer Klowns from Outer Space</a>, or <a href="/wiki/The_Evil_Dead" title="The Evil Dead">The Evil Dead</a> franchise. <div class="mw-heading mw-heading3"><h3 id="Literature">Literature</h3>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=5" title="Edit section: Literature">edit</a>]</div> <a href="/wiki/Dandy" title="Dandy">Dandyism</a> is often seen as a precursor to camp, especially as embodied in <a href="/wiki/Oscar_Wilde" title="Oscar Wilde">Oscar Wilde</a> and his work.<a href="#cite_note-:6-14">[14]</a><a href="#cite_note-59">[59]</a> The character of Amarinth in <a href="/wiki/Robert_Hichens_(writer)" title="Robert Hichens (writer)">Robert Hichens</a>' <a href="/wiki/The_Green_Carnation" title="The Green Carnation">The Green Carnation</a> (1894), based on Wilde, uses "camp coding" in his "effusive and inverted" use of language.<a href="#cite_note-:16-17">[17]</a> The scene where Anthony Blanche arrives late to Sebastian Flyte's lunch party in <a href="/wiki/Evelyn_Waugh" title="Evelyn Waugh">Evelyn Waugh</a>'s <a href="/wiki/Brideshead_Revisited" title="Brideshead Revisited">Brideshead Revisited</a>, has been described by writer George Melly as an example of camp's "alchemical ability" to project a <a href="/wiki/Queer" title="Queer">queer</a> sensibility upon the world and unite one's peers in that sensibility.<a href="#cite_note-:19-39">[39]</a> The first post-World War II use of the word in print may be <a href="/wiki/Christopher_Isherwood" title="Christopher Isherwood">Christopher Isherwood</a>'s 1954 novel The World in the Evening, where he comments: "You can't camp about something you don't take seriously. You're not making fun of it; you're making fun out of it. You're expressing what's basically serious to you in terms of fun and artifice and elegance."<a href="#cite_note-60">[60]</a> In the American writer <a href="/wiki/Susan_Sontag" title="Susan Sontag">Susan Sontag</a>'s 1964 essay <a href="/wiki/Notes_on_%22Camp%22" title="Notes on "Camp"">Notes on "Camp"</a>, Sontag emphasized the embrace of artifice, frivolity, naivety, pretentiousness, offensiveness, and excess as key elements of camp. Examples cited by Sontag included <a href="/wiki/Tiffany_lamp" title="Tiffany lamp">Tiffany lamps</a>, the drawings of <a href="/wiki/Aubrey_Beardsley" title="Aubrey Beardsley">Aubrey Beardsley</a>, Tchaikovsky's ballet <a href="/wiki/Swan_Lake" title="Swan Lake">Swan Lake</a>, and Japanese science fiction films such as <a href="/wiki/Rodan_(film)" title="Rodan (film)">Rodan</a> and <a href="/wiki/The_Mysterians" title="The Mysterians">The Mysterians</a> of the 1950s.<a href="#cite_note-Sontag1964-61">[61]</a> However, critics of Sontag's description, such as art historian <a href="/wiki/David_Carrier" title="David Carrier">David Carrier</a>, say that it is outdated and that "her celebration of its ecstatic marginality downplays its implicit subversiveness".<a href="#cite_note-:20-10">[10]</a> In Mark Booth's 1983 book Camp, he defines camp as "to present oneself as being committed to the marginal with a commitment greater than the marginal merits".<a href="#cite_note-62">[62]</a> He makes a distinction between genuine camp, and camp fads and fancies — things that are not intrinsically camp, but display artificiality, stylization, theatricality, naivety, sexual ambiguity, tackiness, poor taste, stylishness, or camp people, and thus appeal to them.<a href="#cite_note-63">[63]</a> In his 1984 book Camp: The Lie That Tells The Truth, writer and artist <a href="/wiki/Philip_Core" title="Philip Core">Philip Core</a> describes <a href="/wiki/Jean_Cocteau" title="Jean Cocteau">Jean Cocteau</a>'s autobiography as "the definition of camp".<a href="#cite_note-64">[64]</a> In 1993, journalist <a href="/wiki/Russell_Davies" title="Russell Davies">Russell Davies</a> published comedian <a href="/wiki/Kenneth_Williams" title="Kenneth Williams">Kenneth Williams</a>' diaries. Williams' diary entry for 1 January 1947 reads: "Went to Singapore with Stan—very camp evening, was followed, but tatty types so didn't bother to make overtures."<a href="#cite_note-65">[65]</a> <div class="mw-heading mw-heading3"><h3 id="Music">Music</h3>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=6" title="Edit section: Music">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1237032888/mw-parser-output/.tmulti">.mw-parser-output .tmulti .multiimageinner{display:flex;flex-direction:column}.mw-parser-output .tmulti .trow{display:flex;flex-direction:row;clear:left;flex-wrap:wrap;width:100%;box-sizing:border-box}.mw-parser-output .tmulti .tsingle{margin:1px;float:left}.mw-parser-output .tmulti .theader{clear:both;font-weight:bold;text-align:center;align-self:center;background-color:transparent;width:100%}.mw-parser-output .tmulti .thumbcaption{background-color:transparent}.mw-parser-output .tmulti .text-align-left{text-align:left}.mw-parser-output .tmulti .text-align-right{text-align:right}.mw-parser-output .tmulti .text-align-center{text-align:center}@media all and (max-width:720px){.mw-parser-output .tmulti .thumbinner{width:100%!important;box-sizing:border-box;max-width:none!important;align-items:center}.mw-parser-output .tmulti .trow{justify-content:center}.mw-parser-output .tmulti .tsingle{float:none!important;max-width:100%!important;box-sizing:border-box;text-align:center}.mw-parser-output .tmulti .tsingle .thumbcaption{text-align:left}.mw-parser-output .tmulti .trow>.thumbcaption{text-align:center}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .tmulti .multiimageinner img{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .tmulti .multiimageinner img{background-color:white}}</style><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:352px;max-width:352px"><div class="trow"><div class="tsingle" style="width:136px;max-width:136px"><div class="thumbimage" style="height:174px;overflow:hidden"><a href="/wiki/File:Cher_at_Farewell_Tour.JPG" class="mw-file-description"><img alt="Cher" src="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Cher_at_Farewell_Tour.JPG/134px-Cher_at_Farewell_Tour.JPG" decoding="async" width="134" height="174" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Cher_at_Farewell_Tour.JPG/201px-Cher_at_Farewell_Tour.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/33/Cher_at_Farewell_Tour.JPG/268px-Cher_at_Farewell_Tour.JPG 2x" data-file-width="344" data-file-height="446" /></a></div></div><div class="tsingle" style="width:122px;max-width:122px"><div class="thumbimage" style="height:174px;overflow:hidden"><a href="/wiki/File:Madonna_II_B_3a_(cropped).jpg" class="mw-file-description"><img alt="Madonna" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/48/Madonna_II_B_3a_%28cropped%29.jpg/120px-Madonna_II_B_3a_%28cropped%29.jpg" decoding="async" width="120" height="174" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/48/Madonna_II_B_3a_%28cropped%29.jpg/180px-Madonna_II_B_3a_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/48/Madonna_II_B_3a_%28cropped%29.jpg/240px-Madonna_II_B_3a_%28cropped%29.jpg 2x" data-file-width="776" data-file-height="1124" /></a></div></div><div class="tsingle" style="width:88px;max-width:88px"><div class="thumbimage" style="height:174px;overflow:hidden"><a href="/wiki/File:Katyperry-cdt-californiagurls-edit.jpg" class="mw-file-description"><img alt="Katy Perry" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Katyperry-cdt-californiagurls-edit.jpg/86px-Katyperry-cdt-californiagurls-edit.jpg" decoding="async" width="86" height="175" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Katyperry-cdt-californiagurls-edit.jpg/129px-Katyperry-cdt-californiagurls-edit.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/46/Katyperry-cdt-californiagurls-edit.jpg/172px-Katyperry-cdt-californiagurls-edit.jpg 2x" data-file-width="1103" data-file-height="2243" /></a></div></div></div><div class="trow" style="display:flex"><div class="thumbcaption">Camp costuming worn by American pop singers <a href="/wiki/Cher" title="Cher">Cher</a>, <a href="/wiki/Madonna" title="Madonna">Madonna</a>, and <a href="/wiki/Katy_Perry" title="Katy Perry">Katy Perry</a></div></div></div></div> American singer and actress <a href="/wiki/Cher" title="Cher">Cher</a> is one of the artists who received the title of "Queen of Camp" through her colourful on-stage fashion and live performances.<a href="#cite_note-Sunday_Mirror-66">[66]</a> She gained this status in the 1970s when she launched her <a href="/wiki/Variety_show" title="Variety show">variety shows</a> in collaboration with the costume designer <a href="/wiki/Bob_Mackie" title="Bob Mackie">Bob Mackie</a> and became a constant presence on American prime-time television.<a href="#cite_note-The_Telegraph-67">[67]</a><a href="#cite_note-NY_Daily_News-68">[68]</a> <a href="/wiki/Madonna" title="Madonna">Madonna</a> is also considered camp and according to educator <a href="/wiki/Carol_Queen" title="Carol Queen">Carol Queen</a>, her "whole career up to and including <a href="/wiki/Sex_(book)" title="Sex (book)">Sex</a> has depended heavily on camp imagery and camp understandings of gender and sex".<a href="#cite_note-Gnojewski-69">[69]</a> Madonna has also been named "Queen of Camp".<a href="#cite_note-Madonna-70">[70]</a> In public and on stage, <a href="/wiki/Dusty_Springfield" title="Dusty Springfield">Dusty Springfield</a> developed an image supported by her peroxide blonde <a href="/wiki/Beehive_(hairstyle)" title="Beehive (hairstyle)">beehive</a> hairstyle, <a href="/wiki/Evening_gown" title="Evening gown">evening gowns</a>, and heavy make-up that included her much-copied "panda eye" look.<a href="#cite_note-britannica.com-71">[71]</a><a href="#cite_note-72">[72]</a><a href="#cite_note-Laurense_Cole_2008_p._13-73">[73]</a><a href="#cite_note-74">[74]</a><a href="#cite_note-glbtq.com-75">[75]</a> Springfield borrowed elements of her look from blonde glamour queens of the 1950s, such as <a href="/wiki/Brigitte_Bardot" title="Brigitte Bardot">Brigitte Bardot</a> and <a href="/wiki/Catherine_Deneuve" title="Catherine Deneuve">Catherine Deneuve</a>.<a href="#cite_note-76">[76]</a><a href="#cite_note-gulla-77">[77]</a> This, her singing style and her sexuality made her a "camp icon" and won her a following in the gay community.<a href="#cite_note-glbtq.com-75">[75]</a><a href="#cite_note-gulla-77">[77]</a> Besides the prototypical female <a href="/wiki/Drag_queen" title="Drag queen">drag queen</a>, she was presented in the roles of the "Great White Lady" of pop and soul, and the "Queen of <a href="/wiki/Mod_(subculture)" title="Mod (subculture)">Mods</a>".<a href="#cite_note-Laurense_Cole_2008_p._13-73">[73]</a><a href="#cite_note-78">[78]</a> Rappers such as <a href="/wiki/Lil%27_Kim" title="Lil' Kim">Lil' Kim</a>, <a href="/wiki/Nicki_Minaj" title="Nicki Minaj">Nicki Minaj</a> and <a href="/wiki/Cam%27ron" title="Cam'ron">Cam'ron</a> have all been described as camp, often because of the opulence and winking humour of their personas. <a href="/wiki/Dapper_Dan_(designer)" title="Dapper Dan (designer)">Dapper Dan</a> has been credited with introducing high fashion and camp to hip hop. In pop and rock, musicians <a href="/wiki/Prince_(musician)" title="Prince (musician)">Prince</a> and <a href="/wiki/Jimi_Hendrix" title="Jimi Hendrix">Jimi Hendrix</a> have also been called camp because of their flamboyance and playful use of artifice.<a href="#cite_note-:22-49">[49]</a> South Korean rapper <a href="/wiki/Psy" title="Psy">Psy</a>, known for his viral internet music videos full of flamboyant dance and visuals, has come to be seen as a 21st-century incarnation of camp style.<a href="#cite_note-Exploring_Psy's-79">[79]</a><a href="#cite_note-Psy_Unveils-80">[80]</a> <a href="/wiki/Geri_Halliwell" title="Geri Halliwell">Geri Halliwell</a> is recognized as a camp icon for her high camp aesthetics, performance style and kinship with the gay community during her time as a solo artist.<a href="#cite_note-81">[81]</a><a href="#cite_note-82">[82]</a> Dancer, singer and actress <a href="/wiki/Josephine_Baker" title="Josephine Baker">Josephine Baker</a> has been described as camp. Her famous banana dress has been noted as particularly camp for its flamboyant, humorous and ironic qualities, as well as the way it makes a political point using outdated but reclaimed imagery.<a href="#cite_note-83">[83]</a><a href="#cite_note-84">[84]</a><a href="#cite_note-:23-29">[29]</a> <a href="/wiki/Lady_Gaga" title="Lady Gaga">Lady Gaga</a>, a contemporary exemplar of camp, uses music and dance to make <a href="/wiki/Social_commentary" title="Social commentary">social commentary</a> on pop culture, as in the <a href="/wiki/Judas_(Lady_Gaga_song)" title="Judas (Lady Gaga song)">"Judas"</a> music video. Her clothes, makeup, and accessories, created by high-end fashion designers, are integral to the narrative structure of her performances.<a href="#cite_note-IddonMarshall2014-85">[85]</a> <a href="/wiki/Katy_Perry" title="Katy Perry">Katy Perry</a> has also been described as camp, with outlets like <a href="/wiki/Vogue_(magazine)" title="Vogue (magazine)">Vogue</a> describing her as another "Queen of Camp".<a href="#cite_note-Vogue2022-86">[86]</a> The British tradition of the "<a href="/wiki/Last_Night_of_the_Proms" class="mw-redirect" title="Last Night of the Proms">Last Night of the Proms</a>" has been said to glory in "nostalgia, camp, and pastiche".<a href="#cite_note-87">[87]</a> Camp still forms a strong element in UK culture, and many so-called <a href="/wiki/Gay_icon" title="Gay icon">gay icons</a> and objects are chosen as such because they are camp, including musicians such as <a href="/wiki/Elton_John" title="Elton John">Elton John</a>,<a href="#cite_note-88">[88]</a> <a href="/wiki/Kylie_Minogue" title="Kylie Minogue">Kylie Minogue</a>, <a href="/wiki/Lulu_(singer)" title="Lulu (singer)">Lulu</a>, and <a href="/wiki/Mika_(singer)" title="Mika (singer)">Mika</a>.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] Musicologist Philip Brett has highlighted campness in the work of <a href="/wiki/Benjamin_Britten" title="Benjamin Britten">Benjamin Britten</a> and has also argued for a camp reading of French composer <a href="/wiki/Francis_Poulenc" title="Francis Poulenc">Francis Poulenc</a>'s Concerto for Two Pianos in D minor, noting its combination of a Balinese <a href="/wiki/Gamelan" title="Gamelan">gamelan</a> with a sense of "musical resignation and longing".<a href="#cite_note-:15-22">[22]</a> Musicologist Raymond Knapp has compared musical camp to jazz, especially in camp's playfulness and admiration for its subjects, which can seem mocking but often borders on veneration. He argues that musical camp draws attention to its performativity and inspirations, while engaging the audience interactively in the process of creating meaning.<a href="#cite_note-89">[89]</a> <div class="mw-heading mw-heading3"><h3 id="Photography">Photography</h3>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=7" title="Edit section: Photography">edit</a>]</div> <a href="/wiki/Thomas_Dworzak" title="Thomas Dworzak">Thomas Dworzak</a> published a collection of "last portrait" photographs of young <a href="/wiki/Taliban" title="Taliban">Taliban</a> soldiers about to depart for the front, found in Kabul photo studios. The book, titled Taliban,<a href="#cite_note-90">[90]</a><a href="#cite_note-gabriner-nat-geo-91">[91]</a> attests to a campy aesthetic, quite close to the <a href="/wiki/Gay_movement" class="mw-redirect" title="Gay movement">gay movement in California</a> or a <a href="/wiki/Peter_Greenaway" title="Peter Greenaway">Peter Greenaway</a> film.<a href="#cite_note-92">[92]</a> <div class="mw-heading mw-heading3"><h3 id="Television">Television</h3>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=8" title="Edit section: Television">edit</a>]</div> The <a href="/wiki/Comedy_Central" title="Comedy Central">Comedy Central</a> television show <a href="/wiki/Strangers_with_Candy" title="Strangers with Candy">Strangers with Candy</a> (1999–2000), starring comedian <a href="/wiki/Amy_Sedaris" title="Amy Sedaris">Amy Sedaris</a>, was a camp spoof of the <a href="/wiki/ABC_Afterschool_Special" title="ABC Afterschool Special">ABC Afterschool Special</a> genre.<a href="#cite_note-93">[93]</a><a href="#cite_note-94">[94]</a><a href="#cite_note-95">[95]</a> Inspired by the work of <a href="/wiki/George_Kuchar" title="George Kuchar">George Kuchar</a> and his brother <a href="/wiki/Mike_Kuchar" title="Mike Kuchar">Mike Kuchar</a>, <a href="/wiki/ASS_Studios" class="mw-redirect" title="ASS Studios">ASS Studios</a> began making a series of short, no-budget camp films. Their feature film <a href="/wiki/Satan,_Hold_My_Hand" title="Satan, Hold My Hand">Satan, Hold My Hand</a> (2013) features many elements recognized in camp pictures.<a href="#cite_note-96">[96]</a><a href="#cite_note-97">[97]</a> Since 2000, the <a href="/wiki/Eurovision_Song_Contest" title="Eurovision Song Contest">Eurovision Song Contest</a>, an annually televised competition of song performers from different countries, has shown an increasing element of camp—since the contest has shown an increasing attraction within the LGBTQ+ communities—in their stage performances. This is especially true during the televised finale, which is screened live across Europe. As it is a visual show, many <a href="/wiki/Eurovision" class="mw-redirect" title="Eurovision">Eurovision</a> performances attempt to attract the attention of voters through means other than the music, which sometimes leads to bizarre onstage gimmicks, and what some critics have called "the Eurovision <a href="/wiki/Kitsch" title="Kitsch">kitsch</a> drive", with almost cartoonish novelty acts performing.<a href="#cite_note-Antes_cursi-98">[98]</a> <div class="mw-heading mw-heading3"><h3 id="Theatre">Theatre</h3>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=9" title="Edit section: Theatre">edit</a>]</div> The Australian theatre and opera director <a href="/wiki/Barrie_Kosky" title="Barrie Kosky">Barrie Kosky</a> is renowned for his use of camp in interpreting the works of the <a href="/wiki/Western_canon" title="Western canon">Western canon</a>, including <a href="/wiki/William_Shakespeare" title="William Shakespeare">Shakespeare</a>, <a href="/wiki/Richard_Wagner" title="Richard Wagner">Wagner</a>, <a href="/wiki/Moli%C3%A8re" title="Molière">Molière</a>, <a href="/wiki/Seneca_the_Younger" title="Seneca the Younger">Seneca</a> and <a href="/wiki/Franz_Kafka" title="Franz Kafka">Kafka</a>. His 2006 eight-hour production for the Sydney Theatre Company The Lost Echo was based on <a href="/wiki/Ovid" title="Ovid">Ovid</a>'s Metamorphoses and <a href="/wiki/Euripides" title="Euripides">Euripides</a>'s <a href="/wiki/The_Bacchae" title="The Bacchae">The Bacchae</a>. In the first act ("The Song of Phaeton"), for instance, the goddess <a href="/wiki/Juno_(mythology)" title="Juno (mythology)">Juno</a> takes the form of a highly stylized <a href="/wiki/Marlene_Dietrich" title="Marlene Dietrich">Marlene Dietrich</a>, and the musical arrangements feature <a href="/wiki/No%C3%ABl_Coward" title="Noël Coward">Noël Coward</a> and <a href="/wiki/Cole_Porter" title="Cole Porter">Cole Porter</a>. Kosky's use of camp is also effectively employed to satirize the pretensions, manners, and cultural vacuity of Australia's suburban <a href="/wiki/Middle_class" title="Middle class">middle class</a>, which is suggestive of the style of <a href="/wiki/Dame_Edna_Everage" title="Dame Edna Everage">Dame Edna Everage</a>. For example, in The Lost Echo, Kosky employs a chorus of <a href="/wiki/Secondary_school" title="Secondary school">high school</a> students: one girl in the chorus takes leave from the goddess Diana, and begins to rehearse a dance routine, muttering to herself in a broad Australian accent, "Mum says I have to practice if I want to be on <a href="/wiki/Australian_Idol" title="Australian Idol">Australian Idol</a>."<a href="#cite_note-99">[99]</a> In the UK, the <a href="/wiki/Music_hall" title="Music hall">music hall</a> tradition of <a href="/wiki/Pantomime" title="Pantomime">pantomime</a>, which often uses drag and other features of camp, remains a popular form of entertainment for families and young children. Most towns and cities in the UK stage at least one pantomime between November and February, drawing in an estimated £146 million in 2014.<a href="#cite_note-:18-19">[19]</a> <div class="mw-heading mw-heading2"><h2 id="Distinguishing_between_kitsch_and_camp">Distinguishing between kitsch and camp</h2>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=10" title="Edit section: Distinguishing between kitsch and camp">edit</a>]</div> The words camp and <a href="/wiki/Kitsch" title="Kitsch">kitsch</a> are often used interchangeably, though they are distinct. Camp is rooted in a specifically queer sensibility, informed by <a href="/wiki/Queer" title="Queer">queer identity</a> and <a href="/wiki/Sexuality_and_gender_identity-based_cultures" title="Sexuality and gender identity-based cultures">culture</a>,<a href="#cite_note-:14-12">[12]</a><a href="#cite_note-:12-40">[40]</a> whereas kitsch is rooted in the rise of mass-produced art and <a href="/wiki/Popular_culture" title="Popular culture">popular culture</a> for the mainstream.<a href="#cite_note-100">[100]</a> Both terms may relate to an object or work that carries aesthetic value, but kitsch refers specifically to the work itself, whereas camp is a sensibility as well as a mode of performance. A person may consume kitsch intentionally or unintentionally, but camp, as Susan Sontag observed, is always a way of consuming or performing culture "in quotation marks".<a href="#cite_note-Sontag2009-28">[28]</a> Sontag also distinguishes between naïve and deliberate camp,<a href="#cite_note-Sontag1964-61">[61]</a> and examines Christopher Isherwood's distinction between low camp — which he associated with cross-dressing and drag performances — and high camp — which included "the whole emotional basis of the Ballet, for example, and of course of Baroque art".<a href="#cite_note-Stępień2014-101">[101]</a> High camp has also been used to describe drag that is more subtle or ironic, as opposed to drag that is more parodic and obvious (and thus low camp).<a href="#cite_note-102">[102]</a><a href="#cite_note-103">[103]</a> According to sociologist <a href="/wiki/Andrew_Ross_(sociologist)" title="Andrew Ross (sociologist)">Andrew Ross</a>, camp combines outmoded and contemporary forms of style, fashion, and technology. Often characterized by the reappropriation of a "throwaway Pop aesthetic", camp works to intermingle the categories of "high" and "low" culture.<a href="#cite_note-104">[104]</a> Objects may become camp objects because of their historical association with a power now in decline. As opposed to kitsch, camp reappropriates culture in an ironic fashion, whereas kitsch is indelibly sincere. Additionally, kitsch may be seen as a quality of an object, while camp "tends to refer to a subjective process".<a href="#cite_note-105">[105]</a> Those who identify objects as "camp" note the distance often apparent in the process through which "unexpected value can be located in some obscure or exorbitant object."<a href="#cite_note-106">[106]</a> In its subversiveness and irony, camp can also suggest the possibility of overturning the <a href="/wiki/Status_quo" title="Status quo">status quo</a>, making it a far more "radical spectacle" than kitsch.<a href="#cite_note-:11-25">[25]</a> Musicologist <a href="/wiki/Philip_Brett" title="Philip Brett">Philip Brett</a> has described camp as:<blockquote>a strategy which confronts un-queer <a href="/wiki/Ontology" title="Ontology">ontology</a> [states of being] and <a href="/wiki/Homophobia" title="Homophobia">homophobia</a> with humor and which by those same means may also signal the possibility of the overturn of that ontology—as when, on a famous night in 1969, the evening of the funeral of <a href="/wiki/Judy_Garland" title="Judy Garland">Judy Garland</a>, the mood of a group of gays and drag queens reveling in the spectacle of their own arrest by members of the New York City Vice Squad at the <a href="/wiki/Stonewall_Inn" title="Stonewall Inn">Stonewall Bar</a> turned to one of rage and produced the event that solidified the lesbian and gay movement.<a href="#cite_note-:15-22">[22]</a></blockquote> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=11" title="Edit section: See also">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239009302">.mw-parser-output .portalbox{padding:0;margin:0.5em 0;display:table;box-sizing:border-box;max-width:175px;list-style:none}.mw-parser-output .portalborder{border:1px solid 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href="/wiki/Outside_(David_Bowie_album)" title="Outside (David Bowie album)">Outside</a> (1995)</li> <li><a href="/wiki/Glam_rock" title="Glam rock">Glam rock</a></li> <li><a href="/wiki/Horror_vacui_(art)" title="Horror vacui (art)">Horror vacui</a></li> <li><a href="/wiki/Lille_M%C3%A9tropole_Museum_of_Modern,_Contemporary_and_Outsider_Art" title="Lille Métropole Museum of Modern, Contemporary and Outsider Art">Lille Métropole Museum of Modern, Contemporary and Outsider Art</a></li> <li><a href="/wiki/Lowbrow_(art_movement)" title="Lowbrow (art movement)">Lowbrow (art movement)</a></li> <li><a href="/wiki/Neo-pop" title="Neo-pop">Neo-pop</a></li> <li><a href="/wiki/Neurodiversity" title="Neurodiversity">Neurodiversity</a></li> <li><a href="/wiki/Outsider_art" title="Outsider art">Outsider art</a></li> <li><a href="/wiki/Outsider_music" title="Outsider music">Outsider music</a></li> <li><a href="/wiki/Pop_art" title="Pop art">Pop art</a></li> <li><a href="/wiki/Postmodernism" title="Postmodernism">Postmodernism</a></li> <li><a href="/wiki/Psychedelic_art" title="Psychedelic art">Psychedelic art</a></li> <li><a href="/wiki/The_Rocky_Horror_Picture_Show" title="The Rocky Horror Picture Show">The Rocky Horror Picture Show</a></li> <li><a href="/wiki/Saving_and_Preserving_Arts_and_Cultural_Environments" title="Saving and Preserving Arts and Cultural Environments">Saving and Preserving Arts and Cultural Environments</a></li> <li><a href="/wiki/Surrealism" title="Surrealism">Surrealism</a></li> <li><a href="/wiki/Unilalianism" title="Unilalianism">Unilalianism</a></li> <li><a href="/wiki/Vaporwave" title="Vaporwave">Vaporwave</a></li> <li><a href="/wiki/Vernacular_architecture" title="Vernacular architecture">Vernacular architecture</a></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=12" title="Edit section: References">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.merriam-webster.com/dictionary/camp">"Definition of CAMP"</a>. www.merriam-webster.com. 1 August 2024. Retrieved 9 August 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.merriam-webster.com&rft.atitle=Definition+of+CAMP&rft.date=2024-08-01&rft_id=https%3A%2F%2Fwww.merriam-webster.com%2Fdictionary%2Fcamp&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:1-2">^ <a href="#cite_ref-:1_2-0">a</a> <a href="#cite_ref-:1_2-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.collinsdictionary.com/dictionary/english/camp">"Definition of 'camp'"</a>. Collins Dictionary. HarperCollins Publishers. 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Artforum. Retrieved 10 August 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Artforum&rft.atitle=CRITICAL+CAMP&rft.date=1995-02-02&rft.aulast=Carrier&rft.aufirst=David&rft_id=https%3A%2F%2Fwww.artforum.com%2Ffeatures%2Fcritical-camp-202706%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:5-11">^ <a href="#cite_ref-:5_11-0">a</a> <a href="#cite_ref-:5_11-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSontag2022" class="citation cs2">Sontag, Susan (15 February 2022) [1999], <a rel="nofollow" class="external text" href="https://www.degruyter.com/document/doi/10.1515/9781474465809-006/html">"Notes on 'Camp'"</a>, Camp: Queer Aesthetics and the Performing Subject: A Reader, Edinburgh: Edinburgh University Press, p. 53, <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1515%2F9781474465809-006">10.1515/9781474465809-006</a>, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4744-6580-9" title="Special:BookSources/978-1-4744-6580-9"><bdi>978-1-4744-6580-9</bdi></a>, retrieved 9 August 2024</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Camp%3A+Queer+Aesthetics+and+the+Performing+Subject%3A+A+Reader&rft.atitle=Notes+on+%27Camp%27&rft.pages=53&rft.date=2022-02-15&rft_id=info%3Adoi%2F10.1515%2F9781474465809-006&rft.isbn=978-1-4744-6580-9&rft.aulast=Sontag&rft.aufirst=Susan&rft_id=https%3A%2F%2Fwww.degruyter.com%2Fdocument%2Fdoi%2F10.1515%2F9781474465809-006%2Fhtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:14-12">^ <a href="#cite_ref-:14_12-0">a</a> <a href="#cite_ref-:14_12-1">b</a> Babuscio (1993, 20), Feil (2005, 478), Morrill (1994, 110), Shugart and Waggoner (2008, 33), and Van Leer (1995) </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> Harry Eiss (11 May 2016). The Joker. Cambridge Scholars Publishing. p. 11. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4438-9429-6" title="Special:BookSources/978-1-4438-9429-6">978-1-4438-9429-6</a>. </li> <li id="cite_note-:6-14">^ <a href="#cite_ref-:6_14-0">a</a> <a href="#cite_ref-:6_14-1">b</a> <a href="#cite_ref-:6_14-2">c</a> Dansky, Steven F. "On the persistence of camp." The Gay & Lesbian Review Worldwide 20, no. 2 (2013): 15-19. </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> Babuscio, J., 1999. The cinema of camp (aka camp and the gay sensibility). Camp: Queer aesthetics and the performing subject: A reader, pp.117-35. </li> <li id="cite_note-:17-16">^ <a href="#cite_ref-:17_16-0">a</a> <a href="#cite_ref-:17_16-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHarvey1998" class="citation journal cs1">Harvey, Keith (31 January 1998). <a rel="nofollow" class="external text" href="http://www.tandfonline.com/doi/abs/10.1080/13556509.1998.10799024">"Translating Camp Talk: Gay Identities and Cultural Transfer"</a>. The Translator. 4 (2): 295–320. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F13556509.1998.10799024">10.1080/13556509.1998.10799024</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1355-6509">1355-6509</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Translator&rft.atitle=Translating+Camp+Talk%3A+Gay+Identities+and+Cultural+Transfer&rft.volume=4&rft.issue=2&rft.pages=295-320&rft.date=1998-01-31&rft_id=info%3Adoi%2F10.1080%2F13556509.1998.10799024&rft.issn=1355-6509&rft.aulast=Harvey&rft.aufirst=Keith&rft_id=http%3A%2F%2Fwww.tandfonline.com%2Fdoi%2Fabs%2F10.1080%2F13556509.1998.10799024&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:16-17">^ <a href="#cite_ref-:16_17-0">a</a> <a href="#cite_ref-:16_17-1">b</a> <a href="#cite_ref-:16_17-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20111008150300/http://www.glbtq.com/literature/camp,2.html">"glbtq >> literature >> Camp"</a>. 8 October 2011. Archived from <a rel="nofollow" class="external text" href="http://www.glbtq.com/literature/camp,2.html">the original</a> on 8 October 2011. Retrieved 9 August 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=glbtq+%3E%3E+literature+%3E%3E+Camp&rft.date=2011-10-08&rft_id=http%3A%2F%2Fwww.glbtq.com%2Fliterature%2Fcamp%2C2.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:7-18">^ <a href="#cite_ref-:7_18-0">a</a> <a href="#cite_ref-:7_18-1">b</a> <a href="#cite_ref-:7_18-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLeslie2022" class="citation cs2">Leslie, Esther (2022), Storey, Mark; Shapiro, Stephen (eds.), <a rel="nofollow" class="external text" href="https://www.cambridge.org/core/books/cambridge-companion-to-american-horror/schlock-kitsch-and-camp/AFE723D2952473D1887BF2BB9487F771">"Schlock, Kitsch, and Camp"</a>, The Cambridge Companion to American Horror, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp. 91–104 (96), <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1017%2F9781009071550.008">10.1017/9781009071550.008</a>, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-316-51300-2" title="Special:BookSources/978-1-316-51300-2"><bdi>978-1-316-51300-2</bdi></a>, retrieved 9 August 2024</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Cambridge+Companion+to+American+Horror&rft.atitle=Schlock%2C+Kitsch%2C+and+Camp&rft.pages=91-104+%2896%29&rft.date=2022&rft_id=info%3Adoi%2F10.1017%2F9781009071550.008&rft.isbn=978-1-316-51300-2&rft.aulast=Leslie&rft.aufirst=Esther&rft_id=https%3A%2F%2Fwww.cambridge.org%2Fcore%2Fbooks%2Fcambridge-companion-to-american-horror%2Fschlock-kitsch-and-camp%2FAFE723D2952473D1887BF2BB9487F771&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:18-19">^ <a href="#cite_ref-:18_19-0">a</a> <a href="#cite_ref-:18_19-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSladen2017" class="citation book cs1">Sladen, Simon (2017). "'Hiya Fans!' Celebrity Performance and Reception in Modern British Pantomime". In Ainsworth, Adam; Double, Oliver; Peacock, Louise (eds.). Popular performance. London Oxford New York New Delhi Sydney: Bloomsbury Methuen Drama. p. 179. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4742-4734-4" title="Special:BookSources/978-1-4742-4734-4"><bdi>978-1-4742-4734-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=%27Hiya+Fans%21%27+Celebrity+Performance+and+Reception+in+Modern+British+Pantomime&rft.btitle=Popular+performance&rft.place=London+Oxford+New+York+New+Delhi+Sydney&rft.pages=179&rft.pub=Bloomsbury+Methuen+Drama&rft.date=2017&rft.isbn=978-1-4742-4734-4&rft.aulast=Sladen&rft.aufirst=Simon&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-CampWaters-20">^ <a href="#cite_ref-CampWaters_20-0">a</a> <a href="#cite_ref-CampWaters_20-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://filmdaze.net/john-waters-king-of-camp-and-auteur-of-cult-trash/">"John Waters: King of Camp and Auteur of Cult Trash"</a>. Film Daze. 12 June 2019. Retrieved 5 March 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Film+Daze&rft.atitle=John+Waters%3A+King+of+Camp+and+Auteur+of+Cult+Trash&rft.date=2019-06-12&rft_id=https%3A%2F%2Ffilmdaze.net%2Fjohn-waters-king-of-camp-and-auteur-of-cult-trash%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:8-21">^ <a href="#cite_ref-:8_21-0">a</a> <a href="#cite_ref-:8_21-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBaker2004" class="citation book cs1">Baker, Paul (2004). <a rel="nofollow" class="external text" href="https://www.worldcat.org/title/ocm55587437">Fantabulosa: a dictionary of Polari and gay slang</a>. London: Continuum. p. 18. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8264-7343-1" title="Special:BookSources/978-0-8264-7343-1"><bdi>978-0-8264-7343-1</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/55587437">55587437</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Fantabulosa%3A+a+dictionary+of+Polari+and+gay+slang&rft.place=London&rft.pages=18&rft.pub=Continuum&rft.date=2004&rft_id=info%3Aoclcnum%2Focm55587437&rft.isbn=978-0-8264-7343-1&rft.aulast=Baker&rft.aufirst=Paul&rft_id=https%3A%2F%2Fwww.worldcat.org%2Ftitle%2Focm55587437&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:15-22">^ <a href="#cite_ref-:15_22-0">a</a> <a href="#cite_ref-:15_22-1">b</a> <a href="#cite_ref-:15_22-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBrett" class="citation web cs1">Brett, Philip. <a rel="nofollow" class="external text" href="https://echo.humspace.ucla.edu/issues/queer-musical-orientalism-2/">"Queer Musical Orientalism"</a>. ECHO. University of California. Retrieved 9 August 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ECHO&rft.atitle=Queer+Musical+Orientalism&rft.aulast=Brett&rft.aufirst=Philip&rft_id=https%3A%2F%2Fecho.humspace.ucla.edu%2Fissues%2Fqueer-musical-orientalism-2%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRodgers1979" class="citation book cs1">Rodgers, Bruce (1979). Gay Talk: a (sometimes outrageous) dictionary of gay slang. A Paragon book (Reprint ed.). New York: Paragon books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-399-50392-4" title="Special:BookSources/978-0-399-50392-4"><bdi>978-0-399-50392-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Gay+Talk%3A+a+%28sometimes+outrageous%29+dictionary+of+gay+slang&rft.place=New+York&rft.series=A+Paragon+book&rft.edition=Reprint&rft.pub=Paragon+books&rft.date=1979&rft.isbn=978-0-399-50392-4&rft.aulast=Rodgers&rft.aufirst=Bruce&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> "camp". Oxford English Dictionary, Second Edition. Oxford: Oxford University Press, 1989. </li> <li id="cite_note-:11-25">^ <a href="#cite_ref-:11_25-0">a</a> <a href="#cite_ref-:11_25-1">b</a> <a href="#cite_ref-:11_25-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLuu2018" class="citation web cs1">Luu, Chi (6 June 2018). <a rel="nofollow" class="external text" href="https://daily.jstor.org/unspeakable-linguistics-camp/">"The Unspeakable Linguistics of Camp"</a>. JSTOR Daily. Retrieved 9 August 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=JSTOR+Daily&rft.atitle=The+Unspeakable+Linguistics+of+Camp&rft.date=2018-06-06&rft.aulast=Luu&rft.aufirst=Chi&rft_id=https%3A%2F%2Fdaily.jstor.org%2Funspeakable-linguistics-camp%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHarper" class="citation web cs1">Harper, Douglas. <a rel="nofollow" class="external text" href="http://www.etymonline.com/index.php?term=camp">"camp (adj.)"</a>. Online Etymology Dictionary. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160914223354/http://www.etymonline.com/index.php?term=camp">Archived</a> from the original on 14 September 2016. Retrieved 21 August 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Online+Etymology+Dictionary&rft.atitle=camp+%28adj.%29&rft.aulast=Harper&rft.aufirst=Douglas&rft_id=http%3A%2F%2Fwww.etymonline.com%2Findex.php%3Fterm%3Dcamp&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> <a rel="nofollow" class="external text" href="http://atilf.atilf.fr/academie9.htm">Entry "camper"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110514222153/http://atilf.atilf.fr/academie9.htm">Archived</a> 14 May 2011 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in: <a href="/wiki/Dictionnaire_de_l%27Acad%C3%A9mie_fran%C3%A7aise" title="Dictionnaire de l'Académie française">Dictionnaire de l'Académie française</a>, ninth edition (1992). "2. Fam: Placer avec fermeté, avec insolence ou selon ses aises.] Il me parlait, le chapeau campé sur la tête. Surtout pron. Se camper solidement dans son fauteuil. Se camper à la meilleure place. Il se campa devant son adversaire. 3. En parlant d'un acteur, d'un artiste: Figurer avec force et relief. Camper son personage sur la scène. Camper une figure dans un tableau, des caractères dans un roman." (Familiar: To assume a defiant, insolent or <a href="https://en.wiktionary.org/wiki/devil-may-care" class="extiw" title="wikt:devil-may-care">devil-may-care</a> attitude. Theatre: To perform with forcefulness and <a href="https://en.wiktionary.org/wiki/exaggeration" class="extiw" title="wikt:exaggeration">exaggeration</a>; <a href="https://en.wiktionary.org/wiki/overact" class="extiw" title="wikt:overact">to overact</a>; To impose one's character assertively into a scene; <a href="https://en.wiktionary.org/wiki/upstage" class="extiw" title="wikt:upstage">to upstage</a>.) </li> <li id="cite_note-Sontag2009-28">^ <a href="#cite_ref-Sontag2009_28-0">a</a> <a href="#cite_ref-Sontag2009_28-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSusan_Sontag2009" class="citation book cs1">Susan Sontag (2 July 2009). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HLdQPwAACAAJ">Against Interpretation and Other Essays</a>. Penguin Modern Classics. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-14-119006-8" title="Special:BookSources/978-0-14-119006-8"><bdi>978-0-14-119006-8</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130602194813/http://books.google.com/books?id=HLdQPwAACAAJ">Archived</a> from the original on 2 June 2013. Retrieved 6 September 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Against+Interpretation+and+Other+Essays&rft.pub=Penguin+Modern+Classics&rft.date=2009-07-02&rft.isbn=978-0-14-119006-8&rft.au=Susan+Sontag&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DHLdQPwAACAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-:23-29">^ <a href="#cite_ref-:23_29-0">a</a> <a href="#cite_ref-:23_29-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBaker2023" class="citation book cs1">Baker, Paul (2023). Camp!. London Stockholm: Footnote Press. p. 15. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-80444-032-2" title="Special:BookSources/978-1-80444-032-2"><bdi>978-1-80444-032-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Camp%21&rft.place=London+Stockholm&rft.pages=15&rft.pub=Footnote+Press&rft.date=2023&rft.isbn=978-1-80444-032-2&rft.aulast=Baker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.worldwidewords.org/qa-cam1.html">"Camp"</a>. www.worldwidewords.org. Retrieved 10 August 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.worldwidewords.org&rft.atitle=Camp&rft_id=http%3A%2F%2Fwww.worldwidewords.org%2Fqa-cam1.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> 'My "campish undertakings" are not meeting with the success they deserve. Whatever I do seems to get me into hot water somewhere;...':The Times(London), 30 May 1870, p. 13, 'The Men in Women's Clothes' </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGipson2019" class="citation web cs1">Gipson, Ferren (23 April 2019). <a rel="nofollow" class="external text" href="https://artuk.org/discover/stories/art-matters-podcast-an-introduction-to-the-camp-aesthetic">"Art Matters podcast: an introduction to the camp aesthetic | Art UK"</a>. <a href="/wiki/Art_UK" title="Art UK">Art UK</a>. 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Bryan (15 April 2013). <a rel="nofollow" class="external text" href="https://slate.com/culture/2013/04/midnight-in-the-garden-of-good-and-evil-serious-camp.html">"Can Camp Be Taken Seriously?"</a>. Slate. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1091-2339">1091-2339</a>. 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Retrieved 10 October 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=faculty.georgetown.edu&rft.atitle=Notes+On+%22Camp%22&rft.au=Susan+Sontag&rft_id=https%3A%2F%2Ffaculty.georgetown.edu%2Firvinem%2Ftheory%2FSontag-NotesOnCamp-1964.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-62"><a href="#cite_ref-62">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBooth1983" class="citation book cs1">Booth, Mark (1983). Camp. 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Retrieved 21 April 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Daily+Telegraph&rft.atitle=Cher+is+Love+magazine%27s+latest+cover+%27girl%27+at+69&rft.date=2015-07-24&rft.aulast=White&rft.aufirst=Belinda&rft_id=https%3A%2F%2Fwww.telegraph.co.uk%2Ffashion%2Fpeople%2Fcher-is-love-magazine-cover-girl-at-69%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-NY_Daily_News-68"><a href="#cite_ref-NY_Daily_News_68-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.nydailynews.com/archives/nydn-features/cher-ishing-queen-camp-article-1.493616">"Cher-ishing the Queen of Camp"</a>. Daily News. 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Retrieved 21 April 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Daily+News&rft.atitle=Cher-ishing+the+Queen+of+Camp&rft_id=http%3A%2F%2Fwww.nydailynews.com%2Farchives%2Fnydn-features%2Fcher-ishing-queen-camp-article-1.493616&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-Gnojewski-69"><a href="#cite_ref-Gnojewski_69-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGnojewski2007" class="citation book cs1">Gnojewski, Carol (2007). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=JDGdVGWrjr8C&q=Madonna">Madonna: Express Yourself</a>. <a href="/wiki/Enslow_Publishing" title="Enslow Publishing">Enslow Publishing</a>. p. 114. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7660-2442-7" title="Special:BookSources/978-0-7660-2442-7"><bdi>978-0-7660-2442-7</bdi></a>. Retrieved 31 March 2022 – via Google Books.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Madonna%3A+Express+Yourself&rft.pages=114&rft.pub=Enslow+Publishing&rft.date=2007&rft.isbn=978-0-7660-2442-7&rft.aulast=Gnojewski&rft.aufirst=Carol&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DJDGdVGWrjr8C%26q%3DMadonna&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-Madonna-70"><a href="#cite_ref-Madonna_70-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDrushePeters2017" class="citation book cs1">Drushe, Bruce E.; Peters, Brian M. (2017). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=kHAKDgAAQBAJ&pg=PA216">Chapter 12, Camp, Androgyny, and 1990: Strike a Pose</a>. <a href="/wiki/Lexington_Books" class="mw-redirect" title="Lexington Books">Lexington Books</a>. p. 216. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4985-3777-3" title="Special:BookSources/978-1-4985-3777-3"><bdi>978-1-4985-3777-3</bdi></a>. 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Britannica.com. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130928030405/https://www.britannica.com/EBchecked/topic/561395/Dusty-Springfield">Archived</a> from the original on 28 September 2013. Retrieved 17 August 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Dusty+Springfield+%28British+singer%29+%E2%80%93+Encyclop%C3%A6dia+Britannica&rft.btitle=Britannica.com&rft.au=Peter+Silverton&rft_id=https%3A%2F%2Fwww.britannica.com%2FEBchecked%2Ftopic%2F561395%2FDusty-Springfield&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAnnie_J._Randall2005" class="citation journal cs1">Annie J. Randall (Fall 2005). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120625073452/http://depthome.brooklyn.cuny.edu/isam/NewsletF05/RandallF05.htm">"Dusty Springfield and the Motown Invasion"</a>. Newsletter. 35 (1). Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York. Archived from <a rel="nofollow" class="external text" href="http://depthome.brooklyn.cuny.edu/isam/NewsletF05/RandallF05.htm">the original</a> on 25 June 2012. Retrieved 17 August 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Newsletter&rft.atitle=Dusty+Springfield+and+the+Motown+Invasion&rft.ssn=fall&rft.volume=35&rft.issue=1&rft.date=2005&rft.au=Annie+J.+Randall&rft_id=http%3A%2F%2Fdepthome.brooklyn.cuny.edu%2Fisam%2FNewsletF05%2FRandallF05.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-Laurense_Cole_2008_p._13-73">^ <a href="#cite_ref-Laurense_Cole_2008_p._13_73-0">a</a> <a href="#cite_ref-Laurense_Cole_2008_p._13_73-1">b</a> Laurense Cole (2008) Dusty Springfield: in the middle of nowhere, Middlesex University Press. p. 13. </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Charles Taylor (1997). Mission Impossible: The perfectionist rock and soul of Dusty Springfield, Boston Phoenix. </li> <li id="cite_note-glbtq.com-75">^ <a href="#cite_ref-glbtq.com_75-0">a</a> <a href="#cite_ref-glbtq.com_75-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation encyclopaedia cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20120715000630/http://www.glbtq.com/arts/springfield_d.html">"Springfield, Dusty"</a>. glbtq – An Encyclopedia of Gay, Lesbian, Bisexual, Transgender and Queer Culture. 2005. Archived from <a rel="nofollow" class="external text" href="http://www.glbtq.com/arts/springfield_d.html">the original</a> on 15 July 2012. 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Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780199716302" title="Special:BookSources/9780199716302"><bdi>9780199716302</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170116234822/https://books.google.com/books?id=D2mCQpLstCkC&lpg=PA18&dq=%22Dusty!%20Queen%20of%20the%20Post%20Mods%22&pg=PA18">Archived</a> from the original on 16 January 2017. Retrieved 17 August 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Dusty%21+%3A+Queen+of+the+Post+Mods%3A+Queen+of+the+Post+Mods&rft.pub=Oxford+University+Press&rft.date=2008&rft.isbn=9780199716302&rft.au=Annie+J.+Randall%2C+Associate+Professor+of+Musicology+Bucknell+University&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DD2mCQpLstCkC%26q%3D%2522Dusty%21%2520Queen%2520of%2520the%2520Post%2520Mods%2522%26pg%3DPA18&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-gulla-77">^ <a href="#cite_ref-gulla_77-0">a</a> <a href="#cite_ref-gulla_77-1">b</a> Bob Gulla (2007) Icons of R&B and Soul: An Encyclopedia of the Artists Who Revolutionized Rhythm, Greenwood Publishing Group <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-313-34044-4" title="Special:BookSources/978-0-313-34044-4">978-0-313-34044-4</a> </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> Patricia Juliana Smith (1999) "'You Don't Have to Say You Love Me': The Camp Masquerades of Dusty Springfield", The Queer Sixties pp. 105–126, Routledge, London <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-92169-5" title="Special:BookSources/978-0-415-92169-5">978-0-415-92169-5</a> </li> <li id="cite_note-Exploring_Psy's-79"><a href="#cite_ref-Exploring_Psy's_79-0">^</a> <a rel="nofollow" class="external text" href="https://www.rollingstone.com/music/blogs/thread-count/exploring-psys-digital-dandy-appeal-in-gangnam-style-20121003">"Exploring Psy's Digital Dandy Appeal In 'Gangnam Style' "</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20140122062943/http://www.rollingstone.com/music/blogs/thread-count/exploring-psys-digital-dandy-appeal-in-gangnam-style-20121003">Archived</a> 22 January 2014 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (3 October 2012) Rolling Stone (retrieved 21 April 2013) </li> <li id="cite_note-Psy_Unveils-80"><a href="#cite_ref-Psy_Unveils_80-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRauhala2013" class="citation cs2">Rauhala, Emily (13 April 2013), <a rel="nofollow" class="external text" href="https://world.time.com/2013/04/13/psy-unveils-his-new-gentleman-video-and-dance-at-extravagant-seoul-concert/">"Psy Unveils His New 'Gentleman' Video and Dance at Extravagant Seoul Concert"</a>, Time, <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130417091115/http://world.time.com/2013/04/13/psy-unveils-his-new-gentleman-video-and-dance-at-extravagant-seoul-concert/">archived</a> from the original on 17 April 2013, retrieved 21 April 2013</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Time&rft.atitle=Psy+Unveils+His+New+%27Gentleman%27+Video+and+Dance+at+Extravagant+Seoul+Concert&rft.date=2013-04-13&rft.aulast=Rauhala&rft.aufirst=Emily&rft_id=https%3A%2F%2Fworld.time.com%2F2013%2F04%2F13%2Fpsy-unveils-his-new-gentleman-video-and-dance-at-extravagant-seoul-concert%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://archive.today/20210220085620/https://attitude.co.uk/article/interview-geri-horner-talks-spice-girls-solo-regrets-and-her-kinship-with-the-gay-community/13210/">"Geri Horner talks Spice Girls, solo regrets and her kinship with the gay community"</a>. Attitude. 5 January 2017. Archived from <a rel="nofollow" class="external text" href="https://attitude.co.uk/article/interview-geri-horner-talks-spice-girls-solo-regrets-and-her-kinship-with-the-gay-community/13210/">the original</a> on 20 February 2021. Retrieved 10 January 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Attitude&rft.atitle=Geri+Horner+talks+Spice+Girls%2C+solo+regrets+and+her+kinship+with+the+gay+community&rft.date=2017-01-05&rft_id=https%3A%2F%2Fattitude.co.uk%2Farticle%2Finterview-geri-horner-talks-spice-girls-solo-regrets-and-her-kinship-with-the-gay-community%2F13210%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKelly2020" class="citation web cs1">Kelly, Emma (11 December 2020). <a rel="nofollow" class="external text" href="https://metro.co.uk/2020/12/11/geri-horner-threatened-with-assassination-on-stage-by-admiral-duncan-nail-bomber-13736621/">"Geri Horner threatened with assassination on stage by Admiral Duncan nail bomber"</a>. Metro. Retrieved 10 January 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Metro&rft.atitle=Geri+Horner+threatened+with+assassination+on+stage+by+Admiral+Duncan+nail+bomber&rft.date=2020-12-11&rft.aulast=Kelly&rft.aufirst=Emma&rft_id=https%3A%2F%2Fmetro.co.uk%2F2020%2F12%2F11%2Fgeri-horner-threatened-with-assassination-on-stage-by-admiral-duncan-nail-bomber-13736621%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> Francis, Terri Simone. Josephine Baker's Cinematic Prism. Indiana University Press, 2021. p. x </li> <li id="cite_note-84"><a href="#cite_ref-84">^</a> Jules-Rosette, Bennetta. "Spectacular Dress: Africanisms in the Fashions and Performances of Josephine Baker, 1925–1975". In African Dress: Fashion, Agency, Performance. London: Bloomsbury Academic, 2013. pp.204-16. </li> <li id="cite_note-IddonMarshall2014-85"><a href="#cite_ref-IddonMarshall2014_85-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStan_Hawkins2014" class="citation book cs1">Stan Hawkins (3 January 2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=LpN8AgAAQBAJ&pg=PA17">"I'll bring You Down, Down, Down'"</a>. In Martin Iddon; Melanie L. Marshall (eds.). Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture. Routledge. pp. 17–18. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-134-07987-2" title="Special:BookSources/978-1-134-07987-2"><bdi>978-1-134-07987-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=I%27ll+bring+You+Down%2C+Down%2C+Down%27&rft.btitle=Lady+Gaga+and+Popular+Music%3A+Performing+Gender%2C+Fashion%2C+and+Culture&rft.pages=17-18&rft.pub=Routledge&rft.date=2014-01-03&rft.isbn=978-1-134-07987-2&rft.au=Stan+Hawkins&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DLpN8AgAAQBAJ%26pg%3DPA17&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-Vogue2022-86"><a href="#cite_ref-Vogue2022_86-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAllaire2022" class="citation magazine cs1">Allaire, Christian (2 January 2022). <a rel="nofollow" class="external text" href="https://www.vogue.com/slideshow/katy-perry-las-vegas-residency-camp-fashion">"Katy Perry Is Still the Queen of Camp"</a>. Vogue. Retrieved 3 January 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Vogue&rft.atitle=Katy+Perry+Is+Still+the+Queen+of+Camp&rft.date=2022-01-02&rft.aulast=Allaire&rft.aufirst=Christian&rft_id=https%3A%2F%2Fwww.vogue.com%2Fslideshow%2Fkaty-perry-las-vegas-residency-camp-fashion&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-87"><a href="#cite_ref-87">^</a> Compare: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMiller2002" class="citation cs2">Miller, W. Watts (2002), "Secularism and the sacred: is there really something called 'secular religion'?", in Idinopulos, Thomas A.; Wilson, Brian C. (eds.), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=TZt_hMv3OqQC">Reappraising Durkheim for the study and teaching of religion today</a>, Numen book series, vol. 92, Brill, pp. 38–39, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9004123393" title="Special:BookSources/9004123393"><bdi>9004123393</bdi></a>, <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130602203649/http://books.google.com/books?id=TZt_hMv3OqQC">archived</a> from the original on 2 June 2013, retrieved 21 November 2010, <q>An English example of how the life has gone out of lieux de memoire concerns William Blake's hymn about the building of a New Jerusalem. it is still sung every year in London 's Albert Hall on the Last Night of the Proms. But it is in a fervor without faith. It brings tears to the eyes, only it is in a mixture of nostalgia, camp, 'post-modernism,' and pastiche.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Secularism+and+the+sacred%3A+is+there+really+something+called+%27secular+religion%27%3F&rft.btitle=Reappraising+Durkheim+for+the+study+and+teaching+of+religion+today&rft.series=Numen+book+series&rft.pages=38-39&rft.pub=Brill&rft.date=2002&rft.isbn=9004123393&rft.aulast=Miller&rft.aufirst=W.+Watts&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTZt_hMv3OqQC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-88"><a href="#cite_ref-88">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFArmstrong2019" class="citation news cs1">Armstrong, Robert (23 May 2019). <a rel="nofollow" class="external text" href="https://www.ft.com/content/e0b5072c-7bb1-11e9-81d2-f785092ab560">"Rock it, man — what Elton John teaches us about style"</a>. <a href="/wiki/Financial_Times" title="Financial Times">Financial Times</a>. <a rel="nofollow" class="external text" href="https://ghostarchive.org/archive/20221210/https://www.ft.com/content/e0b5072c-7bb1-11e9-81d2-f785092ab560">Archived</a> from the original on 10 December 2022. Retrieved 12 July 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Financial+Times&rft.atitle=Rock+it%2C+man+%E2%80%94+what+Elton+John+teaches+us+about+style&rft.date=2019-05-23&rft.aulast=Armstrong&rft.aufirst=Robert&rft_id=https%3A%2F%2Fwww.ft.com%2Fcontent%2Fe0b5072c-7bb1-11e9-81d2-f785092ab560&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKnapp2018" class="citation book cs1">Knapp, Raymond (2018). Making light: Haydn, musical camp, and the long shadow of German idealism. Durham London: Duke University Press. pp. 164–165. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8223-7240-0" title="Special:BookSources/978-0-8223-7240-0"><bdi>978-0-8223-7240-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Making+light%3A+Haydn%2C+musical+camp%2C+and+the+long+shadow+of+German+idealism&rft.place=Durham+London&rft.pages=164-165&rft.pub=Duke+University+Press&rft.date=2018&rft.isbn=978-0-8223-7240-0&rft.aulast=Knapp&rft.aufirst=Raymond&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTraff2014" class="citation news cs1">Traff, Thea (29 March 2014). <a rel="nofollow" class="external text" href="http://www.newyorker.com/culture/photo-booth/thomas-dworzaks-taliban-glamour-shots">"Thomas Dworzak's Taliban Glamour Shots"</a>. <a href="/wiki/The_New_Yorker" title="The New Yorker">The New Yorker</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20141127171301/http://www.newyorker.com/culture/photo-booth/thomas-dworzaks-taliban-glamour-shots">Archived</a> from the original on 27 November 2014. Retrieved 15 November 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+Yorker&rft.atitle=Thomas+Dworzak%27s+Taliban+Glamour+Shots&rft.date=2014-03-29&rft.aulast=Traff&rft.aufirst=Thea&rft_id=http%3A%2F%2Fwww.newyorker.com%2Fculture%2Fphoto-booth%2Fthomas-dworzaks-taliban-glamour-shots&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-gabriner-nat-geo-91"><a href="#cite_ref-gabriner-nat-geo_91-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20141129013633/http://proof.nationalgeographic.com/2014/01/13/thomas-dworzak-mining-for-memes-on-instagram/">"2000, Thomas Dworzak, 1st prize, Spot News stories"</a>. <a href="/wiki/World_Press_Photo" title="World Press Photo">World Press Photo</a>. 13 January 2014. Archived from <a rel="nofollow" class="external text" href="http://proof.nationalgeographic.com/2014/01/13/thomas-dworzak-mining-for-memes-on-instagram/">the original</a> on 29 November 2014. Retrieved 15 November 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=2000%2C+Thomas+Dworzak%2C+1st+prize%2C+Spot+News+stories&rft.pub=World+Press+Photo&rft.date=2014-01-13&rft_id=http%3A%2F%2Fproof.nationalgeographic.com%2F2014%2F01%2F13%2Fthomas-dworzak-mining-for-memes-on-instagram%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.perlentaucher.de/vom-nachttisch-geraeumt/nachttisch-10-6-03.html">"Vom Nachttisch geräumt nachttisch 10.6.03 vom 10 June 2003 von Arno Widmann – Perlentaucher"</a>. perlentaucher.de. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160304090811/https://www.perlentaucher.de/vom-nachttisch-geraeumt/nachttisch-10-6-03.html">Archived</a> from the original on 4 March 2016. Retrieved 27 November 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Vom+Nachttisch+ger%C3%A4umt+nachttisch+10.6.03+vom+10+June+2003+von+Arno+Widmann+%E2%80%93+Perlentaucher&rft.pub=perlentaucher.de&rft_id=https%3A%2F%2Fwww.perlentaucher.de%2Fvom-nachttisch-geraeumt%2Fnachttisch-10-6-03.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-93"><a href="#cite_ref-93">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMaasikSolomon2011" class="citation book cs1">Maasik, Sonia; Solomon, Jack Fisher (2011). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Z-PAURpOlB8C&q=%22strangers+with+candy+which+was%22+camp&pg=PA328">Signs of Life in the USA: Readings on Popular Culture for Writers</a>. Bedford/St. Martin's. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780312647001" title="Special:BookSources/9780312647001"><bdi>9780312647001</bdi></a>. Retrieved 9 August 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Signs+of+Life+in+the+USA%3A+Readings+on+Popular+Culture+for+Writers&rft.pub=Bedford%2FSt.+Martin%27s&rft.date=2011&rft.isbn=9780312647001&rft.aulast=Maasik&rft.aufirst=Sonia&rft.au=Solomon%2C+Jack+Fisher&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DZ-PAURpOlB8C%26q%3D%2522strangers%2Bwith%2Bcandy%2Bwhich%2Bwas%2522%2Bcamp%26pg%3DPA328&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-94"><a href="#cite_ref-94">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/">"'Strangers with Candy': After-school special, Sedaris style"</a>. Orange County Register. 6 July 2006. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170806100949/http://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/">Archived</a> from the original on 6 August 2017. Retrieved 19 May 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Orange+County+Register&rft.atitle=%27Strangers+with+Candy%27%3A+After-school+special%2C+Sedaris+style&rft.date=2006-07-06&rft_id=https%3A%2F%2Fwww.ocregister.com%2F2006%2F07%2F06%2Fstrangers-with-candy-after-school-special-sedaris-style%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/">"'Strangers with Candy': After-school special, Sedaris style"</a>. 6 July 2006. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170806100949/http://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/">Archived</a> from the original on 6 August 2017. Retrieved 6 August 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%27Strangers+with+Candy%27%3A+After-school+special%2C+Sedaris+style&rft.date=2006-07-06&rft_id=http%3A%2F%2Fwww.ocregister.com%2F2006%2F07%2F06%2Fstrangers-with-candy-after-school-special-sedaris-style%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-96"><a href="#cite_ref-96">^</a> filmmakermagazine.com/27295-courtney-fathom-sells-hi-8-hi... </li> <li id="cite_note-97"><a href="#cite_ref-97">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://filmmakermagazine.com/29016-so-you-wanna-be-an-underground-filmmaker/">"COURTNEY FATHOM SELL: SO YOU WANNA BE AN UNDERGROUND FILMMAKER?"</a>. Filmmaker Magazine. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150627215406/http://filmmakermagazine.com/29016-so-you-wanna-be-an-underground-filmmaker">Archived</a> from the original on 27 June 2015. Retrieved 23 March 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Filmmaker+Magazine&rft.atitle=COURTNEY+FATHOM+SELL%3A+SO+YOU+WANNA+BE+AN+UNDERGROUND+FILMMAKER%3F&rft_id=http%3A%2F%2Ffilmmakermagazine.com%2F29016-so-you-wanna-be-an-underground-filmmaker%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-Antes_cursi-98"><a href="#cite_ref-Antes_cursi_98-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAllatson2007" class="citation journal cs1">Allatson, Paul (2007). "'Antes cursi que sencilla': Eurovision Song Contests and the Kitsch-Drive to Euro-Unity". Culture, Theory and Critique. 48 (1): 87–98. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F14735780701293540">10.1080/14735780701293540</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:146449408">146449408</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Culture%2C+Theory+and+Critique&rft.atitle=%27Antes+cursi+que+sencilla%27%3A+Eurovision+Song+Contests+and+the+Kitsch-Drive+to+Euro-Unity&rft.volume=48&rft.issue=1&rft.pages=87-98&rft.date=2007&rft_id=info%3Adoi%2F10.1080%2F14735780701293540&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A146449408%23id-name%3DS2CID&rft.aulast=Allatson&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-99"><a href="#cite_ref-99">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSmale2015" class="citation journal cs1">Smale, Alison (22 April 2015). <a rel="nofollow" class="external text" href="https://go.gale.com/ps/i.do?p=AONE&sw=w&issn=22699740&v=2.1&it=r&id=GALE%7CA410540597&sid=googleScholar&linkaccess=abs">"Australian director brings Berlin's complexity to the opera stage; Novel style wins acclaim and younger audiences for the Komische Oper"</a>. International New York Times: NA. Retrieved 9 August 2024 – via Gale Academic OneFile.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=International+New+York+Times&rft.atitle=Australian+director+brings+Berlin%27s+complexity+to+the+opera+stage%3B+Novel+style+wins+acclaim+and+younger+audiences+for+the+Komische+Oper.&rft.pages=NA&rft.date=2015-04-22&rft.aulast=Smale&rft.aufirst=Alison&rft_id=https%3A%2F%2Fgo.gale.com%2Fps%2Fi.do%3Fp%3DAONE%26sw%3Dw%26issn%3D22699740%26v%3D2.1%26it%3Dr%26id%3DGALE%257CA410540597%26sid%3DgoogleScholar%26linkaccess%3Dabs&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> Menninghaus, Winfried (2009). "On the Vital Significance of 'Kitsch': Walter Benjamin's Politics of 'Bad Taste'". In Andrew Benjamin and Charles Rice (ed.). Walter Benjamin and the Architecture of Modernity. re.press. pp. 39–58. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9805440-9-1" title="Special:BookSources/978-0-9805440-9-1">978-0-9805440-9-1</a>. </li> <li id="cite_note-Stępień2014-101"><a href="#cite_ref-Stępień2014_101-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAnna_Malinowska2014" class="citation book cs1">Anna Malinowska (26 September 2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=OyRQBwAAQBAJ&pg=PA11">"1, section 1: Bad Romance: Pop and Camp in Light of Evolutionary Confusion"</a>. In Justyna Stępień (ed.). Redefining Kitsch and Camp in Literature and Culture. Cambridge Scholars Publishing. p. 11. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4438-6779-5" title="Special:BookSources/978-1-4438-6779-5"><bdi>978-1-4438-6779-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=1%2C+section+1%3A+Bad+Romance%3A+Pop+and+Camp+in+Light+of+Evolutionary+Confusion&rft.btitle=Redefining+Kitsch+and+Camp+in+Literature+and+Culture&rft.pages=11&rft.pub=Cambridge+Scholars+Publishing&rft.date=2014-09-26&rft.isbn=978-1-4438-6779-5&rft.au=Anna+Malinowska&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DOyRQBwAAQBAJ%26pg%3DPA11&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-102"><a href="#cite_ref-102">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20110604055547/https://www.glbtq.com/arts/drag_queens.html">"glbtq >> arts >> Drag Shows: Drag Queens and Female Impersonators"</a>. 4 June 2011. Archived from <a rel="nofollow" class="external text" href="https://www.glbtq.com/arts/drag_queens.html">the original</a> on 4 June 2011. Retrieved 9 August 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=glbtq+%3E%3E+arts+%3E%3E+Drag+Shows%3A+Drag+Queens+and+Female+Impersonators&rft.date=2011-06-04&rft_id=https%3A%2F%2Fwww.glbtq.com%2Farts%2Fdrag_queens.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-103"><a href="#cite_ref-103">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWren2014" class="citation web cs1">Wren, Daniel (25 July 2014). <a rel="nofollow" class="external text" href="https://vadamagazine.com/features/opinions/guide-drag-types">"A fool's guide to drag 'types'"</a>. Retrieved 9 August 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=A+fool%27s+guide+to+drag+%27types%27&rft.date=2014-07-25&rft.aulast=Wren&rft.aufirst=Daniel&rft_id=https%3A%2F%2Fvadamagazine.com%2Ffeatures%2Fopinions%2Fguide-drag-types&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-104"><a href="#cite_ref-104">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoss1989" class="citation book cs1"><a href="/wiki/Andrew_Ross_(sociologist)" title="Andrew Ross (sociologist)">Ross, Andrew</a> (1989). <a rel="nofollow" class="external text" href="https://archive.org/details/norespectintellec00ross">No Respect: Intellectuals and Popular Culture</a>. New York: Routledge. p. <a rel="nofollow" class="external text" href="https://archive.org/details/norespectintellec00ross/page/136">136</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=No+Respect%3A+Intellectuals+and+Popular+Culture&rft.place=New+York&rft.pages=136&rft.pub=Routledge&rft.date=1989&rft.aulast=Ross&rft.aufirst=Andrew&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fnorespectintellec00ross&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-105"><a href="#cite_ref-105">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoss1989" class="citation book cs1"><a href="/wiki/Andrew_Ross_(sociologist)" title="Andrew Ross (sociologist)">Ross, Andrew</a> (1989). <a rel="nofollow" class="external text" href="https://archive.org/details/norespectintellec00ross">No Respect: Intellectuals and Popular Culture</a>. New York: Routledge. p. <a rel="nofollow" class="external text" href="https://archive.org/details/norespectintellec00ross/page/145">145</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=No+Respect%3A+Intellectuals+and+Popular+Culture&rft.place=New+York&rft.pages=145&rft.pub=Routledge&rft.date=1989&rft.aulast=Ross&rft.aufirst=Andrew&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fnorespectintellec00ross&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoss1989" class="citation book cs1"><a href="/wiki/Andrew_Ross_(sociologist)" title="Andrew Ross (sociologist)">Ross, Andrew</a> (1989). <a rel="nofollow" class="external text" href="https://archive.org/details/norespectintellec00ross">No Respect: Intellectuals and Popular Culture</a>. New York: Routledge. p. <a rel="nofollow" class="external text" href="https://archive.org/details/norespectintellec00ross/page/146">146</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=No+Respect%3A+Intellectuals+and+Popular+Culture&rft.place=New+York&rft.pages=146&rft.pub=Routledge&rft.date=1989&rft.aulast=Ross&rft.aufirst=Andrew&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fnorespectintellec00ross&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACamp+%28style%29" class="Z3988"> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Sources">Sources</h2>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=13" title="Edit section: Sources">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <ul><li>Babuscio, Jack (1993) "Camp and the Gay Sensibility" in Camp Grounds: Style and Homosexuality, David Bergman Ed., U of Massachusetts, Amherst <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-87023-878-9" title="Special:BookSources/978-0-87023-878-9">978-0-87023-878-9</a></li> <li>Feil, Ken (2005) "Queer Comedy", in Comedy: A Geographic and Historical Guide Vol. 2. pp. 19–38, 477–492, Maurice Charney Ed., Praeger, Westport, CN <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-313-32715-5" title="Special:BookSources/978-0-313-32715-5">978-0-313-32715-5</a></li> <li>Levine, Martin P. (1998) Gay Macho, New York UP, New York <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8147-4694-2" title="Special:BookSources/0-8147-4694-2">0-8147-4694-2</a></li> <li>Meyer, Moe, Ed. (1994) The Politics and Poetics of Camp, Routledge, London and New York <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-08248-8" title="Special:BookSources/978-0-415-08248-8">978-0-415-08248-8</a> <ul><li>Morrill, Cynthia (1994) "Revamping the Gay Sensibility: Queer Camp and dyke noir" (In Meyer pp. 110–129)</li></ul></li> <li>Helene A. Shugart and Catherine Egley Waggoner (2008) Making Camp: Rhetorics of Transgression in U.S. Popular Culture, U of Alabama P., Tuscaloosa <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8173-5652-1" title="Special:BookSources/978-0-8173-5652-1">978-0-8173-5652-1</a></li> <li>Van Leer, David (1995) The Queening of America: Gay Culture in Straight Society, Routledge, London and New York <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-90336-3" title="Special:BookSources/978-0-415-90336-3">978-0-415-90336-3</a></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=14" title="Edit section: Further reading">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239549316"><div class="refbegin" style=""> <ul><li>Baker, Paul (2023). Camp! The Story of the Attitude that Conquered the World. London: Footnote Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1804440339" title="Special:BookSources/978-1804440339">978-1804440339</a></li> <li>Core, Philip (1984/1994). CAMP, The Lie That Tells the Truth, foreword by George Melly. London: Plexus Publishing Limited. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-85965-044-8" title="Special:BookSources/0-85965-044-8">0-85965-044-8</a></li> <li>Cleto, Fabio, editor (1999). Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: University of Michigan Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-472-06722-2" title="Special:BookSources/0-472-06722-2">0-472-06722-2</a>.</li> <li>Padva, Gilad (2008). "Educating The Simpsons: Teaching Queer Representations in Contemporary Visual Media". Journal of LGBT Youth 5(3), 57–73.</li> <li>Padva, Gilad and Talmon, Miri (2008). "Gotta Have An Effeminate Heart: The Politics of Effeminacy and Sissyness in a Nostalgic Israeli TV Musical". Feminist Media Studies 8(1), 69–84.</li> <li>Padva, Gilad (2005). "Radical Sissies and Stereotyped Fairies in Laurie Lynd's The Fairy Who Didn't Want To Be A Fairy Anymore". Cinema Journal 45(1), 66–78.</li> <li>Padva, Gilad (2000). "Priscilla Fights Back: The Politicization of Camp Subculture". Journal of Communication Inquiry 24(2), 216–243.</li> <li>Meyer, Moe, editor (1993). The Politics and Poetics of Camp. Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-08248-X" title="Special:BookSources/0-415-08248-X">0-415-08248-X</a>.</li> <li>Sontag, Susan (1964). "Notes on Camp" in Against Interpretation and Other Essays. New York: Farrar, Straus & Giroux. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-312-28086-6" title="Special:BookSources/0-312-28086-6">0-312-28086-6</a>.</li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Camp_(style)&action=edit&section=15" title="Edit section: External links">edit</a>]</div> <ul><li><a rel="nofollow" class="external text" href="https://classes.dma.ucla.edu/Spring15/104/Susan%20Sontag_%20Notes%20On%20-Camp-.pdf">Notes on "Camp"</a> by <a href="/wiki/Susan_Sontag" title="Susan Sontag">Susan Sontag</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::after{content:none}.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd 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aesthetics">India</a></li> <li><a href="/wiki/Internet_aesthetic" title="Internet aesthetic">Internet</a></li> <li><a href="/wiki/Japanese_aesthetics" title="Japanese aesthetics">Japanese</a></li> <li><a href="/wiki/Mathematics_and_art" title="Mathematics and art">Mathematics</a></li> <li><a href="/wiki/Medieval_aesthetics" title="Medieval aesthetics">Medieval</a></li> <li><a href="/wiki/Aesthetics_of_music" title="Aesthetics of music">Music</a></li> <li><a href="/wiki/Aesthetics_of_nature" title="Aesthetics of nature">Nature</a></li> <li><a href="/wiki/Aesthetics_of_science" title="Aesthetics of science">Science</a></li> <li><a href="/wiki/Theological_aesthetics" title="Theological aesthetics">Theology</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Schools</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Aestheticism" title="Aestheticism">Aestheticism</a></li> <li><a href="/wiki/Classicism" title="Classicism">Classicism</a></li> <li><a href="/wiki/Fascism#Aesthetics" title="Fascism">Fascism</a></li> <li><a href="/wiki/Feminist_aesthetics" title="Feminist aesthetics">Feminism</a></li> <li><a href="/wiki/Formalism_(art)" title="Formalism (art)">Formalism</a></li> <li><a href="/wiki/Historicism_(art)" title="Historicism (art)">Historicism</a></li> <li><a href="/wiki/Marxist_aesthetics" title="Marxist aesthetics">Marxism</a></li> <li><a href="/wiki/Modernism" title="Modernism">Modernism</a></li> <li><a href="/wiki/Postmodernism" title="Postmodernism">Postmodernism</a></li> <li><a href="/wiki/Psychoanalytic_theory" title="Psychoanalytic theory">Psychoanalysis</a></li> <li><a href="/wiki/Aesthetic_Realism" title="Aesthetic Realism">Realism</a></li> <li><a href="/wiki/Romanticism" title="Romanticism">Romanticism</a></li> <li><a href="/wiki/Symbolism_(arts)" class="mw-redirect" title="Symbolism (arts)">Symbolism</a></li> <li><a href="/wiki/Theosophy_and_visual_arts" title="Theosophy and visual arts">Theosophy</a></li> <li><a href="/wiki/List_of_art_movements" title="List of art movements">more...</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Philosophers</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Abhinavagupta" title="Abhinavagupta">Abhinavagupta</a></li> <li><a href="/wiki/Theodor_W._Adorno" title="Theodor W. Adorno">Adorno</a></li> <li><a href="/wiki/Leon_Battista_Alberti" title="Leon Battista Alberti">Alberti</a></li> <li><a href="/wiki/Aristotle" title="Aristotle">Aristotle</a></li> <li><a href="/wiki/Thomas_Aquinas" title="Thomas Aquinas">Aquinas</a></li> <li><a href="/wiki/B%C3%A9la_Bal%C3%A1zs" title="Béla Balázs">Balázs</a></li> <li><a href="/wiki/Hans_Urs_von_Balthasar" title="Hans Urs von Balthasar">Balthasar</a></li> <li><a href="/wiki/Charles_Baudelaire" title="Charles Baudelaire">Baudelaire</a></li> <li><a href="/wiki/Jean_Baudrillard" title="Jean Baudrillard">Baudrillard</a></li> <li><a href="/wiki/Alexander_Gottlieb_Baumgarten" title="Alexander Gottlieb Baumgarten">Baumgarten</a></li> <li><a href="/wiki/Clive_Bell" title="Clive Bell">Bell</a></li> <li><a href="/wiki/Walter_Benjamin" title="Walter Benjamin">Benjamin</a></li> <li><a href="/wiki/Edmund_Burke" title="Edmund Burke">Burke</a></li> <li><a href="/wiki/Samuel_Taylor_Coleridge" title="Samuel Taylor Coleridge">Coleridge</a></li> <li><a href="/wiki/R._G._Collingwood" title="R. G. Collingwood">Collingwood</a></li> <li><a href="/wiki/Ananda_Coomaraswamy" title="Ananda Coomaraswamy">Coomaraswamy</a></li> <li><a href="/wiki/Arthur_Danto" title="Arthur Danto">Danto</a></li> <li><a href="/wiki/Gilles_Deleuze" title="Gilles Deleuze">Deleuze</a></li> <li><a href="/wiki/John_Dewey" title="John Dewey">Dewey</a></li> <li><a href="/wiki/Roger_Fry" title="Roger Fry">Fry</a></li> <li><a href="/wiki/Johann_Wolfgang_von_Goethe" title="Johann Wolfgang von Goethe">Goethe</a></li> <li><a href="/wiki/Nelson_Goodman" title="Nelson Goodman">Goodman</a></li> <li><a href="/wiki/Clement_Greenberg" title="Clement Greenberg">Greenberg</a></li> <li><a href="/wiki/Eduard_Hanslick" title="Eduard Hanslick">Hanslick</a></li> <li><a href="/wiki/Georg_Wilhelm_Friedrich_Hegel" title="Georg Wilhelm Friedrich Hegel">Hegel</a></li> <li><a href="/wiki/Martin_Heidegger" title="Martin Heidegger">Heidegger</a></li> <li><a href="/wiki/David_Hume" title="David Hume">Hume</a></li> <li><a href="/wiki/Francis_Hutcheson_(philosopher)" title="Francis Hutcheson (philosopher)">Hutcheson</a></li> <li><a href="/wiki/Immanuel_Kant" title="Immanuel Kant">Kant</a></li> <li><a href="/wiki/S%C3%B8ren_Kierkegaard" title="Søren Kierkegaard">Kierkegaard</a></li> <li><a href="/wiki/Paul_Klee" title="Paul Klee">Klee</a></li> <li><a href="/wiki/Susanne_Langer" title="Susanne Langer">Langer</a></li> <li><a href="/wiki/Theodor_Lipps" title="Theodor Lipps">Lipps</a></li> <li><a href="/wiki/Liu_Xie" title="Liu Xie">Liu</a></li> <li><a href="/wiki/Gy%C3%B6rgy_Luk%C3%A1cs" title="György Lukács">Lukács</a></li> <li><a href="/wiki/Jean-Fran%C3%A7ois_Lyotard" title="Jean-François Lyotard">Lyotard</a></li> <li><a href="/wiki/Paul_de_Man" title="Paul de Man">Man</a></li> <li><a href="/wiki/Herbert_Marcuse" title="Herbert Marcuse">Marcuse</a></li> <li><a href="/wiki/Jacques_Maritain" title="Jacques Maritain">Maritain</a></li> <li><a href="/wiki/Maurice_Merleau-Ponty" title="Maurice Merleau-Ponty">Merleau-Ponty</a></li> <li><a href="/wiki/Friedrich_Nietzsche" title="Friedrich Nietzsche">Nietzsche</a></li> <li><a href="/wiki/Jos%C3%A9_Ortega_y_Gasset" title="José Ortega y Gasset">Ortega y Gasset</a></li> <li><a href="/wiki/George_Orwell" title="George Orwell">Orwell</a></li> <li><a href="/wiki/Walter_Pater" title="Walter Pater">Pater</a></li> <li><a href="/wiki/Plato" title="Plato">Plato</a></li> <li><a href="/wiki/Jacques_Ranci%C3%A8re" title="Jacques Rancière">Rancière</a></li> <li><a href="/wiki/Ayn_Rand" title="Ayn Rand">Rand</a></li> <li><a href="/wiki/I._A._Richards" title="I. A. Richards">Richards</a></li> <li><a href="/wiki/John_Ruskin" title="John Ruskin">Ruskin</a></li> <li><a href="/wiki/George_Santayana" title="George Santayana">Santayana</a></li> <li><a href="/wiki/Friedrich_Schiller" title="Friedrich Schiller">Schiller</a></li> <li><a href="/wiki/Arthur_Schopenhauer" title="Arthur Schopenhauer">Schopenhauer</a></li> <li><a href="/wiki/Roger_Scruton" title="Roger Scruton">Scruton</a></li> <li><a href="/wiki/Rabindranath_Tagore" title="Rabindranath Tagore">Tagore</a></li> <li><a href="/wiki/Jun%27ichir%C5%8D_Tanizaki" title="Jun'ichirō Tanizaki">Tanizaki</a></li> <li><a href="/wiki/Giorgio_Vasari" title="Giorgio Vasari">Vasari</a></li> <li><a href="/wiki/Oscar_Wilde" title="Oscar Wilde">Wilde</a></li> <li><a href="/wiki/Johann_Joachim_Winckelmann" title="Johann Joachim Winckelmann">Winckelmann</a></li> <li><a href="/wiki/List_of_aestheticians" title="List of aestheticians">more...</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Concepts</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Appropriation_(art)" title="Appropriation (art)">Appropriation</a></li> <li><a href="/wiki/Art_for_art%27s_sake" title="Art for art's sake">Art for art's sake</a></li> <li><a href="/wiki/Art_manifesto" title="Art manifesto">Art manifesto</a></li> <li><a href="/wiki/Artistic_merit" title="Artistic merit">Artistic merit</a></li> <li><a href="/wiki/Avant-garde" title="Avant-garde">Avant-garde</a></li> <li><a href="/wiki/Beauty" title="Beauty">Beauty</a> <ul><li><a href="/wiki/Feminine_beauty_ideal" title="Feminine beauty ideal">Feminine</a></li> <li><a href="/wiki/Masculine_beauty_ideal" title="Masculine beauty ideal">Masculine</a></li></ul></li> <li><a class="mw-selflink selflink">Camp</a></li> <li><a href="/wiki/Comedy" title="Comedy">Comedy</a></li> <li><a href="/wiki/Creativity" title="Creativity">Creativity</a></li> <li><a href="/wiki/Cuteness" title="Cuteness">Cuteness</a></li> <li><a href="/wiki/Depiction" title="Depiction">Depiction</a></li> <li><a href="/wiki/Disgust" title="Disgust">Disgust</a></li> <li><a href="/wiki/Ecstasy_(philosophy)" title="Ecstasy (philosophy)">Ecstasy</a></li> <li><a href="/wiki/Elegance" title="Elegance">Elegance</a></li> <li><a href="/wiki/Aesthetic_emotions" title="Aesthetic emotions">Emotions</a></li> <li><a href="/wiki/Entertainment" title="Entertainment">Entertainment</a></li> <li><a href="/wiki/Eroticism" title="Eroticism">Eroticism</a></li> <li><a href="/wiki/Fashion" title="Fashion">Fashion</a></li> <li><a href="/wiki/Fun" title="Fun">Fun</a></li> <li><a href="/wiki/Gaze" title="Gaze">Gaze</a></li> <li><a href="/wiki/Harmony" title="Harmony">Harmony</a></li> <li><a href="/wiki/Humour" title="Humour">Humour</a></li> <li><a href="/wiki/Aesthetic_interpretation" title="Aesthetic interpretation">Interpretation</a></li> <li><a href="/wiki/Judgment" class="mw-redirect" title="Judgment">Judgment</a></li> <li><a href="/wiki/Kama" title="Kama">Kama</a></li> <li><a href="/wiki/Kitsch" title="Kitsch">Kitsch</a></li> <li><a href="/wiki/Life_imitating_art" title="Life imitating art">Life imitating art</a></li> <li><a href="/wiki/Magnificence_(history_of_ideas)" title="Magnificence (history of ideas)">Magnificence</a></li> <li><a href="/wiki/Mimesis" title="Mimesis">Mimesis</a></li> <li><a href="/wiki/Perception" title="Perception">Perception</a></li> <li><a href="/wiki/Picturesque" title="Picturesque">Picturesque</a></li> <li><a href="/wiki/Quality_(philosophy)" title="Quality (philosophy)">Quality</a></li> <li><a href="/wiki/Rasa_(aesthetics)" title="Rasa (aesthetics)">Rasa</a></li> <li><a href="/wiki/Recreation" title="Recreation">Recreation</a></li> <li><a href="/wiki/Reverence_(emotion)" title="Reverence (emotion)">Reverence</a></li> <li><a href="/wiki/Style_(visual_arts)" title="Style (visual arts)">Style</a></li> <li><a href="/wiki/Sublime_(philosophy)" title="Sublime (philosophy)">Sublime</a></li> <li><a href="/wiki/Taste_(sociology)" class="mw-redirect" title="Taste (sociology)">Taste</a></li> <li><a href="/wiki/Tragedy" title="Tragedy">Tragedy</a></li> <li><a href="/wiki/Work_of_art" title="Work of art">Work of art</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Works</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Hippias_Major" title="Hippias Major">Hippias Major</a> (c. 390 BC)</li> <li><a href="/wiki/Poetics_(Aristotle)" title="Poetics (Aristotle)">Poetics</a> (c. 335 BC)</li> <li><a href="/wiki/The_Literary_Mind_and_the_Carving_of_Dragons" title="The Literary Mind and the Carving of Dragons">The Literary Mind and the Carving of Dragons</a> (c. 100)</li> <li><a href="/wiki/On_the_Sublime" title="On the Sublime">On the Sublime</a> (c. 500)</li> <li><a href="/wiki/A_Philosophical_Enquiry_into_the_Origin_of_Our_Ideas_of_the_Sublime_and_Beautiful" title="A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful">A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful</a> (1757)</li> <li><a href="/wiki/Lectures_on_Aesthetics" title="Lectures on Aesthetics">Lectures on Aesthetics</a> (1835)</li> <li>"<a href="/wiki/The_Critic_as_Artist" title="The Critic as Artist">The Critic as Artist</a>" (1891)</li> <li><a href="/wiki/In_Praise_of_Shadows" title="In Praise of Shadows">In Praise of Shadows</a> (1933)</li> <li><a href="/wiki/Art_as_Experience" title="Art as Experience">Art as Experience</a> (1934)</li> <li>"<a href="/wiki/The_Work_of_Art_in_the_Age_of_Mechanical_Reproduction" title="The Work of Art in the Age of Mechanical Reproduction">The Work of Art in the Age of Mechanical Reproduction</a>" (1935)</li> <li>"<a href="/wiki/Avant-Garde_and_Kitsch" title="Avant-Garde and Kitsch">Avant-Garde and Kitsch</a>" (1939)</li> <li><a href="/wiki/Critical_Essays_(Orwell)" title="Critical Essays (Orwell)">Critical Essays</a> (1946)</li> <li><a href="/wiki/The_Aesthetic_Dimension" title="The Aesthetic Dimension">The Aesthetic Dimension</a> (1977)</li> <li><a href="/wiki/Why_Beauty_Matters" title="Why Beauty Matters">Why Beauty Matters</a> (2009)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Aestheticization_of_politics" title="Aestheticization of politics">Aestheticization of politics</a></li> <li><a href="/wiki/Applied_aesthetics" title="Applied aesthetics">Applied aesthetics</a></li> <li><a href="/wiki/Arts_criticism" title="Arts criticism">Arts criticism</a></li> <li><a href="/wiki/Axiology" class="mw-redirect" title="Axiology">Axiology</a></li> <li><a href="/wiki/Evolutionary_aesthetics" title="Evolutionary aesthetics">Evolutionary aesthetics</a></li> <li><a href="/wiki/Mathematical_beauty" title="Mathematical beauty">Mathematical beauty</a></li> <li><a href="/wiki/Neuroesthetics" title="Neuroesthetics">Neuroesthetics</a></li> <li><a href="/wiki/Patterns_in_nature" title="Patterns in nature">Patterns in nature</a></li> <li><a href="/wiki/Philosophy_of_design" title="Philosophy of design">Philosophy of design</a></li> <li><a href="/wiki/Philosophy_of_film" title="Philosophy of film">Philosophy of film</a></li> <li><a href="/wiki/Philosophy_of_music" title="Philosophy of music">Philosophy of music</a></li> <li><a href="/wiki/Psychology_of_art" title="Psychology of art">Psychology of art</a></li> <li><a href="/wiki/Theory_of_art" title="Theory of art">Theory of art</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div> <ul><li><a href="/wiki/Index_of_aesthetics_articles" title="Index of aesthetics 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