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Camp is an aesthetic and sensibility that regards something as appealing or amusing because of its heightened level of artifice, affectation and exaggeration, [1] [2] [3] especially when there is also a playful or ironic element. [4] [5] Camp is historically associated with LGBTQ culture and especially gay men.
The first volume has scholar Fabio Cleto's comprehensive essay on camp followed by a visual history guide of camp sensibility. [25] The second volume has an essay by Andrew Bolton, the Wendy Yu curator in charge of the Costume Institute, outlying inspirations and interpretations of camp for the exhibition. [ 25 ]
The essay is structured with a brief introduction, followed by a list of 58 "notes" on what camp is, or might be. Christopher Isherwood is mentioned in Sontag's essay: "Apart from a lazy two-page sketch in Christopher Isherwood's novel The World in the Evening (1954), [camp] has hardly broken into print."
Susan Lee Sontag (/ ˈ s ɒ n t æ ɡ /; January 16, 1933 – December 28, 2004) was an American writer, critic, and public intellectual.She mostly wrote essays, but also published novels; she published her first major work, the essay "Notes on 'Camp' ", in 1964.
The neglect of aesthetic theory to consider the role of sensibility in everyday life was first pointed out by Katya Mandoki who in 1994 coined the word Prosaics [4] (drawing a distinction from Aristotle’s Poetics [5] focused on art) to denote a sub-discipline that would specifically inquire the aesthetics involved in daily activities emphasizing the styles and forms of expression in face-to ...
Aestheticism (also known as the aesthetic movement) was an art movement in the late 19th century that valued the appearance of literature, music, fonts and the arts over their functions. [ 1 ] [ 2 ] According to Aestheticism, art should be produced to be beautiful, rather than to teach a lesson , create a parallel , or perform another didactic ...
Aesthetic emotions are emotions that are felt during aesthetic activity or appreciation. These emotions may be of the everyday variety (such as fear, wonder or sympathy) or may be specific to aesthetic contexts. Examples of the latter include the sublime, the beautiful, and the kitsch. In each of these respects, the emotion usually constitutes ...
The order of the world, wherein all beauty really resides, is a spiritual principle, all motion and life being the product of spirit. The principle of beauty is perceived not with the outer sense, but with an internal or moral sense which apprehends the good as well. This perception yields the only true delight, namely, spiritual enjoyment. [15]