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3.9 AVERAGE
3.9 AVERAGE
informative
fast-paced
informative
fast-paced
informative
medium-paced
مقاله‌ی کوتاهی بود درباره‌ی شناختن کمپ و اینکه چه معنایی داره و چه چیزهایی رو شامل میشه؛ چیزی حاوی ابتذال، مبالغه، غیرطبیعی بودن و درعین جدی بودن سخیف، با بزرگ‌نمایی‌های بیش از حد. بطور کلی چیزی که خوب اما مزخرف است.
فکر می‌کنم بشه گفت نقش بازی کردن چیزی که خودمون نیستیم، نوعی به نمایش گذاشتن و خود در حلق مردم فروکنی.
فکر می‌کنم بشه گفت نقش بازی کردن چیزی که خودمون نیستیم، نوعی به نمایش گذاشتن و خود در حلق مردم فروکنی.
reflective
slow-paced
when it hits its great it’s stimulating with much to play with…
but the misses are blindingly white and middle class like… write about what you know and pretend the rest doesn’t exist is the memo here,
and by the rest that means Black and Brown people and culture. this is an unfortunate common theme in her work (Promised Lands, 1974)
but the misses are blindingly white and middle class like… write about what you know and pretend the rest doesn’t exist is the memo here,
and by the rest that means Black and Brown people and culture. this is an unfortunate common theme in her work (Promised Lands, 1974)
inspiring
reflective
fast-paced
reflective
medium-paced
I feel quite torn on this. I think there's always something to gain in reading foundational texts and certainly Sontag was a leading figure in articulating Camp so I enjoyed thinking about how Camp has evolved in the 60+ years since this was published BUT (and it's a big BUT) there's a lot here that felt incredibly amiss.
Firstly Sontag's categorisation of Camp as apolitical is VERY telling and sets up the entire framework for her articulation.
The assertion that it was only possible in affluent circles alongside a complete disregard for Black cultural artifacts feels very poignant and a clear indicator of where prominent white cultural critics, even those considered - and still considered - progressive were at, at the time.
She asserts "Jews & homosexuals are the outstanding creative minorities in urban culture & the two pioneering forces of modern sensibility" and im not arguing against that. In fact, it would have been useful for Sontag to expand on this more and potentially recognise the political & economic forces at play in the shaping of Camp by these groups.
Given this was published in 1961/64 during the height of the Civil Rights movement it feels wild to me that she doesn't include Black people in the pioneering forces of modern sensibility?! She also entirely ignores - not even a line included - Black people's role in urban culture which feels both unsurprising but also galling 1) Because of the flourishing Black Arts Movement at the time & 2) because ...Susan, babe, you live in New York..did you not hear about the Harlem Renaissance or? She also.draws upon Dandyism (only white of course) but doesn't make the link between politics, campness and Black Dandyism which also felt very frustrating!
Overall, an interesting foundational text but both apolitical in its inception and apolitical in its articulation.
Firstly Sontag's categorisation of Camp as apolitical is VERY telling and sets up the entire framework for her articulation.
The assertion that it was only possible in affluent circles alongside a complete disregard for Black cultural artifacts feels very poignant and a clear indicator of where prominent white cultural critics, even those considered - and still considered - progressive were at, at the time.
She asserts "Jews & homosexuals are the outstanding creative minorities in urban culture & the two pioneering forces of modern sensibility" and im not arguing against that. In fact, it would have been useful for Sontag to expand on this more and potentially recognise the political & economic forces at play in the shaping of Camp by these groups.
Given this was published in 1961/64 during the height of the Civil Rights movement it feels wild to me that she doesn't include Black people in the pioneering forces of modern sensibility?! She also entirely ignores - not even a line included - Black people's role in urban culture which feels both unsurprising but also galling 1) Because of the flourishing Black Arts Movement at the time & 2) because ...Susan, babe, you live in New York..did you not hear about the Harlem Renaissance or? She also.draws upon Dandyism (only white of course) but doesn't make the link between politics, campness and Black Dandyism which also felt very frustrating!
Overall, an interesting foundational text but both apolitical in its inception and apolitical in its articulation.