Take a photo of a barcode or cover
3.9 AVERAGE
3.9 AVERAGE
challenging
medium-paced
10.
Camp sees everything in quotation marks. It's not a lamp, but a "lamp"; not a woman, but a "woman." To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater.
30.
Time may enhance what seems simply dogged or lacking in fantasy now because we are too close to it, because it resembles too closely our own everyday fantasies, the fantastic nature of which we don't perceive. We are better able to enjoy a fantasy as fantasy when it is not our own.
31
This is why so many of the objects prized by Camp taste are old-fashioned, out-of-date, démodé. It's not a love of the old as such. It's simply that the process of aging or deterioration provides the necessary detachment— or arouses a necessary sympathy.
Another effect: time contracts the sphere of banality. (Banality is, strictly speaking, always a category of the contemporary.) What was banal can, with the passage of time, become fantastic.
Thus, things are campy, not when they become old but when we become less involved in them, and can enjoy, instead of be frustrated by, the failure of the attempt.
41.
The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to "the serious." One can be serious about the frivolous, frivolous about the serious.
Camp sees everything in quotation marks. It's not a lamp, but a "lamp"; not a woman, but a "woman." To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater.
30.
Time may enhance what seems simply dogged or lacking in fantasy now because we are too close to it, because it resembles too closely our own everyday fantasies, the fantastic nature of which we don't perceive. We are better able to enjoy a fantasy as fantasy when it is not our own.
31
This is why so many of the objects prized by Camp taste are old-fashioned, out-of-date, démodé. It's not a love of the old as such. It's simply that the process of aging or deterioration provides the necessary detachment— or arouses a necessary sympathy.
Another effect: time contracts the sphere of banality. (Banality is, strictly speaking, always a category of the contemporary.) What was banal can, with the passage of time, become fantastic.
Thus, things are campy, not when they become old but when we become less involved in them, and can enjoy, instead of be frustrated by, the failure of the attempt.
41.
The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to "the serious." One can be serious about the frivolous, frivolous about the serious.
funny
informative
reflective
fast-paced
studying the ancient texts so i can understand twitter discourse
challenging
informative
challenging
informative
medium-paced
informative
reflective
slow-paced
Sontag really looked Camp right in the eye with this one