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Camp is a social, cultural, and aesthetic style and sensibility based on deliberate and 〔Babuscio (1993, 20), Feil (2005, 478), Morrill (1994, 110), Shugart and Waggoner (2008, 33), and Van Leer (1995, 60).〕 Camp is commonly associated with and attributed to gay male subculture(s), but its basis and practice extends further. Camp aesthetics disrupt many modernists' notions of what art is and what can be classified as high art by inverting aesthetic attributes such as beauty, value, and taste through an invitation of a different kind of apprehension and consumption.〔Mallan, Kerry, McGills, Roderick (2005) "Between a Frock and a Hard Place: Camp Aesthetics and Children's Culture", ''Canadian Review of American Studies'' Vol.35 №1 pp. 1–19〕 Camp can also be a social practice. For many it is considered a style and performance identity for several types of entertainment including film, cabaret and pantomime.〔Mallan, Kerry, McGills, Roderick. "Between a Frock and a Hard Place: Camp Aesthetics and Children's Culture". Canadian Review of American Studies (2005) 35:1 (1)〕 Where high art necessarily incorporates beauty and value, camp necessarily needs to be lively, audacious and dynamic. "Camp aesthetics delights in impertinence." Camp opposes satisfaction and seeks to challenge.〔 Camp art is related to - and often confused with - kitsch, and things with camp appeal may also be described as "cheesy". When the usage appeared in 1909, it denoted ''ostentatious'', ''exaggerated'', ''affected'', ''theatrical'', and/or ''effeminate'' behavior, and by the middle of the 1970s, the definition comprised: ''banality, artifice, mediocrity and ostentation so extreme as to have perversely sophisticated appeal''.〔Webster's New World Dictionary of the American Language, 1976 edition, sense 6, (orig., homosexual jargon, Americanism ) banality, mediocrity, artifice, ostentation, etc. so extreme as to amuse or have a perversely sophisticated appeal〕 American writer Susan Sontag's essay "Notes on 'Camp' " (1964) emphasized its key elements as: ''artifice'', ''frivolity'', ''naive middle-class pretentiousness'', and 'shocking' ''excess''. Camp as an aesthetic has been popular from the 1960s to the present. Camp aesthetics were popularised by filmmakers George and Mike Kuchar, Jack Smith and his film ''Flaming Creatures'', Andy Warhol, and John Waters, including the last's ''Pink Flamingos'', ''Hairspray'', and ''Polyester''. Celebrities that are associated with camp personas include drag queens and performers such as Dame Edna Everage, Divine, RuPaul, Paul Lynde, and Liberace. Camp was a part of the anti-academic defense of popular culture in the 1960s and gained popularity in the 1980s with the widespread adoption of postmodern views on art and culture. == Origins and development == ''Camp'' derives from the French term ''se camper'', meaning "to pose in an exaggerated fashion".〔(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 personnage sur la scène. Camper une figure dans un tableau, des caractères dans un roman. ''Dictionnaire de l'Académie française'', 9e édition(Familiar: To assume a defiant, insolent or devil-may-care attitude.Theatre: To perform with forcefulness and exaggeration; to overact.To impose one's character assertively into a scene; to upstage.)〕 The ''Oxford English Dictionary'' gives 1909 as the first print citation of ''camp'' as :ostentatious, exaggerated, affected, theatrical; effeminate or homosexual; pertaining to, characteristic of, homosexuals. So as a noun, ‘camp’ behaviour, mannerisms, et cetera. (cf. quot. 1909); a man exhibiting such behaviour. According to the dictionary, this sense is "etymologically obscure". Later, it evolved into a general description of the aesthetic choices and behaviour of working-class homosexual men.〔Esther Newton (1978) ''Mother Camp: Female Impersonators in America'', University Of Chicago Press〕 Finally, it was made mainstream, and adjectivised, by Susan Sontag in a landmark essay (see below). The rise of post-modernism made 'camp' a common perspective on aesthetics, which was not identified with any specific group. The attitude originally was a distinctive factor in pre-Stonewall gay male communities, where it was the dominant cultural pattern. It originated from the acceptance of gayness as effeminacy.〔 Two key components of camp were originally feminine performances: swish and drag. With swish featuring extensive use of superlatives, and drag being exaggerated female impersonation, camp became extended to all things "over the top", including female female impersonators, as in the exaggerated Hollywood version of Carmen Miranda. It was this version of the concept that was adopted by literary and art critics and became a part of the conceptual array of 1960s culture. Moe Meyer still defines ''camp'' as "queer parody".〔Moe Meyer (2010) ''An Archaeology of Posing: Essays on Camp, Drag, and Sexuality'', Macater Press ISBN 978-0981492452〕〔Moe Meyer (2011) ''The Politics and Poetics of Camp'', Routledge ISBN 978-0415514897〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Camp (style)」の詳細全文を読む スポンサード リンク
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