Difference between revisions of "S CAMP!"

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!!!THIS PAGE IS CURRENTLY UNDER CONSTRUCTION!!!
 
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'''COURSE OUTLINE'''
 
'''COURSE OUTLINE'''
  
 
3.02.971: S CAMP!
 
3.02.971: S CAMP!
  
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* [Module] ang971,ang972, ang973 - Culture and Difference
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* [Module] ang971, ang972, ang973 - Culture and Difference
  
 
* [Credits] M.A. English Studies: 12 KP; M.Ed. Gym: 9 KP; M.Ed. WiPäd 6 KP
 
* [Credits] M.A. English Studies: 12 KP; M.Ed. Gym: 9 KP; M.Ed. WiPäd 6 KP
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'''PRIMARY TEXTS'''
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'''PRIMARY TEXTS (Mandatory Reading)'''
  
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* Ronald Firbank. "The Flower Beneath the Foot." ''Five Novels''. New York: New Directions, 1981. Print. [or any other edition]
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* Crisp, Quentin. ''The Naked Civil Servant''. 1968. New York and London: HarperCollins, 2007. Print. [or any other edition]
  
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* ''Calamity Jane''. Dir. David Butler. Perf. Doris Day, Howard Keel, Allyn An McLerie. Warner Broth-ers, 1953.
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* ''Calamity Jane''. Dir. David Butler. Perf. Doris Day and Howard Keel. 1953. Warner Home Video, 2003. DVD.
  
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* Quentin Crisp. ''The Naked Civil Servant''. New York and London: HarperCollins, 2007. Print
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* Orton, Joe. ''What the Butler Saw''. 1968. London et al.: Bloomsbury, 1969. Print. [or any other edition]
  
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* ''The Rocky Horror Picture Show''. Dir. Neil Burger. Perf. Bradley Cooper, Abbie Cornish, and Robert De Niro. 2011. Concorde, 2011. DVD.
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* ''The Rocky Horror Picture Show''. Dir. Jim Sharman. Perf. Tim Curry, Susan Sarandon, and Barry Bostwick. 1975. Twentieth Century Fox, 2013. DVD.
  
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* ''Hairspray''. Dir. John Waters. Perf. Ricki Lake, Divine, Debbie Harry, Sonny Bono, Jerry Stiller. New Line Cinema, 1988.
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* ''Velvet Goldmine''. Dir. Todd Haynes. Dir. Jonathan Rhys Meyers, Ewan McGregor, Christian Bale, Toni Collette. 1998. Miramax, 2000.
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 +
 
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'''FURTHER PRIMARY TEXTS (Recommended Reading)'''
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* ''All About Eve''. Dir. Joseph L. Mankiewicz. Perf. Bette Davis, Anne Baxter, George Sanders, and Celeste Holm. 1950. Twentieth-Century Fox. 2011. DVD.
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* ''The Adventures of Priscilla, Queen of the Desert''. Dir. Stephan Elliott. Perf. Hugo Weaving, Ter-ence Stamp, Guy Pearce, Bill Hunter. 1994. PolyGram, 1994. DVD.
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* ''Breakfast on Pluto''. Dir. Neil Jordan. Perf. Cillian Murphy, Stephen Rea, Liam Neeson, Brendan Gleeson. 2005. Sony Puctures Classics, 2009. DVD.
 +
 
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* Fierstein, Harvey. ''Torch Song Trilogy''. 1978. New York, Ballantine, 2018. Print.
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* Firbank, Ronald. "The Flower Beneath the Foot." 1923. ''Five Novels''. New York: New Directions, 1981. 1-94. Print.
 +
 
 +
* Firbank, Ronald. "Concerning the Eccentricities of Cardinal Pirelli." 1926. ''Five Novels''. New York: New Directions, 1981. 289-342. Print
 +
 
 +
* ''Gentlemen Prefer Blondes''. Dir. Howard Hawks. Perf. Marilyn Monroe and Jane Russell. 1953. Twentieth-Century Fox. 2002. DVD.
 +
 
 +
* ''The Grand Budapest Hotel''. Dir. Wes Anderson. Perf. Ralph Fiennes, F. Murray Abraham, Tilda Swinton, and Tony Revolori. 2014. Twentieth-Century Fox, 2014. DVD.
 +
 
 +
* ''Hairspray''. Dir. John Waters. Perf. Ricki Lake, Divine, Debbie Harry, Sonny Bono, Jerry Stiller. 1988. Warner Home, 2007. DVD.
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* Isherwood, Christopher. ''The World in the Evening''. 1954. London: Vintage, 2012. Print.
 +
 
 +
* McCabe, Patrick. ''Breakfast on Pluto''. New York and London: HarperPerennial, 1999. Print.
 +
 
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* ''Pink Flamingos''. Dir. John Waters. Perf. Divine, David Lochary, and Mink Stole. Dreamland, 1972.
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 +
* ''Some Like It Hot''. Dir. Billy Wilder. Perf. Marilyn Monroe, Jack Lemmon, and Tony Curtis. 1959. Warner Bros., 2008. DVD.
 +
 
 +
* ''Tootsi''. Dir. Sydney Pollack. Perf. Dustin Hoffman, Jessica Lang, Bill Murray, and Teri Garr. 1982. Sony Pictures Home Entertainment, 2002. DVD.
 +
 
 +
* ''Whatever Happened to Baby Jane?''. Dir. Robert Aldrich. Perf. Bette Davis and Joan Crawford. 1962. Warner Home, 2006. DVD.
 +
 
 +
* Wilde, Oscar. ''The Picture of Dorian Gray''. 1890. New York and London: Norton: 2007. Print.
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 +
* ''The Wizard of Oz''. Dir. Victor Fleming et al. Perf. Judy Garland, Frank Morgan, and Ray Bolger. 1939. Warner Bros., 2010. DVD.
  
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* ''Velvet Goldmine''. Dir. Todd Haynes. Dir. Jonathan Rhys Meyers, Ewan McGregor, Christian Bale, Toni Collette. Miramax, 1998.
 
  
 
'''ASSIGNMENTS'''
 
'''ASSIGNMENTS'''
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* [Prüfungsleistung]
 
* [Prüfungsleistung]
  
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M.A. English Studies: Referat (max. 2 Personen; 45-60 min.) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP) + Project/ Essay (3 KP)
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M.A. English Studies: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 45 min.) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP) + Project/ Essay (3 KP)
  
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M.Ed. Gym.: Referat (max. 2 Personen; 45-60 min.) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP)
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M.Ed. Gym.: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 45 min.) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP)
  
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M.Ed. WiPäd: Referat (max. 2 Personen; 45-60 min.) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)] (9 KP)
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M.Ed. WiPäd: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 45 min.) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)] (6 KP)
  
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* [Aktive Teilnahme] 4 Abstracts, jeweils inklusive Thema, Forschungsstand, These und Outline des Arguments (je 1 Seite insgesamt)
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* [Aktive Teilnahme] 4 Abstracts, jeweils inklusive Thema, Forschungsstand, These und Outline des Arguments (je 1 Seite insgesamt)
  
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Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden")of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.
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Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden") of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.
  
 
Please make sure to sign the "Erklärung zum 'Plagiat'" and to attach it to your research papers.
 
Please make sure to sign the "Erklärung zum 'Plagiat'" and to attach it to your research papers.
  
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* [Abgabefrist] September, 15, 2020.  
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* [Abgabefrist] September 15th, 2021.  
  
  
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__TOC__
 
__TOC__
  
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==Introduction [Session One]==
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==Session One, April 12, Introduction==
  
  
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Assignments are graded and mandatory.  
 
Assignments are graded and mandatory.  
  
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M.A. English Studies: In order to obtain 12 credits (KP), you will have to give a (group) presentation (Referat, 45-60 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (September, 15). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon consultation. As M.A. students, you will have to hand in an extra project/essay, the topic and design of which we will discuss during an individual consultation.
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M.A. English Studies: In order to obtain 12 credits (KP), you will have to give a (group) presentation (Referat, 45 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (September, 15th). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon consultation. As M.A. students, you will have to hand in an extra project/essay, the topic and design of which we will discuss during an individual consultation.
  
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M.Ed. Gym: In order to obtain 9 credits (KP), you will have to give a (group) presentation (Referat, 45-60 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 15 Seiten) by the end of term (September, 15). In exceptional cases, you may hand in a long term paper (Hausarbeit, 20 Seiten) instead of the above. However, an exception is only granted upon consultation.
+
M.Ed. Gym: In order to obtain 9 credits (KP), you will have to give a (group) presentation (Referat, 45 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 15 Seiten) by the end of term (September, 15th). In exceptional cases, you may hand in a long term paper (Hausarbeit, 20 Seiten) instead of the above. However, an exception is only granted upon consultation.
  
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M.Ed. WiPäd: In order to obtain 6 credits (KP), you will have to give a (group) presentation (Referat, 45-60 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (September, 15). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon consultation.
+
M.Ed. WiPäd: In order to obtain 6 credits (KP), you will have to give a (group) presentation (Referat, 45 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (September, 15th). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon consultation.
  
 
* Presentation Topics, Presentation Groups, Video Conferences for Presentation Groups
 
* Presentation Topics, Presentation Groups, Video Conferences for Presentation Groups
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Presentation Topics are specified on your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Add your commentary to the presentation, for example via open cast, save the file and send it on to me so that we can discuss your presentation in a video conference (see below). After that, you make your file available on Stud.IP on the Friday ''before'' your presentation so that all participants can read/ watch the presentation in time, i.e. before the session/ chat.
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Presentation Topics are specified on your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Add your audio commentary to the presentation, save the file and send it on to me so that we can discuss your presentation in a video conference (see below). After that, you make your file available on Stud.IP on the Friday ''before'' your presentation so that all participants can read/ watch the presentation in time, i.e. before the session/ chat.
  
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Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, April, 06. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.
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Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, April, 05. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.
  
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Video Conferences for presentations take place in the second part of the weekly sessions, i.e. Wednesday 1-2 pm. Please make sure that you attend the video conference the week ''before'' your presentation is due.
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Video Conferences for presentations take place in the second part of the weekly sessions, i.e. Monday 11-12 am. Please make sure that you attend the video conference the week ''before'' your presentation is due.
  
 
* Active Participation
 
* Active Participation
  
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Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to write four abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover four out of five primary materials. They are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date ''Confessions of an English Opium-Eater'': May, 15; due date ''Strange Case of Dr Jekyll and Mr Hyde'': May, 29; due date ''The Sign of Four'': June, 05; due date ''Limitless'': June 26; due date ''The Wolf of Wall Street'': July, 10)
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Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to write four abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover four out of five primary materials. They are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date ''The Naked Civil Servant'': May, 14; due date ''Calamity Jane'': June, 04; due date ''What the Butler Saw'': June, 18; due date ''The Rocky Horror Picture Show'': July 02; due date ''Velvet Goldmine'': July, 09)
  
 
* Weekly Chat
 
* Weekly Chat
  
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In order to discuss the presentations and related topics, I will be in the chatroom ("Meetings" on our Stud.IP page) during the first part of each session, i.e. Wednesday 12-1 am/pm. Please make sure to read/ watch the presentations before you join the chat. The second part of each session, i.e. Wednesday 1-2 pm, is booked for the respective presentation groups (''see'' video conference for presentation groups)
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In order to discuss the presentations and related topics, I will be in the chatroom ("Meetings" on our Stud.IP page) during the first part of each session, i.e. Monday 10-11 am. Please make sure to read/ watch the presentations before you join the chat. The second part of each session, i.e. Monday 11-12 am, is booked for the respective presentation groups (''see'' video conference for presentation groups)
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+
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* Seminarapparat
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Relevant secondary material will be made available on Stud.IP. Please note that, additionally, the syllabus includes an extensive bibliography that may be helpful with regard to your presentations and written assignments (abstracts; short/ long term papers).
+
  
 
     Summary: Presentations
 
     Summary: Presentations
  
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1. Pick a presentation topic and contact me via e-mail (starting April, 06). Check below for available places. Presentation groups may consist of a maximum of 2 people.
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1. Pick a presentation topic and contact me via e-mail (starting April, 05). Check below for available places. Presentation groups may consist of a maximum of 2 people.
  
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2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation with audio commentary (e.g. with open cast).
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2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation with audio commentary.
  
 
3. Send me your presentation 8 days before your presentation is scheduled.
 
3. Send me your presentation 8 days before your presentation is scheduled.
  
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4. Discuss your presentation with me in a video conference 7 days, i.e week, before your presentation is scheduled. Video conferences take place on Wednesdays, 1-2 pm.
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4. Discuss your presentation with me in a video conference 7 days, i.e week, before your presentation is scheduled. Video conferences take place on Monday, 11-12 am.
  
 
5. Upload your file on the Friday before your presentation is scheduled.
 
5. Upload your file on the Friday before your presentation is scheduled.
  
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6. Join the chat and be ready to answer questions via chat on the day of your presentation. Chats take place on Wednesdays, 12-1 am/pm.
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6. Join the chat and be ready to answer questions on the day of your presentation. Chats take place on Monday, 10-11 am.
  
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==Session Two, April, 22 Theory Session: From Biopower and Biopolitics to Neuroethics==
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==Session Two, April 19: Theory Session - Paranoid Readings==
  
 
'''Theory Texts'''
 
'''Theory Texts'''
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* Foucault, Michel. ''The History of Sexuality, Vol. I: The Will to Knowledge''. London: Penguin, 1979. Print. (Excerpts: "Part V: Right of Death and Power over Life", esp. 133-145)
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Butler_InteriorityToGenderPerformatives_gesichert.pdf Butler, Judith. "From Interiority to Gender Performatives." ''Camp: Queer Aesthetics and the Performing Subject: A Reader''. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 361-8. Print.]
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* Rose, Nicolas. "Neurochemical Selves." ''Society'' 41 (2003): 46-59. Print. (Excerpts: 46-48 and 53-59)
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Dollimore_Sexual_Dissidence_gesichert.pdf Dollimore, Jonathan. "Postmodern: On the Gay Sensibility, or the Pervert's Revenge  on Authenticity – Wilde, Genet, Orton, and Others." ''Sexual Dissidence: Augustine to Wilde, Freud to Foucault''. Oxford: Clarendon, 1996. 307-25. Print.]
  
 
'''Guiding Questions'''
 
'''Guiding Questions'''
  
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''On Foucault''  
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''On Butler:''
  
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Foucault critically observes that, in our society, control over life is exercised by "a power that exerts a positive influence on life, that endeavors to administer, optimize, and multipy it, subjecting it to precise controls and comprehensive regulations." (137)
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''On Dollimore:''
  
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On the text:
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==Session Three, April 26: Theory Session - Reparative Readings==
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* What shift has taken place in the workings of power since the classical age? And how does power organise life in modern societies?
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* What is power's aim with regard to the administration and organisation of life in modern societies?
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* What are the two basic forms of power and what is it that these control precisely?
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* What are the institutions that exercise control over life? What is the effect of these forms of control?
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* What are the drawbacks of such a regime of power?
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+
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Beyond the text:
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* How can the said forms of power over life be linked to economic and political interests and regimes?
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* What influence do biopolitical societies have on the individual?
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* What is the ambivalent relationship between biopower and performance-enhancing substances?
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+
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''On Rose''
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Rose moves beyond Foucault and argues that "[w]here Foucault analyzed biopolitics, we now must analyze bioeconomics and bioethics [...] The new neurochemical self is flexible and can be reconfigured in a way that blurs the boundaries between cure, normalization, and the enhancement of capacities. And these pharmaceuticals offer the promise of the calculated modification and augmentation of specific aspects of self-hood through acts of choice." (58-9)
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+
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On the text:
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* What shift has occured in psychiatric practice since the 1990s?
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* How do neurosciences (and pharmacology) re-conceptualise the idea of the human being? What is a 'neurochemical self'?
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* In psychopharmacological societies, what aims can be pursued by means of substance intake?
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+
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Beyond the text:
+
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* How does the 'neurochemical self' relate to other identities linked to substance abuse? What other identities come to mind? And when have they been construed?
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* Thinking more generally about literary or cinematic representations of substance (ab-)use, what are some of the major narratives that these representations provide? How do they relate to each other?
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+
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==Session Three, April, 29, Theory Session: Opium, Nitrous Oxide, and Cocaine in Nineteenth-Century Literature==
+
  
 
'''Theory Texts'''
 
'''Theory Texts'''
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* Ruston, Sharon. "Representations of Drugs in 19th-Century Literature." ''Discovering Literature: Romantics & Victorians.'' British Library, 15 May 2014. Web. 13 Feb. 2020.
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Sontag_Notes_on_camp_gesichert.pdf Sontag, Susan. "Notes on Camp." ''Against Interpretation and Other Essays''. London: Eyre & Spottiswood, 1967. 275-92. Print.]
−
* Sedgwick, Eve Kosofsky. "Epidemics of the Will." ''Tendencies''. London: Routledge, 1994. 130-42. Print. (esp. 130-6)
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Sedgwick.Paranoid_Reading_and_Reparative_Reading_gesichert.pdf Sedgwick, Eve Kosofsky. "Paranoid Reading and Reparative Reading. Or, You're So Paranoid, You Probably Think this Essay Is about You." ''Touching Feeling. Affect, Pedagogy, Performativity''. Durham: Duke UP, 2003. 123-51. Print.]
−
* Davison, Carol Margaret. "'Houses of Voluntary Bondage': Theorizing the Nineteenth-Century Gothic Pharmography." ''Gothic Studies'' 12.1 (2010): 69-85. Print.
+
−
* Ruston, Sharon. "'High' Romanticism: Literature and Drugs." ''The Oxford Handbook of British Romanticism''. Ed. David Duff. Oxford: OUP, 2018. 341-54. Print.
+
  
 
'''Guiding Questions'''
 
'''Guiding Questions'''
  
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''On Sedgwick''
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''On Sontag:''
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* What shift regarding substance use is produced through "the newly ramified and pervasive medical-juridical authority of the late nineteenth century" (130)? What are the effects of this shift on the individual? What "narratives" are being construed for the individual?
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* What development does the inflationary use of the term ''addiction'' bring about? What does the term ''addiction attribution'' show and how can it be used as a means of deconstructing 'normative' narratives regarding the addict?
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* What are the cultural/historical contexts of "the present crisis of addiction attribution" (135)?
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* Regarding ''Strange Case of Dr Jekyll and Mr Hyde'', what are the conceptual links between substance use and same-sex desire in the second half of the nineteenth century (cf. 135-6)?
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−
 
+
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''On Davison'' (and ''On Ruston. "Representations of Drugs in 19th-Century Literature."'')
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* For etymology's sake, what are the roots of the term ''addiction''?
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* In Gothic literature, what purposes does substance use and abuse serve? What identity conflicts appear in these narratives that make substance intake a particularly Gothic convention?
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* What changes occured, in society, when opium, "the Victorian drug of choice" (70), became more available and accessible in everyday life? How are these changes reflected/represented in Victorian literature. e.g. with regard to narratology or literary motifs (''Faustian pact'',''doppelgänger'')?
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*How are Victorian representations of drug use linked to contemporary Victorian discourses and debates on ''sexology'', ''orientalism'', ''imperialism'', or even ''degeneration''?
+
  
−
''On Ruston''
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''On Sedgwick:''
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* Reconstructing the contemporary discourse, which role does science (and scientific curiosity) play for the Romantic generation? In what ways is science linked to progress, optimism, and/or pessimism?
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−
* What role does self-experimentation play in the scientific explorations of substances, be it opium or nitrous oxide?
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* Considering the stock character of the scientist, how is this figure represented throughout the 19th century, from DeQuincey to Stevenson? Is he [sic] viewed as a polymath or a specialist? What does he specialise in?
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* How does substance use help construct the notion of literary genius? What effects are linked to the practice of writing 'under the influence'?
+
  
 
'''Video Conference'''
 
'''Video Conference'''
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* ''Video Conference Group'': Jana Wessels, Nico Groenewold
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* ''Video Conference Group'':
  
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==Session Four, May, 06, Romanticising Opium: Recreational Drug Use Between Creativity and Addiction==
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==Session Four, May 03, Writing the Self: "The Word 'Regret' Had in My Life no Application."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* De Quincey, Thomas. ''Confessions of an English Opium-Eater and Other Writings''. 1821. Oxford: OUP, 2008. Print.
+
* Crisp, Quentin. ''The Naked Civil Servant''. New York and London: HarperCollins, 2007. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Catani, Damian. "The 'Spleen' and 'Idéal' of Opium: Baudelaire and Thomas de Quincey." ''Dix-Neuf'' 17.3 (2013): 237-50.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Kilian_Quentin_Crisp_2013_gesichert.pdf Kilian, Eveline. "The Queer Self and the Snares of Heteronormativity: Quentin Crisp's Life Story - A Successful Failure". ''Rethinking Narrative Identity: Persona and Perspective''. Eds. Claudia Holler and Martin Klepper. Amsterdam and Philadelphia: John Benjamins, 2013. 171-86. Print.]
−
* Morrison, Robert. "Introduction." ''Confessions of an English Opium-Eater and Other Writings.'' By Thomas De Quincey. 1821. Oxford: OUP, 2008. ix-xl. Print.
+
  
 
'''Presentation'''
 
'''Presentation'''
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* Writing 'Under the Influence,' or, The Romantics and Their Ambivalent Opium Narratives: Thomas De Quincey, Samuel Taylor Coleridge, and Charles Baudelaire
+
* "Not Drowning but Waving," or: Embracing the Abject in Quentin Crisp's ''The Naked Civil Servant''
  
−
* ''Presentation Group'': Jana Wessels, Nico Groenewold
+
* ''Presentation Group'':
  
 
'''Video Conference'''
 
'''Video Conference'''
−
* ''Video Conference Group'': Shirin Müller, Catharina Siemann, Anna-Lena Müller
+
* ''Video Conference Group'':
  
−
==Session Five, May, 13, Dealing with Opium: British Imperialism and the Historical Context of 19th-Century Opium Trade==
+
==Session Five, May 10, Shamelessness: "Posing was the first job I did in which I understood what I was doing."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* De Quincey, Thomas. ''Confessions of an English Opium-Eater and Other Writings''. 1821. Oxford: OUP, 2008. Print.
+
* Crisp, Quentin. ''The Naked Civil Servant''. New York and London: HarperCollins, 2007. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Krishnan, Sanjay. "Opium and Empire: The Transports of Thomas De Quincey." ''Boundary 2'' 33.2 (2006): 203-34.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Hotz-Davies_Crisp_Camp_Shamelessness_gesichert.pdf Ingrid Hotz-Davies. "Quentin Crisp, Camp, and the Art of Shamelessness." ''Sexed Sentiments: Interdisciplinary Perspectives on Gender and Emotion''. Eds. Willemijn Ruberg and Kristine Steenbergh. Amsterdam: Rodopi, 2011. 165-184. Print.]
−
* Sitter, Zak. "The Native Performant: Linguistic Authority in the Text of Romantic Orientalism." ''Differences'' 21.2 (2010): 109-141.
+
−
 
+
−
'''Further Reading'''
+
−
* Said, Edward W. ''Orientalism: Western Concepts of the Orient''. London: Penguin, 1995. (Excerpts, esp. "Introduction")
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* Enter the Malay: Orientalism, the Opium Wars, and Representations of the Other in ''Confessions of an English Opium-Eater''
+
* "I wouldn't like you to think I was ashamed," or: Shame and Camp Performativity in Quentin Crisp's ''The Naked Civil Servant''
  
−
* ''Presentation Group'': Shirin Müller, Catharina Siemann, Anna-Lena Müller
+
* ''Presentation Group'':
  
 
'''Video Conference'''
 
'''Video Conference'''
−
* ''Video Conference Group'': Selcuk Ordul, Rebecca Krumbein
+
* ''Video Conference Group'':
  
−
     May, 15: Abstract ''Confessions of an English Opium-Eater'' due
+
     May, 14: Abstract ''The Naked Civil Servant'' due
  
−
==Session Six, May, 20, Enter the Scientist: Experimenting with the Substance==
+
==Session Six, May 17, Drag: "That Ain't All She Ain't."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Stevenson, Robert Louis. ''Strange Case of Dr Jekyll and Mr Hyde''. 1886. Ed. Katherine Linehan. New York and London: Norton, 2003. Print.
+
* ''Calamity Jane''. Dir. David Butler. Perf. Doris Day and Howard Keel. 1953. Warner Home Video, 2003. DVD.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Harrison, Debbie. "Doctors, Drugs, and Addiction: Professional Integrity in Peril at the Fin de Siècle." ''Gothic Studies'' 11.2 (2009): 52-62. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/McDonald_Carrying_Concealed_Weapons_gesichert.pdf McDonald, Tamar Jeffers. "Carrying Concealed Weapons: Gender Makeover in ''Calamity Jane''." ''JPF&T: Journal of Popular Film and Television'' 34.4 (2007): 179-86. Print.]
−
* Wright, Daniel L. "'The Prisonhouse of My Disposition': A Study of the Psychology of Addiction in Dr. Jekyll and Mr. Hyde." ''Studies in the Novel'' 26.3 (1994): 254-67. Print.
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* A Case Study in Addiction: ''Strange Case'''s Narratological Design and Its Ambivalent Representation of Dr Jekyll as a Medical Doctor and a (Mad) Scientist
+
* "That Ain't All She Ain't," or: De- and Reconstructing Heteronormative Gender Performmances in ''Calamity Jane''
  
−
* ''Presentation Group'': Selcuk Ordul, Rebecca Krumbein
+
* ''Presentation Group'':
  
 
'''Video Conference'''
 
'''Video Conference'''
−
* ''Video Conference Group'': Patricia Schlump, Lina Wenke, Kristin Greite
+
* ''Video Conference Group'':
  
−
==Session Seven, May, 27, Exploring the Self: Unleashing Queer Doubles in Victorian Gothic Fiction==
+
==Session Seven, May 31, Icons: "You make the sun shine brighter than Doris Day."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Stevenson, Robert Louis. ''Strange Case of Dr Jekyll and Mr Hyde''. 1886. Ed. Katherine Linehan. New York and London: Norton, 2003. Print.
+
* ''Calamity Jane''. Dir. David Butler. Perf. Doris Day and Howard Keel. 1953. Warner Home Video, 2003. DVD.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Showalter, Elaine. "Dr Jekyll's Closet." ''The Haunted Mind: The Supernatural in Victorian Literature''. Eds. Elton S. Smith and Robert Haas. Lanham, MD, and London: Scarecrow, 1999. 67-88. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Savoy_Doris_Day_gesichert.pdf Eric Savoy. "'That Ain't All She Ain't': Doris Day and Queer Performativity." ''Out Takes: Essays on Queer Performativity and Film''. Ed. Ellis Hanson. Durham and London: Duke UP, 1999. 151-82.]
−
* Halberstam, Judith. ''Skin Shows: Gothic Horror and the Technology of Monsters''. Durham, NC, and London: Duke UP, 1995. 53-85. Print.
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* Through the Backdoor, or, Inside Doctor/House: Metonymies (and Topographies) of Same-Sex Desire
+
* "Once I Had a Secret Love," or: Camp Subtexts in Doris Day's Romantic Comedies
  
−
* ''Presentation Group'': Patricia Schlump, Lina Wenke, Kristin Greite
+
* ''Presentation Group'':
  
 
'''Video Conference'''
 
'''Video Conference'''
−
* ''Video Conference Group'': Maximilian Rugen, Leonard Engelbart
+
* ''Video Conference Group'':
  
−
     May, 29: Abstract ''Strange Case of Dr Jekyll and Mr Hyde'' due
+
     June, 04: Abstract ''Calamity Jane'' due
  
−
==Session Eight, June, 03, Enter the Genius: Ennobling Substance Abuse in Late-Victorian Crime Fiction==
+
==Session Eight, June 07, The Queer Sixties: "Undress Me Then, Doctor."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Conan Doyle, Arthur. ''The Sign of Four''. 1890. London Penguin, 2001. Print. (excerpts)
+
* Orton, Joe. ''What the Butler Saw''. London et al.: Bloomsbury, 1969. Print
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Small, Douglas. "Sherlock Holmes and Cocaine: A 7% Solution for Modern Professionalism." ''ELT'' 58.3 (2015): 341-60. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Sinfield_Who_Was_Afraid_of_Joe_Orton_gesichert.pdf Sinfield, Alan. "Who Was Afraid of Joe Orton?" ''Textual Practice'' 4.2 (1990): 259-77. Print.]
−
* O'Dell, Benjamin D. "Performing the Imperial Abject: The Ethics of Cocaine in Arthur Conan Doyle’s ''The Sign of Four''." ''The Journal of Popular Culture'' 45.5 (2012): 979-99. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Coppa_OrtonHomosexualReform_gesichert.pdf Coppa, Francesca. "A Perfectly Developed Playwright: Joe Orton and Homosexual Reform." ''The Queer Sixties''. Ed. Patricia Juliana Smith. New York, NY: Routledge, 1999. 87-104. Print.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* The Detective v. the Doctor, or: Late 19th- century Discourses on Cocaine, Representations of Cocaine Addiction and Their Effects on the Master Detective
+
* "Undress Me Then, Doctor," or: Social Change and the Undoing of Essentialising Concepts of Gender and Sexuality in ''What the Butler Saw''
  
−
* ''Presentation Group'': Maximilian Rugen, Leonard Engelbart
+
* ''Presentation Group'':  
−
 
+
−
    June, 05: Abstract ''The Sign of Four'' due
+
−
 
+
−
==Session Nine, June, 10, Theory Session: Neuroenhancers in Twenty-First-Century Films==
+
−
 
+
−
'''Theory Texts'''
+
−
* Hildt, Elisabeth. "Cognitive Enhancement – A Critical Look at the Recent Debate." ''Cognitive Enhancement: An Interdisciplinary Perspective''. Eds. Elisabeth Hildt and Andreas G. Franke. Springer: Dordrecht, 2013. 1-14. Print. (Excerpts)
+
−
* Wagner, Greta. "Leveling [sic] the Playing Field: Fairness in the Cognitive Enhancement Debate." ''Cognitive Enhancement: An Interdisciplinary Perspective''. Eds. Elisabeth Hildt and Andreas G. Franke. Springer: Dordrecht, 2013. 217-31. Print.
+
−
* Roxburgh, Natalie. "The Rise of Psychopharmacological Fiction." ''Representations of Science in Twenty-First-Century Fiction''. Eds. Nina Engelhardt and Julia Hoydis. London: Palgrave. 19-35. Print.
+
−
 
+
−
'''Guiding Questions'''
+
  
 
'''Video Conference'''
 
'''Video Conference'''
−
* ''Video Conference Group'': Volha Silkina, Jelto Witt
+
* ''Video Conference Group'':
  
−
==Session Ten, June, 17, Constructing the Self: Pop-Cultural Representations of Self-Empowerment ==
+
==Session Nine, June 14, Deconstruction: "His Belief in Normality in Quite Abnormal."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* ''Limitless''. Dir. Neil Burger. Perf. Bradley Cooper, Abbie Cornish, and Robert De Niro. 2011. Concorde, 2011. DVD.
+
* Orton, Joe. ''What the Butler Saw''. London et al.: Bloomsbury, 1969. Print
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Zwart, Hub. "''Limitless'' as a Neuropharmaceutical Experiment and as a ''Daseinsanalyse'': On the Use of Fiction in Preparatory Debates on Cognitive Enhancement." ''Medicine, Health Care, and Philosophy: A European Journal'' 17.1 (2014): 29-38. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Dollimore_Sexual_Dissidence_Chapter_20_gesichert.pdf Dollimore, Jonathan. "Post/modern: On the Gay Sensibility, or the Pervert's Revenge on Authenticity – Wilde, Genet, Orton and Others." ''Sexual Dissidence: Augustine to Wilde, Freud to Foucault''. Oxford: Clarendon, 1996. 307-25. Print.]
−
* Heuner, Ulf. "100% Gehirn plus/minus 100% Moral: Neuroenhancement in ''Limitless''." ''Zocker, Drogenfreaks & Trunkenbolde: Rausch, Ekstase und Sucht in Film und Serie.'' Eds. Martin Poltrum, Bernd Rieken and Thomas Ballhausen. Berlin: Springer. 2019. 437-52. Print.
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* "I Was Blind but now I See": Representing Enhancement Enthusiasm Visually and Cinematographically
+
* "What Is Unnatural?", or: Parodying Psychoanalysis in ''What the Butler Saw''
  
−
* ''Presentation Group'': Volha Silkina, Jelto Witt
+
* ''Presentation Group'':
  
 
'''Video Conference'''
 
'''Video Conference'''
−
* ''Video Conference Group'': Jonas Rother, Jonas Menzel, Adrian Englisch
+
* ''Video Conference Group'':  
  
−
==Session Eleven, June, 24, "What Dreams May Come?": A Society Between Self-Enhancement and Self-Annihilation==
+
    June, 18: Abstract ''What the Butler Saw'' due
 +
 
 +
==Session Ten, June 21, Horror: "Over at the Frankenstein Place."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* ''Limitless''. Dir. Neil Burger. Perf. Bradley Cooper, Abbie Cornish, and Robert De Niro. 2011. Concorde, 2011. DVD.
+
* ''The Rocky Horror Picture Show''. Dir. Jim Sharman. Perf. Tim Curry, Susan Sarandon, and Barry Bostwick. 1975. Twentieth Century Fox, 2013. DVD.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Zwart, Hub. "''Limitless'' as a Neuropharmaceutical Experiment and as a ''Daseinsanalyse'': On the Use of Fiction in Preparatory Debates on Cognitive Enhancement." ''Medicine, Health Care, and Philosophy: A European Journal'' 17.1 (2014): 29-38. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Eichler_In_the_Romantic_Tradition__Frankenstein_and_Rocky_Horror_gesichert.pdf Eichler, Rolf. "In the Romantic Tradition: ''Frankenstein'' and ''The Rocky Horror Picture Show''." ''Beyond the Suburbs of the Mind: Exploring English Romanticism.'' Eds. Michael Gassenmeier and Norbert H. Platz. Essen: Die Blaue Eule, 1987. 95-114. Print.]
−
* Heuner, Ulf. "100% Gehirn plus/minus 100% Moral: Neuroenhancement in ''Limitless''." ''Zocker, Drogenfreaks & Trunkenbolde: Rausch, Ekstase und Sucht in Film und Serie.'' Eds. Martin Poltrum, Bernd Rieken and Thomas Ballhausen. Berlin: Springer. 2019. 437-52. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Babuscio_Camp_gesichert.pdf Babuscio, Jack. "Camp and the Gay Sensibility." ''Queer Cinema, the Film Reader.'' Eds. Harry Benshoff and Sean Griffin. New York and London: Routledge, 2004. 121-36. Print.]
 +
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Tyler_Hitchcock_Chap_9_gesichert.pdf Tyler Hitchcock, Susan. ''Frankenstein: A Cultural History.'' New York and London: Norton, 2007. 249-53. Print.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* "What Dreams May Come?": ''Limitless'' as a Cautionary Tale
+
* "Science Fiction, Double Feature," or: Re-Writing ''Frankenstein'' in ''The Rocky Horror Picture Show''
  
−
* ''Presentation Group'': Jonas Rother, Jonas Menzel, Adrian Englisch
+
* ''Presentation Group'':  
  
 
'''Video Conference'''
 
'''Video Conference'''
−
* ''Video Conference Group'': Maik Harms, Susanne Scholl
+
* ''Video Conference Group'':
−
 
+
−
    June, 26: Abstract ''Limitless'' due
+
  
−
==Session Twelve, July, 01, Enter the Yuppie: Neo-Liberal Identity Performances==
+
==Session Eleven, June 28, Music: "Don't Dream It, Be It."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* ''The Wolf of Wall Street''. Dir. Martin Scorsese. Perf. Leonardo DiCaprio, Jonah Hill, and Margot Robbie. 2013. Universal, 2014. DVD.
+
* ''The Rocky Horror Picture Show''. Dir. Jim Sharman. Perf. Tim Curry, Susan Sarandon, and Barry Bostwick. 1975. Twentieth Century Fox, 2013. DVD.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Roxburgh, Natalie. "Entertainment, Optimization, and Self-Medication in ''The Wolf of Wall Street''." ''Business-Fiktionen und Management Inszenierungen''. Eds. Christine Künzel et al. Berlin: Peter Lang, 2018. 289-302. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Cornell_RHGlamRock_gesichert.pdf Cornell, Julian. "''Rocky Horror'' Glam Rock." ''Reading ''Rocky Horror'': ''The Rocky Horror Picture Show'' and Popular Culture.'' Ed. Jeffrey Andrew Weinstock. New York: Palgrave Macmillan, 2008. 35-49. Print.]
−
* Kogan, Ilany. "Master of the Universe: Scorsese's ''The Wolf of Wall Street'' Through a Psychoanalytic Lens." ''The American Journal of Psychoanalysis'' 78 (2018): 267-86. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Lamm_QueerPedagogyRH_gesichert.pdf Lamm, Zachary. "The Queer Pedagogy of Dr. Frank-N-Further." ''Reading ''Rocky Horror'': ''The Rocky Horror Picture Show'' and Popular Culture.'' Ed. Jeffrey Andrew Weinstock. New York: Palgrave Macmillan, 2008. 193-206. Print.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* "And I Choose Rich Every Fucking Time": Neo-Liberalism, Biopolitical Societies, and Self-Optimisation in ''The Woolf of Wall Street''  
+
* "In Just Seven Days I Can Make You a Man," or: Queer Pedagogy, Music, and Glam Rock's Camp Attack on Normative Masculinities
  
−
* ''Presentation Group'': Maik Harms, Susanne Scholl
+
* ''Presentation Group'':  
  
 
'''Video Conference'''
 
'''Video Conference'''
−
* ''Video Conference Group'': Kimberly Dawn Labonte, Clara Sophie Schenck
+
* ''Video Conference Group'':  
  
−
==Session Thirteen, July, 08, Enter Popeye: Parodying Self-Optimisation and Self-Enhancement==
+
    July, 02: Abstract ''The Rocky Horror Picture Show'' due
 +
 
 +
==Session Twelve, July 05, History: "The Curves of Your Lips Rewrite History."==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* ''The Wolf of Wall Street''. Dir. Martin Scorsese. Perf. Leonardo DiCaprio, Jonah Hill, and Margot Robbie. 2013. Universal, 2014. DVD.
+
* ''Velvet Goldmine''. Dir. Todd Haynes. Dir. Jonathan Rhys Meyers, Ewan McGregor, Christian Bale, Toni Collette. 1998. Miramax, 2000.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* Raile, Paolo. "Aufstieg und Fall des Jordan Belfort." ''Zocker, Drogenfreaks & Trunkenbolde: Rausch, Ekstase und Sucht in Film und Serie.'' Eds. Martin Poltrum, Bernd Rieken and Thomas Ballhausen. Berlin: Springer. 2019. 175-90. Print.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Camp/Hawkins_Todd_Haynes_gesichert.pdf Hawkins, Joan. "The Sleazy Pedigree of Todd Haynes." ''Sleazy Artists: Cinema at the Margins of Taste, Style, and Politics''. Ed. Jeffrey Sconce. Durham and London: Duke UP, 2007. 189-218.]
−
* Ferriss, Suzanne. "Refashioning the Modern American Dream: ''The Great Gatsby'', ''The Wolf of Wall Street'', and ''American Hustle''." ''The Journal of American Culture'' 41.2 (2018): 153-75. Print.
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* Spinach Overdose: Parodying Self-Enhancement Through Popeye, ''Miami Vice'', and Other Intertextual References in ''The Wolf of Wall Street''
+
* From Wilde to Bowie, or: Inheritance, Cultural Memory, and the History of Camp
  
−
* ''Presentation Group'': Kimberly Dawn Labonte, Clara Sophie Schenck
+
* ''Presentation Group'':
  
−
     July, 10: Abstract ''The Wolf of Wall Street'' due
+
     July, 09: Abstract ''Velvet Goldmine'' due
−
 
+
−
==Session Fourteen, July, 15, RPO Session==
+
  
 +
==Session Thirteen, July 12, RPO Session==
  
 
'''Guidelines for finding your RPO topic:'''
 
'''Guidelines for finding your RPO topic:'''
Line 359: Line 329:
  
 
Bitte stellen Sie Ihre Prüfungsleistung in den Ordner "Ausarbeitungen und Hausarbeiten" auf unserer Stud.IP-Seite ein.
 
Bitte stellen Sie Ihre Prüfungsleistung in den Ordner "Ausarbeitungen und Hausarbeiten" auf unserer Stud.IP-Seite ein.
 +
 +
 +
==Selected Bibliography==
 +
 +
* Babuscio, Jack. "Camp and the Gay Sensibility." ''Queer Cinema, the Film Reader.'' Eds. Harry Benshoff and Sean Griffin. New York and London: Routledge, 2004. 121-36. Print.
 +
* Bennett, Chad. "Flaming the Fans: Shame and the Aesthetics of Queer Fandom in Todd Haynes's Velvet Goldmine." ''Cinema Journal'' 49.2 (2010): 17-39. Print.
 +
* Bergman, David, ed. ''Camp Grounds: Style and Homosexuality''. Boston: The U of Massachusetts P, 1993.
 +
* Bingham, Dennis. "'Before She Was a Virgin …': Doris Day and the Decline of Female Film Comedy in the 1950s and 1960s." ''Cinema Journal'' 45.3 (2006): 3-31. Print.
 +
* Booth, Mark. ''Camp''. London et al.: Quartet, 1983. Print.
 +
* Bristow, Joseph. ''Effeminate England: Homoerotic Writing after 1885''. New York: Columbia UP, 1995. Print.
 +
* Britton, Andrew. "For Interpretation: Notes against Camp." ''Camp: Queer Aesthetics and the Performing Subject: A Reader''. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 136-42. Print.
 +
* Bronski, Michael. ''Culture Clash: The Making of Gay Sensibility''. Boston: South End, 1984. Print.
 +
* Butler, Judith. "From Interiority to Gender Performatives." ''Camp: Queer Aesthetics and the Performing Subject: A Reader''. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 361-8. Print.
 +
* Cleto, Fabio, ed. ''Camp: Queer Aesthetics and the Performing Subject: A Reader''. Ann Arbor: U of Michigan P, 2002. Print.
 +
* Coppa, Francesca. "A Perfectly Developed Playwright: Joe Orton and Homosexual Reform." ''The Queer Sixties''. Ed. Patricia Juliana Smith. New York, NY: Routledge, 1999. 87-104. Print.
 +
* Core, Philip. ''Camp: The Lie That Tells the Truth''. London: Plexus, 1984. Print.
 +
* Cornell, Julian. "''Rocky Horror'' Glam Rock." ''Reading ''Rocky Horror'': ''The Rocky Horror Picture Show'' and Popular Culture.'' Ed. Jeffrey Andrew Weinstock. New York: Palgrave Macmillan, 2008. 35-49. Print.
 +
* Dollimore, Jonathan. ''Sexual Dissidence: Augustine to Wilde, Freud to Foucault''. Oxford: Clarendon, 1996. Print.
 +
* Dyer Richard. ''The Culture of Queers''. London and New York: Routledge, 2004. Print.
 +
* ──. "It's Being so Camp as Keeps Us Going." ''Camp: Queer Aesthetics and the Performing Subject: A Reader''. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 110-6. Print.
 +
* Eichler, Rolf. "In the Romantic Tradition: ''Frankenstein'' and ''The Rocky Horror Picture Show''." ''Beyond the Suburbs of the Mind: Exploring English Romanticism.'' Eds. Michael Gassenmeier and Norbert H. Platz. Essen: Die Blaue Eule, 1987. 95-114. Print.
 +
* Flinn, Caryl. "The Deaths of Camp." ''Camp: Queer Aesthetics and the Performing Subject: A Reader''. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 433-57. Print.
 +
* Fuss, Diana. ''Inside / Out: Lesbian Theories, Gay Theories''. London and New York: Routledge, 1991. Print.
 +
* Harris, Daniel. "The Death of Camp: Gay Men and Hollywood Diva Worship, from Reverence to Ridicule." ''Salmagundi'' 112 (1996): 166-91. Print.
 +
* Hawkins,  Joan. "The Sleazy Pedigree of Todd Haynes." ''Sleazy Artists: Cinema at the Margins of Taste, Style, and Politics''. Ed. Jeffrey Sconce. Durham and London: Duke UP, 2007. 189-218. Print.
 +
* Hotz-Davies, Ingrid. "Quentin Crisp, Camp, and the Art of Shamelessness." ''Sexed Sentiments: Interdisciplinary Perspectives on Gender and Emotion''. Eds. Willemijn Ruberg and Kristine Steenbergh. Amsterdam: Rodopi, 2011. 165-184. Print.
 +
* Hotz-Davies, Ingrid, Franziska Bergmann, and Georg Vogt, eds. ''The Dark Side of Camp Aesthetics: Queer Economies of Dirt, Dust and Patina''. New York and London: Routledge, 2018. Print.
 +
* Kiernan, Robert F. ''Frivolity Unbound: Six Masters of the Camp Novel''. London: Continuum, 1990. Print.
 +
* Kilian, Eveline. "The Queer Self and the Snares of Heteronormativity: Quentin Crisp's Life Story - A Successful Failure". ''Rethinking Narrative Identity: Persona and Perspective''. Eds. Claudia Holler and Martin Klepper. Amsterdam and Philadelphia: John Benjamins, 2013. 171-86. Print.
 +
* Lamm, Zachary. "The Queer Pedagogy of Dr. Frank-N-Further." ''Reading ''Rocky Horror'': ''The Rocky Horror Picture Show'' and Popular Culture.'' Ed. Jeffrey Andrew Weinstock. New York: Palgrave Macmillan, 2008. 193-206. Print.
 +
* Lassen, Christian. ''Camp Comforts: Reparative Gay Literature in Times of AIDS''. Bielefeld: Transcript, 2011. Print.
 +
* Lucas, Ian. ''Impertinent Decorum: Gay Theatrical Manoeuvres''. London: Cassell, 1994. Print.
 +
* McMahon, Gary. ''Camp in Literature''. Jefferson and London: McFarland, 2006. Print.
 +
* McDonald, Tamar Jeffers. "Carrying Concealed Weapons: Gender Makeover in ''Calamity Jane''." ''JPF&T: Journal of Popular Film and Television'' 34.4 (2007): 179-86. Print.
 +
* Meyer, Moe, ed. ''The Politics and Poetics of Camp''. London: Routledge, 1994. Print.
 +
* Newton, Esther. ''Mother Camp: Female Impersonators in America''. Englewood Cliffs: Prentice-Hall, 1972. Print.
 +
* Savoy, Eric. "'That Ain't All She Ain't': Doris Day and Queer Performativity." ''Out Takes: Essays on Queer Performativity and Film''. Ed. Ellis Hanson. Durham and London: Duke UP, 1999. 151-82. Print.
 +
* Sedgwick, Eve Kosofsky. ''Between Men: English Literature and Male Homosocial Desire''. New York: Columbia UP, 1985. Print.
 +
* ──. ''Epistemology of the Closet''. Berkeley: U of California P, 1990. Print.
 +
* ──. ''Touching Feeling: Affect, Pedagogy, Performativity''. Durham and London: Duke UP, 2003. Print.
 +
* ──."Paranoid Reading and Reparative Reading. Or, You're So Paranoid, You Probably Think this Essay Is about You." ''Touching Feeling. Affect, Pedagogy, Performativity''. Durham: Duke UP, 2003. 123-51. Print.
 +
* Sinfield, Alan. "Who Was Afraid of Joe Orton?" ''Textual Practice'' 4.2 (1990): 259-77. Print.
 +
* Sontag, Susan. "Notes on Camp." ''Against Interpretation and Other Essays''. London: Eyre & Spottiswood, 167. 275-92. Print.
 +
* Tyler Hitchcock, Susan. ''Frankenstein: A Cultural History.'' New York and London: Norton, 2007. 249-53. Print.

Latest revision as of 15:54, 23 March 2021

COURSE OUTLINE

3.02.971: S CAMP!

  • [Module] ang971, ang972, ang973 - Culture and Difference
  • [Credits] M.A. English Studies: 12 KP; M.Ed. Gym: 9 KP; M.Ed. WiPäd 6 KP
  • [Instructor] Dr. Christian Lassen
  • [Time] Monday, 10-11 am: weekly chat (via "Meetings" on our Stud.IP page); Monday, 11-12 am: video conference for presentation groups, designed to discuss the presentation scheduled for the following week
  • [Room] online; until further notice: video conferences for presentation groups; power point presentations; chat (via "Meetings")
  • [Description] Judy Garland singing Somewhere over the Rainbow in shiny red slippers, the look of Doris Day, a cheesy song by Liza Minnelli, the impersonations of Dame Edna, ABBA, the architecture of Gaudi, feather boas, the aphorisms of Oscar Wilde and Quentin Crisp, a Eurovision song performed with maximum verve, Julie Andrews yodelling on a mountaintop, psychedelic sci-fi flicks from the 1960s, the Austin Powers movies, a Tiffany lamp, glam rock, Batman and Robin, Bette Davis, Bette Midler, the arias of Florence Foster-Jenkins, rococo, Kiss, Ernie & Bert, water ballet revues, the Last Night of the Proms, Huit Femmes, The Rocky Horror Picture Show, Hairspray and perhaps flamingos … If these things make you laugh for no particular reason, this may well be the right class for you. According to the late Susan Sontag then, camp is "a certain mode of aestheticism. It is one way of seeing the world as an aesthetic phenomenon." Seeing the world through camp lenses has its advantages, for camp, the notorious 'gay sensibility', also signifies a powerful deconstructivist practice. As such, its favourite tasks are to ridicule failed seriousness, to unmask false glamour, and to expose the unmarked and invisible workings that underlie a (hetero-)normative culture. However, there is another side to camp, for camp also loves the things it mocks and ridicules, loves it, that is, when it can assemble and confer "beauty" on a world that has lost its charms. Hence, camp needs to be regarded as a fundamentally ambivalent sensibility: political in the sense that its paranoid/deconstructivist practices aim at demystification and exposure, and thera-peutic in the sense that its aesthetic/reparative practices strive for comfort, uplift, and healing. This seminar tries to explore the workings of camp, analysing its distribution, its subterfuge, and its parodic reinscriptions.
  • [Office Hours] see Stud.IP; until further notice, office hours will be held via video conference. Please sign up for a time slot on my Stud.IP profile ("Sprechstunden") and you will receive a link to the virtual conference room.


PRIMARY TEXTS (Mandatory Reading)

  • Crisp, Quentin. The Naked Civil Servant. 1968. New York and London: HarperCollins, 2007. Print. [or any other edition]
  • Calamity Jane. Dir. David Butler. Perf. Doris Day and Howard Keel. 1953. Warner Home Video, 2003. DVD.
  • Orton, Joe. What the Butler Saw. 1968. London et al.: Bloomsbury, 1969. Print. [or any other edition]
  • The Rocky Horror Picture Show. Dir. Jim Sharman. Perf. Tim Curry, Susan Sarandon, and Barry Bostwick. 1975. Twentieth Century Fox, 2013. DVD.
  • Velvet Goldmine. Dir. Todd Haynes. Dir. Jonathan Rhys Meyers, Ewan McGregor, Christian Bale, Toni Collette. 1998. Miramax, 2000.


FURTHER PRIMARY TEXTS (Recommended Reading)

  • All About Eve. Dir. Joseph L. Mankiewicz. Perf. Bette Davis, Anne Baxter, George Sanders, and Celeste Holm. 1950. Twentieth-Century Fox. 2011. DVD.
  • The Adventures of Priscilla, Queen of the Desert. Dir. Stephan Elliott. Perf. Hugo Weaving, Ter-ence Stamp, Guy Pearce, Bill Hunter. 1994. PolyGram, 1994. DVD.
  • Breakfast on Pluto. Dir. Neil Jordan. Perf. Cillian Murphy, Stephen Rea, Liam Neeson, Brendan Gleeson. 2005. Sony Puctures Classics, 2009. DVD.
  • Fierstein, Harvey. Torch Song Trilogy. 1978. New York, Ballantine, 2018. Print.
  • Firbank, Ronald. "The Flower Beneath the Foot." 1923. Five Novels. New York: New Directions, 1981. 1-94. Print.
  • Firbank, Ronald. "Concerning the Eccentricities of Cardinal Pirelli." 1926. Five Novels. New York: New Directions, 1981. 289-342. Print
  • Gentlemen Prefer Blondes. Dir. Howard Hawks. Perf. Marilyn Monroe and Jane Russell. 1953. Twentieth-Century Fox. 2002. DVD.
  • The Grand Budapest Hotel. Dir. Wes Anderson. Perf. Ralph Fiennes, F. Murray Abraham, Tilda Swinton, and Tony Revolori. 2014. Twentieth-Century Fox, 2014. DVD.
  • Hairspray. Dir. John Waters. Perf. Ricki Lake, Divine, Debbie Harry, Sonny Bono, Jerry Stiller. 1988. Warner Home, 2007. DVD.
  • Isherwood, Christopher. The World in the Evening. 1954. London: Vintage, 2012. Print.
  • McCabe, Patrick. Breakfast on Pluto. New York and London: HarperPerennial, 1999. Print.
  • Pink Flamingos. Dir. John Waters. Perf. Divine, David Lochary, and Mink Stole. Dreamland, 1972.
  • Some Like It Hot. Dir. Billy Wilder. Perf. Marilyn Monroe, Jack Lemmon, and Tony Curtis. 1959. Warner Bros., 2008. DVD.
  • Tootsi. Dir. Sydney Pollack. Perf. Dustin Hoffman, Jessica Lang, Bill Murray, and Teri Garr. 1982. Sony Pictures Home Entertainment, 2002. DVD.
  • Whatever Happened to Baby Jane?. Dir. Robert Aldrich. Perf. Bette Davis and Joan Crawford. 1962. Warner Home, 2006. DVD.
  • Wilde, Oscar. The Picture of Dorian Gray. 1890. New York and London: Norton: 2007. Print.
  • The Wizard of Oz. Dir. Victor Fleming et al. Perf. Judy Garland, Frank Morgan, and Ray Bolger. 1939. Warner Bros., 2010. DVD.


ASSIGNMENTS

  • [Prüfungsleistung]

M.A. English Studies: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 45 min.) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP) + Project/ Essay (3 KP)

M.Ed. Gym.: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 45 min.) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP)

M.Ed. WiPäd: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 45 min.) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)] (6 KP)

  • [Aktive Teilnahme] 4 Abstracts, jeweils inklusive Thema, Forschungsstand, These und Outline des Arguments (je 1 Seite insgesamt)

Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden") of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.

Please make sure to sign the "Erklärung zum 'Plagiat'" and to attach it to your research papers.

  • [Abgabefrist] September 15th, 2021.



Session One, April 12, Introduction

Organisational Matters

  • Assignments

Assignments are graded and mandatory.

M.A. English Studies: In order to obtain 12 credits (KP), you will have to give a (group) presentation (Referat, 45 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (September, 15th). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon consultation. As M.A. students, you will have to hand in an extra project/essay, the topic and design of which we will discuss during an individual consultation.

M.Ed. Gym: In order to obtain 9 credits (KP), you will have to give a (group) presentation (Referat, 45 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 15 Seiten) by the end of term (September, 15th). In exceptional cases, you may hand in a long term paper (Hausarbeit, 20 Seiten) instead of the above. However, an exception is only granted upon consultation.

M.Ed. WiPäd: In order to obtain 6 credits (KP), you will have to give a (group) presentation (Referat, 45 min.) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (September, 15th). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon consultation.

  • Presentation Topics, Presentation Groups, Video Conferences for Presentation Groups

Presentation Topics are specified on your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Add your audio commentary to the presentation, save the file and send it on to me so that we can discuss your presentation in a video conference (see below). After that, you make your file available on Stud.IP on the Friday before your presentation so that all participants can read/ watch the presentation in time, i.e. before the session/ chat.

Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, April, 05. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.

Video Conferences for presentations take place in the second part of the weekly sessions, i.e. Monday 11-12 am. Please make sure that you attend the video conference the week before your presentation is due.

  • Active Participation

Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to write four abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover four out of five primary materials. They are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date The Naked Civil Servant: May, 14; due date Calamity Jane: June, 04; due date What the Butler Saw: June, 18; due date The Rocky Horror Picture Show: July 02; due date Velvet Goldmine: July, 09)

  • Weekly Chat

In order to discuss the presentations and related topics, I will be in the chatroom ("Meetings" on our Stud.IP page) during the first part of each session, i.e. Monday 10-11 am. Please make sure to read/ watch the presentations before you join the chat. The second part of each session, i.e. Monday 11-12 am, is booked for the respective presentation groups (see video conference for presentation groups) 

   Summary: Presentations

1. Pick a presentation topic and contact me via e-mail (starting April, 05). Check below for available places. Presentation groups may consist of a maximum of 2 people.

2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation with audio commentary.

3. Send me your presentation 8 days before your presentation is scheduled.

4. Discuss your presentation with me in a video conference 7 days, i.e week, before your presentation is scheduled. Video conferences take place on Monday, 11-12 am.

5. Upload your file on the Friday before your presentation is scheduled.

6. Join the chat and be ready to answer questions on the day of your presentation. Chats take place on Monday, 10-11 am.

Session Two, April 19: Theory Session - Paranoid Readings

Theory Texts

Guiding Questions

On Butler:

On Dollimore:

Session Three, April 26: Theory Session - Reparative Readings

Theory Texts

Guiding Questions

On Sontag:

On Sedgwick:

Video Conference

  • Video Conference Group:

Session Four, May 03, Writing the Self: "The Word 'Regret' Had in My Life no Application."

Primary Material

  • Crisp, Quentin. The Naked Civil Servant. New York and London: HarperCollins, 2007. Print.

Secondary Material

Presentation

  • "Not Drowning but Waving," or: Embracing the Abject in Quentin Crisp's The Naked Civil Servant
  • Presentation Group:

Video Conference

  • Video Conference Group:

Session Five, May 10, Shamelessness: "Posing was the first job I did in which I understood what I was doing."

Primary Material

  • Crisp, Quentin. The Naked Civil Servant. New York and London: HarperCollins, 2007. Print.

Secondary Material

Presentation

  • "I wouldn't like you to think I was ashamed," or: Shame and Camp Performativity in Quentin Crisp's The Naked Civil Servant
  • Presentation Group:

Video Conference

  • Video Conference Group: 
   May, 14: Abstract The Naked Civil Servant due

Session Six, May 17, Drag: "That Ain't All She Ain't."

Primary Material

  • Calamity Jane. Dir. David Butler. Perf. Doris Day and Howard Keel. 1953. Warner Home Video, 2003. DVD.

Secondary Material

Presentation

  • "That Ain't All She Ain't," or: De- and Reconstructing Heteronormative Gender Performmances in Calamity Jane
  • Presentation Group:

Video Conference

  • Video Conference Group:

Session Seven, May 31, Icons: "You make the sun shine brighter than Doris Day."

Primary Material

  • Calamity Jane. Dir. David Butler. Perf. Doris Day and Howard Keel. 1953. Warner Home Video, 2003. DVD.

Secondary Material

Presentation

  • "Once I Had a Secret Love," or: Camp Subtexts in Doris Day's Romantic Comedies
  • Presentation Group:

Video Conference

  • Video Conference Group: 
   June, 04: Abstract Calamity Jane due

Session Eight, June 07, The Queer Sixties: "Undress Me Then, Doctor."

Primary Material

  • Orton, Joe. What the Butler Saw. London et al.: Bloomsbury, 1969. Print

Secondary Material

Presentation

  • "Undress Me Then, Doctor," or: Social Change and the Undoing of Essentialising Concepts of Gender and Sexuality in What the Butler Saw
  • Presentation Group:

Video Conference

  • Video Conference Group:

Session Nine, June 14, Deconstruction: "His Belief in Normality in Quite Abnormal."

Primary Material

  • Orton, Joe. What the Butler Saw. London et al.: Bloomsbury, 1969. Print

Secondary Material

Presentation

  • "What Is Unnatural?", or: Parodying Psychoanalysis in What the Butler Saw
  • Presentation Group:

Video Conference

  • Video Conference Group: 
   June, 18: Abstract What the Butler Saw due

Session Ten, June 21, Horror: "Over at the Frankenstein Place."

Primary Material

  • The Rocky Horror Picture Show. Dir. Jim Sharman. Perf. Tim Curry, Susan Sarandon, and Barry Bostwick. 1975. Twentieth Century Fox, 2013. DVD.

Secondary Material

Presentation

  • "Science Fiction, Double Feature," or: Re-Writing Frankenstein in The Rocky Horror Picture Show
  • Presentation Group:

Video Conference

  • Video Conference Group:

Session Eleven, June 28, Music: "Don't Dream It, Be It."

Primary Material

  • The Rocky Horror Picture Show. Dir. Jim Sharman. Perf. Tim Curry, Susan Sarandon, and Barry Bostwick. 1975. Twentieth Century Fox, 2013. DVD.

Secondary Material

Presentation

  • "In Just Seven Days I Can Make You a Man," or: Queer Pedagogy, Music, and Glam Rock's Camp Attack on Normative Masculinities
  • Presentation Group:

Video Conference

  • Video Conference Group: 
   July, 02: Abstract The Rocky Horror Picture Show due

Session Twelve, July 05, History: "The Curves of Your Lips Rewrite History."

Primary Material

  • Velvet Goldmine. Dir. Todd Haynes. Dir. Jonathan Rhys Meyers, Ewan McGregor, Christian Bale, Toni Collette. 1998. Miramax, 2000.

Secondary Material

Presentation

  • From Wilde to Bowie, or: Inheritance, Cultural Memory, and the History of Camp
  • Presentation Group: 
   July, 09: Abstract Velvet Goldmine due

Session Thirteen, July 12, RPO Session

Guidelines for finding your RPO topic:

Your RPO topic needs to be related to at least one of the primary texts 

   September, 15: Term Paper due

Please upload your paper to the folder "Ausarbeitungen und Hausarbeiten" on our Stud.IP page.

Bitte stellen Sie Ihre Prüfungsleistung in den Ordner "Ausarbeitungen und Hausarbeiten" auf unserer Stud.IP-Seite ein.


Selected Bibliography

  • Babuscio, Jack. "Camp and the Gay Sensibility." Queer Cinema, the Film Reader. Eds. Harry Benshoff and Sean Griffin. New York and London: Routledge, 2004. 121-36. Print.
  • Bennett, Chad. "Flaming the Fans: Shame and the Aesthetics of Queer Fandom in Todd Haynes's Velvet Goldmine." Cinema Journal 49.2 (2010): 17-39. Print.
  • Bergman, David, ed. Camp Grounds: Style and Homosexuality. Boston: The U of Massachusetts P, 1993.
  • Bingham, Dennis. "'Before She Was a Virgin …': Doris Day and the Decline of Female Film Comedy in the 1950s and 1960s." Cinema Journal 45.3 (2006): 3-31. Print.
  • Booth, Mark. Camp. London et al.: Quartet, 1983. Print.
  • Bristow, Joseph. Effeminate England: Homoerotic Writing after 1885. New York: Columbia UP, 1995. Print.
  • Britton, Andrew. "For Interpretation: Notes against Camp." Camp: Queer Aesthetics and the Performing Subject: A Reader. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 136-42. Print.
  • Bronski, Michael. Culture Clash: The Making of Gay Sensibility. Boston: South End, 1984. Print.
  • Butler, Judith. "From Interiority to Gender Performatives." Camp: Queer Aesthetics and the Performing Subject: A Reader. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 361-8. Print.
  • Cleto, Fabio, ed. Camp: Queer Aesthetics and the Performing Subject: A Reader. Ann Arbor: U of Michigan P, 2002. Print.
  • Coppa, Francesca. "A Perfectly Developed Playwright: Joe Orton and Homosexual Reform." The Queer Sixties. Ed. Patricia Juliana Smith. New York, NY: Routledge, 1999. 87-104. Print.
  • Core, Philip. Camp: The Lie That Tells the Truth. London: Plexus, 1984. Print.
  • Cornell, Julian. "Rocky Horror Glam Rock." Reading Rocky Horror: The Rocky Horror Picture Show and Popular Culture. Ed. Jeffrey Andrew Weinstock. New York: Palgrave Macmillan, 2008. 35-49. Print.
  • Dollimore, Jonathan. Sexual Dissidence: Augustine to Wilde, Freud to Foucault. Oxford: Clarendon, 1996. Print.
  • Dyer Richard. The Culture of Queers. London and New York: Routledge, 2004. Print.
  • ──. "It's Being so Camp as Keeps Us Going." Camp: Queer Aesthetics and the Performing Subject: A Reader. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 110-6. Print.
  • Eichler, Rolf. "In the Romantic Tradition: Frankenstein and The Rocky Horror Picture Show." Beyond the Suburbs of the Mind: Exploring English Romanticism. Eds. Michael Gassenmeier and Norbert H. Platz. Essen: Die Blaue Eule, 1987. 95-114. Print.
  • Flinn, Caryl. "The Deaths of Camp." Camp: Queer Aesthetics and the Performing Subject: A Reader. Ed. Fabio Cleto. Ann Arbor: U of Michigan P, 2002. 433-57. Print.
  • Fuss, Diana. Inside / Out: Lesbian Theories, Gay Theories. London and New York: Routledge, 1991. Print.
  • Harris, Daniel. "The Death of Camp: Gay Men and Hollywood Diva Worship, from Reverence to Ridicule." Salmagundi 112 (1996): 166-91. Print.
  • Hawkins, Joan. "The Sleazy Pedigree of Todd Haynes." Sleazy Artists: Cinema at the Margins of Taste, Style, and Politics. Ed. Jeffrey Sconce. Durham and London: Duke UP, 2007. 189-218. Print.
  • Hotz-Davies, Ingrid. "Quentin Crisp, Camp, and the Art of Shamelessness." Sexed Sentiments: Interdisciplinary Perspectives on Gender and Emotion. Eds. Willemijn Ruberg and Kristine Steenbergh. Amsterdam: Rodopi, 2011. 165-184. Print.
  • Hotz-Davies, Ingrid, Franziska Bergmann, and Georg Vogt, eds. The Dark Side of Camp Aesthetics: Queer Economies of Dirt, Dust and Patina. New York and London: Routledge, 2018. Print.
  • Kiernan, Robert F. Frivolity Unbound: Six Masters of the Camp Novel. London: Continuum, 1990. Print.
  • Kilian, Eveline. "The Queer Self and the Snares of Heteronormativity: Quentin Crisp's Life Story - A Successful Failure". Rethinking Narrative Identity: Persona and Perspective. Eds. Claudia Holler and Martin Klepper. Amsterdam and Philadelphia: John Benjamins, 2013. 171-86. Print.
  • Lamm, Zachary. "The Queer Pedagogy of Dr. Frank-N-Further." Reading Rocky Horror: The Rocky Horror Picture Show and Popular Culture. Ed. Jeffrey Andrew Weinstock. New York: Palgrave Macmillan, 2008. 193-206. Print.
  • Lassen, Christian. Camp Comforts: Reparative Gay Literature in Times of AIDS. Bielefeld: Transcript, 2011. Print.
  • Lucas, Ian. Impertinent Decorum: Gay Theatrical Manoeuvres. London: Cassell, 1994. Print.
  • McMahon, Gary. Camp in Literature. Jefferson and London: McFarland, 2006. Print.
  • McDonald, Tamar Jeffers. "Carrying Concealed Weapons: Gender Makeover in Calamity Jane." JPF&T: Journal of Popular Film and Television 34.4 (2007): 179-86. Print.
  • Meyer, Moe, ed. The Politics and Poetics of Camp. London: Routledge, 1994. Print.
  • Newton, Esther. Mother Camp: Female Impersonators in America. Englewood Cliffs: Prentice-Hall, 1972. Print.
  • Savoy, Eric. "'That Ain't All She Ain't': Doris Day and Queer Performativity." Out Takes: Essays on Queer Performativity and Film. Ed. Ellis Hanson. Durham and London: Duke UP, 1999. 151-82. Print.
  • Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homosocial Desire. New York: Columbia UP, 1985. Print.
  • ──. Epistemology of the Closet. Berkeley: U of California P, 1990. Print.
  • ──. Touching Feeling: Affect, Pedagogy, Performativity. Durham and London: Duke UP, 2003. Print.
  • ──."Paranoid Reading and Reparative Reading. Or, You're So Paranoid, You Probably Think this Essay Is about You." Touching Feeling. Affect, Pedagogy, Performativity. Durham: Duke UP, 2003. 123-51. Print.
  • Sinfield, Alan. "Who Was Afraid of Joe Orton?" Textual Practice 4.2 (1990): 259-77. Print.
  • Sontag, Susan. "Notes on Camp." Against Interpretation and Other Essays. London: Eyre & Spottiswood, 167. 275-92. Print.
  • Tyler Hitchcock, Susan. Frankenstein: A Cultural History. New York and London: Norton, 2007. 249-53. Print.
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