Camp

The motivations for, and intentions of, the performances of any given Drag King are as various as Drag Kings themselves. The boundaries tested by the Drag King are reached through his performances, with the participation
or refusals of his audience—as an embodied queering of play across gender. The Camp and Drag traditions from which his performances draw facilitate this, and draw out erotics—an essential performance of the Drag King—articulated through varied methods of access to the incoherently gendered or re-gendered body. Working through the piece as a desiring audience, these acts are examined and explored in the light of this desire.

From Esther Newton’s ethnography of female impersonators to Judith Butler’s theorization of gender performativity, drag performance has consistently served as a source of scholarly inquiry and debate within academia. From various disciplines, scholars analyze drag as a way to address larger social and political questions faced by marginalized communities. The unprecedented commercial success of RuPaul’s Drag Race has seemingly reignited scholarly interest in drag. The growing field of “Drag Race Studies” heralds exciting possibilities for understanding the cultural production and consumption of drag in the 21st century. While this emerging discourse can push drag studies into new directions, scholars analyzing RuPaul’s Drag Race should also position their projects within the larger history of drag scholarship. This history (and the debates within) provide invaluable resources for scholars to consider the social, cultural, and political implications of how we study and theorize drag. With my presentation, I start to organize an “Introduction to Drag Studies” primer that will develop into an expanded article. My goal in creating this Primer is to connect Drag Race Studies to the larger history of academic drag studies in order to reflect on three key areas: What works we cite, What research methods we use, and How we account for our scholarly positionalities.
    For this presentation, I am going to focus on the first point—the politics of our Bibliographies. One of my goals is to provide Drag Race scholars with a bibliographic resource for Camp studies. My hope is to create a growing Camp scholarship Works Cited page that can be a useful resource for scholars interested not only in RuPaul’s Drag Race specifically but drag and Camp scholarship more generally. While I have tried to bring together all the available published scholarship on Camp, I am asking interested readers to add/revise this list by emailing me additional scholarly resources. Any submissions will be rightly acknowledged, giving due credit to those who send me resources.
    By discussing how drag scholars have discussed/approached these debates, I seek to provide a framework for contemporary drag scholars to evaluate how their research projects fit into this larger history. Situating RuPaul’s Drag Race Studies within this larger academic history allows scholars to expand the current field without repeating/perpetuating scholarly errors that undermine the study.

The article analyses Michael Jackson's album Thriller and Prince's movie Purple Rain. We explore their camp aesthetics and their recasting of the cultural representations of the black male. Jackson's and Prince's performative personas are both liberatory and burdened with the received cultural scripts of black masculinity. We claim that their employment of camp is political rather than escapist and depoliticized. Camp serves them as a platform to mourn the cultural displacement of the black male body in a postslavery America. In particular, the two artists distance themselves from the extensive ideological and physical pressures exerted on the black male body in the early 1980s. As a result, their performances are complexly de-Oedipalized. Prince in Purple Rain refuses to assume the patriarchal position of the Father. Analogously, Jackson fashions himself as a Peter Pan-like eternal adolescent who never makes his final identification as either heterosexual or LGBTQ desiring agent. In the coda to the article, we reach beyond the 1980s to explore a more flexible approach to camp in the artistic output of twenty-first-century African American performers of Queercore and Afrofuturist scenes, which were partially enabled by Jackson's and Prince's performances.

Emitovanje Tre}eg programa Radio Beograda po~inje svake ve~eri u 20.00~asova. Program se emituje na srednjim talasima 1008 KHz (298 m) i preko mre`e ultrakratkotalasnih predajnika: Avala na frekvenciji 97,6 MHz, Deli Jovan na 94,9 MHz, Tupi`nica na 96,1 MHz, Ov~ar na 90,1 MHz, Donji Milanovac na 90,0 MHz, Tekija na 92,1 MHz, Bajina Ba{ta na 93,0 MHz, Besna Kobila na 95,3 MHz, Crni Vrh (Jagodina) na 99,3 MHz, Jastrebac na 89,3 MHz, Crna Trava 99,6 MHz, Crveni^ot na 96,5 MHz, Maljen 107,9 MHz. sadr`aj RUSKA TEORIJSKA SCENA 9 Uvodna beleška 11 Sergej HorUŽij rod ili ne-sasvim rod? Beleške za ontologiju virtualnosti 32 AnAtolij AHUtin Dasein -Materijal za tumačenje 47 VAlerij PoDorogA o filozofiji arhiva 61 VAlerij SAVČUk Fotografija -poza logosa 78 AlekSej grjAkAloV kontekst globalizacije i filozofija događaja 89 nAtAlijA grjAkAloVA karta putovanja Aleksandra Bloka: Belgija, 1911. godina 105 Sergej Fokin Politika poezije: Bodlerovo iskustvo IMPERIJALNE TEME 125 MilAn SUBotić gavril Deržavin: prilog (pred)istoriji "jevrejskog pitanja" u rusiji 165 DŽon D. klir Zašto ruski jevreji nisu bili Kaisertreu? STUDIJE I OGLEDI 185 rADiVoje keroVić jezik u ogledalu odgovornosti 205 AlPAr loŠonc Da li identitetski obrasci predstavljaju apoteozu kapitalizma? 237 Vojin rAkić etički i politički aspekti kognitivnog poboljšanja čoveka 245 VlADiMir kolArić Snobizam, dendizam, kemp HRONIKA Festivali 261 iVA nenić: 15. ring ring: Moćni glasovi tradicije 265 MilAn MilojkoVić: 27. nišville jazz festival 271 SPASoje Ž. MiloVAnoVić: Smrt i ponovno rađanje metafore Knjige 284 PreDrAg krStić: norme i nijansiranje nasleđa treći program leto 2010. RUSSIAN THEORETICAL SCENE 9 introductory note 11 S. kHorUZHij: gender or not-completely gender? remarks for ontology of Virtuality 32 A. AHUtin: Dasein -Material for interpretation 47 V. PoDorogA: on Philosophy of an Archive: notes 61 V. SAVcHUk: Photography, Pose of logos 78 A. gryAkAloV: the context of globalization and Philosophy of event 89 n. gryAkAloVA: travel Map of Alexander Blok -Belgium, year 1911 105 S. Fokin: politics of Poetry: Baudelaire case IMPERIAL ISSUES 125 MilAn SUBotić: gavril Derzhavin: a contribution to understanding (pre)history of the "jewish question" in russia 165 joHn Doyle klier: Why were russian jews not Kaisertreu? STUDIES AND ARTICLES 185 rADiVoje keroVić: Die Sprache im Spiegel der Verantwortung 205 AlPAr loŠonc: Do identity patterns represents apotheosis of capitalism? 237 Vojin rAkić: ethical and Political Aspects of cognitive enhancement of the Human 245 VlADiMir kolArić: Snobbery, Dandyism, camp CHRONICLE Festivals 261 iVA nenić: 15. ring ring -Powerful Voices of tradition 265 MilAn MilojkoVić: 27. nišville jazz festival 271 SPASoje Ž. MiloVAnoVić: Death and rebirth of Metaphore Books 284 PreDrAg krStić: norms and Heritage nuancing treći program leto 2010. TRE]I PROGRAM a quarterly publication by RTS containing a selection from the broadcasts of the Radio Belgrade 3. No. 147, SUMMER 2010 CONTENTS ruska teorijska scena priredio: petar bojanić UVoDnA BeleSkA

For 35 years Yugoslavia was ruled by one of the most glamorous dictators of the 20th century, Marshal Josip Broz Tito. When in June of 1948 he split with Stalin, the western world compared him to the biblical David, who not only dared to face, but also defy, the Soviet goliath (Beloff 1985:129). The winner developed his own style of dictatorship called Titoism, which was the “consequence, not the cause, of the clash with Stalin” (Pavlowitch 1988:41). However, his monopoly on the regime, which was based on the original Soviet model, remained unchanged and could be called autocratic rather than totalitarian. Tito’s main focus was on controlling the Party as well as the armed and security forces, leaving more autonomy to the economy and an illusion of freedom within cultural activities (Ibid.:44). As Milovan Djilas – who later on also took the role of David and unfortunately failed – stressed, Tito’s achievements are inseparable from his personality and “when all is said and done, the achievement makes the man, not the man the achievement” (Djilas 1981:179).
In Tito’s case the achievement was the spectacle of mainstream camp culminating in the personality of the communist dictator himself. Yet despite this he was not included in any of the western publications, like, for example, in Philip Core’s encyclopedia of camp called "Camp. The Lie that Tells the Truth", published in 1984. For Igor Perišić, who reviewed the translation of the above into Serbian in 2003, it was obvious that the book lacked a chapter on Tito (Perišić 2013). It is fascinating to note that Tito’s camp was developing as time passed, reaching its peak in the decade before he died.
Although there were many highly individual and excessive despotic leaders such as Idi Amin, Saddam Hussein and Nicolae Ceaușescu, Tito was arguably the only one who could be interpreted as a camp icon. As a communist, he was known for his glamorous style and for rubbing shoulders with sheiks, queens, kings, princesses and movie stars while at the same time playing the most sophisticated aristocrat. As Richard West observed, “unlike these other dictators, who glorified their own egos, Tito preferred to enjoy the pomp and luxury of his life at the top” (West 1996:196). His country became a theatre, where he played whatever role was required of him – “a communist with [a] human face,” a generous king, a fashion dictator, a rebel and a heretic. The scale of his show was unprecedented and even his funeral was the most exaggerated and pompous spectacle of any leader and probably the biggest gathering of statesmen in human history. After his death the longing for the world Tito created was so overpowering that it was called Yugonostalgia, while yearning for its leader received the name Titostalgia.

*I would like to thank "Balkanistica" for permission to post my article here.

Emitovanje Tre}eg programa Radio Beograda po~inje svake ve~eri u 20.00 ~asova. Program se emituje na srednjim talasima 1008 KHz (298 m) i preko mre`e ultrakratkotalasnih predajnika: avala na frekvenciji 97,6 MHz, Deli Jovan na 94,9 MHz, Tupi`nica na 96,1 MHz, ov~ar na 90,1 MHz, Donji milanovac na 90,0 MHz, Tekija na 92,1 MHz, Bajina Ba{ta na 93,0 MHz, Besna Kobila na 95,3 MHz, Crni Vrh (Jagodina) na 99,3 MHz, Jastrebac na 89,3 MHz, Crna Trava 99,6 MHz, Crveni ^ot na 96,5 MHz, maljen 107,9 MHz. sadr`aj SAVREMENA ČEŠKA FILOZOFIJA 9 MIROSLAV PETRIČEK Nadoknaditi ubistvo 20 LADISLAV HEJDANEK Smisao sveta i istorije 32 ERAZIM KOHAK Na ivici moderne 56 FILIP KARFIK Posmrtni život i besmrtnost prema Janu Patočki 75 PAVEL KOUBA Šta je interpretacija? 85 JAKUB ČAPEK Fenomenologija i dualizam: problem delovanja STUDIJE I OgLEDI 101 DRAgAN PROLE Blanšoova estetika bivstvovanja mimo sveta 121 ALEKSANDAR DOBRIJEVIć Struktura etičkog kontraktualizma i problem moralnog statusa 152 MARK LOŠONC

Pour citer cet article:
LANGLUMÉ Diane, « Quand le cinéma d’horreur rencontre la comédie musicale : Phantom of the Paradise et l’histoire du rock horrifique », in PAQUET-DEYRIS Anne-Marie (dir.), CinémAction n°136 - Les cinémas de l’horreur : les maléfiques, Condé-sur-Noireau : Éditions Charles Corlet, Août 2010, 224 pages, p.56-63. ISBN : 978-2-84706-330-1, ISSN : 1241-8161,

It has become a common trope to speak of Ken Russell's films as somehow 'baroque'. But what does that really mean? This article seeks to clarify this question by looking at one of Russell's most overlooked films, Salome's Last Dance. This is a play-within-the-film adaptation of Oscar Wilde's decadent play, which calls to mind similar approaches to the theatre that are associated primarily with the baroque stage of the seventeenth century (play-within-the-play, mise-en-abîme). By looking at the way Russell uses these structural devices we will gain insight in a deeper baroque structure in his work. But in the course of the analysis we will also debunk some myths that have accrued to the figure of Salome and her dance of the seven veils. Although Russell's films are most commonly classified as baroque on account of their excessive visual style, this article shows that the real baroque is happening inside, in the way the film (and Russell's work in general) is structured. Résumé On appelle les films de Ken Russell 'baroques' presque par habitude. Mais qu'est-ce que cette

This dissertation draws its content from the author’s encounter with the film Pinochet Porn (2008–2016) by artist Ellen Cantor (1961–2013). Deeply political in intent and subject matter, Pinochet Porn is an episodic narrative about the lives of six people growing up under the Pinochet dictatorship in Chile. These characters are fictitious, yet they have direct and indirect similarities with the artist’s personal life encounters. Shot in New York and London, the film produces a series of speculations about the construction of subjectivity and personal experience within a totalitarian regime and focuses on traumatized subjects living and surviving in crisis.
Matters I am primarily exploring are the entanglement of the personal in the political and the destabilization of such a binary, the gendered dimension of pain and suffering, the convergence of sexuality, violence and pleasure, and the complex (but constitutive of subjectivity) relation between subjection and agency. On a more general level, I ask: How can one survive conditions that keep negating her own existence and how can she (if she can) convert this negation to a possibility for action?

Queer Abstraction has become buzzword in contemporary painting, but it has been applied to desperate practices and explained with heterogenous theories. Rather than pursuing a comprehensive account of queer abstraction, this paper considers the possible compatibilities between multiple writings on the topic.

In adapting Tony Kushner’s "Angels in America" for television, Mike Nichols accurately respected the political agenda of the author (democratic, hebrew and homosexual), who also wrote the screenplay. The choice of Hadrian’s Villa (instead of a San Francisco devastated by the earthquake of 1906) as a background for the scenes which take place in the Paradise can be understood as coherent with Kushner’s ideological perspective, as well as with his peculiar camp aesthetics.

Durante el franquismo, la censura y la heteronormatividad social dificultaban la representación cinematográfica de disidencias de género y sexualidad. Frecuentemente, estas aparecían en contextos cómicos, flirteando con los límites de lo que podía expresarse públicamente en la época. En la comedia musical 'Más bonita que ninguna', el travestismo es protagonista de la narración y varios números musicales y genera numerosas tensiones textuales que aluden a la homosexualidad. Este artículo utiliza teoría fílmica queer para analizar las representaciones queer existentes en el filme y evidenciar las prácticas autorales queer de sus creadores, entre los que destaca el productor homosexual Luis Sanz.

Húsz éve már (1995), hogy a Xena: A harcos hercegnő amerikai és új-zelandi fantasy sorozat megkérdőjelezte a TV által ábrázolt hagyományos női karakterek egyeduralmát és a feminizmus új, camp ikonjává avanzsált. Az akkoriban kibontakozó fandom kutatás paradigma váltását is előre vetitő sorozat úttörő szerepet játszik az Internet mediálta rajongók és alkotók közötti sajátos kommunikáció kialakulásában (participatory culture). Rajongó táborának online aktivitása, valamint ezen aktivitás értékelése pedig végső soron előre vetiti a digitális bölcselet két évtizedes történetének legfőbb reményeit és félelmeit. Tanulmányomban a feminizmus, a fandom, és a digitális bölcselet hármas kereszteződéséből vizsgálva közelítem meg a sorozatot, mindenekelőtt a camp Pamela Robertson általi meghatározása köré szervezve mindhárom megközelítést. Ily módon a sorozatot és a köré szerveződő fandom jelenséget olyan esettanulmányéként kívánom bemutatni, mint amelyben ötvöződnek az irodalom- és kultúrtudomány utóbbi két évtizedének legfőbb kérdései és vitatott problémái.

An essay commissioned for a monograph of photographs by Ray Cook entitled ‘Diary of a Fortunate Man’ (Brisbane: QCP, 2007)

The demimonde of the sideshow, the strategic vulgarity of burlesque, the dark complexity of the grotesque and the ironic inversions of camp all come together in the photographs of Ray Cook. But it is that underlying desire for a kind of innocence – albeit impure and intemperate – that defines the underlying character of his work.

Summary: Pier Vittorio Tondelli’s second novel, Pao Pao (1982), has
often been considered as an example of hedonism and lack of structural criticism against the military institution. This study contradicts the vulgate by demonstrating its full readability through the lenses of queer theory via an explicit adoption of a camp point of view. Tondelli used camp as an aesthetics that also includes political intentionality, clearly visible in the novel’s proud—and yet amused—stance against the homophobic and heteronormative core of the army. Pao Pao’s camp, and its framing of military uniforms and plain clothes under the umbrella of just another (deeply queer) drag experiment, aim to the production of a new rainbow-queer-social-visibility-tesserae within and against the larger mosaic of a highly heteronormative society: the Italy of the Eighties.

Intramuros, núcleo original sobre el que se fundó la ciudad de Manila en 1571, se convirtió desde el primer momento en la punta de lanza de la conquista española de Filipinas. Centro de gobierno, educación y comercio de las Filipinas española durante los siguientes trescientos años, se convirtió en una ciudad fortificada siguiendo los principios del desarrollo urbano español en las colonias y su diseño como área destinada a garantizar la seguridad de los gobernantes coloniales y de la población española. Mientras en el exterior, en la zona llamada Extramuros, surgía una urbe multirracial cuyo desarrollo fue también objeto de control por parte de las autoridades coloniales con el fin de asegurar que no se convirtiera en una amenaza.

This presentation draws its content from the author's encounter with the film Pinochet Porn, shot between 2008 and 2016, by late artist Ellen Cantor (1961–2013). Deeply political in intent and subject matter, Pinochet Porn is an episodic narrative about the lives of six people growing up under the Pinochet dictatorship in Chile. These characters are fictitious, yet they have direct and indirect similarities with the artist’s personal life encounters. Shot in New York and London, the film produces a series of speculations about the construction of subjectivity and personal experience within a totalitarian regime, and focuses on traumatized subjects living and surviving in crisis.
In Pinochet Porn, tempo oppositions, shot juxtapositions, discontinuities between image and sound, and the presence of explicit footage constantly disorientate the spectator and cause a feeling of unease. At the same time, the artist appears to enjoy blending reality with fiction, the erotic with the pornographic, the public with the private, and resists positioning the film into a specific genre. Cantor seems to work both within camp and feminist avant-garde. She aims to provoke feelings of shock in the viewers in order to awaken them from complacency. Concurrently, she parodies regulatory gender roles and exposes their unstable structure, prompting us to acknowledge and accept a responsibility for their perpetuation. These strategies will be further analyzed in my presentation as provoking a new way of feeling violence and pain (within film), a way of feeling that is always in ambivalence and away from condescension, compassion, voyeurism or revulsion.

Our adventure with the notion of black camp began in 2010 when we co-authored a conference paper on Michael Jackson and Prince. When preparing the paper, we were surprised by an almost complete lack of scrutiny devoted to race in the aesthetics of camp. What we found even more surprising was that—when we researched the field before releasing a CFP for the issue On Uses of Black Camp—the scholarship of the last seven years has not contributed any book-length volume on the topic. This was further confirmed by the response to our call: even though the submissions were not bountiful (which is symptomatic in itself), several authors explicitly expressed a need of adding such critical perspective to the field. Although the intersectional approach that focuses on the interrelations between the categories of race, class, gender, and sexuality has become a standard in cultural studies, critics continued to focus mostly on gender and sexuality in camp performances without accounting for the race factor.

This paper reflects on the biopolitical implications for tourists and workers of enclavic tourist resorts. I contend that the concept of ‘the Island’ captures very well the metaphorical, but also the functional proximity between many tourist ‘islands’ and other past and contemporary forms of encampment and seclusion. I will thus explore the relationship between the idea of ‘the Island’ in tourism and the production and reproduction of what are supposedly docile bodies and minds. I will suggest that in the island-like resort, the docile bodies of the tourist and of the worker come into contact and interact in very particular ways, marked by the distinct nature of the context that hosts their encounter. The space of that encounter is a very interesting haptic contact zone in the production of the tourist experience, a zone where ideas about life, class, habitus, gender, sexuality, the body, etc. are negotiated and where the very concept of work is questioned and may take unpredictable expressions. This is a space that the capitalist production of leisure tries to manage, tame and possibly reduce to a minimum but, paradoxically, this is also a space without which the endless re-enactment of the tourist performance in that place (a re-enactment that constitutes the very foundation of any tourist resort) would simply be impossible.

Due to the recent technological advances, Data Mining in massive data sets has evolved as a crucial research field for many if not all areas of research: from astronomy to high energy physics, to genetics etc. In this paper we discuss an implementation of the Probabilistic Principal Surfaces (PPS) which was developed within the framework of the AstroNeural collaboration. PPS

S’appuyant sur l’hypothèse que le corps-image du pape est un message susceptible d’interprétations plurielles et hiérarchisées, cette contribution synthétise d’abord les caractéristiques éparses des deux grandes lectures produites dans les médias à l’occasion de la transition entre les deux derniers papes: Benoît XVI et François. Elle détaille ensuite les tenants et aboutissants d’une de ces lectures qui, bien que minoritaire au sein du corpus de presse étudié – et à bien des égards contre-hégémonique – a aujourd’hui émergé et créé son public : celle produite au prisme du genre et des sexualités. Ce faisant, elle interroge ce que la montée en puissance du genre et des sexualités – comme discours traversant les sociétés, comme objets de revendications et de politiques publiques et comme catégories d’identification individuelles incontournables – fait au corps et à l’image du pape, mais aussi, ce que le corps-image du pape fait en retour à l’ordre du genre et des sexualités.

. What do students gain from a week at science camp? Youth perceptions and the design of an immersive research-oriented astronomy camp. Abstract: This study explored American high school students' perceptions of the benefits of a summer astronomy camp emphasizing a full cycle of the research process and how the organisation of the camp contributed to those perceptions. Semi-structured interviews with students and staff were used to elicit the specific benefits that campers perceived from their experiences and examine them in relation to the stated goals and strategies of camp staff. Among the perceived benefits that students described were peer relationships, personal autonomy, positive relationships with staff, and deepened science knowledge. These perceived benefits appear to influence the kinds of identities students constructed for themselves in relation to science. Gee's (2004) concept of 'affinity space' is used to consider how features of the camp's design, especially those that promoted student autonomy, contributed to students' positive perceptions, and to draw implications for the design of informal science learning experiences that can link youth with larger communities of scientists.

Glee (Fox: 2009-) se convirtió el año pasado en uno de los fenómenos televisivos de la temporada, avalada tanto por el éxito de audiencia (9,772 millones de espectadores de media en la primera temporada y una especial relevancia en los demográficos) como de crítica (ganadora de tres Emmys y un Globo de Oro, entre otros premios). Este artículo tiene el objetivo de analizar la serie desde la perspectiva de la representación de "la diferencia" como seña de identidad y motor de las tramas narrativas. Tanto desde el punto de vista de los personajes, como del contenido, la estética y el estilo narrativo, se trata de repasar los aspectos que hacen de Glee una paradójica mezcla de la cultura popular y la impopularidad de sus personajes. En primer lugar, se presentará esta comedia musical adolescente señalando sus características principales. Después se hará hincapié en la sensibilidad camp de la serie y, por último, se abundará en el concepto académico de lo queer aplicado a esta ficción televisiva.

In this presentation I want to ponder what happens when concepts of ‘camp’ or ‘queer’, both rooted in the Western/European, and especially English-speaking cultures, are being used and ‘translated’ onto ‘non-Western’ contexts. My focus is especially on the Central and Eastern Europe, which as a region is undergoing an intense process of ‘Europeanization’ and ‘Western acculturation’ since the 1989.

Invested in the study of the trans-national circuits of sexual politics between the 'West and the Rest’, and in the de-stabilisation of the 'Western' epistemological hegemony in queer studies, I am interested in how such categories as ‘camp’ and ‘queer’ may or may not function outside of their originating frameworks. I wonder what is at stake, what sort of relations are established, and negotiated, when we talk ‘Western lingo’ to describe and understand the ‘non-Western’ / Central-Eastern European realities.

I will focus my attention on two case studies. First, I will look at the Eurovision song contest and its supposed ‘gay camp’ appeal in the West. Would the Western (especially British) resentment towards the Eastern Europeans for a supposed political ‘block voting’ be expression of anger for presumed failure to read Eurovision as an apolitical ‘camp’, fun’n’frolics event?

Second, I will turn my attention to a popular Bulgarian chalga (pop-folk) performer Azis. The singer combines the ‘local’ / ‘Balkan’ with ‘global’ scenarios of ‘tits & bums’ and ‘gay’ / ‘camp’ entertainment. But is it any of this at all? How can we read such truly ‘queer’ aesthetics of mix-matched and juxtaposed imaginary, served for the mainstream Bulgarian audience?

"Pedro Almodóvar‘s High Heels (the original Spanish title, Tacones
Lejanos, literally means ―distant heels‖) is a 1991 postmodern film that
celebrates performance, fluidity, and fragmentation as ways of being in and
understanding the world. In a generic combination of melodrama, comedy,
musical, and film noir, High Heels tells the story of a turbulent motherdaughter relationship, and a judge‘s criminal investigation following the murder of the daughter‘s husband (who also happens to be the mother‘s former lover). In recent years, Almodóvar‘s film has received the attention of Orit Kamir, a law-and-film feminist scholar who opens up a refreshing line of inquiry. Kamir uses the film as a powerful site and as a means to explore alternative feminist images of law, judgment, and justice.In this Article, I provide new insights into Kamir‘s feminist jurisprudential reading of the film by placing it within the framework of postmodern jurisprudence, performativity, and queer aesthetics. My aim is to reconceptualize law through an ethics of alterity, and to further theoretical developments in postmodern accounts of judgment, ethics, and justice."

Desde la segunda década del siglo XXI podemos encontrar eferencias camp en diversos ámbitos de las industrias culturales y del espectáculo. Desde Eduardo Casanova con su película Pieles y su cuenta personal de Instagram, pasando por John Waters, el diseñador Palomo Spain, el éxito de la serie estadounidense Pose o la temática de la Gala MET de este año. Lo camp se ensambla en una corriente de sensibilidad estética contemporánea que tiene que ver con la remezcla de archivos y enciclopedias propia de la cultura digital hipertextual. Este resurgimiento de lo camp queda documentado en Instagram, donde gracias al poder difusor de la red social, se mantienen y expanden los conceptos de camp, kitsch, así como los imaginarios visuales outsider, poniéndose de moda y penetrando en las prácticas estéticas de los millennials, permitiéndoles conocer y desarrollar nuevas identidades y estéticas que quedan plasmadas de nuevo en la red. Since the last decade we can find references to camp in the cu...

Resumo: O presente artigo investiga os modos de construção do personagem gay Kurt Hummel, da série norte-americana Glee. O seu objetivo é compreender de que modo o personagem é apresentado ao público e como seus conflitos são construídos. Numa década na qual personagens gays em séries adolescentes são cada vez mais comuns, propomos neste trabalho um esforço de análise sobre a narrativa do personagem Kurt: como essa narrativa constrói, apresenta e representa o universo gay em Glee. Para tanto, usamos noções como a de camp e de uma metodologia de análise de ficção televisiva. Defendemos que Kurt é construído de forma subversiva e pouco convencional não pela rejeição dos estereótipos, mas pelo abuso deles e a recusa do politicamente correto.

In order to set trans-local solidarity on education of camps/refugeehood and develop together tools&methods of architectural education; MAU Architecture Faculty, Graduate Program announce to agree on consortium with Campus in Camps initiative at Deisheh Camp / West Bank.

2016 Güz/Autumn
MA/PhD. Mimari Proje 1/ Graduate Architecture Project 1
Architecture Faculty – Mardin Artuklu University, Mardin
CampusinCamps Mardin Studio
Tutors: Pelin Tan & Alessandro Petti (Campus in Camps)
Associate Tutors: Ömer Faruk Günenç, Yelta Köm

26.09.2016 – 30.12.2016 (critic reviews 2.week of January)
Salı / Tuesday, 14:00 – 17:00

This paper presents a high-level language for expressing image processing algorithms, and an optimizing compiler that targets FPGAs. The language is called SA-C, and this paper focuses on the language features that 1) support image processing, and 2) enable efficient ...