Upon its publication in 1759, Voltaire'sCandide, or The Optimistscandalized Europe. Banned for its blasphemous and politically seditious content, it became asuccès de scandaleand one of the most widely read books of its time. Leonard Bernstein adapted Voltaire's work for the stage in the 1950s. With its emphasis on the improbable, the artificial, and the insouciant,Candidepractically begs for a camp (re)interpretation, and it is just such an analysis I offer here. After outlining camp as social critique, I turn to Cunégonde's aria “Glitter and Be Gay” and trace its path through camp's causeways in two different decades: first, in the United States of the 1950s, a period marked by McCarthy's witch-hunts, Cold War anxieties, intense homophobia, and the composer's personal struggle to accept his homosexuality, and second, in the late 1980s, when singer, songwriter, and AIDS activist Michael Callen (1955–1993) recorded his own camped-up version of “Glitter and Be Gay” for what would become his last musical project, a posthumous double album entitledLegacy(1996). By following Cunégonde's sparkling trail of glitter and gemstones through two historical moments, I demonstrate how camp functions as a tool of queer resistance across the last half of the twentieth century.

中文翻译：

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“受够了泪流满面”：“闪闪发光，成为同性恋”和酷儿抵抗的阵营政治

1759 年出版后，伏尔泰的老实人，或乐观主义者震惊欧洲。由于其亵渎神明和政治煽动性的内容而被禁止，它成为了丑闻的成功和当时最广泛阅读的书籍之一。伦纳德伯恩斯坦将伏尔泰的作品改编为 1950 年代的舞台。强调不可能的、做作的和漫不经心的，老实人实际上乞求一个营地（重新）解释，我在这里提供的正是这样的分析。在将坎普概括为社会批判之后，我转向库内贡德的咏叹调“闪闪发光，成为同性恋”，并在两个不同的十年中追溯其穿越坎普堤道的路径：首先，在 1950 年代的美国，麦卡锡的猎巫行动，寒冷战争焦虑、强烈的同性恋恐惧症以及作曲家个人为接受自己的同性恋而奋斗，其次，在 1980 年代后期，歌手、词曲作者和艾滋病活动家迈克尔·卡伦 (Michael Callen) (1955-1993) 录制了他自己的露营版本“闪光和Be Gay”，因为这将成为他的最后一个音乐项目，一张死后的双专辑，题为遗产(1996)。通过在两个历史时刻追随 Cunégonde 闪闪发光的闪光和宝石轨迹，我展示了坎普如何在 20 世纪下半叶充当酷儿抵抗的工具。