Abstract:This essay develops a new crip application of the camp aesthetic that explores how early framings of camp, as a coping mechanism and an affective relation to and between objects, can resonate powerfully with the recent turn in disability studies toward mad feminism, new materialism, and biopolitics. Identifying Diane DiMassa's comic series Hothead Paisan: Homicidal Lesbian Terrorist (1999) and Robert Eggers's Puritan horror film, The Witch (2015), as emblematic of this approach, the essay argues that both texts champion a reparative approach to paranoid sensibilities that takes seriously camp's status as a therapeutic gesture. While both texts may seem to glamorize madness-as-rebellion, staging a set of caricatured associations between feminism, hysteria, and witchcraft, I demonstrate the way each, more powerfully, requires their audience to adopt a stance of radical faith about women's often-disqualified experiences of depression and anxiety. Taking paranoia and its causes seriously, both Hothead and The Witch allow us to shift our focus away from what camp looks like and toward the question of what camp feels like. Thus, against queer discourses of camp that emphasize irony, humor, and the agency of human performers, this essay interrogates camp's powerful attachments to humorlessness, sincerity, and nonhuman or dehumanized objects.

中文翻译：

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女巫、恐怖分子和坎普的生命政治

摘要：本文开发了一种新的坎普美学应用，探讨了坎普的早期框架，作为一种应对机制和对象之间的情感关系，如何与最近残疾研究转向疯狂女权主义、新唯物主义产生强烈共鸣。 ，和生物政治。确定 Diane DiMassa 的漫画系列 Hothead Paisan: Homicide Lesbian Terrorist (1999) 和 Robert Eggers 的清教徒恐怖片，The Witch (2015)，作为这种方法的象征，这篇文章认为这两种文本都支持一种对偏执情绪的修复方法，它认真对待坎普的状态作为一种治疗姿态。虽然这两篇文章似乎都在美化作为反叛的疯狂，在女权主义、歇斯底里和巫术之间进行了一系列讽刺性的联系，但我更强有力地展示了每一个的方式，要求他们的观众对女性经常不合格的抑郁和焦虑经历采取激进的信仰立场。认真对待偏执及其成因，Hothead 和 The Witch 都让我们将注意力从营地的样子转移到营地感觉的问题上。因此，针对坎普强调讽刺、幽默和人类表演者能动性的酷儿话语，本文质疑坎普对无幽默、真诚以及非人类或非人化对象的强烈依恋。