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注释: [1]洛枫:《男身女相,雌雄同体:张国荣的歌衫舞影与媒介论述》,台湾《媒介拟想》学术期刊,第3期, 2005年4月,第134-146页. [2][4]Susan Sontag,“Notes on Camp”in Fabio Cleto,ed.,Camp: QueerAesthetics and thePerforming Subject,Ann Arbor, MI: TheUniversity ofMichigan Press, 1999, p. 52. Partisan Review 31: 4 (Fall 1964), pp. 515-530, p. 52. [3]陈冠中主张按顾爱彬、李瑞华、程巍等的音译,把camp译为“坎普”。但他也指出,“坎普”这词,给中文使用者很大的困扰。创意的译法有田晓菲的“矫揉造作”、沈语冰的“好玩家”、董鼎山的“媚俗”(可能是借“坎普”与“刻奇”的近亲关系)、王德威的“假仙”(台湾用语,指行为上的假装),但都只突显了“坎普”某些特性而最终未能达意。见陈冠中:《坎普·垃圾·刻奇———给受了过多人文教育的人》,《万象》第2卷, 2004年第4期。 [5]David Bergman,CampGrounds: Style andHomosex-uality,Amherst, MA: University of Massachusetts, 1993,pp. 4-5. [6][8][36][37]FabioCleto,“Introduction: Queering theCamp.”In Fabio Cleto, ed.,Camp: QueerAesthetics and the PerformingSubject,p. 5,pp.5-6,p.9,pp.9-10. [7][25]Christopher Isherwood,TheWorld in theEvening,New York: Noonday Press, 1954, p. 126, p. 152. [9][41]Judith Butler,“From Interiority to Gender Perfor-matives.”, In FabioCleto, ed.,Camp: QueerAesthetics and the Performing Subject,p. 365. [10]乔叟:“巴斯妇的开场语”,“巴斯妇的故事”,见《乔叟文集》(上卷),方重译,上海:上海文艺出版社1962年版。 [11]Carolyn Dinshaw and DavidWallace,TheCambridgeCompanion to Medieval Women's Writing,New York: Cam-bridgeUniversity Press, 2003, p. 130. [12]Mark Booth,“‘Campe-to!i: On the Origins andDefinitions ofCamp’.”, In Fabio Cleto, p. 76. [13][24]RichardDyer,“‘It’s Being So Camp as Keeps Us Going’.”, In Fabio Cleto, p. 114, p. 112. [14][15][16][17][27][28][30][32][33][45][46][47]Esther Newton, Mother Camp: Female Impersonators in America, Chicago: The University of Chicago Press, [1972]1979, p. 103, p. 107, p.101, p. 106, p. xv,i p. xi,i p. 105, p. 16, pp. 56-57, pp.104-105, p. 103, p. 105. [18]梁伟怡,饶欣凌:《‘百变’‘妖女’的表演政治:梅艳芳的名星文本分析》, http: //www. zhongdian. net/show(2006-05-31)台湾《电影欣赏》。 [19]同上,参见Mary Ann Doane, "Film and theMas-querade: Theorizing the Female Spectator. ",In The SexualSubject: A Screen Reader in Sexuality,New York: Routledge, 1992, p. 234. [20]Charles Bernheimer,Figures of Ill Repute: Represen-ting Prostitution in Nineteen-Century France,Cambridge, MA: HarvardUniversity Press, 1989, p. 1. [21]Charles Baudelaire,Oeuvres completes,Paris: Pleia-de, 1961, p. 1184. Quoted by Charles Bernheimer, op.cit., p. 97. [22]Roland Barthes,Empire ofSigns,Trans. Richard Howard. New York: Hill andWang, 1982, p. 53. [23][48]JamesC. Scott,Domination and the Arts of Resistance,New Haven, CN: YaleUniversityPress, 1990, pp. 23-31, p. 18. [26][38]Philip Core,“From Camp: The LieThatTells the Truth.”, In Fabio Cleto, ed.,Camp: QueerAesthetics and the Performing Subject,p. 86, p. 82. [29]“Medieval Sourcebook: The Questioning of JohnRykener, AMale Cross-Dressing Prostitute, 1395”,www.fordham. edu/halsall/source/1395rykner. htm.l [31]Esther Newton,Mother Camp,p. 4. ChristopherIsherwood,TheWorld in theEvening,p. 110. [34][43]Pamela Robertson,Guilty Pleasures: FeministCamp from Mae West to Madonna,Duke University Press.1996, p. 10, p. 17. [35]RobertC. Jennings,“MaeWest: A Candid Conver-sation with the Indestructible Queen of Vamp and Camp”,Playboy(January 1971), p. 78. [39]MoeMeyer,“Introduction: Reclaiming theDiscourseofCamp.”InMoeMeyer ed.,Politics andPoetics ofCamp,New York: Routledge, 1994, pp. 7-11. [40]Fredric Jameson,“Postmodernism and ConsumerSo-ciety.”InHal Foster, ed.,The Anti-Aesthetic: Essays onPostmodern Culture,PortTownsend, WA: Bay Press, 1983,p. 114. [42]朱大可:《身体化、娱乐化和反智化:本土大众文化的三大态势》, www. cc. org. cn (2005/11/15)。 [44]www. 66. 102. 7. 104 (责任编辑：admin) |