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dc.contributor.authorWesterman, Casey S.
dc.date.accessioned2014-03-04T18:54:47Z
dc.date.available2014-03-04T18:54:47Z
dc.date.issued2010-05
dc.identifier.otherwesterman_casey_s_201005_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/westerman_casey_s_201005_ma
dc.identifier.urihttp://hdl.handle.net/10724/26538
dc.description.abstractChristopher Isherwood's short story "Sally Bowles" and the four dramatic and cinematic adaptations of that text provide a useful illustration of the fluid nature of the Camp aesthetic, as the sensibility shared by the narrator and Sally Bowles incrementally vanishes from their counterparts in the adaptations, while the films and plays themselves become objects imbued with the quality of camp. In her article "Notes on Camp," Susan Sontag distinguished between Camp as a sensibility possessed by individuals and Camp as an attribute perceived. The distinction between Camp as a sensibility and Camp as the quality revealed to one with that sensibility has often been blurred; in the transition from novel to stage play to film, the Camp nature of characters and situations shifts as the narrative position is altered.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectChristopher Isherwood
dc.subjectBerlin Stories
dc.subjectI Am A Camera
dc.subjectCabaret
dc.subjectSusan Sontag
dc.subjectHomosexuality in literature
dc.subjectCamp.
dc.title"Certain passionate failures"
dc.title.alternativeCamp and the closet in the afterlife of Isherwood's "Sally Bowles"
dc.typeThesis
dc.description.degreeMA
dc.description.departmentEnglish
dc.description.majorEnglish
dc.description.advisorJed Rasula
dc.description.committeeJed Rasula
dc.description.committeeAidan Wasley
dc.description.committeeSusan Rosenbaum


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