ABO: Interactive Journal for Women in the Arts, 1640-1830 Volume 9 Issue 1 Special Issue: Eighteenth-Century Camp Article 3 2019 Neoclassicism and Camp in Sir William Hamilton’s Naples Ersy Contogouris Université de Montréal,
[email protected] Follow this and additional works at: https://scholarcommons.usf.edu/abo Part of the Dramatic Literature, Criticism and Theory Commons, Feminist, Gender, and Sexuality Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Contogouris, Ersy (2019) "Neoclassicism and Camp in Sir William Hamilton’s Naples," ABO: Interactive Journal for Women in the Arts, 1640-1830: Vol. 9 : Iss. 1 , Article 3. https://www.doi.org/https://doi.org/10.5038/2157-7129.9.1.1176 Available at: https://scholarcommons.usf.edu/abo/vol9/iss1/3 This Scholarship is brought to you for free and open access by Scholar Commons. It has been accepted for inclusion in ABO: Interactive Journal for Women in the Arts, 1640-1830 by an authorized administrator of Scholar Commons. For more information, please contact
[email protected]. Neoclassicism and Camp in Sir William Hamilton’s Naples Abstract Susan Sontag, in her now-classic “Notes on Camp” (1964), traces the origins of camp to the eighteenth century (13, 14, 33). And although it is precisely the baroque and rococo art movements against which Winckelmann rebelled that Sontag identifies as camp, it is worth reflecting on whether the notion of imitation that is central to both movements – imitation of ancient works in the case of neoclassicism, and imitation as parody in the case of camp (Meyer 7) – might not bring the two closer.