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consciously artificial, exaggerated, vulgar, or mannered; self-parodying, esp when in dubious taste



a place for the stationing of troops outside inhabited communities (usually in a sparse forest or grove), which is specially equipped depending on the mission to be performed.

Camps have been known since ancient times. A distinction was made between campaign and permanent camps. The latter were protected by a moat and a wall and were reinforced with palisades or stones and several rows of carts; some camps were surrounded by a thick wall with a moat flanked by towers. In combat, fortified camps served as combat positions for the army and places for storing food and ammunition. The art of setting up camps reached a high point of development in ancient Rome. Later other peoples began applying the Roman art of setting up camps.

In Russia rules of setting up and fortifying army camps were expounded for the first time between 1607 and 1621 in the Regulations on Army, Gunnery, and Other Affairs. Training camps appeared in Russia in the 17th century. Peter I was the first to decree that troops should spend some time in training camps. In the 17th and 18th centuries, when linear tactics predominated, troops were deployed in a camp in a linear combat order. Until the middle of the 19th century the choosing of a site and the setting up of camps was a separate branch of the art of warfare, called castrametation. In the second half of the 19th century the development of artillery and other means of destruction made it necessary to disperse the troops in combat, and camps lost their importance as fortified stations of troops.

The Soviet armed forces and armies of other states have training camps and training centers, which have a role to play in the combat training of troops under field conditions. For the training of troops camps are equipped with training fields, target ranges, firing grounds, and other facilities. When troops are stationed in camps and training centers, the special features of the routine garrison duty are determined by the corresponding regulations.


References in periodicals archive ?
expendability; but there is more to Austen's campiness than a
The public would be enraptured by his costume, campiness and demonstration of Santo Nino devotion, a sensibility made distinctly peculiar by the excessive image he was projecting and his indefatigable movements.
For all its cheesy campiness, The Twilight Zone terrifies; voyeurs, we watch as the hapless unsuspecting are compelled to adjust to intrusive absurdity as normality itself becomes unworkable, even irrelevant.
Under her brother's watchful gaze, campiness may be Nicolasa's method of subversion.
From the effete campiness of many seminarians and clerics, to the heretical books passing as foundational texts at Catholic colleges, few late-20th-century Catholics involved in Catholic apostolate or study could have failed to observe the symptoms of a disorder.
Sci Fi says Shatner will ``pay his own unique homage to campiness by personally re-enacting some gruesome moment from that night's movie.
Nowhere in this is there the slightest hint of irony or campiness.
Bredbeck, who confers on Oscar Wilde "almost mythical status as the origin of modern gay Camp" (Meyer 51), analyzes Oscar Wilde's "Narcissus" and campiness as a critique of the Freudian equivalence of homosexuality and narcissism.
I missed the tone of inverted, near--drag queen campiness in my first reading, and to miss this tone and subtext in the poem is nearly to miss all.
Luckily, a witty installation subverts much of the incipient pomposity of the most, shall we say, problematic images; a "dead child" section that includes a judgment of Solomon and some miraculous restorations, plus a slightly naive rendering of the salvation of a cleric buried up to his neck in the rubble of a collapsed building, allows comparisons and offsets a slightly hysterical emotional pitch and lurking campiness.
Although Cavani and Wertmuller are equally implicated in the sexualization of the figure of the Nazi, they draw upon the aesthetics of the sublime, which does not allow a return to the confines of 'straight' politics nor a return to the stylistic campiness and kitsch of other films that place the "sexual deviant" in the position of the Nazi and re-spectacularize the feminine body as a masculinized body or a satirical body.