Parody is a most iridescent phenomenon: of ancient Greek origin, parody's very malleability has allowed it to survive and to conquer Western cultures. Changing discourse on parody, its complex relationship with related humorous forms (e.g. travesty, burlesque, satire), its ability to cross genre boundaries, the many parodies handed down by tradition, and its ubiquity in contemporary culture all testify to its multifaceted nature. No wonder that 'parody' has become a phrase without clear meaning. The essays in this collection reflect the multidimensionality of recent parody studies. They pay tribute to its long and varied tradition, covering examples of parodic practice from the Middle Ages to the present day and dealing with English, American, postcolonial, Austrian, and German parodies. The papers range from the Medieval classics (e.g. Chaucer), parodies of Shakespeare, and the role of parody in German Romanticism, to parodies of fin-de-siècle literature and the intertextual puzzles of the late twentieth century (such as cross-dressing, Schwab's Faust parody, and Rushdie's Satanic Verses). And they have transformed the contentious nature of parody into a diverse range of methodologies. In doing so, these essays offer a survey of the current state of parody studies.
The sequel to the parody of the sequel to the prequel to The Lord of the Rings When Aaron Sorkinshield and his band of Little People embark on a totally feasible quest to reclaim the hoard of Academy Awards stolen from them by the lonely ...
This book approaches parody as a literary form that has assumed diverse forms and functions throughout history.
Satire and parody existed long before modern times. Readers will get an invaluable overview of how to identify satire and parody and how to think critically about current events.
Gehring's work will also find a place in American pop culture studies and sociological studies of the period from the 1920s to the 1990s. The book is carefully documented and includes a selected bibliography and filmography.
These are not parodies, but little human stories, full of want and hope, even when they involve falconry." ---from the foreword by John Hodgman
And what will happen when the New Moan rises? New Moan is guaranteed to make any fan laugh out loud with its irreverent and clever take on this popular series, which is brilliantly on the nose.
Apparently he is introducing somebody; somebody named George. George steps out of the tent, but does not bow to the audience. In one hand he carries a fencing foil, well constructed, of European workmanship; in his other hand he holds a ...
Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is Not a Pipe, Hutcheon ...
Mr. H. G. Wells, in his "Outline of History," was of necessity forced to omit the narration of many of the chief events in the history of these United States....
This book contends that the jauntiness, verve, and daring of high modernism is fundamentally parodic.