Parody: Dimensions and Perspectives

Portada
Beate Müller
Rodopi, 1997 - 313 páginas
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.

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Contenido

Introduction
1
Heike Bartel
25
Gabrielle Bersier 27
46
Andreas Böhn 47
65
Andreas Höfele 67
89
Parodies of Shakespeare
127
Sentimental Parody? Thoughts on the Quality of Parody
155
Tore Rem
168
Rebecca E Sammel 169
190
Mein
191
Gerlinde Ulm Sanford 191
221
Gerd K Schneider
235
Martin J Schubert 237
254
Selected Bibliography on Parody
275
The Contributors
299
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Página 134 - tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream; ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life...
Página 134 - For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, Th' oppressor's wrong, the proud man's contumely, The pangs of despis'd love, the law's delay, The insolence of office and the spurns That patient merit of th' unworthy takes, When he himself might his quietus make With a bare bodkin?
Página 134 - That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin ? who would fardels bear, To grunt and sweat under a weary life ; But that the dread of something after death, — The undiscover'd country, from whose bourn No traveller returns, — puzzles the will; And makes us rather bear those ills we have, Than fly to others that we know not of?
Página 70 - Pastiche is, like parody, the imitation of a peculiar or unique style, the wearing of a stylistic mask, speech in a dead language: but it is a neutral practice of such mimicry, without parody's ulterior motive, without the satirical impulse, without laughter, without that still latent feeling that there exists something normal compared to which what is being imitated is rather comic.
Página 134 - Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action.
Página 179 - And I tell you, you are Peter, and on this rock I will build my church, and the powers of death shall not prevail against it. I will give you the keys of the kingdom of heaven, and whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven.
Página 13 - Reinentsprungenes« -, ihre Erinnerung an schwimmende Hölderlintürme, möwenumschwirrt. Besuche ertrunkener Schreiner bei diesen tauchenden Worten: Käme, käme ein Mensch, käme ein Mensch zur Welt, heute, mit dem Lichtbart der Patriarchen: er dürfte, sprach er von dieser Zeit, er dürfte nur lallen und lallen, immer-, immerzuzu. (»Pallaksch. Pallaksch.«) CHYMISCH Schweigen, wie Gold gekocht, in verkohlten Händen.
Página 70 - Postmodernism, or the Cultural Logic of Late Capitalism" (New Left Review 146), Fredric Jameson argues that pastiche, rather than parody, is the appropriate mode of postmodernist culture. 'Pastiche', he writes, 'is, like parody, the imitation of a peculiar mask, speech in a dead language; but it is a neutral practice of such mimicry, without any of parody's ulterior motives, amputated of the satiric impulse, devoid of laughter and of any conviction that alongside the abnormal tongue you have momentarily...
Página 122 - I shall stick to it," she continued, smiling. " I am not saying it to educate you; it is what I really think. I believe that in the last century men have developed the desire for work, and they must not starve it. It's a new desire. It goes with a great deal that's bad, but in itself it's good, and I hope that for women, too, ' not to work ' will soon become as shocking as ' not to be married ' was a hundred years ago." " I have no experience of this profound desire to which you allude,
Página 31 - Beurteilung solcher parodistischen Werke den originalen, edlen, schönen Gegenstand vor Augen haben müsse, um zu sehen, ob der Parodist ihm wirklich eine schwache und komische Seite abgewonnen, ob er ihm etwas geborgt, oder, unter dem Schein einer solchen Nachahmung, vielleicht gar selbst eine treffliche Erfindung geliefert?

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