Parody: Dimensions and PerspectivesBeate 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-si cle literature and the intertextual puzzles of the late twentieth century (such as cross-dressing, Schwab's Faustparody, 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. |
Dentro del libro
Resultados 1-5 de 45
Página 6
... Structure , Evolution , and Value : Russian Formalism and Czech Structuralism Reconsidered , Harvard Studies in Comparative Literature 38 ( Cambridge , MA : Harvard UP , 1989 ) , pp . 11-82 ; here : pp . 35-43 . gave way to a wider ...
... Structure , Evolution , and Value : Russian Formalism and Czech Structuralism Reconsidered , Harvard Studies in Comparative Literature 38 ( Cambridge , MA : Harvard UP , 1989 ) , pp . 11-82 ; here : pp . 35-43 . gave way to a wider ...
Página 12
... structure , language , intention and effect differ significantly from the so - called ' traditional parodies ' . Most obvious seems to be the lack of elements of ridicule and therefore the lack of a humorous effect . Tübingen , Jänner ...
... structure , language , intention and effect differ significantly from the so - called ' traditional parodies ' . Most obvious seems to be the lack of elements of ridicule and therefore the lack of a humorous effect . Tübingen , Jänner ...
Página 15
... structure and intention of Tübingen , Jänner is very complex and calls for a methodological approach able to deal with the many shifts and layers of reference and meaning . Every line confronts the reader of Tübingen , Jänner 7 Robert ...
... structure and intention of Tübingen , Jänner is very complex and calls for a methodological approach able to deal with the many shifts and layers of reference and meaning . Every line confronts the reader of Tübingen , Jänner 7 Robert ...
Página 22
... structure of the text reflects this deficiency by using fragments which cannot be completed or by creating gaps which cannot be filled . Celan's poems create the atmosphere of ' Tenebrae ' which is the biblical phase of darkness and ...
... structure of the text reflects this deficiency by using fragments which cannot be completed or by creating gaps which cannot be filled . Celan's poems create the atmosphere of ' Tenebrae ' which is the biblical phase of darkness and ...
Página 24
... intertextual references , imitations of structural elements of other texts and the inversions of original contents . There are obvious attempts to approach authors like Friedrich Hölderlin , too , 24 Parody : Dimensions and Perspectives.
... intertextual references , imitations of structural elements of other texts and the inversions of original contents . There are obvious attempts to approach authors like Friedrich Hölderlin , too , 24 Parody : Dimensions and Perspectives.
Contenido
1 | |
27 | |
46 | |
Andreas Böhn 47 | 65 |
CrossDressing between Travesty and Parody | 91 |
Parodies of Shakespeare | 127 |
Sentimental Parody? Thoughts on the Quality of Parody | 155 |
Tore Rem | 168 |
Mein | 191 |
Gerlinde Ulm Sanford 191 | 221 |
Parody in ThirteenthCentury German Poetry | 237 |
Selected Bibliography on Parody | 275 |
The Contributors | 299 |
Términos y frases comunes
Archpoet artistic Beate Müller Berlin Bradbury Brustkorb century Chamcha characters comedy comic effect confession contemporary context courtly critical cross-dressing culture deutschen Dickens Dimensions and Perspectives E-mail E. T. A. Hoffmann Editions Rodopi B.V. elements English epic essay example Farishta Fiction Frankfurt/M Friedrich Friedrich Hölderlin gender genre German Goethe Hamlet's Hölderlin Howards End humour Hutcheon imitation incongruity intertextual Intertextualität irony Jänner Kater Murr Kreisler language Linda Hutcheon literarische literary literature London Ludwig Tieck Malcolm Bradbury Margarethe medieval melodrama Mephisto Minnesang Mittelalters modern novel orders-queries@rodopi.nl original Pardoner parodic mode parodic text parodist parody pastiche Paul Celan play poem poet poetic postmodern pre-text quotation quoted reader refers Reigen Reinmar rewriting romantic Rushdie Satanic Verses Satire scene Schlegel Schnitzler's Schwab's Faust Schweikle sentimentality Shakespeare song Sprache stanza Stuttgart Tannhäuser term Theory of Parody Tieck tradition travesty Tübingen Ulrich Walther Werke Werner Schwab Wolfgang words
Pasajes populares
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?