Abstract

Difference through repetition marks the domain of our renewed questioning in this special issue. Every utterance – be it diacritical mark, word, paint stroke or musical bar – every iteration of mode, or genre, means dialogue with previous iterations (Bakhtin 1986: 77). This runs the gamut of transformation from sampling, re-mash, pastiche, and travesty, through subversive laughter and extreme semiotic violence, right to revolutionary upheaval – stages through which parody spaces its becoming.

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