Concept Of Parody Research Articles

Las consecuencias de la búsqueda de la utopía en "El mundo alucinante"

The consequences of searching for utopia in El mundo alucinanteThe aim of this article is to interpret the novel El mundo alucinante by virtue of criticism of totalitarian regimes which are formulated by its author Reinaldo Arenas. Using the concepts of parody, satire, and allegory, which are typical of postmodern literature, the warnings of searching for a collective utopia are formulated. We arrive at the conclusion that a collective utopia inherently leads to a totalitarian and antidemocratic state and, at the same time, it puts modern democracy at risk.

A PARÓDIA MINT INTRALINGVÁLIS (TEXTUÁLIS) FORDÍTÁS

A szerző a dolgozat bevezetőjében a fordítás rövid meghatározásával, valamint olyan típusaival foglalkozik, amelyek az irodalmi szövegek értelmezéséhez közel(ebb) állnak, mint például az intralingvális (textuális) fordítás. Mivel a paródia fogalma nem egyértelmű a szakirodalomban, ennek definiálására a szerző sem tesz kísérletet, elfogadja azonban Umberto Eco kettős kódolás fogalmát, valamint elhelyezi a paródiát a nyelven belüli fordítások között. Ezt követően a szerző Karinthy Ady-paródiáit, valamint Weöres Sándor Ady szelleme mondja című hommage-át elemzi a stílusimitáció szempontjából.

Понятие пародии как объекта авторского права

Понятие пародии как объекта авторского права

Swart koring van Joan Hambidge as parodie en pastiche op populêre kultuur

In this article the functioning of parody and pastiche as postmodern strategies in Swart koring [Black Wheat] by Joan Hambidge are investigated. Firstly, the concepts of parody and pastiche within traditional and postmodern theoretical frameworks are discussed to clarify the distinction between these two closely related concepts. Secondly, the ways in which popular culture is undermined through the functioning of parody and pastiche and how this process operates within two specific post-modern manifestations will be explored. These manifestations include the disappearance of boundaries between high and popular literature and the manifestation of mass culture.

An Axis of Revolutionary Love

In our time, bodies have become alienated from one another on the basis of race and ethnicity, gender and sex, and religion. To envision theologically a political posture with which to disrupt these paradigmatic structures, this essay develops a model of a politics of love based on Galatians 3:26–28, where Paul argues for “putting on” Christ in whom there is no longer Jew or Greek, slave or free, male and female (NRSV). “Putting on” serves as a reminder of a rite-act via which forms of queering identities disperse bodies away from dominant magnetic centres for the purpose of bringing to awareness and renouncing the limit as an alienating end, and announcing its potential for new kindred beginnings toward peacefulness. This essay offers a Galatian response to the current political situation in light of Gloria Anzaldúa's embodiment of the borders between the United States and Mexico, and Judith Butler's concept of parody that by exposing the normative by means of disguise can result in pastiche or the subversive mimicry of history. The essay also draws from border theory and queer theory to reframe Jean-Luc Nancy's analysis of “being-with” that for him is central to the inquiry on being human in community. It aims at offering a brief theological and philosophical roadmap to dwelling in solidarity, bodily and affectively, for the purposes of making peace. Living according to Galatians 3:26–28 demonstrates how revolutionary axes can extend oneself to the limits, denounce fragmenting practices, be affected by the alienated bodies of modern production, and mend what has been violently split apart.

Musical Parody of Acapella Mataraman: A Creativity Compromise for the Performing Arts Market in Yogyakarta

This study aims to identify and understand the creative process of artists in the performing arts market. The concept of creativity is often the response of the high degree of creativity. Basically an assumption appears if the artist is able to survive in the market is the result of creativity in the performing arts is a form of alternative or compromise. This phenomenon occurred in the group Acapella Mataraman. This case study is based on the concept of Jennifer Lindsay and Umar Kayam about the existence of performing arts groups. The primary data are gained from the interview process with Pardiman Djoyonegoro, then, it is completed with the secondary data through a focus group discussion to explore deeper about creativity process on Acapella Mataraman. The results show that the repertoire of pangkur jenggleng and emperan Nuswantara is a form of compromise. Musical sounds and rhythms of modern music elaborated and presented through acapella techniques. Supplemented by the concept of parody that has appeal and value to the consumer tastes of the performing arts. This form is an effective medium for the delivery of criticism and moral content on each of the repertoire.

A Bakhtinian Reading of John Donne’s Parody Poem “The Bait”

While conventional critics seek the comic aspect of parody, modernist critics credit parody with questioning mainstream literary trends and subverting literary production. For instance, Mikhail Bakhtin believes in parody’s power to create “a decrowning double” by turning the official worldview up-side-down. For experimental poets like John Donne, parody transcends mere comical imitation into a serious practice. Donne, having lived in the heyday of the Renaissance with its overemphasis on decorum and courtly love, sought refuge in parody to resist and disturb existing norms of versification and offer an alternative worldview. This paper examines John Donne’s parody poem “The Bait” in the light of Bakhtin’s concept of parody as a decrowning double. The analysis shows that not only had Donne resorted to parody to criticize the society, but he also employed it to undermine established rules of poetry. The study concludes that Donne used parody to create an important platform to liberate poetry from dominant modes of versification, invite readers, often by means of defamiliarisation, to reconsider their stance and literary taste, and promote experimental styles; thus, Donne transcends the norms of prevalent courtly love poetry once and for all.

Development of Creativity Education Programs Based on Masterpiece Parodies with Smart Phone Applications for Kindergarten Teacher Candidates

Objectives: In this study, we aimed to develop creativity education programs based on masterpiece parodies with smart phone applications for promoting the creativity of kindergarten teacher candidates. Methods/Statistical Analysis: Procedures for developing the proposed creativity education programs consists of seven steps, which are 1. diagnosing a necessity for developing the proposed programs, 2. setting a basic direction for the programs, 3. selecting masterpieces, 4. understanding the concept of parody, 5. design and develop a prototypic creativity education program, 6. validating activity lists of the developed program, and 7. completing the program based on masterpiece parodies with smart phone applications. Findings: A class based on the proposed program has discrete steps which are pre-activities (understanding the concept of parody and its expression techniques), introduction (appreciating and analyzing masterpieces), deployment (exploring relevant subjects, envisioning ideas and creating a parody of the masterpiece with a smart phone application) and wrap-up (evaluating the parody and displaying it online). Ten program activities were accordingly developed. Improvements/Applications: The proposed creativity education programs as a new educational paradigm will facilitate the development and distribution of new creativity teaching methods based on masterpiece parodies with smart phone applications for promoting the creativity of kindergarten teacher candidates.

The Philosophy of Prosopopoeia

ABSTRACT Nietzsche's writings are complex polyphone compositions: Nietzsche adopts a multitude of positions and voices, including their specific rhythmical features, through the rhetorical technique of prosopopoeia. This is also the case in his aphoristic books. By interpreting the famous “incipit parodia” from the preface to the second edition of GS, I argue in this essay that Nietzsche actually understands the concept of parody in the ancient sense, where it is nothing else but a form of prosopopoeia or personification—in contrast to the modern sense, where it denotes a kind of mockery. This has wide-ranging consequences for the understanding of Nietzsche's writing in general, his theory of the mask, and his identification of tragedy and parody.

OMG: Authenticity, Parody, and Evangelical Christian Fashion

This article analyzes the relationship between religion and fashion through an examination of evangelical t-shirts. It demonstrates how Christian companies attempt to authenticate their t-shirt apparel through origin stories, text and graphics, and model styling. However, this authentication process does not go uncontested. For example, the t-shirts and tanks created by Heart OMG resemble “authentic” evangelical tees in some ways, but not in others, which has caused some to question the company’s products and motives. The article turns to the concept of parody to help illuminate Heart OMG’s status. Companies such as Amazing Atheist Tees and Reasonist Products parody evangelical tees to criticize religion and make their own atheist views known. Other parodies of evangelicalism attempt to construct a sense of “cool” and transgression through their garments. Examining parody and these various spin-offs of the evangelical t-shirt highlights the influence of religion in fashion, as well as the enduring power and contested character of authenticity.

La parodia nei romanzi di Elsa Morante

This paper analyses the whole fictional work of Elsa Morante, from Menzogna e Sortilegio to Aracoeli , using the concept of parody as a parameter of interpretation, also investigating the keywords of Morante’s poetics (e.g. mistery, ambiguity, scandal). In conducting this analysis, the main theoretical and philosophical framework has been taken from Gianni Carchia’s theory of the novel which has been used to demonstrate the strong and deep connection between myth and history in Morante’s novels.

Revolutionizing La Regenta : Parodic Transformation and Cinematic Innovation in Oviedo Express

Applying Linda Hutcheon’s concept of parody as “an integrated structural modeling process of revising, replaying, inventing, and ‘trans-contextualizing’ previous works of art,” this article explores how film director Gonzalo Suárez incorporates the following source material into his 2007 comedy Oviedo Express : Leopoldo Alas’s La Regenta as well as Suárez’s own 1974 film adaptation of the novel and Fernando Méndez-Leite’s 1995 made-for-television adaptation of it; Stefan Zweig’s story “Angst” and Roberto Rossellini’s film Non credo più all’amore (La paura) based on it; and J. B. Priestley’s play Music at Night . After announcing his parodic enterprise with a quote from Priestley, Suárez skillfully intertwines the plots of Alas’s novel, Zweig’s story, and Rossellini’s film while forging intertextual and extratextual connections among the characters and real-life actors present in the previous literary, cinematic, and televised versions of La Regenta . In so doing he refashions one of the classics of nineteenth-century Spanish Realism according to his own artistic genre of acción-ficción in order to create a new type of filmmaking that challenges prevailing cinematic assumptions of quality.

Parody, Satire and Jokes

This paper examines the concepts of parody, satire, and jokes under the fair use doctrine.Parody, Satire, Jokes. These three very different and distinct concepts are most frequently confused by clients. Here is a simple way to clarify these distinct concepts. A parody is an imitation of a work, that comments directly on that work, and therefore is permitted to take quite a bit from that work which is the subject of the comment. A satire, however, comments on some broad aspect of society. Often, a satire is evaluated liberally under the fair use doctrine. Neither one has anything to do with humor. Conversely, a joke is all about the humor. A joke’s purpose is to get a laugh. It is a joke which gets no special break under copyright law.

Burke and Swift on the Ethics of Revolution

I argue that the concept of parody helps locate a subtly subversive aspect to the eighteenth-century conservatism of Burke and Swift. Examining their work in this way clarifies why these two authors, who occasionally seem to evidence radical qualities, can at the same time express a preference for more ostensibly restrained action. Because parody is a technique that preserves and recycles major aspects of the satirized object, it presents a mechanism for condensing a number of seemingly contradictory goals, deftly combining limited alterations and the appearance of reserved moderation with revolutionary aims.

O deslocamento feminino no romance contemporâneo

Este artigo retoma a reflexão acerca da identidade de gênero nos romances de Lya Luft e Helena Parente Cunha por meio dos estudos de gênero. Parte-se de uma concepção feminista para a análise da paródia do deslocamento da mulher como uma forma de resistência ao patriarcado. Tal contestação é sugerida pela metáfora da morte da mãe tradicional na ficção dessas autoras. Metodologicamente, exploram-se conceitos de paródia, de Hutcheon, e de deslocamento de gênero, de Butler.

Leitura interdisciplinar da literatura infantojuvenil

This paper presents a proposal for interdisciplinary reading from the exploitation of parody as a guide to read the children and teenager text. Due to its duality, the parody both dialogues with the cultural past, as it does a self-questioning about the way how it is narrated. As example, it is analyzed the parodical form as the woman questions the patriarchal space in the short-story A moça tecelã, by Marina Colasanti. Methodologically, it is proposed the critical formation of the reader from a hybrid reading of cultural elements considering the concepts of parody and irony proposed by Umberto Eco and Linda Hutcheon.

Parody and Metapoetry in Two Poems by Gloria Fuertes

Like many of her contemporaries, the Spanish poet Gloria Fuertes (1917–1998) explores metapoetic themes such as the essence of poetic language, the purpose of poetry and the role of the poet and the reader in her work. This article considers metapoetry and the closely related concept of parody in two of her poems, 'El vendedor de papeles o el poeta sin suerte', first published in 1954, and 'Maletilla', from Poeta de guardia (1968). Both poems reveal her experience of being sidelined by literary critics, which she responds to by including deliberately non-poetic language in her work, thus emphasizing her aim of reaching ordinary people and her rejection of élitist writing. On the basis of these two poems, references to some other poems and the critical context, the article points to the different purposes that defi ne Fuertes's poetics. One important consequence of her use of parody and metapoetry was that she was able to include a message about the need for social change in her poetry without being overtly didactic. In doing so, she succeeded in reaching an audience where some of the other politically committed writers failed.

Parody and Pacifist Transformations in Maxine Hong Kingston's Tripmaster Monkey: His Fake Book

There is subversive laughter in the pastiche-effect of parodic practices in which the original, the and the are themselves constituted as effects. - Judith Butler, Gender Trouble The epigraph might have easily been written to describe the technique of Maxine Hong Kingston's Tripmaster Monkey: His Fake Book. In fact, the quote comes at the end of Butler's book-length critique of feminist politics which assumes that universal identity is necessary for effective political action. This insistence on real or authentic unifying definition of women overlooks (or perhaps, underemphasizes) the social, cultural and economic differences that combine with gender in the shaping of women's experiences. Judith Butler asserts that feminism should not insist on the need for articulating foundationalist frame (the preoccupation with defining an essential and thus unifying characteristic for all women) prior to political action, but rather, should recognize that gender identities are constructed through political practice. An equally divisive monologism can be seen in the identity politics practiced by many within ethnic communities. One need only look as far as the debate spawned by Kingston's The Woman Warrior to see how individuals can get caught between two such unifying groups and find themselves not doubly represented but, rather, twice denied individual identity and agency. Parody, through its ability to question notions of the or authentic, can be read as defensive mechanism in Tripmaster Monkey, protecting the text from the antagonisms provoked by Kingston's earlier work and, beyond that, as positive gesture towards healing the rift between the various communities with which Kingston and her work is connected. This essay will explore Kingston's use of parody in confronting the conflicting desires of individuality and community by focusing on how it works to question and subvert monologic constructions of identity pertaining to her male protagonist, Wittman Ah Sing. It will also examine her use of parody not only as tool for dismantling foundationalist notions of identity and community but as model for building an inclusive community that is made up of individual identities rather than in opposition to an individual's identity. I am using parody in the sense of form of mimicry or imitation which, while requiring degree of similarity to be recognized in connection with the thing parodied, also contains the imperative for difference, something distinguishing it from the object of the parody.(1) The seemingly paradoxical coexistence of similarity and difference, imitation and originality, commonality and uniqueness is at the heart of Kingston's novel. This definition of parody is informed by Judith Butler's concept of gender parody which does not assume that there is an which such parodic identities imitate. Indeed, the parody is of the very notion of an (138). In this concept of parody, the act of mimesis asserts relationship or membership in tradition with the thing copied even as it questions the authenticity or original status of the thing copied. This essay will analyze parody on the textual plane of Tripmaster Monkey but will also rely on the work of Judith Butler in terms of her analysis of identity formation to analyze the politics of Kingston's parodic practices and their relationship to community formation. To discuss the text in terms of community, one must first place the novel within the context of the reception Kingston's work has received in its several reading communities. The feminist community has largely embraced Kingston's work. Yet many within predominantly white readership have appropriated The Woman Warrior as catalogue of sexism in Chinese and Chinese-American culture. In her essay French Feminism in an International Frame, Gayatri Spivak describes the trap that Western-trained feminist academics often fall into when they think about women in cultural context different from their own as a web of information retrieval inspired at best by 'what can I do for them? …

Parody and Carnivalization in the Novels of Marcio Souza

The concept of parody has received a great deal of attention in contemporary literary theory. From G6rard Genette to Umberto Eco, from Mikhail Bakhtin to Northrop Frye, from Wayne Booth to Jonathan Culler, most important modern theorists have directly or indirectly addressed issue of parody.' This renewed critical interest in parody not accidental for it parallels a resurgence of parody in literary practice. As Linda Hutcheon has said, in contemporary literature parody is one of major modes of formal and thematic construction of texts (2). While it not my intention to present an exhaustive study of reasons for or implication of use of parody in twentieth-century literature, I would like to make three general observations concerning modern parody. First, parody an expression of self-consciousness that characterizes much modern literature: parody reflects modern writer's overt preoccupation with his craft. Second, there are clear links between use of parody and questioning of realism in modern literature: parody undeniably related to what has been called metafiction.2 Third, parody a sophisticated mode that demands a great deal of participation by reader, while, at same time, requiring that reader maintain an awareness of literature as artifice. Parody is, then, a mode that encourages close collaboration between writer and reader, or, to use language of modern semiotics, parody depends on the coincidence, at level of strategy, of decoding ... and encoding (Hutcheon 34). These three aspects should be taken into account when dealing with most of novels of Maircio Souza, a writer who has made consistent and systematic use of parody. An examination of parody in Marcio Souza will provide, therefore, a valuable insight into way he constructs his highly original narratives. Nevertheless, it should be stressed that in novels of Mircio Souza parody not only a structural device, but an essential and inseparable part of his political satire. While reliance on parody places Marcio Souza within a recognizable general trend in contemporary literature, special use of parody in his works underscores specific situation of Brazilian writer (and, by extension, of Brazilian reader) in 1970's and 1980's. Galvez, Imperador do Acre announces itself as parody even before narrative proper opens, in fact from title page, where it classified not as a novel but as a folhetim. It clear, however, that despite being written in form of a serialized novel, Galvez far from being a traditional folhetim. Although it uses outward shape of folhetim, many of essential elements of this genre are missing. For example, whereas traditionally folhetim relies on creation of suspense and on emotional involvement of a naive reader, Galvez constantly undermines suspense and through narrative self-consciousness forces reader, even while he enjoying mad adventures of Luiz Galvez, to remain aware of different planes on which narration operates. The most blatant device employed in Galvez to achieve this effect on reader placement of titles before each of innumerable short sections into which book divided. These titles have two complementary functions. First, they signal coexistence of two narrators, Luiz Galvez, alleged author of manuscript discovered by