Elements Of Parody Research Articles

Linguistic and Stylistic Means of Satire Construction in the Animated Series

The study is devoted to the description of linguistic and stylistic means of satire construction in modern American animated series. The article deals with a detailed analysis of the linguistic and stylistic means that actualize the satiric and ironic meanings for a satire creation based on the examples of American series. Cartoonists often resort to satire as a unique genre of art to express direct or indirect criticism of the structure of modern society. Modern satirical cartoons contain vivid elements of parody and caricature. An obligatory consequence of satirical creativity is exposure and laughter. The methods of socio-political satire of modern animated serials are enhanced by the interplay of irony and sarcasm, hyperbole and grotesque, allegory and allusion, paraphrase and play on words. American animated series mirror modern reality, they reflect numerous facts of daily life and current environment touching their most critical sides: economics, politics, education, religion, ethnic issues, international ties and relations, interpersonal dealings. Socio-political satire is peculiar in that it does not spare not only the ruling branch of power, but also an ordinary, ordinary, gray person. In this dullness and ignorance of his, the average man in the street is ready to blindly obey the most ridiculous and absurd orders. Of course, an animated series cannot solve acute social or political problems facing society. But the fact that these questions are raised means that the problems are urgent. The purpose of such satire is to reflect on mistakes and not repeat them in the future. For example, South Park, Rick and Morty, Family Guy, F is for Family parody the modern family, social order, exaggerate social issues to the extreme. The relevance of this study is due to several reasons: first, the abundance of cartoon products on the modern film industry market. Secondly, the role that cartoons and serials play in the life of a modern person and in the culture of postmodernity. It is common knowledge that over the past few years, the TV series and animated series industry has changed a lot: streaming services (Netflix, Hulu and Amazon) appear, new formats are released, and more and more cartoon characters are voiced by famous actors. Thirdly, it is confirmed by the idea of the existence of the phenomenon of the "Big Serial Bang", expressed by Doctor of Philosophy, Professor of the Higher School of Economics V.A. Kurenniy. The fact that modern TV series are a cultural product that accurately reflects the spirit of the times remains an indisputable fact. Such a visual narrative fits perfectly into the framework of modern society.

АПОГЕЙ ТІЛЕСНОСТІ В АКАДЕМІЧНОМУ РОМАНІ ДЕВІДА ГАЛЕФА «ПЛОТЬ»

In the article the results of studying a problem of corporeal in a work of contemporary American writer David Galef, a professor of English at Montclair State University (New Jersey), are presented. Since Galef is little known in Ukraine, a short review of his life and works is given. On a basis of theoretical and literary critical works, devoted to a problem of corporeal in fiction, a representation of a body and corporeal is analyzed in a novel Flesh (1995). The key images and metaphors are defined. The important image is an overweight female body – Max’s object of desire. A story is narrated by his friend Don Shapiro, a professor of literature in “Ole Miss”. For a more precise interpretation, the functions of paratextual elements of original and translated texts are also studied. A novel is specified with its autobiographical character. According to a list of necessary features, this work is classified as an academic novel – a satirical comedy about university life with the elements of parody and erotic. In Galef’s novel there are many naturalistic and even pornographic descriptions. Satirically and ironically depicting an academic life, Galef creates a small copy of a contemporary world, in which people are very concentrated on matters of body and appearance, but not a soul and moral values.

Beyond Liveness: Experimentation in the Stand-Up Special

ABSTRACT A live audience is typically considered an essential component for a stand-up comedy performance. For this reason, most recorded stand-up specials use various formal devices in order to try to make the special feel as “live” as possible. This article considers a number of comedians who challenge and complicate these conventions. Comedians such as Chelsea Peretti, Fred Armisen, and Maria Bamford utilize different forms of editing and filming or record their “live” acts in nontraditional venues. This results in stand-up specials that parody or subvert traditional recorded stand-up. This element of parody or subversion challenges basic assumptions about televisual stand-up even as it serves to complement and reinforce the content of a comedian's stage performance. It also establishes the stand-up special as a distinct text in its own right, as opposed a “next-best-thing” approximation of the live performance. Finally, experimental stand-up specials complicate the ways in which we understand the relationship between a comedian and his or her audience.

Aretaeus’s “Stomachic” Patients: Comic Features in a Medical Discussion?

Abstract Food, eating, and the human drives and functions related to them are stock features of ancient comedy and comic discourse in general. Food and drink intake are also key areas of observation and therapy in ancient medicine; they lie at the center of the “regimen” which is so important in medical thought from the Hippocratics onwards. In this paper, I briefly contextualize the discussions about food in ancient medicine up to the beginning of our era, and then concentrate on a unique document, the discussion of the disease stomachikon by Aretaeus. This text contains many elements of parody, and even grotesque characterization, which are nowhere to be found in earlier sources. I present in detail these features of the text and their comic effects, and explore the questions of why such parodic elements are absent from classical medicine. I propose that Aretaeus’s unusually comic take on the disease sheds light on some crucial developments in medicine as a professional activity and as a technical literary genre during the first and second centuries C.E.

In Pursuit of Cyclic Form: Eisler’s Palmström, Op. 5

ABSTRACTThe relationship of the primarily twelve-tone structure of the five movements of Eisler’s Palmström to the work’s cyclic structure demonstrates that Eisler manipulated recurrences of musical material to obtain coherence and structural continuity. Eisler establishes cyclic form through elements of parody, formal design relating to the poetic structure of texts, and recurrences of motives. Both compositional devices (melodic contour, pitch interval succession, voice leading, and cadential gesture) and a theoretical approach (pitch-class set theory, twelve-tone theory, and contour theory) are valuable for assessing Palmström’s cyclic form.

CON NO SÉ QUÉ VISLUMBRES DE IRONÍA: INDICADORES Y MARCAS DE LA IRONÍA EN EL VIAJE DEL PARNASO

En este articulo se analiza la ironia en el Viaje del Parnaso desde la perspectiva pragmalinguistica. Tras una exposicion resumida de los problemas literarios que ha generado la obra en cuestion, incluida casi unanimemente entre la poesia burlesca, se aplica la concepcion linguistica a la estrategia empleada por Cervantes, haciendo hincapie en la ironia como elemento de la parodia y de la satira y como procedimiento ecoico o polifonico. Se concluye la caracterizacion de la obra como ironia continuada inestable o heuristica, en la que se aprecian ciertos indicadores o marcas que permiten una adecuada interpretacion de los tercetos cervantinos. Destacan entre estos indicadores o marcas las palabras de alerta, el eufemismo, los juegos de palabras y la modalizacion epistemica

More Becoming to a Man: Fathers, Sons, and the Novel of Education in Giorgio Bassani’s Il giardino dei Finzi-Contini

The article examines the dynamics of interaction between fathers and sons in Giorgio Bassani’s <i>The Garden of the Finzi-Contini</i> in a Lacanian perspective. In doing so, it discusses the often uncritically ascribed label of <i>Bildungsroman</i> as belonging to the novel in question only as an element of parody, which more keenly underscores the tension of the time between the approval of the racial laws (November 1938) and the eve of WWII (August 1939). It also provides the basis for further discussion on the identity of the narrating subject and his role in the <i>Romanzo di Ferrara</i> as a whole.

Proleptic Fulfillment of the Prophetic Word: Ezekiel's Dirges over Tyre and Its Ruler

Debates about Ezek. 28.1–19 have long centered on textual difficulties and cryptic mythological language. While these issues remain intractable, the overall structure and rhetorical strategy of the oracles concerning Tyre's ruler can be perceived by analyzing Ezek. 26.1–28.19 as a whole. Specifically, the larger passage evinces a repeated pattern of judgment oracle followed by funeral dirge. The dirges, which contain elements of parody, proleptically eulogize Tyre and its ruler before they have perished. In this way, they communicate the irreversibility of Yhwh's judgments against Tyre. Such a study suggests that rhetorical considerations ought to be considered when examining the redactional artistry of larger literary units.

Stress May Increase Risk for Fatal Heart Attack

Each year, the British Medical Journal publishes an issue with elements of parody: It includes studies in which legitimate research methodology is

Beckford's Inversion of Romance in Vathek

The contradiction between escapism and didacticism in Beckford's Vathek has long troubled its readers. While the eighteenth century accepted the tale's moral conclusion as justification for its sensual excess and grotesque humor, modern readers are likely to reject that interpretation, concluding that the tale's ironies serve a frivolous rather than a serious end. Yet the elements of parody, such as stylistic and imaginative exaggeration, are contained by a rigidly architectonic form that inverts the triadic principle of romance. This essay explores Vathek's progress through the stages of romance ‐ agon, pathos, and anagnorisis ‐ to document Beckford's careful manipulation of a familiar convention. The novel retains the structure of romance, but inverts the hero's progress. The result is a linear descent: aesthetically, from the Hill of Pied Horses to the Hall of Eblis; psychologically, from wish‐fulfillment to frustration; and metaphysically, from a vision of humanity as unlimited potentiality to humanity as finite actuality in an alien world. This inversion not only unifies aesthetics and ethics, or orientalism and protestantism, but also complicates the moral vision of romance by presenting a dark vision of the human condition.

What Does Mae West Have That All the Men Want?

Recent articles about films of Mae West have placed her in vanguard of feminist heroes. Molly Haskell, Joan Mellen, and Marjorie Rosen have all noted sexual freedom and bravado of West persona which ironically transforms men into soft, quivering sex objects. Much of this new appreciation has been valuable in that it has gone beyond a low-level understanding of West's bawdiness to a deeper understanding of how she uses sexual relations to assert her independence. Yet it is a mistake to construe West persona to be a champion of women's liberation as we now understand it. To do so is to miss broader import of her cynical assessment of world's vanity and to find fault with very things that she does best. For example: Joan Mellen, perhaps most militant of new feminist film critics, takes West persona to task for its failure to project beyond mere reversal of sex roles to a more enlightened liberation.' Yet there is a rhetorical hollowness to Mellen's criticism, for it is obvious that if Mae West had projected such an enlightened liberation, wonderful irony of her character would be replaced by a much less interesting, though exemplary, piety. Piety, in any form, could only destroy worldly cynicism and tongue-in-cheek humor that constitutes essence of West character. At other extreme of Mae West criticism is Parker Tyler,2 one of first critics to appreciate West's camp value. Tyler goes so far as to deny her a fundamentally feminine identity. His fascination with West phenomenon lies in her sexual ambivalence, fact that she seems less a woman than a caricature of a woman, the white Goddess in metaphysically transsexual drag S. . a female impersonator who is, after all, a woman.3 Though it is hard to agree entirely with Tyler's specifically homosexual interpretation, he should be credited for noting a very important element in West character that more recent commentators have tended to ignore--the element of parody. Mae West is

Eléments parodiques dans The Wits de Sir William Davenant

This article was prompted by a passage in Kathleen Lynch’s book The Social Mode of Restoration Comedy (p. 90) in which she writes that the satire of préciosité was hardly possible in the realistic comedies of the Caroline period. She cites The Wits as an example. However, a careful analysis of this comedy reveals that elements of parody in it are both numerous and varied. They can even be considered as an essential aspect in the expression of the comic.

The Anatomy of Satire.

Although satirizing anatomy and discussing the melancholy of anatomy have been diversions of curriculum committees, anatomizing satire requires another and much higher order of intelligence. Satire as a literary form can be dissected into elements of parody, monologue, and fictional or dramatic narrative. Satire is by nature derivative. Generally a person, but sometimes a state of mind, an institution, or an organization, may be the subject. Even though it might be considered one step removed from the top ranks of literature, it has had among its practitioners people of great talent and supreme literary genius. It tends to break away from rigid form and concentrates on a vivid approach to reality. Highet's book traces the various forms of satire, diatribe, parody, and distortion from their distant origins in ancient Greek and Latin writing. The diatribe may simply excoriate or may use philosophic preaching, fantasy, archaisms, or vulgarisms. Erasmus' In Praise

Some Sources of Comic Effect in Petronius

Previous articleNext article FreeSome Sources of Comic Effect in PetroniusKeith PrestonKeith Preston Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Classical Philology Volume 10, Number 3Jul., 1915 Article DOIhttps://doi.org/10.1086/359985 Views: 70Total views on this site Citations: 1Citations are reported from Crossref PDF download Crossref reports the following articles citing this article:Tiziano Boggio A New Emendation for matavitatau in Petronius’ Satyricon, Philologus 166, no.11 (Jul 2022): 99–117.https://doi.org/10.1515/phil-2022-0110