A Theory of Parody: The Teachings of Twentieth-Century Art FormsUniversity of Illinois Press, 27 set 2000 - 143 pagine In this major study of a flexible and multifaceted mode of expression, Linda Hutcheon looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at a comprehensive assessment of what parody is and what it does. Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is Not a Pipe, Hutcheon discusses the remarkable range of intent in modern parody while distinguishing it from pastiche, burlesque, travesty, and satire. She shows how parody, through ironic playing with multiple conventions, combines creative expression with critical commentary. Its productive-creative approach to tradition results in a modern recoding that establishes difference at the heart of similarity. In a new introduction, Hutcheon discusses why parody continues to fascinate her and why it is commonly viewed as suspect-–for being either too ideologically shifty or too much of a threat to the ownership of intellectual and creative property. |
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Sommario
INTRODUCTION | 1 |
DEFINING PARODY | 30 |
THE PRAGMATIC RANGE OF PARODY | 50 |
THE PARADOX OF PARODY | 69 |
ENCODING AND DECODING THE SHARED CODES OF PARODY | 84 |
CONCLUSION THE WORLD THE PARODIC TEXT AND THE THEORIST | 100 |
118 | |
136 | |
Altre edizioni - Visualizza tutto
A Theory of Parody: The Teachings of Twentieth-Century Art Forms Linda Hutcheon Anteprima limitata - 2023 |
A Theory of Parody: The Teachings of Twentieth-century Art Forms Linda Hutcheon Anteprima non disponibile - 1985 |
Parole e frasi comuni
aesthetic allusion architecture argue art forms artistic authorized transgression Bakhtin Brecht called parody carnival century chapter codes complex contemporary context conventions critical distance cultural defines parody definition of parody difference discourse Édouard Manet epic example fact fiction film formal Fowles French Lieutenant's Woman function of parody Genette genre Gérard Genette hermeneutic historical ideological imitation implied inferred interaction of parody intertextuality inversion ironic irony Italo Calvino Jencks John Fowles kind of parody literary literature Manet meaning Mel Ramos metafiction Michael Riffaterre mocking mode modern art modern parody modernist norms novel novelists overt painting Paolo Portoghesi paradox parodic forms parodic text parodists parody and satire parody today parody's past pastiche perhaps plagiarism play Portoghesi Post-Modernist postmodern postmodernist quotation reader Renaissance repetition reworking rhetorical ridicule Romantic Russian formalists seen self-reflexivity semantic semiotic social structural subversive suggests T. S. Eliot text's textual theorists theory of parody tion tradition trans-contextualization words