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Cargando... A Theory of Parody: The Teachings of Twentieth-Century Art Formspor Linda Hutcheon
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Inscríbete en LibraryThing para averiguar si este libro te gustará. Actualmente no hay Conversaciones sobre este libro. Parody is repetition with critical distance, and must be distinguished from satire (parody relies on reference to an earlier text or text, and satire relies on reference to reality) and from irony (an attitude), although the three often have a Venn-diagram overlap. (Why it must be distinguished—what the critical payoff is in doing so—was never quite clear to me.) Parody is conservative in its reliance on the past while radical in its revisioning. Context is vital—parody can only be understood as an interaction between the presumed author, the text, and the reader. Calling a work parody requires us to impute intention to the author or author-function, and understanding a work as parody requires knowledge on the reader’s part, so the study of parody forces us to pay attention to all parts of the author-text-reader-intertext relation. ( ) sin reseñas | añadir una reseña
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. No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)700.1The arts Modified subdivisions of the arts Standard subdivisions of the arts Philosophy and theory of the artsClasificación de la Biblioteca del CongresoValoraciónPromedio:
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