Parody

Parody

Author: Beate Müller

Publisher: Rodopi

Published: 1997

Total Pages: 340

ISBN-13: 9789042002173

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Parody is a most iridescent phenomenon: of ancient Greek origin, parody's very malleability has allowed it to survive and to conquer Western cultures. Changing discourse on parody, its complex relationship with related humorous forms (e.g. travesty, burlesque, satire), its ability to cross genre boundaries, the many parodies handed down by tradition, and its ubiquity in contemporary culture all testify to its multifaceted nature. No wonder that 'parody' has become a phrase without clear meaning. The essays in this collection reflect the multidimensionality of recent parody studies. They pay tribute to its long and varied tradition, covering examples of parodic practice from the Middle Ages to the present day and dealing with English, American, postcolonial, Austrian, and German parodies. The papers range from the Medieval classics (e.g. Chaucer), parodies of Shakespeare, and the role of parody in German Romanticism, to parodies of fin-de-si�cle literature and the intertextual puzzles of the late twentieth century (such as cross-dressing, Schwab's Faustparody, and Rushdie's Satanic Verses). And they have transformed the contentious nature of parody into a diverse range of methodologies. In doing so, these essays offer a survey of the current state of parody studies.


Kinds of Parody from the Medieval to the Postmodern

Kinds of Parody from the Medieval to the Postmodern

Author: Nil Korkut

Publisher: Peter Lang

Published: 2009

Total Pages: 148

ISBN-13: 9783631592717

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This book approaches parody as a literary form that has assumed diverse forms and functions throughout history. The author handles this diversity by classifying parody according to its objects of imitation and specifying three major parodic kinds: parody directed at texts and personal styles, parody directed at genre, and parody directed at discourse. The book argues that different literary-historical periods in Britain have witnessed the prevalence of different kinds of parody and investigates the reasons underlying this phenomenon. All periods from the Middle Ages to the present are considered in this regard, but a special significance is given to the postmodern age, where parody has become a widely produced literary form. The book contends further that postmodern parody is primarily discourse parody - a phenomenon which can be explained through the major concerns of postmodernism as a movement. In addition to situating parody and its kinds in a historical context, this book engages in a detailed analysis of parody in the postmodern age, preparing the ground for making an informed assessment of the direction parody and its kinds may take in the near future.


Parody

Parody

Author: Margaret A. Rose

Publisher: Cambridge University Press

Published: 1993-09-09

Total Pages: 332

ISBN-13: 9780521429245

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In this definitive work Margaret Rose presents an analysis and history of theories and uses of parody from ancient to contemporary times and offers a new approach to the analysis and classification of modern, late-modern, and post-modern theories of the subject. The author's Parody/Meta-Fiction (1979) was influential in broadening awareness of parody as a 'double-coded' device which could be used for more than mere ridicule. In the present study she both expands and revises the introductory section of her 1979 text and adds substantial new sections on modern and post-modern theories and uses of parody and pastiche which also discuss the work of theorists and writers including the Russian formalists, Mikhail Bakhtin, Hans Robert Jauss, Wolfgang Iser, Julia Kristeva, Roland Barthes, Michel Foucault, Jacques Derrida, Ihab Hassan, Jean Baudrillard, Fredric Jameson, A. S. Byatt, Martin Amis, Charles Jencks, Umberto Eco, David Lodge, Malcolm Bradbury and others.


Parody

Parody

Author: Robert Chambers

Publisher: Peter Lang

Published: 2010

Total Pages: 292

ISBN-13: 9781433108693

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Parody: The Art That Plays with Art explodes the near-universal belief that parody is a copycat genre or that it consists of a collection of trivial and derivative forms. Parody is revealed as an über-technique, a principal source of innovation and invention in the arts. The technique is defined in terms of three major variations that bang, bind, and blend artistic conventions into contrasting pairings, the results of which are upheavals of existing conventions and the formation of unexpected and sometimes startling and revolutionary new configurations. Parodic art fashions a galaxy of contrasts, and from these stem an illusionistic sense of multiplicity and an array of divergent meanings and interpretive paths. This book, an extreme departure from existing analyses of parody, is nonetheless highly accessible and will be of major interest not only to scholars but to general readers and to professional writers as well. Parody: The Art That Plays with Art is particularly suited for readers interested in modernism, postmodernism, meta-art, criticism, satire, and irony.


A Theory of Parody

A Theory of Parody

Author: Linda Hutcheon

Publisher: University of Illinois Press

Published: 2000-09-27

Total Pages: 172

ISBN-13: 9780252069383

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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.


The Parody Exception in Copyright Law

The Parody Exception in Copyright Law

Author: Sabine Jacques

Publisher: Oxford University Press

Published: 2019-03-07

Total Pages: 310

ISBN-13: 0192529986

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Parodies have been created throughout times and cultures. A glimpse at the general judicial latitude generally afforded to parodies, satires, caricatures, and pastiches demonstrates the social and cultural value of this particular form of artistic expression. With the advent of technologies and the evolution of copyright legislation, creative endeavours in the form of parody gathered a new youth but became unlawful. While copyright law grants exclusive rights to right-holders, this right is not absolute. Legislation includes specific exceptions, which preclude right-holders from exercising their prerogatives in particular cases which foster creativity and cultural diversity within that society. The parody exception pertains to this ultimate objective by permitting users to reproduce copyright-protected materials for the purpose of parody. To understand the meaning and scope of the parody exception, this book examines and compares five jurisdictions which differ in their protection of parodies: France, Australia, Canada, the US and the United Kingdom. This book is concerned with finding an appropriate balance between the protection awarded to right-holders and the public interest. This is achieved by analysing the parody exception to the economic rights of right-holders, the preservation of moral rights and the interaction of the parody exception with contract law. As parodies constitute an artistic expression protected under the right to freedom of expression, this book also considers the influence of freedom of expression on the interpretation of this specific copyright exception. Furthermore, this book aims at providing guidance on how to resolve conflicts where fundamental rights are in conflict. This is the first book in English to offer an in-depth investigation into the parody exception in copyright law, and comments on industry practices linked to this form of creative endeavours.


The Right To Parody

The Right To Parody

Author: Amy Lai

Publisher: Cambridge University Press

Published: 2019-01-03

Total Pages: 251

ISBN-13: 1108649335

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In The Right to Parody: Comparative Analysis of Free and Fair Speech, Amy Lai examines the right to parody as a natural right in free speech and copyright, proposes a legal definition of parody that respects the interests of rights holders and accommodates the public's right to free expression, and describes mechanisms to ensure that parody will best serve this purpose. Combining philosophical inquiry with robust legal analysis, the book draws upon examples from the United States, Canada, the United Kingdom, France, and Hong Kong. While it caters to scholars in intellectual property and constitutional law, as well as free speech advocates, it is written in a non-specialist language designed to appeal to any reader interested in how the boom in online parodies and memes relates to free speech and copyright.


Parody in the Age of Remix

Parody in the Age of Remix

Author: Ragnhild Brøvig

Publisher: MIT Press

Published: 2023-06-27

Total Pages: 323

ISBN-13: 0262374110

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The art of mashup music, its roots in parody, and its social and legal implications. Parody needn’t recognize copyright—but does an algorithm recognize parody? The ever-increasing popularity of remix culture and mashup music, where parody is invariably at play, presents a conundrum for internet platforms, with their extensive automatic, algorithmic policing of content. Taking a wide-ranging look at mashup music—the creative and technical considerations that go into making it; the experience of play, humor, enlightenment, and beauty it affords; and the social and legal issues it presents—Parody in the Age of Remix offers a pointed critique of how society balances the act of regulating art with the act of preserving it. In several jurisdictions, national and international, parody is exempted from copyright laws. Ragnhild Brøvig contends that mashups should be understood as a form of parody, and thus be protected from removal from hosting platforms. Nonetheless, current copyright-related content-moderation regimes, relying on algorithmic detection and automated decision making, frequently eliminate what might otherwise be deemed gray-area content—to the detriment of human listeners and, especially, artists. Given the inaccuracy of takedowns, Parody in the Age of Remix makes a persuasive argument in favor of greater protection for remix creativity in the future—but it also suggests that the content-moderation challenges facing mashup producers and other remixers are symptomatic of larger societal issues.