Parody: Difference between revisions
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HEY PEOPLE PARODY IS A TYPE OF COMEDY, CAN U HELP ME THANKS <3 |
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{{For|the Colombian politician|Gina Parody}} |
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{{cleanup|article|date=May 2009}} |
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A '''[[parody]]''' ({{IPAc-en|icon|ˈ|p|ær|ə|d|i}}; also called '''[[pastiche]]''', '''spoof''', '''send-up''' or '''lampoon'''), in current use, is an imitative work created to mock, (And in some cases to respect a song etc)comment on or trivialise an original work, its subject, author, style, or some other target, by means of humorous, [[satire|satiric]] or [[irony|ironic]] imitation. As the literary theorist [[Linda Hutcheon]] puts it, "parody … is [[imitation]], not always at the expense of the parodied text." Another critic, Simon Dentith, defines parody as "any cultural practice which provides a relatively [[polemic]]al allusive imitation of another cultural production or practice."<ref>Dentith (2000) p.9</ref> |
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Parody may be found in art or culture, including [[literature]], [[parody music|music]] (although "parody" in [[music]] has an earlier, somewhat different meaning than for other art forms), [[animation]], [[Video game|gaming]] and [[film]]. |
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The writer and critic [[John Gross]] observes in his ''Oxford Book of Parodies'', that parody seems to flourish on territory somewhere between [[pastiche]] ("a composition in another artist's manner, without satirical intent") and [[burlesque]] (which "fools around with the material of high literature and adapts it to low ends").<ref>{{cite journal |author=J.M.W. Thompson |title=Close to the Bone |publisher=Standpoint magazine |date= May, 2010 |url=http://standpointmag.co.uk/books-may-10-close-to-the-bone-oxford-book-of-parodies-john-gross}}</ref> |
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In his 1960 anthology of parody from the 14th through 20th centuries, critic [[Dwight Macdonald]] offered the general definition "Parody is making a new wine that tastes like the old but has a slightly lethal effect."<ref>Macdonald, Dwight, Parodies, Random House, 1960, pg. 559</ref> |
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==Origins== |
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According to [[Aristotle]] (''[[Poetics (Aristotle)|Poetics]]'', ii. 5), [[Hegemon of Thasos]] was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient [[Greek literature]], a ''parodia'' was a narrative poem imitating the style and prosody of [[Epic poetry|epic]]s "but treating light, satirical or mock-heroic subjects".<ref>(Denith, 10)</ref> Indeed, the apparent Greek roots of the word are ''para-'' (which can mean ''beside'', ''counter'', or ''against'') and ''-ode'' (''song'', as in an ode). Thus, the original Greek word ''parodia'' has sometimes been taken to mean ''counter-song'', an imitation that is set against the original. The ''Oxford English Dictionary'', for example, defines parody as imitation "turned as to produce a ridiculous effect".<ref>(quoted in Hutcheon, 32)</ref> Because ''par-'' also has the non-antagonistic meaning of ''beside'', "there is nothing in ''parodia'' to necessitate the inclusion of a concept of ridickule".<ref>(Hutcheon, 32)</ref> |
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[[Ancient Rome|Roman]] writers explained parody as an imitation of one poet by another for humorous effect.{{Citation needed|date=August 2011}} In [[France|French]] [[Neoclassical literature]], ''parody'' was also a type of poem where one work imitates the style of another for humorous effect. [[Ancient Greece]] made [[satyr]] [[Play (theatre)|play]]s which parodied [[tragic plays]]. People that were in the plays dressed up like satyrs which were followers of most [[Olympian gods]] such as [[Dionysus]] and [[Hermes]]. |
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==Music== |
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{{Main|Parody music}} |
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In [[classical music]], as a technical term, ''parody'' refers to a reworking of one kind of composition into another (for example, a [[motet]] into a keyboard work as [[Girolamo Cavazzoni]], [[Antonio de Cabezón]], and [[Alonso Mudarra]] all did to [[Josquin des Prez]] [[motet]]s).<ref name=g1>Tilmouth, Michael and Richard Sherr. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/20937 "Parody (i)"]' Grove Music Online, Oxford Music Online, accessed 19 February 2012 {{subscription}}</ref> More commonly, a [[parody mass]] (''missa parodia'') or an [[oratorio]] used extensive quotation from other vocal works such as motets or [[cantata]]s; [[Tomás Luis de Victoria|Victoria]], [[Giovanni Pierluigi da Palestrina|Palestrina]], [[Orlande de Lassus|Lassus]], and other notable composers of the 16th century used this technique. The term is also sometimes applied to procedures common in the [[Baroque music|Baroque period]], such as when [[Johann Sebastian Bach|Bach]] reworks music from [[Bach cantata|cantata]]s in his ''[[Christmas Oratorio]]''. |
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The musicological definition of the term ''parody'' has now generally been supplanted by a more general meaning of the word. In its more contemporary usage, [[parody music|musical parody]] usually has humorous, even satirical intent, in which familiar musical ideas or lyrics are lifted into a different, often incongruous, context.<ref name=g2> Burkholder, J. Peter. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/52918pg8 "Borrowing"], Grove Music Online, Oxford Music Online, accessed 19 February. 2012 {{subscription}}</ref> Musical parodies may imitate or refer to the peculiar style of a composer or artist, or even a general style of music. For example, ''The Ritz Roll and Rock'', a song and dance number performed by [[Fred Astaire]] in the movie ''[[Silk Stockings]]'', parodies the [[Rock and Roll]] genre. Similarly, some YouTube parodies, such as those of [[The Key of Awesome]] or [[The Lonely Island]], are based on an artist's style rather than any particular [[melody|tune]]. |
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==English term== |
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The first usage of the word ''parody'' in English cited in the ''[[Oxford English Dictionary]]'' is in [[Ben Jonson]], in ''Every Man in His Humour'' in 1598: "A Parodie, a parodie! to make it absurder than it was." The next notable citation comes from [[John Dryden]] in 1693, who also appended an explanation, suggesting that the word was in common use, meaning to make fun of or re-create what you are doing. |
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A parody (pronounced /ˈpærədiː/; also called send-up or spoof), in contemporary usage, is a work created to mock, comment on, or poke fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. |
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==Modernist and post-modernist parody== |
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In the 20th century, parody has been heightened as the central and most representative artistic device, the catalysing agent of artistic creation and innovation.<ref name="Sheinberg 2000p141">Sheinberg (2000) pp.141, 150</ref><ref name="Stavans1997p37">Stavans (1997) [http://books.google.es/books?id=Ro6a1EyaS2AC&pg=PA37 p.37]</ref> This most prominently happened in the second half of the century with [[postmodernism]], but earlier [[modernism]] and [[Russian formalism]] had anticipated this perspective.<ref name="Sheinberg 2000p141"/><ref>Bradbury, Malcolm [http://books.google.es/books?id=hUtOMoCNHyIC ''No, not Bloomsbury''] p.53, quoting [[Boris Eikhenbaum]]: {{quotation|Nearly all periods of artistic innovation have had a strong parodic impulse, advancing generic change. As the Russian formalist Boris Eichenbaum once put it: "In the evolution of each genre, there are times when its use for entirely serious or elevated objectives degenerates aand produces a comic or parodic form....And thus is produced the regeneration of the genre: it finds new possibilities and new forms."}}</ref> For the Russian formalists, parody was a way of liberation from the background text that enables to produce new and autonomous artistic forms.<ref name="Hutcheon85p28">Hutcheon (1985) pp.28, 35</ref><ref>[[Boris Eikhenbaum]] ''Theory of the "Formal Method"'' (1925) and ''O. Henry and the Theory of the Short Story'' (1925)</ref> |
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[[Jorge Luis Borges]]'s (1939) short story "[[Pierre Menard, Author of the Quixote]]", is often regarded as predicting postmodernism and conceiving the ideal of the ultimate parody.<ref name="Stavans1997p31">Stavans (1997) [http://books.google.es/books?id=Ro6a1EyaS2AC&pg=PA31 p.31]</ref><ref>Elizabeth Bellalouna, Michael L. LaBlanc, Ira Mark Milne (2000) [http://books.google.es/books?id=CecJAQAAMAAJ ''Literature of Developing Nations for Students: L-Z''] p.50</ref> In the broader sense of Greek ''parodia'', parody can occur when whole elements of one work are lifted out of their context and reused, not necessarily to be ridiculed.<ref name="Elices2004p90">Elices (2004) p.90 quotation: {{quotation|From these words, it can be inferred that Genette's conceptualisation does not diverge from Hutcheon's, in the sense that he does not mention the component of ridicule that is suggested by the prefix ''paros''. Genette alludes to the re-interpretative capacity of parodists in order to confer an artistic autonomy to their works.}}</ref> Traditional definitions of parody usually only discuss parody in the stricter sense of something intended to ridicule the text it parodies. There is also a broader, extended sense of parody that may not include ridicule, and may be based on many other uses and intentions.<ref name="Hutcheon85p50">Hutcheon (1985) p.50</ref><ref name="Elices2004p90"/> The broader sense of parody, parody done with intent other than ridicule, has become prevalent in the modern parody of the 20th century.<ref name="Hutcheon85p50"/> In the extended sense, the modern parody does not target the parodied text, but instead uses it as a weapon to target something else.<ref name="Hutcheon85p52">Hutcheon (1985) p.52</ref><ref>Yunck 1963</ref> The reason for the prevalence of the extended, recontextualizing type of parody in the 20th century is that artists have sought to connect with the past while registering differences brought by [[modernity]].<ref>Hutcheon (1985)</ref>{{Page needed|date=January 2012}} Major modernist examples of this recontextualizing parody include [[James Joyce]]'s ''[[Ulysses (novel)|Ulysses]]'', which incorporates elements of [[Homer]]'s ''[[Odyssey]]'' in a 20th-century Irish context, and [[T. S. Eliot]]'s ''[[The Waste Land]]'',<ref name="Hutcheon85p52"/> which incorporates and recontextualizes elements of a vast range of prior texts, including [[Dante]]'s ''[[Divine Comedy|The Inferno]]''.{{Citation needed|date=January 2012}} The work of [[Andy Warhol]] is another prominent example of the modern "recontextualizing" parody.<ref name="Hutcheon85p52"/> According to French literary theorist [[Gérard Genette]], the most rigorous and elegant form of parody is also the most economical, that is a ''minimal parody'', the one that literally reprises a known text and gives it a new meaning.<ref>[[Gérard Genette]] (1982) [http://books.google.es/books?id=KbYzNp94C9oC&pg=PA16 ''Palimpsests: literature in the second degree''] p.16</ref><ref name="Sangsue2006p72">Sangsue (2006) [http://books.google.com/books?id=Z5MWFcIEE7EC&pg=PA72 p.72] quotation: {{quotation|Genette individua la forma "piú rigorosa" di parodia nella "parodia minimale", consistente nella ripresa letterale di un testo conosciuto e nella sua applicazione a un nuovo contesto, come nella citazione deviata dal suo senso}}</ref> |
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Blank parody, in which an artist takes the skeletal form of an art work and places it in a new context without ridiculing it, is common.{{Citation needed|date=January 2012}} [[Pastiche]] is a closely related [[genre]], and parody can also occur when characters or settings belonging to one work are used in a humorous or ironic way in another, such as the transformation of minor characters [[Rosencrantz and Guildenstern]] from [[Shakespeare]]'s drama [[Hamlet]] into the principal characters in a comedic perspective on the same events in the play (and film) ''[[Rosencrantz and Guildenstern Are Dead]]''.{{Citation needed|date=January 2012}} In [[Flann O'Brien]]'s novel ''[[At Swim-Two-Birds]]'', for example, mad [[King Sweeney]], [[Fionn mac Cumhaill|Finn MacCool]], a [[pookah]], and an assortment of [[cowboy]]s all assemble in an inn in [[Dublin]]: the mixture of mythic characters, characters from [[genre]] fiction, and a quotidian setting combine for a humor that is not directed at any of the characters or their authors. This combination of established and identifiable characters in a new setting is not the same as the [[post-modernist]] habit of using historical characters in fiction out of context to provide a metaphoric element.{{Citation needed|date=January 2012}} |
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==Reputation== |
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Sometimes the reputation of a parody outlasts the reputation of what is being parodied. For example, ''[[Don Quixote]]'', which mocks the traditional [[knight errant]] tales, is much better known than the novel that inspired it, ''[[Amadis de Gaula]]'' (although Amadis is mentioned in the book). Another notable case is the [[novel]] ''[[Shamela]]'' by [[Henry Fielding]] (1742), which was a parody of the gloomy [[epistolary novel]] ''[[Pamela (novel)|Pamela, or Virtue Rewarded]]'' (1740) by [[Samuel Richardson]]. Many of [[Lewis Carroll]]'s parodies of Victorian didactic verse for children, such as "[[You Are Old, Father William]]", are much better known than the (largely forgotten) originals. [[Stella Gibbons]]'s comic novel ''[[Cold Comfort Farm]]'' has eclipsed the pastoral novels of [[Mary Webb]] which largely inspired it. |
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In more recent times, the television sitcom ''[['Allo 'Allo!]]'' is perhaps better known than the drama ''[[Secret Army (TV series)|Secret Army]]'' which it parodies. |
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Some artists carve out careers by making parodies. One of the best-known examples is that of [["Weird Al" Yankovic]]. His career of parodying other musical acts and their songs has outlasted many of the artists or bands he has parodied. Yankovic is not required under law to get permission to parody; as a personal rule, however, he does seek permission to parody a person's song before recording it. |
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In the US legal system the point that in most cases a parody of a work constitutes fair use was upheld in the case of [[Rick Dees]], who decided to use 29 seconds of the music from the song ''When Sonny Gets Blue'' to parody [[Johnny Mathis]]' singing style even after being refused permission. An appeals court upheld the trial court's decision that this type of parody represents fair use. ''[[Fisher v. Dees]]'' [[Court citation|794 F.2d 432]] (9th Cir. 1986) |
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==Film parodies== |
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{{Original research|section|date=May 2009}} |
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[[File:Rex vs. T.rex.jpg|thumb|right|350px| Screenshot of a scene in ''[[Jurassic Park (film)|Jurassic Park]]'' (1993) featuring a ''[[Tyrannosaurus rex]]'' (left), parodied by Rex the Dinosaur in ''[[Toy Story 2]]'' (1999).]] |
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Some [[Genre|genre theorists]], following [[Bakhtin]], see parody as a natural development in the life cycle of any [[genre]]; this idea has proven especially fruitful for genre film theorists. Such theorists note that [[Western movie]]s, for example, after the classic stage defined the conventions of the genre, underwent a parody stage, in which those same conventions were ridiculed and critiqued. Because audiences had seen these classic Westerns, they had expectations for any new Westerns, and when these expectations were inverted, the audience laughed. |
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Perhaps the earliest parody was the 1922 ''[[Mud and Sand]]'', a [[Stan Laurel]] film that made fun of [[Rudolph Valentino]]'s film ''[[Blood and Sand (1922 film)|Blood and Sand]]''. Laurel specialized in parodies in the mid-1920s, writing and acting in a number of them. Some were send-ups of popular films, such as ''[[Dr. Jekyll and Mr. Hyde (disambiguation)|Dr. Jekyll and Mr. Hyde]]''<!-- there are several such films so don't disambiguate this link -->—parodied in the comic ''[[Dr. Pyckle and Mr. Pryde]]'' (1926). Others were spoofs of Broadway plays, such as ''[[No, No, Nanette]]'' (1925), parodied as ''[[Yes, Yes, Nanette]]'' (1925). In 1940 [[Charlie Chaplin]] created a satirical comedy about ''[[Adolf Hitler]]'' with the film ''[[The Great Dictator]]'', following the first-ever Hollywood parody of the Nazis, the [[Three Stooges]]' short subject ''[[You Nazty Spy!]]''. |
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About 20 years later [[Mel Brooks]] started his career with a Hitler parody as well. After ''[[The Producers (1968 film)|The Producers]]'' (1968), Brooks became one of the most famous film parodists and did spoofs on any kind of film genre. ''[[Blazing Saddles]]'' (1974) is a parody of western films and ''[[Spaceballs]]'' (1987) is a [[science fiction]] spoof. |
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The British comedy group [[Monty Python]] is also famous for its parodies, for example, the [[King Arthur]] spoof ''[[Monty Python and the Holy Grail]]'' (1974), and the [[Jesus]] satire ''[[Life of Brian]]'' (1979). In the 1980s there came another team of parodists including [[David Zucker (filmmaker)|David Zucker]], [[Jim Abrahams]] and [[Jerry Zucker (film director)|Jerry Zucker]]. Their most popular films are the ''[[Airplane!]]'', ''[[Hot Shots!]]'' and ''[[Naked Gun]]'' series. There is a 1989 film parody from Spain of the TV series ''[[The A-Team]]'' called ''El equipo Aahhgg'' directed by José Truchado. |
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More recently, parodies have taken on whole film genres at once. One of the first was the ''[[Scary Movie (series)|Scary Movie]]'' franchise. Other recent genre parodies include ''[[Not Another Teen Movie]]'', ''[[Date Movie]]'', ''[[Epic Movie]]'', ''[[Meet the Spartans]]'', ''[[Disaster Movie]]'', and ''[[Vampires Suck]]'', all of which have been critically panned. |
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==Self-parody== |
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{{Main|Self-parody}} |
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A subset of parody is ''[[self-parody]]'' in which artists parody their own work (as in [[Ricky Gervais]]'s ''[[Extras (sitcom)|Extras]]'') or notable distinctions of their work (such as [[Antonio Banderas]]'s [[Puss in Boots (Shrek)|Puss in Boots]] in the ''[[Shrek]]'' sequels) or an artist or genre repeats elements of earlier works to the point that originality is lost. |
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==Copyright issues== |
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{{Over coverage|date=March 2012}} |
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{{seealso|Plagiarism}} |
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===United States=== |
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Although a parody can be considered a [[derivative work]] under [[United States Copyright Law]], it can be protected from claims by the copyright owner of the original work under the [[fair use]] doctrine, which is codified in {{UnitedStatesCode|17|107}}. The [[Supreme Court of the United States]] stated that parody "is the use of some elements of a prior author's composition to create a new one that, at least in part, comments on that author's works". That commentary function provides some justification for use of the older work. See ''[[Campbell v. Acuff-Rose Music, Inc.]]'' |
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In 2007, the [[United States Court of Appeals for the Ninth Circuit|9th Circuit Court of Appeals]] denied a fair use defense in the ''Dr. Seuss Enterprises v. Penguin Books'' case. Citing the ''Campbell v. Acuff-Rose'' decision, they found that a [[satire]] of the [[O. J. Simpson murder case|O.J. Simpson murder trial]] and parody of ''[[The Cat in the Hat]]'' had infringed upon the children's book because it did not provide a commentary function upon that work.<ref>[http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/chapter9/9-c.html Stanford Copyright & Fair Use Overview]</ref><ref>[http://scholar.google.com/scholar_case?case=15758460119711775481&hl=en&as_sdt=2&as_vis=1&oi=scholarr Dr. Seuss Enterprises v. Penguin Books Decision]</ref> |
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In 2001, the [[United States Court of Appeals for the Eleventh Circuit|United States Court of Appeals, 11th Circuit]], in ''[[Suntrust v. Houghton Mifflin]]'', upheld the right of [[Alice Randall]] to publish a parody of ''[[Gone with the Wind]]'' called ''[[The Wind Done Gone]]'', which told the same story from the point of view of [[Scarlett O'Hara]]'s slaves, who were glad to be rid of her. |
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===Canada=== |
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Under [[Canadian law]], although there is protection for [[fair dealing#Canada|Fair Dealing]], there is no explicit protection for parody and satire. In ''[[Canwest v. Horizon]]'', the publisher of the [[Vancouver Sun]] launched a [[lawsuit]] against a group which had published a pro-[[Palestine|Palestinian]] parody of the paper. [[Alan Donaldson]], the judge in the case, [[court ruling|ruled]] that parody is not a [[legal defence|defence]] to a [[Canadian copyright law|copyright]] claim.<ref>[http://thetyee.ca/Mediacheck/2008/12/11/CanwestSuit/ Canwest Suit May Test Limits of Free Speech, 11 December 2008.]</ref> |
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===United Kingdom=== |
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Under existing copyright legislation (principally the [[Copyright, Designs and Patents Act 1988]]), "There is currently no exception which covers the creation of parodies, caricatures or pastiches".<ref name="Gowers Second Stage Consultation">UK Intellectual Property Office. (2009) Taking Forward the Gowers Review of Intellectual Property: Second Stage Consultation on Copyright Exceptions. [Online]. Available at [http://www.ipo.gov.uk/consult-gowers2.pdf ipo.gov.uk] (Accessed: 22 February 2011).</ref> Parodies of works protected by copyright require the consent or permission of the copyright owner, unless they fall under existing fair use/fair dealing exceptions: |
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* the part of the underlying work is not "substantial" |
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* the use of the underlying work falls within the fair dealing exception for "criticism, review and news reporting" |
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* enforcement of copyright is contrary to the public interest.<ref name="Gowers Second Stage Consultation" /> |
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In 2006 the ''[[Gowers Review of Intellectual Property]]'' recommended that the UK should "create an exception to copyright for the purpose of caricature, parody or pastiche by 2008".<ref>The Stationery Office. (2006) Gowers Review of Intellectual Property. [Online]. Available at [http://www.official-documents.gov.uk/document/other/0118404830/0118404830.pdf official-documents.gov.uk] (Accessed: 22 February 2011).</ref> Following the first stage of a two-part public consultation, the Intellectual Property Office reported that the information received "was not sufficient to persuade us that the advantages of a new parody exception were sufficient to override the disadvantages to the creators and owners of the underlying work. There is therefore no proposal to change the current approach to parody, caricature and pastiche in the UK."<ref name="Gowers Second Stage Consultation" /> |
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==Social and political uses== |
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[[File:I did not raise my girl to be a voter3.jpg|right|thumb|Satirical political cartoon that appeared in ''[[Puck (magazine)|Puck]]'' magazine, October 9, 1915. Caption "I did not raise my girl to be a voter" parodies the anti-[[World War I]] song "[[I Didn't Raise My Boy To Be A Soldier]]". A chorus of disreputable men support a lone anti-suffrage woman.]] |
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Parody is a frequent ingredient in [[satire]] and is often used to make social and political points. Examples include [[Jonathan Swift|Swift]]'s "[[A Modest Proposal]]", which satirized English neglect of Ireland by parodying emotionally disengaged political tracts; and, recently, ''[[The Daily Show]]'' and ''[[The Colbert Report]]'', which parody a news broadcast and a talk show to satirize political and social trends and events. Some events, such as a national tragedy, can be difficult to handle. Chet Clem, Editorial Manager of the news parody publication ''[[The Onion]]'', told ''[[Wikinews]]'' in an interview the questions that are raised when addressing difficult topics: |
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{{cquote|I know the [[September 11 attacks|September 11]] issue was an obviously very large challenge to approach. Do we even put out an issue? What is funny at this time in American history? Where are the jokes? Do people want jokes right now? Is the nation ready to laugh again? Who knows. There will always be some level of division in the back room. It’s also what keeps us on our toes.<ref name=DS>[[n:The Onion: An interview with 'America's Finest News Source'|An interview with The Onion]], David Shankbone, ''[[Wikinews]]'', November 25, 2007.</ref>}} |
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Parody is by no means necessarily satirical, and may sometimes be done with respect and appreciation of the subject involved, while not being a heedless sarcastic attack. |
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Parody has also been used to facilitate dialogue between cultures or subcultures. Sociolinguist [[Mary Louise Pratt]] identifies parody as one of the "arts of the contact zone", through which marginalized or oppressed groups "selectively appropriate", or imitate and take over, aspects of more empowered cultures.<ref>Pratt (1991)</ref> |
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Shakespeare often uses a series of parodies to convey his meaning. In the social context of his era, an example can be seen in ''[[King Lear]]'' where the [[Jester|fool]] is introduced with his [[Comb (anatomy)#Other|coxcomb]] to be a parody of the king. |
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== Examples == |
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=== Historic examples === |
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* ''[[Chaucer's Tale of Sir Topas|Sir Thopas]]'' in ''[[Canterbury Tales]]'', by [[Geoffrey Chaucer]] |
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* ''[[Don Quixote]]'' by Miguel [[Cervantes]] |
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* ''[[Beware the Cat]]'' by [[William Baldwin (author)|William Baldwin]] |
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* ''[[The Knight of the Burning Pestle]]'' by [[Francis Beaumont]] and [[John Fletcher (playwright)|John Fletcher]] |
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* ''[[Dragon of Wantley]]'', an anonymous 17th century ballad |
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* ''[[Hudibras]]'' by [[Samuel Butler (poet)|Samuel Butler]] |
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* "[[MacFlecknoe]]", by [[John Dryden]] |
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* ''[[A Tale of a Tub]]'' by [[Jonathan Swift]] |
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* ''[[The Rape of the Lock]]'' by [[Alexander Pope]] |
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* ''[[Namby Pamby]]'' by [[Henry Carey (writer)|Henry Carey]] |
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* ''[[Northanger Abbey]]'' by [[Jane Austen]] |
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* ''[[Gulliver's Travels]]'' by [[Jonathan Swift]] |
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* ''[[The Dunciad]]'' by [[Alexander Pope]] |
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* ''[[Memoirs of Martinus Scriblerus]]'' by [[John Gay]], Alexander Pope, [[John Arbuthnot]], ''et al.'' |
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* ''[[The History of Rasselas, Prince of Abissinia]]'' [''[[sic]]''] by [[Samuel Johnson]] |
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* [[Wolfgang Amadeus Mozart|Mozart]]'s ''[[A Musical Joke]]'' (''Ein musikalischer Spaß''), K.522 (1787) - parody of incompetent contemporaries of Mozart, as assumed by some theorists |
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* ''[[Sartor Resartus]]'' by [[Thomas Carlyle]] |
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* ''[[Ways and Means (poem)|Ways and Means]]'', or ''The aged, aged man'', by [[Lewis Carroll]]. Much of ''[[Alice in Wonderland]]'' and ''[[Through the Looking-Glass]]'' is parodic of [[Victorian era|Victorian]] schooling. |
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* ''[[Batrachomyomachia]]'' (battle between frogs and mice), an ''[[Iliad]]'' parody by an unknown ancient Greek author |
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* ''[[Britannia Sitting On An Egg]]'' a machine-printed illustrated [[envelope]] published by the stationer W.R. Hume of Leith, Scotland, parodying the machine-printed illustrated envelope (commissioned by [[Rowland Hill (postal reformer)]] and designed by the artist [[William Mulready]]) used to launch the British postal service reforms of 1840. |
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== See also == |
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{{Wiktionary}} |
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{{Commons category}} |
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* [[Abridgement]] |
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* [[Détournement]] |
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* [[Internet meme]] |
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* [[Intertextuality]] |
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* [[Joke]] |
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* [[Literary technique]] |
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* [[Parody advertisement]] |
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* [[Parody music]] |
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* [[Parody religion]] |
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* [[Parody science]] |
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* [[Subvertising]] |
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* [["Weird Al" Yankovic]] |
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==Notes== |
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{{Reflist}} |
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== References == |
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* {{Cite book |year=2000 |last=Dentith |first=Simon |title=Parody (The New Critical Idiom) |publisher=Routledge |isbn=0-415-18221-2}} |
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*Elices Agudo, Juan Francisco (2004) [http://www.books.google.com/books?id=IIllAAAAMAAJ ''Historical and theoretical approaches to English satire''] |
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* {{Cite book |year=1985 |last=Hutcheon |first=Linda |title=A Theory of Parody: The Teachings of Twentieth-Century Art Forms |chapter=3. The Pragmatic Range of Parody |location=New York |publisher=Methuen |isbn=0-252-06938-2}} |
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* {{Cite journal |year=1991 |author=[[Mary Louise Pratt]] |title=Arts of the Contact Zone |journal=Profession |volume=91 |pages=33–40 |location=New York |publisher=[[Modern Language Association|MLA]] |quote=archived at University of Idaho, English 506, Rhetoric and Composition: History, Theory, and Research |url=http://www.class.uidaho.edu/thomas/English_506/Arts_of_the_Contact_Zone.pdf |archiveurl=http://web.archive.org/web/20081026203249/http://www.nwe.ufl.edu/~stripp/2504/pratt.html |archivedate=2008-10-26 |format=pdf }}. From Ways of Reading, 5th edition, ed. David Bartholomae and Anthony Petroksky (New York: Bedford/St. Martin's, 1999 |
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*Sangsue, Daniel (2006) [http://books.google.com/books?id=Z5MWFcIEE7EC ''La parodia''] |
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*Sheinberg, Esti (2000) [http://books.google.es/books?id=z14IAQAAMAAJ ''Irony, Satire, Parody and the Grotesque in the Music of Shostakovich''] |
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*Stavans, Ilan and Jesse H. Lytle, Jennifer A. Mattson (1997) [http://books.google.com/books?id=Ro6a1EyaS2AC ''Antiheroes: Mexico and its detective novel''] |
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==Further reading== |
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* {{Cite book |year=1981 |last=Bakhtin |first=Mikhail |title=The Dialogic Imagination: Four Essays |coauthor=Ed. Michael Holquist. Trans. Caryl Emerson and Michael Holquist |location=Austin and London |publisher=University of Texas Press |isbn=0-292-71527-7}} |
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* {{Cite book |year=1988 |last=Gates |first=Henry Louis, Jr. |title=The Signifying Monkey: A Theory of Afro-American Literary Criticism |publisher=Oxford University Press |isbn=0-19-503463-5}} |
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* {{Cite book |year=1999 |last=Petrosky |first=Anthony |title=Ways of Reading |edition=5th |coauthor=ed. David Bartholomae and Anthony Petroksky |location=New York |publisher=Bedford/St. Martin’s |isbn=978-0-312-45413-5 |quote=An anthology including ''Arts of the Contact Zone'' }} |
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* {{Cite book |year=1993 |last=Rose |first=Margaret |title=Parody: Ancient, Modern and Post-Modern |location=Cambridge |publisher=Cambridge University Press |isbn=0-521-41860-7}} |
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* {{Cite book |year=1999 |last=Caponi |first=Gena Dagel |title=Signifyin(g), Sanctifyin', & Slam Dunking: A Reader in African American Expressive Culture |publisher=University of Massachusetts Press |isbn=1-55849-183-X}} |
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* {{Cite book |year=2000 |last=Harries |first=Dan |title=Film Parody |location=London |publisher=BFI |isbn=0-85170-802-1}} |
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* {{Cite book |year=2002 |last=Pueo |first=Juan Carlos |title=Los reflejos en juego (Una teoría de la parodia) |location=Valencia (Spain) |publisher=Tirant lo Blanch |isbn=84-8442-559-2}} |
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* {{Cite book |year=2006 |last=Gray |first=Jonathan |title=Watching with The Simpsons: Television, Parody, and Intertextuality |location=New York |publisher=Routledge |isbn=0-415-36202-4}} |
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* {{Cite book|title=The Oxford Book of Parodies|isbn=978-0-19-954882-8|location=Oxford|publisher=Oxford University Press|editor=John Gross|year=2010}} |
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{{Appropriation in the Arts}} |
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[[Category:Satire]] |
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Revision as of 03:06, 27 July 2012
HEY PEOPLE PARODY IS A TYPE OF COMEDY, CAN U HELP ME THANKS <3