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Comment concevoir qu’un livret d’opéra ait pu être réécrit pour des marionnettes ou sous forme de pantomime ? Peut-on imaginer qu’une œuvre lyrique ait suscité plus de huit parodies ? Sait-on que Louis XVI et Marie-Antoinette avaient leur parodiste attitré ? Les réécritures comiques d’opéra, représentées sur les théâtres de la foire et des boulevards comme à la Comédie-Italienne de Paris et sur les théâtres privés, connaissent une vogue étonnante au siècle des Lumières. Parodier l’opéra, ce n’est pas écrire contre l’opéra, mais plutôt participer à sa promotion en jouant le double jeu de la critique et du divertissement. Les parodistes comme Fuzelier, Favart, Romagnesi ou Despréaux, manient autant l’art des vaudevilles que celui du pastiche, et possèdent une riche culture littéraire et musicale. Des opéras de Lully à ceux de Gluck, rares sont les œuvres à succès qui n’ont pas été parodiées. Retracer l’histoire de cette pratique permet d’entrer dans les arcanes de la vie théâtrale des Lumières, où les frontières entre culture populaire et culture élitiste sont brouillées, où l’opéra, l’opéra-comique et la parodie évoluent sans se quitter des yeux. Taxée de « mauvais genre » par certains, décrite comme un « spectacle gai, varié et même magnifique » (d’Argenson) par d’autres, la parodie d’opéra n’est pas un épiphénomène ; ce qui se joue avec elle, tout au long du XVIIIe siècle, c’est une certaine idée du théâtre comique en musique.

Parody in music --- Musical parodies --- Opera --- Parodie (Musique) --- Parodies musicales --- Opéra --- Opéra --- France --- Theater --- opéra --- parodie --- comique --- histoire du théâtre

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Au début de l’ère du tourisme de masse, la planète est devenue le terrain de jeux des touristes-consommateurs. Dans ce contexte, quatre livres de voyage relatent les aventures souvent burlesques d’un Mark Twain haut en couleur, qui se présente comme un béotien mais se pique de science et d’art. Ses récits le dévoilent dans ses œuvres, qui transforment le monde en une production esthétique reflétant ses obsessions personnelles. Les lieux funéraires, omniprésents, suscitent un travail introspectif où pointe l’angoisse de la mort. Dans le monde ainsi transmué affleurent çà et là des fragments de l’univers psychique de l’auteur en tant qu’artiste, engagé dans une démarche comparable à celle des peintres de Vanités du xviie siècle, que la persona perpétue sur le mode littéraire. Tourisme et vanité s’appuie sur le fonds prestigieux des archives Mark Twain de l’université de Berkeley et propose de nombreuses traductions inédites. Il délaisse l’aspect biographique des voyages de Samuel Clemens pour se concentrer uniquement sur la production textuelle, notamment dans ses rapports avec l’image.

Literature American --- burlesque --- imposture --- littérature américaine --- littérature étrangère --- parodie critique --- livre de voyage --- identité --- vanité --- mort --- réception littéraire

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This lively introduction demonstrates the importance of parody for literary and cultural studies, clearly explaining complex arguments around it.

82-7 --- Humor. Satire --- Parody --- Congresses. --- 82-7 Humor. Satire --- Comic literature --- Literature, Comic --- Travesty --- Satire --- Burlesque (Literature) --- Caricature --- Congresses --- 82-7 Prose satire. Humour, epigram, parody etc. --- Prose satire. Humour, epigram, parody etc. --- Parody. --- Satire. --- Literature --- Wit and humor --- Invective --- Imitation (littérature) --- Burlesque (littérature) --- Parodie (littérature) --- Imitation (littérature) --- Burlesque (littérature) --- Parodie (littérature) --- Literary semiotics

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An engaging look into the Sisters of Perpetual Indulgence, queer activists devoted to social justice The Sisters of Perpetual Indulgence make up an unlikely order of nuns. Self-described as “twenty-first century queer nuns,” the Sisters began in 1979 when three bored gay men donned retired Roman Catholic nuns’ habits and went for a stroll through San Francisco’s gay Castro district. The stunned and delighted responses they received prompted these already-seasoned activists to consider whether the habits might have some use in social justice work, and within a year they had constituted the new order. Today, with more than 83 houses on four different continents, the Sisters offer health outreach, support, and, at times, protest on behalf of queer communities. In Queer Nuns, Melissa M. Wilcox offers new insights into the role the Sisters play across queer culture and the religious landscape. The Sisters both spoof nuns and argue quite seriously that they are nuns, adopting an innovative approach the author refers to as serious parody. Like any performance, serious parody can either challenge or reinforce existing power dynamics, and it often accomplishes both simultaneously. The book demonstrates that, through the use of this strategy, the Sisters are able to offer an effective, flexible, and noteworthy approach to community-based activism. Serious parody ultimately has broader applications beyond its use by the Sisters. Wilcox argues that serious parody offers potential uses and challenges in the efforts of activist groups to work within communities that are opposed and oppressed by culturally significant traditions and organizations – as is the case with queer communities and the Roman Catholic Church. This book opens the door to a new world of religion and social activism, one which could be adapted to a range of political movements, individual inclinations, and community settings.

Religious studies --- Sociology of religion --- Aktivismus. --- Gay activists. --- Gay liberation movement. --- Homosexuality --- Homosexualität. --- Nonne. --- Parodie. --- Parody. --- Politisches Engagement. --- Soziale Gerechtigkeit. --- Religious aspects --- Christianity. --- Gay activists --- Gay liberation movement --- Parody --- Political aspects --- Christianity

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At a time when we wonder about the fate of languages ​​from a globalization perspective, it is important to reflect on the conditions of existence of French-language literatures, their interrelations, but also their way of coexisting with more established literatures. and older, like French literature. French-speaking literatures have in common that they are young literatures and their writers, placed in situations of “cultural contacts”, of being “at the crossroads of languages”. The notion of palimpsest takes on particular importance here, referring to the place of these literatures on the world stage and to the models available to the writer to account for his situation.To what extent does the hybridity that Francophone writers have to face give rise to “forced poetics”, to use Glissant's expression, or to the invention of new forms of literary saying? What aesthetics are thus involved? Using examples drawn from Quebec, Belgian, West Indian and African literature, this work examines the forms and issues of pastiche, parody and rewriting in emblematic texts of the contemporary literary scene, which they help to shed light on. .

French literature --- Influence (Literary, artistic, etc.) --- Parody in literature --- Romance Literatures --- Languages & Literatures --- French Literature --- History and criticism --- Artistic impact --- Artistic influence --- Impact (Literary, artistic, etc.) --- Literary impact --- Literary influence --- Literary tradition --- Tradition (Literature) --- Art --- Influence (Psychology) --- Literature --- Intermediality --- Intertextuality --- Originality in literature --- littérature francophone --- écriture --- francophonie --- littérature française --- pastiche --- parodie --- imitation --- langue française --- History and criticism.