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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.

Parody. --- Comic literature --- Literature, Comic --- Travesty --- Satire --- Burlesque (Literature) --- Caricature

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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.

Parody in art. --- Aesthetics, Modern --- Arts, Modern --- 82-7 --- 82.01 --- -Parody in art --- Modern arts --- Humor. Satire --- Esthetica --- -82-7 --- 82.01 Esthetica --- 82-7 Humor. Satire --- -Parody in art. --- -Aesthetics, Modern --- Parody in art --- Aesthetics --- History --- 82-7 Prose satire. Humour, epigram, parody etc. --- Prose satire. Humour, epigram, parody etc. --- Aesthetics, Modern - 20th century. --- Arts, Modern - 20th century. --- Forme (esthétique) --- Art --- Littérature --- Parodie (art) --- Esthétique --- Arts --- 20e siècle --- Thèmes, motifs

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82-7 --- Humor. Satire --- 82-7 Humor. Satire --- 82-7 Prose satire. Humour, epigram, parody etc. --- Prose satire. Humour, epigram, parody etc.

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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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Etnografía imaginaria plantea una nueva teoría sobre la literatura latinoamericana en su relación con la historia. Toda hegemonía, imperial, republicana o revolucionaria, finge según su época e ideología una “historia oficial”, insustentable y despótica, legitimadora de las estructuras de poder y marginadora de las otredades simbólicas. Su eficacia depende de la simulación sistemática y propagandística de una pretendida correspondencia entre Estado y Nación que cohesione el tejido social; reemplazando así la compacta función identitaria que, en las etnias originarias, tuvieran antiguamente los mitos mantenedores de la polis arcaica. Sin esa simulación pseudo-étnica, enraizada en la historia oficial, los estados entran en crisis de legitimidad. La labor de la literatura consiste en desmontar esos relatos legitimadores y reemplazar la historiografía oficializante con una etnografía imaginaria y paródica. La rescritura del pasado desde la marginalidad, el rescate de versiones subalternas y el reemplazo del ideario hegemónico dan muestra del poder de la literatura y el cine de actuar sobre la memoria colectiva de los pueblos, en pos de una verdad ideológica más actual y necesaria. Reuniendo ensayos críticos sobre diversos géneros (crónica, novela, cuento, poesía, ensayo y testimonio), desde el período colonial hasta el contemporáneo, Erik Camayd-Freixas devela los métodos literarios de reinterpretación histórica que enmarcan el triunfo liberador de la parodia etnográfica sobre la historiografía oficial y su vieja ideología de dominación.

Literature and history --- Spanish American literature --- Parody in literature --- History and criticism