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Literature --- Parody. --- Parody in literature. --- Parodies --- European literature --- Parodie --- Parodie dans la littérature --- Littérature européenne --- History and criticism. --- Histoire et critique --- 82-7 --- Humor. Satire --- 82-7 Humor. Satire --- Parodie dans la littérature --- Littérature européenne --- 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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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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French wit and humor. --- Humour français --- French wit and humor --- 82-7 --- Black humor (Literature) --- -French wit and humor --- Black comedy --- Black humor in literature --- Dark humor --- Wit and humor --- Humor. Satire --- 82-7 Humor. Satire --- Humour français --- Black humor --- French literature --- History and criticism --- Thematology --- anno 1800-1999 --- History and criticism. --- Littérature française --- Histoire et critique --- 82-7 Prose satire. Humour, epigram, parody etc. --- Prose satire. Humour, epigram, parody etc. --- French wit and humor - 19th century - History and criticism. --- RIRE --- PHILOSOPHIE --- Black humor.