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Intertextualité --- Imitation (littérature) --- Parodie (littérature) --- Influence littéraire, artistique, etc. --- Histoire et critique

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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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From the American Revolution to the present, the United States has enjoyed a rich and persuasive visual culture. These images have constructed, sustained, and disseminated social values and identities, but this unwieldy, sometimes untidy form of cultural expression has received less systematic attention than other modes of depicting American life. Recently, scholars in the humanities have developed a new critical approach to reading images and the cultural work they perform. This practice, American cultural iconography, is generating sophisticated analyses of how images organize our public life. The contributions to this volume exhibit the extraordinary scope and interpretive power of this interdisciplinary study while illuminating the dark corners of the nation's psyche. Drawing on such varied texts and visual media as daguerreotypes, political cartoons, tourist posters, and religious artifacts, these essays explore how pictures and words combine to teach us who we are and who we are not. They examine mimesis in elegant portraits of black Freemasons, industrial-age representations of national parks, and postwar photographs of atomic destruction. They consider how visual culture has described and disclosed the politics of racialized sexuality, whether subconsciously affirming it in the shadows of film noir or deliberately contesting it through the interethnic incest of John Sayles's Lone Star. Students of literature, film, and history will find that these essays extend the frontier of American studies. The contributors are Maurice Wallace, Dennis Berthold, Alan Trachtenberg, Shirley Samuels, Jenny Franchot, Cecelia Tichi, Eric Lott, Bryan C. Taylor, and José E. Limón.

National characteristics [American ] --- Group identity --- United States --- History --- Civilization --- Symbolism --- Social aspects --- Arts and society --- Identite collective --- Art --- Caractere national americain. --- National characteristics, American. --- Group identity. --- Civilization. --- Arts and society. --- Arts et societe --- Americains. --- Symbolisme --- Aspect social --- Histoire. --- Social aspects. --- History. --- Etats -Unis --- United States. --- États-Unis --- Civilisation. --- American Ground Zero. --- American Opinion. --- Angel Face. --- Anglo-African Magazine. --- Art and Illusion. --- Atomic Spaces. --- Autobiography. --- Billy Budd. --- Democratic Review. --- Double Indemnity. --- Encyclopedia. --- Enola. --- Film noir. --- Grandissimes. --- Gunsmoke. --- Harper's Weekly. --- Hiroshima in America. --- Little Lone Star. --- Mildred Pierce. --- Nation. --- Othello. --- Our Lives, Our Children. --- Our National Parks. --- Photography. --- Picture Theory. --- Politics. --- Studies in Iconology. --- Symbolism. --- Touch of Evil. --- Tribune. --- Uncle Tom's Cabin. --- ambivalence. --- clergyman. --- cultural iconography. --- discursive processes. --- effects. --- fabulously textual. --- her own. --- hibakusha. --- immemorial personage. --- insomnia. --- metapictures. --- nautical Murats. --- organization. --- oversight. --- patriarch. --- phallic. --- relationships. --- seclusion. --- vaquero. --- Representation, Symbolic --- Symbolic representation --- Mythology --- Emblems --- Signs and symbols --- American national characteristics --- Collective identity --- Community identity --- Cultural identity --- Social identity --- Identity (Psychology) --- Social psychology --- Collective memory --- Arts --- Arts and sociology --- Society and the arts --- Sociology and the arts --- Barbarism --- Civilisation --- Auxiliary sciences of history --- Culture --- World Decade for Cultural Development, 1988-1997 --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Aesthetics --- ABŞ --- ABSh --- Ameerika Ühendriigid --- America (Republic) --- Amerika Birlăshmish Shtatlary --- Amerika Birlăşmi Ştatları --- Amerika Birlăşmiş Ştatları --- Amerika ka Kelenyalen Jamanaw --- Amerika Qūrama Shtattary --- Amerika Qŭshma Shtatlari --- Amerika Qushma Shtattary --- Amerika (Republic) --- Amerikai Egyesült Államok --- Amerikanʹ Veĭtʹsėndi︠a︡vks Shtattnė --- Amerikări Pĕrleshu̇llĕ Shtatsem --- Amerikas Forenede Stater --- Amerikayi Miatsʻyal Nahangner --- Ameriketako Estatu Batuak --- Amirika Carékat --- AQSh --- Ar. ha-B. --- Arhab --- Artsot ha-Berit --- Artzois Ha'bris --- Bí-kok --- Ē.P.A. --- EE.UU. --- Egyesült Államok --- ĒPA --- Estados Unidos --- Estados Unidos da América do Norte --- Estados Unidos de América --- Estaos Xuníos --- Estaos Xuníos d'América --- Estatos Unitos --- Estatos Unitos d'America --- Estats Units d'Amèrica --- Ètats-Unis d'Amèrica --- États-Unis d'Amérique --- Fareyniḳṭe Shṭaṭn --- Feriene Steaten --- Feriene Steaten fan Amearika --- Forente stater --- FS --- Hēnomenai Politeiai Amerikēs --- Hēnōmenes Politeies tēs Amerikēs --- Hiwsisayin Amerikayi Miatsʻeal Tērutʻiwnkʻ --- Istadus Unidus --- Jungtinės Amerikos valstybės --- Mei guo --- Mei-kuo --- Meiguo --- Mî-koet --- Miatsʻyal Nahangner --- Miguk --- Na Stàitean Aonaichte --- NSA --- S.U.A. --- SAD --- Saharat ʻAmērikā --- SASht --- Severo-Amerikanskie Shtaty --- Severo-Amerikanskie Soedinennye Shtaty --- Si︠e︡vero-Amerikanskīe Soedinennye Shtaty --- Sjedinjene Američke Države --- Soedinennye Shtaty Ameriki --- Soedinennye Shtaty Severnoĭ Ameriki --- Soedinennye Shtaty Si︠e︡vernoĭ Ameriki --- Spojené obce severoamerické --- Spojené staty americké --- SShA --- Stadoù-Unanet Amerika --- Stáit Aontaithe Mheiriceá --- Stany Zjednoczone --- Stati Uniti --- Stati Uniti d'America --- Stâts Unîts --- Stâts Unîts di Americhe --- Steatyn Unnaneysit --- Steatyn Unnaneysit America --- SUA (Stati Uniti d'America) --- Sŭedineni amerikanski shtati --- Sŭedinenite shtati --- Tetã peteĩ reko Amérikagua --- U.S. --- U.S.A. --- United States of America --- Unol Daleithiau --- Unol Daleithiau America --- Unuiĝintaj Ŝtatoj de Ameriko --- US --- USA --- Usono --- Vaeinigte Staatn --- Vaeinigte Staatn vo Amerika --- Vereinigte Staaten --- Vereinigte Staaten von Amerika --- Verenigde State van Amerika --- Verenigde Staten --- VS --- VSA --- Wááshindoon Bikéyah Ałhidadiidzooígíí --- Wilāyāt al-Muttaḥidah --- Wilāyāt al-Muttaḥidah al-Amirīkīyah --- Wilāyāt al-Muttaḥidah al-Amrīkīyah --- Yhdysvallat --- Yunaeted Stet --- Yunaeted Stet blong Amerika --- ZDA --- Združene države Amerike --- Zʹi︠e︡dnani Derz︠h︡avy Ameryky --- Zjadnośone staty Ameriki --- Zluchanyi︠a︡ Shtaty Ameryki --- Zlucheni Derz︠h︡avy --- ZSA --- Η.Π.Α. --- Ηνωμένες Πολιτείες της Αμερικής --- Америка (Republic) --- Американь Вейтьсэндявкс Штаттнэ --- Америкӑри Пӗрлешӳллӗ Штатсем --- САЩ --- Съединените щати --- Злучаныя Штаты Амерыкі --- ولايات المتحدة --- ولايات المتّحدة الأمريكيّة --- ولايات المتحدة الامريكية --- 미국 --- É.-U. --- ÉU --- Américains --- Humour américain --- Arts plastiques --- Arts visuels --- Beaux-arts --- Et l'art --- Oeuvres d'art --- Archéologie --- Archéologie et art --- Art-thérapie --- Art et anthropologie --- Art et camouflage --- Art et cinéma --- Art et danse --- Art et design --- Art et diplomatie --- Art et ésotérisme --- Art et exil --- Art et société --- Art et géographie --- Art et handicapés --- Art et histoire --- Art et industrie --- Art et mondialisation --- Art et musique --- Art et photographie --- Art et politique --- Art et publicité --- Art et sciences --- Art et technologie --- Artothèques --- Bibliothèques d'art --- Carrière --- Centres d'art --- Collections d'art --- Communication visuelle et art --- Critique d'art --- Dans l'art --- Droit et art --- Expertise --- Féminisme et art --- Homosexualité et art --- Iconographie --- Iconophagie --- Idéologie et art --- Liberté et art --- Marchands d'oeuvres d'art --- Matériel d'artistes --- Médias et art --- Mode et art --- Modèles --- Philosophie et art --- Photographie d'oeuvres d'art --- Psychanalyse et art --- Psychologie de l'art --- Reproduction --- Rôle selon le sexe dans l'art --- Sémiotique et art --- Sociologie de l'art --- Transidentité et art --- Vie artistique --- Allégorie (art) --- Art colonial --- Art d'amateurs --- Art dans la rue --- Art dissident --- Art en décoration intérieure --- Art enfantin --- Art érotique --- Art fantastique --- Art figuratif --- Art monumental --- Appropriation (art) --- Art naïf --- Art narratif --- Art olfactif --- Art pariétal --- Art populaire --- Art primitif --- Art public --- Art religieux --- Arts décoratifs --- Arts graphiques --- Architecture --- Caprices (art) --- Chefs-d'oeuvre (art) --- Création collective (art) --- Détails (art) --- Empreinte (art) --- Esquisses (art) --- Fantasy (art) --- Formalisme (art) --- Fragments (art) --- Imitation (art) --- Influence littéraire, artistique, etc. --- Ligne (art) --- Mouvements artistiques --- Multiples (art) --- Oeuvres d'art disparues --- Oeuvres d'art inachevées --- Orientalisme (art) --- Paléoart --- Parodie (art) --- Peinture --- Personnification (art) --- Point (art) --- Primitivisme (art) --- Reflets (art) --- Sculpture --- Séries (art) --- Sublime (art) --- Titres d'oeuvres d'art --- Transparence (art) --- Art animalier --- Art anonyme --- Art brut --- Conscience collective --- Différence (sociologie) --- Identités collectives --- Identification sociale --- Identité communautaire --- Identité culturelle --- Identité de groupe --- Identité ethnique --- Identité politique --- Identité raciale --- Identité sociale --- Berbérisme --- Conscience historique --- Différenciation sociale --- Dynamique des groupes --- Mémoire collective --- Passing --- Socialisation politique --- Caractère national --- Conscience de classe --- Conscience de race --- Ethnicité --- Francité --- Icônes culturelles --- Identité collective --- Identité professionnelle --- Nationalisme --- Patriotisme --- Identité (psychologie) --- Psychologie sociale --- Faux --- Histoire --- Location et prêt --- Matériaux --- Mutilation, dégradation, etc. --- Philosophie --- Politique publique --- Provenance --- Publics --- Technique --- Thèmes, motifs --- Vol (droit) --- Assurance --- Attribution --- Catalogage --- art --- Conservation et restauration --- Édition --- Étude et enseignement --- [Localisations géographiques] --- Remakes --- Styles --- identité --- Aspect politique --- Amerikanʹ Veĭtʹsėndi͡avks Shtattnė --- Si͡evero-Amerikanskīe Soedinennye Shtaty --- Soedinennye Shtaty Si͡evernoĭ Ameriki --- SUA --- Zʹi͡ednani Derz͡havy Ameryky --- Zluchanyi͡a Shtaty Ameryki --- Zlucheni Derz͡havy --- États-Unis --- Vin de Californie --- Cuisine américaine --- Arts noirs américains --- Musique populaire --- Musique traditionnelle --- Américanisation --- France --- Civilisation -- Influence américaine --- Prêt et location entre musées --- Réitérations (art) --- Style