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

Parody: The Art That Plays with Art explodes the near-universal belief that parody is a copycat genre or that it consists of a collection of trivial and derivative forms. Parody is revealed as an uber-technique, a principal source of innovation and invention in the arts. The technique is defined in terms of three major variations that bang, bind, and blend artistic conventions into contrasting pairings, the results of which are upheavals of existing conventions and the formation of unexpected and sometimes startling and revolutionary new configurations. Parodic art fashions a galaxy of contrasts, and from these stem an illusionistic sense of multiplicity and an array of divergent meanings and interpretive paths. This book, an extreme departure from existing analyses of parody, is nonetheless highly accessible and will be of major interest not only to scholars but to general readers and to professional writers as well. Parody: The Art That Plays with Art is particularly suited for readers interested in modernism, postmodernism, meta-art, criticism, satire, and irony.

Excerpt from Parodies of the Works of English American Authors, Vol. 3Page 19. Courtney Melmoth was the assumed name of T. J. Pratt, who wrote The Tears Of Genius lamenting the death Of Oliver Goldsmith.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Parody: The Art That Plays with Art explodes the near-universal belief that parody is a copycat genre or that it consists of a collection of trivial and derivative forms. Parody is revealed as an uber-technique, a principal source of innovation and invention in the arts. The technique is defined in terms of three major variations that bang, bind, and blend artistic conventions into contrasting pairings, the results of which are upheavals of existing conventions and the formation of unexpected and sometimes startling and revolutionary new configurations. Parodic art fashions a galaxy of contrasts, and from these stem an illusionistic sense of multiplicity and an array of divergent meanings and interpretive paths. This book, an extreme departure from existing analyses of parody, is nonetheless highly accessible and will be of major interest not only to scholars but to general readers and to professional writers as well. Parody: The Art That Plays with Art is particularly suited for readers interested in modernism, postmodernism, meta-art, criticism, satire, and irony.

Imagine if you will, a satirical retelling of Dante Aligheri’s Inferno starring Mickey Mouse. This is the very first of the world-famouse, er, famous Great Parodies featuring classic Disney stars in outrageous spoofs of the world’s greatest stories.

Looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at an assessment of what parody is and what it does. This title identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention. It discusses the remarkable range of intent in modern parody.

Imagine if you will, a satirical retelling of Dante Aligheri’s Inferno starring Mickey Mouse. This is the very first of the world-famouse, er, famous Great Parodies featuring classic Disney stars in outrageous spoofs of the world’s greatest stories.

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.  

Imagine if you will, a satirical retelling of Dante Aligheri’s Inferno starring Mickey Mouse. This is the very first of the world-famouse, er, famous Great Parodies featuring classic Disney stars in outrageous spoofs of the world’s greatest stories.

This engaging study explores how the works of Shakespeare, Milton, Swift, and others were taken up by caricaturists as a means of helping the eighteenth-century British public make sense of political issues, outrages, and personalities. The first in-depth exploration of the relationship between literature and visual satire in this period, David Taylor’s book explores how great texts, seen through the lens of visual parody, shape how we understand the political world. It offers a fascinating, novel approach to literary history.

Ilene Hochberg 9781586639495 ISBN 10: 1586639498 / 1-58663-949-8 ISBN 13: 9781586639495 Publisher: MetroBooks Publication Date: 2002 Binding: Softcover Review by Joni Green on Jan 1, 2009 This is a fun book to have on your coffee table. A very unexpected treat inside once someone picks it up. It is not as eye-catching as the Good Mousekeeping book, but fun anyway.

Imagine if you will, a satirical retelling of Dante Aligheri’s Inferno starring Mickey Mouse. This is the very first of the world-famouse, er, famous Great Parodies featuring classic Disney stars in outrageous spoofs of the world’s greatest stories.

Sometimes childish, sometimes rude, always clever and always very, very funny this book has delighted most, and outraged a few, Tolkien fans in the US for nearly 30 years. Pulling in references to popular culture and fantasy literature as a whole this is a killingly effective parody of Lord of the Rings. From the dreary Goddamn (Gollum), to the feckless Arrowroot (Aragorn), the bungling Goodgulf (Gandalf) to the timid, meanminded boggies Frito (Frodo) and Dildo (Bilbo) no character is safe. Fleeing the Nozdrul, bored by acid-casualty Tim Benzedrine and harrassed throughout by the minions of Sorhed the fellowship move through a Middle Earth like no other. Short, sharp and very much to the point even Tolkien would be hard-pressed to surpress a giggle at Bored of the Rings.

Sometimes childish, sometimes rude, always clever and always very, very funny, this book has delighted most, and outraged a few, Tolkien fans in the US for nearly 30 years. Pulling in references to popular culture and fantasy literature as a whole, this is a killingly effective parody of LORD OF THE RINGS. From the dreary Goddamn (Gollum), to the feckless Arrowroot (Aragorn), the bungling Goodgulf (Gandalf) to the timid, meanminded boggies Frito (Frodo) and Dildo (Bilbo), no character is safe. Fleeing the Nozdrul, bored by acid-casualty Tim Benzedrine and harrassed throughout by the minions of Sorhed, the fellowship move through a Middle Earth like no other. Short, sharp and very much to the point, even Tolkien would be hard-pressed to surpress a giggle at BORED OF THE RINGS.

Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Collects satires of the prose and poetry of writers including William Shakespeare, Edgar Allan Poe, Ian Fleming, and Woody Allen

In this book, I provide a practical solution for 'Annihilation of Caste' from India. I also provide practical solutions for all burning socio-economic problems of India. By writing this book, I appeal to all Indians to change their surname to Gandhi irrespective of their caste, creed and religion. This will stop any caste based discrimination in India immediately. I also appeal to government of India to waive off affidavit fees to change surname to Gandhi. To help all Indians to understand my ideas, I wrote this book in form of short stories. This is an unparalleled love story between Saint Kanha Kumar (recipient of “most honest Indian” certificate from UN, the best orator, best PhD student, best political leader, bestselling author in India) and Dr. Kana Gayyub (the best doctor, best journalist and most promising author in India). Love started in PANU Campus Hostel room. Love flourished in the demonetization bank queues. Would they be able to break the barrier of religion, politics and “cash crunch” and live happily ever after?

The music of Shostakovich has been at the centre of interest of both the general public and dedicated scholars throughout the last twenty years. Most of the relevant literature, however, is of a biographical nature. The focus of this book is musical irony. It offers new methodologies for the semiotic analysis of music, and inspects the ironical messages in Shostakovich’s music independently of political and biographical bias. Its approach to music is interdisciplinary, comparing musical devices with the artistic principles and literary analyses of satire, irony, parody and the grotesque. Each one of these is firstly inspected and defined as a separate subject, independent of music. The results of these inspections are subsequently applied to music, firstly music in general and then more specifically to the music of Shostakovich. The composer’s cultural and historical milieux are taken into account and, where relevant, inspected and analysed separately before their application to the music.

Two authors from The Harvard Lampoon present a hilarious parody of J. R. R. Tolkien's epic fantasy, The Lord of the Rings. Reprint.

The music of Shostakovich has been at the centre of interest of both the general public and dedicated scholars throughout the last twenty years. Most of the relevant literature, however, is of a biographical nature. The focus of this book is musical irony. It offers new methodologies for the semiotic analysis of music, and inspects the ironical messages in Shostakovich’s music independently of political and biographical bias. Its approach to music is interdisciplinary, comparing musical devices with the artistic principles and literary analyses of satire, irony, parody and the grotesque. Each one of these is firstly inspected and defined as a separate subject, independent of music. The results of these inspections are subsequently applied to music, firstly music in general and then more specifically to the music of Shostakovich. The composer’s cultural and historical milieux are taken into account and, where relevant, inspected and analysed separately before their application to the music.