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Few books are as beloved as this one. The DaCapo edition of this classic anthology (certainly the best anthology of parodies, and just possibly the best modern anthology, period). Even better than the Random House hardback, because it has a New Introduction by Veronica Geng of The New Yorker. An superb copy, very hard to distinguish from a brand-new book. CAUTION: some of the vendors offering this book online do not actually have a copy in stock: their description of the book s condition is therefore guesswork. Buy from a vendor who does have the book and can attest that it is described accurately.

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.

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.

"The Triumph of the Nut and Other Parodies" by Christopher Ward is a witty and engaging collection that showcases the author's penchant for satire and humor. This book features a series of clever parodies that cleverly mimic various literary styles and popular genres, allowing Ward to explore the absurdities of modern life and the literary world. Each piece is marked by Ward's characteristic sharp wit and incisive observations, making the reader both laugh and reflect on deeper themes beneath the surface. The title piece, "The Triumph of the Nut," sets the tone for the collection with its playful narrative and absurd humor, while other selections delve into topics ranging from societal norms to the quirks of human behavior. Ward's ability to blend humor with keen insight creates a delightful reading experience. Ideal for fans of parody and satire, this collection is a testament to the creative power of laughter in literature.

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.

Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. 0.67

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.  

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.

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.

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.

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

Content suitable only for adults ages 18 and up! Appeals to women who've had a bad break up and are now able to look back and laugh. This coffee table book has a humorous tone while spoofing nursery rhymes, songs, and lots of today's pop culture. It is a short but sweet comedic take down of the Barbie doll., an iconic image was done in order to highlight the contradictions and/or hypocrisies of relationship issues. Barbie: A Parody captures the hysteria of break ups and divorce with the appropriate amount humor and hints of truth. In contemporary society parodies surround us from every angle. The writer and illustrator, Fiona Finn realizes that over 1 billion women played with Barbie but never role played relationship termination. This book is rated "M" for mature but brings honesty, humor and reality to painful but very real life heart aches.

It's opening time at the coffee house. While the sun rises, the lion and kangaroo baristas welcome a menagerie of colorful customers. Join them in saying good morning to the beans, machines, and yes, please! caffeine! Smile along as they greet the espressos, lattes, mochas, frappes, drips, sips, and much more. Yay coffee!Whether you prefer brewed or pressed, black or cream, mochas or macchiatos, single origin or groovy blends, if you’ve gotta have your daily grind, this playful picture book for grown-ups and coffee-culture families is for you. Good Morning Brew is brought to you by the same author and illustrator team behind the bestselling Goodnight Brew: A Parody for Beer People.Need a refresher on how coffee travels from field to cup? Perplexed by espresso options? Don’t miss the bonus coffee infographics at the end of the book!

Justice is all too often an example of folly -- a costly undertaking having an absurd or ruinous outcome for the specific persons caught up in the justice system

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.

At long last, an affordable, soft-cover release of Greg Scarnici's drag-tastic re-imagining of Madonna's infamous SEX book, shot entirely on Fire Island. Featuring Greg as Mandonna, Bob the Drag Queen, Chris Go-Go Harder, Dallas Dubois, Logan Hardcore and more. Photographed by Wilson Models. Edited by Deputy DirtyLegs. Please note, this book is 72 pages long. Greg Scarnici is a comedic writer, director, producer, actor, DJ and musician whose videos have been viewed over 10 million times on YouTube and a host of other sites. His work has also been featured on MTV, VH1, Fox News and CNN. He currently works as an Associate Producer at "Saturday Night Live" as well as in various other capacities in theater, film and nightlife. Books include his debut collection of humorous essays: "I Hope My Mother Doesn't Read This," "SEX IN DRAG," and his latest humorous essay collection about Fire Island, "Dungeons and Drag Queens."

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.

This laugh-out-loud funny and devilish send-up of Ludwig Bemelmans's Madeline is for little monsters everywhere. Frankenstein is the scariest of all the monsters in Miss Devel's castle. He can frighten anything--animals, parents, even rocks. Until one night, Miss Devel wakes up and runs downstairs to find that Frankenstein has lost his head!

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.