Relevant bibliographies by topics / Parodies, travesties

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Parodies, travesties'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Parodies, travesties"

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Waldman. "Just Travesties: TV Parodies of Hollywood Films and Copyright Infringement Lawsuits." Film History 27, no. 3 (2015): 73. http://dx.doi.org/10.2979/filmhistory.27.3.73.

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Conley, Tim. "Mock Modernism: An Anthology of Parodies, Travesties, Frauds, 1910–1935, edited by Leonard DiepeveenLeonard Diepeveen, ed. Mock Modernism: An Anthology of Parodies, Travesties, Frauds, 1910–1935. University of Toronto Press. xiv, 427. $75.00." University of Toronto Quarterly 85, no. 3 (August 2016): 352–53. http://dx.doi.org/10.3138/utq.85.3.352.

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Danchenko, Maria. "Intertextuality in rococo culture: parody, pastiche and sequel in French literature pf XVIII century." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 75–79. http://dx.doi.org/10.32461/2226-0285.1.2021.238545.

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The purpose of this article is a study of the phenomenon of cultural intertextuality in French rococo on the ground of French prose literature of XVIII century. Methodology. In our research, we employ a method of cultural analysis developed by Annales school. The scientific novelty is determined by the research of non-translated work of Frenche literary rococo "The Adventures of Telemachus" by François de Salignac de La Motte Fénélon of 1699 as phenomenon of French culture of XVIII century, and the study of cultural phenomenon of intertextuality, which is displayed in numerous suites (sequels) and pastiches-parodies of this novel. Conclusions: novel "Adeventures of Telemachus" makes a suite sequel to Homer‘s poem "Odyssey", play "Idoménée" by Prosper Jolyot de Crébillon makes a pastiche to novel "Adeventures of Telemachus", and P. Marivaux‘ novel "Télémaque travesti" makes a parody on François Fénélonùs novel. At the same time, F. Fénélon‘s novel and pastiches and parodies written on it create a metatext of French XVIII century rococo novel of journey.
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Lukács, István. "Poetična funkcija srednjoistočno europskih parodija i travestija u 19. stoljeću." Studia Slavica Academiae Scientiarum Hungaricae 48, no. 1-3 (July 2003): 181–88. http://dx.doi.org/10.1556/sslav.48.2003.1-3.15.

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Caputo, Nicoletta. "“The Farcical Tragedies of King Richard III”: The Nineteenth-Century Burlesques." Theatre Survey 62, no. 1 (January 2021): 25–50. http://dx.doi.org/10.1017/s0040557420000460.

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Unlike other Shakespearean tragedies, King Richard III was never turned into a comedy through the insertion of a happy ending. It did, however, undergo a transformation of dramatic genre, as the numerous Richard III burlesques and travesties produced in the nineteenth century plainly show. Eight burlesques (or nine, including a pantomime) were written for and/or performed on the London stage alone. This essay looks at three of these plays, produced at three distinct stages in the history of burlesque's rapid rise and decline: 1823, 1844, and 1868. In focusing on these productions, I demonstrate how Shakespeare burlesques, paradoxically, enhanced rather than endangered the playwright's iconic status. King Richard III is a perfect case study because of its peculiar stage history. As Richard Schoch has argued, the burlesque purported to be “an act of theatrical reform which aggressively compensated for the deficiencies of other people's productions. . . . [It] claimed to perform not Shakespeare's debasement, but the ironic restoration of his compromised authority.” But this view of the burlesques’ importance is incomplete. Building on Schoch's work, I illustrate how the King Richard III burlesques not only parodied deficient theatrical productions but also called into question dramatic adaptations of Shakespeare's plays. In so doing, these burlesques paradoxically relegitimized Shakespeare.
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Cutuli, María Soledad. "Gestionar y parodiar el trabajo digno. Sobre la creación de alternativas a la prostitución para mujeres trans y sus complejidades." Revista de Antropología Social 31, no. 1 (March 18, 2022): 59–69. http://dx.doi.org/10.5209/raso.81077.

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En este texto articulamos aportes de la antropología política y de los estudios de sexualidades y género, para abordar la centralidad de las tensiones entre prostitución y trabajo en la experiencia organizativa de las mujeres trans y travestis del área metropolitana de Buenos Aires, Argentina. En particular, nos preguntamos por los procesos de creación de emprendimientos cooperativos como alternativa a la prostitución para esta población, indagando en la vida cotidiana de uno de ellos. Basándonos en los resultados de un trabajo de campo etnográfico sostenido entre 2008 y 2012, exploramos las tramas, las tensiones y los sentidos involucrados en las categorías de trabajo y dignidad, a través de las cuales las personas involucradas procesaron sus experiencias
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Zabka, Thomas. "Parodie? Kontrafaktur? Travestie? Anlehnung? Zur Klassifikation und Interpretation von Metatexten unter Berücksichtigung ihrer mehrfachen Intertextualität. Überlegungen zu Gedichten von und nach Bertolt Brecht." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 78, no. 2 (February 2004): 313–52. http://dx.doi.org/10.1007/bf03375709.

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Levanat-Peričić, Miranda. "Književno breme "Našega tovara"." Croatica et Slavica Iadertina, no. 6 (January 18, 2017): 265. http://dx.doi.org/10.15291/csi.693.

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Rad polazi od analize religijski i kulturološki uvjetovanih predrasuda prema figuri magarca koje su posredno utjecale na stereotipno književno predstavljanje magarećeg lika. Dva se književna stereotipa učestalo vezuju uz lik magarca – magareća prerušavanja i magareće metamorfoze. Stereotipno prerušavanje razvijeno u basni (Ezop), kasnije je uglavnom u funkciji književnih alegorija (Lewis,Orwel) u kojima se animalističkim pogledom na svijet nerijetko prenose sociološki i kulturološki opterećene poruke. Metamorfoza ili pomagarčenje tematski otvara i pitanje identiteta i razvojna puta kojim književni lik prolazi, od grijeha i kazne do iskupljenja (Apulej). Funkcionalno, liku je magarca gotovo uvijek dodijeljena ulogasnižavanja, tj. prevođenja s visokog i duhovnog na tjelesno i nisko, što ga vezuje uz parodije i književne travestije (Fauvel, Cervantes, Shakespeare). Lik tovara u hrvatskoj književnosti prešao je književni put od jednostavne frazeološke do složenije simboličke razine. Dok se u Držićevoj Tireni slika tovara vezuje uz uvredljivu psovku ili poslovicu koja odražava predrasude o gluposti i obijesti, slojevito intertekstualno čitanje koje nudi Plač Marka Koćine o izgubljenjutovara u Zavalatici Augustina Draginića, kao i alegorijski epilij Pad s tovara Antuna Kaznačića, otkriva složenije razine funkcioniranja tovarećeg lika, pretežito u funkciji snižavanja i parodiranja žanra.Na kraju rada daje se osvrt na naturalističku novelistiku Marka Uvodića i crtice iz splitske književnosti u kojima je tovar sivac postao simbolom izgubljene težačke prošlosti toga grada. Dok u povijesnim "magarećim" žanrovima magarac ima vlastiti glas da bigovorio umjesto čovjeka o ljudskim problemima i tako posredno predstavljao ljudsko biće, u Uvodićevoj naturalističkoj novelistici, magarcu se oduzima književni glas, te ga u tekstu zastupa autorski pripovjedač. Time se, međutim, obogaćuje metaforički potencijal magarećeg lika – Uvodićev je tovar sivac obespravljeno bićekoje, ne govoreći o sebi ni u svoje ime, nijemom i gotovo metafizički uzvišenom patnjom demonstrira bestijalnost čovjeka.
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СТОЈМЕНСКА-ЕЛЗЕСЕР, СОЊА. "Библиски алузии во современиот македонски роман." SlavVaria 1, no. 1 (September 19, 2021). http://dx.doi.org/10.15170/sv.1/2021.191.

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Biblical Allusions in Macedonian Contemporary Novel. This paper aims to show some models of biblical intertext in Macedonian contemporary novels. The concept “allusion” in this frames is not considered in classical sense, but it means more an inter-play, a ludicrous strategy of postmodern writing. The biblical allusions are interpreted as explicate quotes, implicit references, inclusions, re-writings, parodies, travesties, echoes etc. In the focus of interest are the novels: Novel for Noah by Danilo Kocevski, On the Road to Damascus by Elizabeta Bakovska, The Prophet of Diskantrija by Dragi Mihajlovski and Witch by Venko Andonovski.
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Prokop-Janiec, Eugenia. "Polish Literature in Israel: Between the Memory of Europe and a New Life." Roczniki Humanistyczne 67, no. 1 SELECTED PAPERS IN ENGLISH (October 29, 2019). http://dx.doi.org/10.18290/rh.2019.67.1-8en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 64, issue 1 (2016). The article presents Polish literature in Israel as literature written by migrants: a response to the experience of being relocated and of functioning between different cultures. The subject of the analyses are the paraphrases, travesties and parodies of works by Adam Mickiewicz that are present in Polish-Israeli literature. Referring to the canon texts of Polish literature in them serves the recording of life in Israel. Using Polish literary patterns in stories about the new life and inscribing the Israeli world, as well as signs of Hebrew culture, into them is interpreted as a peculiar correlate of the experience of migration.
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Dissertations / Theses on the topic "Parodies, travesties"

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Stauder, Thomas. "Die literarische Travestie : terminologische Systematik und paradigmatische Analyse (Deutschland, England, Frankreich, Italien) /." Frankfurt am Main ; Berlin ; Paris [etc.] : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb37531787w.

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Göthe, Cecilia. "Dealing with Dragons - parodi eller travesti på de klassiska sagorna?" Thesis, Stockholm University, Stockholm University, Stockholm University, Stockholm University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-26977.

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Uppsatsen är en närläsning av Patricia C. Wredes bok Dealing with Dragons och undersöker huruvida boken i fråga är en parodi eller travesti på de klassiska sagorna, t.ex. Törnrosa och Askungen. Jag tar också reda på om det går att läsa boken på olika sätt beroende på hur stor förkunskap man har om de gamla sagorna. Gérard Genette har skrivit boken Palimpsestes: La littérature au second degré, och jag har med hjälp av en svensk översättning använt mig av hans teorier om hypotext - hypertext, parodi, travesti och transformation. Jag tar även hjälp av Jack Zipes och hans bok The Brothers Grimm - From Enchanted Forests to the Modern World. Dessutom används Barbara Walls bok The Narrator's Voice - The Dilemma of Children's fiction för att reda ut begreppet dubbelt tilltal.

Uppsatsen är indelad i tre delar med tillhörande underrubriker: Inledning, analys och slutdiskussion. Under analysdelen tar jag upp Wredes sätt att använda sig av direkt och indirekt transformation samt om hänvisningarna till bl.a. Grimms sagor är inslag av parodi eller travesti. Metoden jag använder mig av är att visa och analysera utdrag ur boken som är direkt eller indirekt transformerade från sedan länge befintliga sagor eller legender.

Resultatet av analysen når sitt syfte och svarar på frågeställningen. Slutsatsen är att boken Dealing with Dragons till största delen är en parodi på kända sagor, men att inslagen av travesti är nödvändiga och behövs för den roliga och lite snälla tonen som boken tillhandahåller.

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3

Mihajlovska, Lupka. "L'hybridation dans l'oeuvre de Jeannette Winterson." Phd thesis, Université d'Orléans, 2012. http://tel.archives-ouvertes.fr/tel-00835085.

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Nous définissons l'hybridation littéraire comme la combinaison d'éléments a priori disparates aboutissant à la création d'un ensemble à la fois un et multiple, qui garde les traces de ses parties constitutives tout en étant autre, différent, nouveau. L'hybride englobe les sphères de représentation de ses éléments-parents tout en les dépassant. Par conséquent, l'hybridation tend vers l'extension de toutes les frontières, littéraires et culturelles, dans le but de nous offrir une vision du monde et du sujet toujours plus complète. Dans Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body et The PowerBook de Jeanette Winterson, l'hybridation se manifeste à tous les niveaux du texte. L'hybridité physique et sexuelle des narrateurs est ainsi une des manifestations de leurs identités et vies plurielles et paradoxales. Ces hybrides incarnés (monstres, travestis ou androgynes) se construisant au fil de leurs histoires, qui s'inspirent toujours de récits antérieurs, narrateurs et narrations se démultiplient conjointement, s'entremêlent et se redéfinissent sans cesse. Le texte fluctue au gré de l'hybridation générique et de l'intertextualité. De l'entrecroisement de genres réalistes - tels que l'autobiographie, le récit historique ou le discours scientifique - et fictionnels - tels que le conte ou la romance - naît un hybride générique à résonances parodiques représentant la nature du sujet, de sa vie, de la réalité et de la vérité. Enfin, en hybridant des textes préexistants à des motifs personnels, l'auteur élabore une narration originale qui réécrit les schémas sexistes relayés par ses ancêtres et retranscrit sa vision de l'individu, du monde et de l'art.
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Mihajlovska, Lupka. "L'hybridation dans l'oeuvre de Jeannette Winterson." Electronic Thesis or Diss., Orléans, 2012. http://www.theses.fr/2012ORLE1124.

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Nous définissons l’hybridation littéraire comme la combinaison d’éléments a priori disparates aboutissant à la création d’un ensemble à la fois un et multiple, qui garde les traces de ses parties constitutives tout en étant autre, différent, nouveau. L’hybride englobe les sphères de représentation de ses éléments-parents tout en les dépassant. Par conséquent, l’hybridation tend vers l’extension de toutes les frontières, littéraires et culturelles, dans le but de nous offrir une vision du monde et du sujet toujours plus complète. Dans Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body et The PowerBook de Jeanette Winterson, l’hybridation se manifeste à tous les niveaux du texte. L’hybridité physique et sexuelle des narrateurs est ainsi une des manifestations de leurs identités et vies plurielles et paradoxales. Ces hybrides incarnés (monstres, travestis ou androgynes) se construisant au fil de leurs histoires, qui s’inspirent toujours de récits antérieurs, narrateurs et narrations se démultiplient conjointement, s’entremêlent et se redéfinissent sans cesse. Le texte fluctue au gré de l’hybridation générique et de l’intertextualité. De l’entrecroisement de genres réalistes – tels que l’autobiographie, le récit historique ou le discours scientifique – et fictionnels – tels que le conte ou la romance – naît un hybride générique à résonances parodiques représentant la nature du sujet, de sa vie, de la réalité et de la vérité. Enfin, en hybridant des textes préexistants à des motifs personnels, l’auteur élabore une narration originale qui réécrit les schémas sexistes relayés par ses ancêtres et retranscrit sa vision de l’individu, du monde et de l’art
We understand literary hybridization as the combination of seemingly different elements resulting in the creation of an entity that is simultaneously single and multiple. Indeed, while it is utterly other and new, the hybrid still shows the marks of its constituents. The hybrid incorporates its ‘parents’’ initial fields of representation while reaching beyond them. Consequently, hybridization is a process that pushes all boundaries, be they literary or cultural, to offer an ever more complete vision of the subject and his/her life. In Jeanette Winterson’s Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body and The PowerBook, hybridization permeates every level of the text. Thus, the narrators’ physical and sexual hybridity is a manifestation of their plural and paradoxical identities. These hybrid creatures (monsters, transvestites or androgynous beings) build their identities through the stories they tell and that are always inspired by existing narratives. Therefore, the narrators and their narratives proliferate conjointly, intermix and redefine each other constantly. The shape of the text fluctuates with generic hybridization and intertextuality. Realistic narratives – such as autobiographical, historical or scientific discourses – and fictional ones – such as fairy tales or romances – interact to produce generic hybrids with parodic undertones that represent the nature of the subject, his/her life, reality and truth. Finally, by hybridizing existing texts and personal literary devices, the author elaborates original narratives that rewrite her ancestors’ sexist discourses and reflect how she perceives the individual, the world and art
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Books on the topic "Parodies, travesties"

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Balossardi, Marco. Giobbe: Serena concezione di Marco Balossardi. Manziana, Roma: Vecchiarelli, 1994.

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2

Richards, George. The political passing bell: An elegy. Tarrytown, N.Y: W. Abbatt, 1985.

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Donizetti, Gaetano. Don Pasquale: Dramma buffa in tre atti. Amsterdam: De Nederlandse Opera, 1987.

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Donizetti, Gaetano. Don Pasquale. San Francisco: Pocket Opera, 1993.

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1807-1881, Ruffini Giovanni, Paquin Marie Thérèse, and Anelli Angelo 1761-1820, eds. Don Pasquale: Opéra buffa en trois actes. Montréal, Québec, Canada: Presses de l'Université de Montréal, 1985.

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Donizetti, Gaetano. Don Pasquale: Komische Oper in drei Akten. Stuttgart: Philipp Reclam Jun., 1993.

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1807-1881, Ruffini Giovanni, Rescigno Eduardo, and Anelli Angelo 1761-1820, eds. Don Pasquale: Dramma buffo in tre atti. Milano: Ricordi, 1996.

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Jean, Serroy, ed. Le Virgile travesti. Paris: Garnier, 1988.

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Götz: Eine Travestie. Hamburg, Germany: Textem, 2004.

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Diepeveen, Leonard. Mock Modernism: An Anthology of Parodies, Travesties, Frauds, 1910-1935. University of Toronto Press, 2017.

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Book chapters on the topic "Parodies, travesties"

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Swallow, Peter. "Aristophanes Burlesqued." In Aristophanes in Britain, 63–89. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192868565.003.0004.

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Abstract For about forty years from the start of the Victorian period, the British theatre was dominated by burlesque, a form of popular entertainment that incorporated parody, comedy, stagecraft, and musical theatre. It frequently engaged with the classics as well; countless burlesques travestied Greek tragedy, classical epic, myth, and history. Despite the genre’s obvious similarity to Aristophanic humour, however, only one burlesque was performed which directly parodied Old Comedy—James Robinson Planché’s The Birds of Aristophanes (1846). This chapter explores the Victorian burlesque genre to discover why Planché decided to write his adaptation of Aristophanes and why the play was ultimately unsuccessful. It sets Birds into context as a reactionary piece of theatre written during a period of major political reform.
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Aznavour, Clémence. "Potbelly, paunch and innards: variations on the abdomen in Marivaux’s L’Homère travesti and Le Télémaque travesti." In Bellies, bowels and entrails in the eighteenth century, 209–26. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526127051.003.0011.

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In Marivaux’s plays and fictional memoirs, the somatic vocabulary is quite limited and mostly refers to the ‘face’, the ‘eyes’ and the ‘hands’ of the characters. The ‘belly’ is rarely mentioned, except in order to describe the gluttony of servants and peasants. ‘Paunch’, ‘potbelly’ and ‘innards’, on the other hand, punctuate two parodic works Marivaux wrote at the beginning of his career: L’Homère travesti and Le Télémaque travesti. This chapter analyses this exceptional vocabulary and highlights its link with the burlesque register, and the specific context of the Homeric Warfare in which L’Homère traveti and Le Télémaque travesti played their part. Throughout the burlesque register, Marivaux creates new epic targets and focuses on physiological disturbances in order to call into questions the heroism of antiquity and the alleged perfection of the heroic body. This register also allows him to examine the link between appetite and sexual desire: if the equivalence between food and women’s body will remain in Marivaux’s following works, the ‘belly’ will never appear again as the material location of desire.
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