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Journal articles on the topic 'Parody effect'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

О.А., Воробьева. "СРАВНИТЕЛЬНЫЙ АНАЛИЗ МЕХАНИЗМОВ СОЗДАНИЯ ПАРОДИИ (НА МАТЕРИАЛЕ ПРОИЗВЕДЕНИЙ КОЗЬМЫ ПРУТКОВА И А. ИВАНОВА)". Русская филология: Вестник Харьковского национального педагогического университета имени Г.С. Сковороды 4, № 66 (2018): 33–36. https://doi.org/10.5281/zenodo.1494863.

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<em>The article presents a comparative analysis of two parodies of Kozma Prutkov (collective pseudonym of the Zhemchuzhnikov brothers) and A. Ivanov based on the theory of the parodic form and the parodic function of Y.N. Tynyanov.</em><em> </em><em> For the first parody, there is no separate case text. The second text found a closer connection with the precedent text and a more obvious use of parodic techniques, making the parody character of the text more unambiguous and easily perceived.</em><em> </em><em>For the first parody, the use of elements that create a comic effect is less char

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Hou, Guojin, and Mei Feng. "Parody and Garden Path." Chinese Semiotic Studies 16, no. 1 (2020): 71–89. http://dx.doi.org/10.1515/css-2020-0003.

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AbstractThis is a study of Chinese rhetorical constructions, parody and garden path (GP), from the perspective of lexico-constructional pragmatics (LCP). LCP adopts a holographic view of lexicon and construction so that they can be analyzed alike. We take parody and GP examples from Chinese advertisements for analysis. The LCP analysis highlights the pragmaticity and rhetoricality of each case: for a particular effect. When difficulty arises, pragmatic means may be used to “pragma-coerce” the right, clever, or erroneous use of a rhetorical construction for delivery of a retrievable intended ef

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Wo, Jia. "The Effect of the Use of Parody in the Slaughterhouse-Five on Vonnegut's War Trauma Writing." Communications in Humanities Research 2, no. 1 (2023): 471–78. http://dx.doi.org/10.54254/2753-7064/2/2022572.

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The parody in Slaughterhouse-Five is notas scholar Fredric Jameson defineda postmodern literary strategy. However, there is currently little research on the non-postmodern character of this postmodern text. This study will start with the technique of parody and challenge Jameson's description of the characteristics of postmodern literature to prove that the novel's war trauma writing contains a non-postmodern value judgment. This essay will refer to the interpretation of scholars such as Neil D Isaacs, and find the moral center which contributes to the frequent use of parody through the analys

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Кобринець, Ольга Станіславівна. "САТИРИЧЕСКАЯ МАСКА МИХАИЛА БУРБОНОВА В ТВОРЧЕСТВЕ ДМИТРИЯ МИНАЕВА". Наукові записки Харківського національного педагогічного університету імені Г.С. Сковороди "Літературознавство" 2, № 84 (2017): 32–47. https://doi.org/10.5281/zenodo.268962.

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The article deals with a study of Mikhail Burbonov’s literary mask in parody works of D.D. Minaev, namely in his parodies on falsely accusative and pseudo-patriotic poetry of the second part of the XIX century. The article studies six parodies («Литературные ополченцы», «Демократов с давних пор…», «Ви-льяму Шекспиру от Михайла Бурбонова», «Дуэт», «Жизнь наша вроде плац-парада…», «Литературные попытки Михаила Бурбонова»), means of creation of parody effect, among which a special place was devoted to the literary mask of the retired major Burbonov. The fictional officer-writer is a collective ch

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Ayu, Aulia Suminar. "Parody Iklan, Meningkatkan Brand Awaraness melalui Olokan." Interaksi: Jurnal Ilmu Komunikasi 5, no. 1 (2017): 16. http://dx.doi.org/10.14710/interaksi.5.1.16-23.

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Abstract Usually, parody were used to show how audience dislike or resistance with certain texts. Recently, parody about the standarized herbal product , “Mastin” were circulating around social media world. This phenomenon starts from Mastin parody video on youtube. Repetitive use of Mastin' TVC lyrics, “kabar gembira untuk kita semua” was becoming new joke trend and slang on cyber and real world. On the other side, that was insulting and making people bored of that kind of joke. Either do Mastin, along with this trend, Mastin changes their TVC Jingle chord (until) three times in order to make

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Imo, Edward Egbo, and Gift Benue Zibima. "Parody and humour in Nigerian stand-up comedy: a critical analysis of Kenny Blaq's comic style." International Journal of Current Research in the Humanities 28, no. 1 (2025): 461–72. https://doi.org/10.4314/ijcrh.v28i1.34.

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This paper examines Kenny Blaq’s use of parody in songs to create comedic effect. His creative approach combining musicality, sarcasm and parody, distinguishes him from his peers in the comedy industry. This qualitative study adopts a literary methodology, analysing the lyrics of six parodied songs created and performed by Kenny Blaq. The analysis reveals that Kenny Blaq’s comedy draws largely from his ability to inject parody into his song-based jokes. The study’s findings highlight parody as a major driver of humour, rooted in the comic theory of degradation. Kenny Blaq is one of the few Nig

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Gami, Loran. "PARODY AND METAFICTIONALITY AS DEFAMILIARIZATION DEVICES IN MARTIN AMIS’S NOVEL MONEY: A SUICIDE NOTE." Folia linguistica et litteraria XII, no. 35 (2021): 45–61. http://dx.doi.org/10.31902/fll.35.2021.3.

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The article discusses the way defamiliarization is achieved in Martin Amis’s novel Money: A Suicide Note (1984) through parody, the comical perspective, and the metafictional elements. In the introduction the concept of defamiliarization is briefly explained while the first section describes the use of parody in the novel. Amis’s book parodies several literary techniques and is also a parody – as well as a critique – of the 1980s Britain and America, especially its consumerist ethos. By adopting a comical perspective, Amis creates a distancing effect between himself and the novel’s protagonist

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Vorobiova, Olha. "The Importance of the Lexical Paradigm of Pretext Assessment for the Formation of a Parody." Path of Science 7, no. 7 (2021): 6001–5. http://dx.doi.org/10.22178/pos.72-7.

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The article deals with transforming the primary text into a parody - the introduction of the paradigm of critical assessment of pretext into the primary text. This paradigm is derived using the paradigmatic analysis of vocabulary, highlighting the means of the text that form a specific system of images for the reader. Parody is of particular interest for the paradigmatic analysis of vocabulary since it refers to the so-called secondary texts - texts created on the material of other texts, already available. When creating a secondary text, various elements are borrowed from the original text, s

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Park, Seong Hae. "The Use of Dangun Myth and Its Meaning in the Webtoon: Focusing on the Webtoon <Barojabneun Soonaebo> and <Hositamtam>." Korean Society of Culture and Convergence 45, no. 2 (2023): 71–86. http://dx.doi.org/10.33645/cnc.2023.02.45.02.71.

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The purpose of this paper is to understand the narrative characteristics of the webtoons <Barojabneun Soonaebo> and <Hositamtam>, their impact on the transmission of the Dangun myth and the significance of that impact. The stories of these webtoons are based on the ‘Dangun Myth’ recorded in Samgukyusa, especially the transformation of bear and tiger and the marriage of the bear and Hwanung. The ‘Dangun Myth’ in Samgukyusa is a well-known story to Korean readers, who learn about the Dangun myth at school. The webtoon which is using parody of Dangun myth can maximize the effect of pa

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Кобринець, Ольга Станіславівна. "М.П. РОЗЕНГЕЙМ В ПАРОДИЯХ Д.Д. МИНАЕВА". Наукові записки Харківського національного педагогічного університету імені Г.С. Сковороди "Літературознавство" 3, № 82 (2015): 38–47. https://doi.org/10.5281/zenodo.45535.

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The article is devoted to the study of creativity of D.D. Minaev’s parody, namely to those of M.P. Rozengeim – a contemporary poet of the late XIX century. Seven parodies are considered in this article, one of which is analyzed for the first time (“Date”). Four parodies are dedicated to false patriotic topic (“Duet”, “Our life is like a parade ground ...”, “On the occasion of entering the house governess of Englishwomen,” “To our pessimists”), and the other three ridicule the vulgarity of love poetry in the works of M.P. R

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Norman, Boris Ju. "SYNTAX AS AN OBJECT OF PARODY." Philological Class 26, no. 2 (2021): 40–51. http://dx.doi.org/10.51762/1fk-2021-26-02-03.

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In the mind of the native speaker, there is an idea of the syntactic “optimum”, which allows them to use linguistic units most effectively to achieve a desired communicative effect. It contains a set of pieces of intuitive (“naïve”) knowledge about the parameters of the sentence, the organization of its structure, the rules of correspondence of lexical and grammatical meanings, etc. Deviations from this optimum can become independent objects of not only scholarly research, but also parody in a literary text. The article analyzes the problem lying on the borderline between linguistics, literary

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Szeker-Madden, Lisa. "Topos, Text, and the Parody Problem in Bach's Mass in B minor, BWV 232." Canadian University Music Review, no. 15 (March 1, 2013): 108–25. http://dx.doi.org/10.7202/1014395ar.

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Even though parody and borrowing have long been recognized as legitimate features of Bach's compositional practices, the criteria by which the composer selected appropriate material to parody remains problematic. Christoph Wolff and Güther Stiller, for example, suggest that musical elements, such as the quality of the original or its potential for further embellishment, represent possible criteria. On the other hand, textual elements such as analogous subjects, "affects," and metrical patterns between old and new texts also many have factored into Bach's criteria. In an effort to redress the i

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Gilbas, Sherill. "Parodies: Creative Materials for Post-pandemic Literary History." Journal of General Education and Humanities 3, no. 3 (2024): 307–22. http://dx.doi.org/10.58421/gehu.v3i3.241.

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Parody is a protected free expression. It is a piece of writing or music that closely mimics the style of a particular author or piece for comedic effect. The main objective of this paper is to present parodies made during the pandemic as aesthetic expression and as literary, educational art as sources of contextual literary history. Specifically, it aimed to identify and analyze the parodies to distinguish the theme, message, and the parody songs’ purpose. The researcher believes this paper may also determine the standard terms related to COVID-19 and the effects of the pandemic on society. T

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Phillips, Tom. "Echo In Euripides’ Andromeda." Greek and Roman Musical Studies 3, no. 1-2 (2015): 53–66. http://dx.doi.org/10.1163/22129758-12341025.

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This article argues that Euripides employed a form of musical repetition when staging the character Echo in the Andromeda. In doing so he was drawing on innovations in contemporary musical culture to produce a striking dramatic effect. This hypothesis also suggests a new way of approaching Aristophanes’ parody of Euripides’ Echo in the Thesmophoriazusae.

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Joung, Jin-Teck, and Seung-Yeob Yu. "The Effect on Parody Advertisement Type and Advertising Model in Consumer Attitude." Joural of the Korea Entertainment Industry Association 5, no. 4 (2011): 113. http://dx.doi.org/10.21184/jkeia.2011.12.5.4.113.

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Bracewell, Wendy. "Travesty, Parody, Enchantment: Translating Hanibal Lucić's Vila." Translation and Literature 33, no. 2 (2024): 137–56. http://dx.doi.org/10.3366/tal.2024.0584.

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‘Jur nijedna na svit vila’, by Hanibal Lucić ( c.1485–1553), is one of the best known and most loved poems of the Croatian Renaissance, but translating it into a different context poses problems of reception. The article uses travesty and parody to address the issues of poetic vocabulary and gender regime, and finds similarities between such techniques and translation. Each of these can prompt a critical interpretation of the poem. But the resulting critical gaze does not necessarily lead to an adequate reading, and the article goes on to discuss aspects that are obscured in translation, from

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Thompson, Katrina Daly. "“I am Maasai”: Interpreting ethnic parody in Bongo Flava." Language in Society 39, no. 4 (2010): 493–520. http://dx.doi.org/10.1017/s0047404510000424.

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AbstractIn the Tanzanian Bongo Flava youth music scene, Abel Motika is a popular artist who uses both verbal and visual markers of Kisongo Maasai ethnicity to style himself as “the Maasai rapper” with the stage name “Mr. Ebbo.” Through analysis of his 2002 song “Mi Mmasai” ‘I am Maasai’, this study investigates his ethnic stylizing in playful use of Maa pronunciation and an understudied Swahili language game known as kinyume ‘backwards style’. The study finds that while Ebbo strategically disrupts the sociolinguistic order that privileges Standard Swahili, the Maasai persona he projects is hum

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Dreyer, Nicolas. "Vladimir Tuchkov’s intertextual transgression: Folklore, parody, and social criticism." Studia Rossica Posnaniensia 47, no. 1 (2022): 21–41. http://dx.doi.org/10.14746/strp.2022.47.1.3.

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This essay aims at analysing and illustrating a segment of the post-Soviet short fiction of the contemporary Russian writer Vladimir Tuchkov. It specifically discusses his collection of veryshort stories And he earned many dollars…: New Russian fairy-tales. These short stories exemplify many characteristics of Tuchkov’s oeuvre more generally. The discussion analyses the satirical contents of these miniature fictions, which the author places in the tradition of the Russian classics and of Russian folklore, within the theoretical context of parody, pastiche, intertextuality, and folklore. Tuchko

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Zhilicheva, G. A. "Theoretical Discourse as an Object of Metaparody in Russian Post-Modern Prose." Critique and Semiotics 38, no. 1 (2020): 40–51. http://dx.doi.org/10.25205/2307-1737-2020-1-40-51.

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This article deals with the roles that metaparody plays in modern prose. Methodologically, it follows Yuri Shatin’ semiotic approach to parody. In his works, parody is regarded as a special function of aesthetic language that comically reimagines a work’s pretexts while also expanding its referential semiotic structure by pointing out its intertextual sources. Contemporary fiction expands the semantic field of the plot by having narrators or characters reflect on philological terms and concepts. Furthermore, in postmodern fiction, representation of popular theoretical interpretations often ach

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Vasiliev, A. D. "TWO PSEUDO-GOSPELS: VERSIONS OF SACRAL TEXT PROFANIZATION." Siberian Philological Forum 11, no. 3 (2020): 76–88. http://dx.doi.org/10.25146/2587-7844-2020-11-3-54.

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Intertextuality is expressed in different forms, one of the most common among them is parody. The object of parody usually becomes high-law works, as the comic effect of distorting their usual appearance turns out to be easily predictable and accessible to a wide audience. It is natural that public attention is often offered parody versions of canonical confessional texts fundamental to any religion. In such cases, the inversion of universal opposition is realized sacral/ profiled, and the resonance result is achieved, as a rule, by using genre-stylistically heterogeneous language units for it

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McClennen, Sophia A. "Trump’s Ironic Effect on Political Satire." Film Quarterly 75, no. 2 (2021): 27–37. http://dx.doi.org/10.1525/fq.2021.75.2.27.

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This essay analyzes how the presidency of Donald Trump presented a challenge to satirists. It argues that the ironic complexities of the Trump figure itself created an unusual situation for satire, one which required it to adapt and change in novel ways. Because Trump was both absurd and terrifying, because he was both parody and credible threat, he created a unique situation for satirists, one where many of the common tools they carry in their comedic toolkit didn’t work. Satirical irony of Trump was not a matter of irony everywhere or ironic post-truthiness; when Trump satire was at its best

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나상수. "Subjectivity Typology study on effect of parody-advertising in purchase decision-making of customer." Korean Journal of Consumer and Advertising Psychology 10, no. 2 (2009): 229–49. http://dx.doi.org/10.21074/kjlcap.2009.10.2.229.

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Hrynyshyna, Maryna, and Valerii Panasiuk. "The Ukrainian Theatre of Coryphaei in the Russian Parody's "False Mirror"." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 18–26. https://doi.org/10.31866/2410-1176.46.2022.257953.

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The purpose of the article is to highlight specific parodied elements of the Ukrainian theatre model, defining its significance in the socio-cultural space of the turn of the 19th–20th centuries. Methods. An interdisciplinary system of scientific methods is applied, particularly theatre studies, literature studies, and semiotics. Results. Parodying the Ukrainian Coryphaei Theatre model testifies to its great popularity and activity in the cultural space of the turn of the 19th–20th centuries. The uniqueness of the model of the Ukrainian theatre (synthetic one) is confirmed by the p

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Pyper, Hugh S. "The Enticement To Re-Read: Repetition as Parody in 2 Samuel." Biblical Interpretation 1, no. 2 (1993): 153–65. http://dx.doi.org/10.1163/156851593x00034.

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AbstractThe story of Nathan's parable in 2 Samuel 12 and the story of David's encounter with the woman of Teqoa in 2 Samuel 14 bear striking structural similarities. In both, the king is enticed into committing himself by an oath in response to a fictional story retailed to him on behalf of a third person. The argument of this paper is that the relationship between the two is parodic; 2 Samuel 14 contains a bathetic reprise of motifs and devices from the earlier story. Once the reader has registered this, the effect is to raise questions as to what is going on in the earlier story. Rereading 2

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SABLJIĆ, Jakov, and Mirjana MIJIĆ. "A POEM AND ITS PARODY IN THE CONTEXT OF TEACHING METHODOLOGY." Lingua Montenegrina 6, no. 2 (2010): 389–409. https://doi.org/10.46584/lm.v6i2.192.

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In Croatian textbooks for secondary schools Vesna Parun is represented with her famous poem „Ti koja imaš nevinije ruke“. This poem is an intimate confession of suffering female personalitiy who renounces her own fortune for a man beloved. The poem by Parun can be linked with the Bruno Andrić’s lyrical title „Ti koja imaš ruke nevinije od mojih“. It is a modern parody in which is very important the effect of comic and comedy. Using ludism, ilogicalness, simple and colloquial vocabulary, Andrić iro-nizes existential situation presented by Parun – emotional infatutation of the lyrical subject wi

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Moon, Jae‐Young, and Jun‐Sik Kwak. "The effect of art‐parody and art‐infusion advertisements focusing on product type and regulatory focus." Asian Journal on Quality 11, no. 1 (2010): 79–88. http://dx.doi.org/10.1108/15982681011051840.

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Farhan, Farhan. "Amar Munkar Nahi Ma’ruf: Studi Lirik Lagu Dangdut Koplo Jaran Goyang dan Parodinya." Al-I'lam: Jurnal Komunikasi dan Penyiaran Islam 3, no. 1 (2019): 15. http://dx.doi.org/10.31764/jail.v1i2.1364.

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Abstrak:Tulisan ini mengkaji dinamika perkembangan musik dangdut koplo di Nusantara dalam perspektif dakwah dan komunikasi. Perkembangan Produksi music dangdut (koplo) semakin mendapatkan tempat dikalangan masyarakat kekinian. Didukung dengan Industri media musik yang semakin meningkat setiap tahun seiring perkembangan konvergensi media konvensional terkoneksi dengan new media (internet). Penciptaan lirik lagu dangdut koplo berjudul ‘jaran Goyang’ dan parodinya memiliki pengaruh cukup kuat dalam mengubah paradigma pendengar/penonton. Efek lirik lagu dangdut koplo ‘jaran goyang’ tidak hanya mer

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Park, Kyung Jin. "Effects of smarlogue type reading activities using parody picture books on elementary school students’ critical literacy." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 18 (2022): 393–412. http://dx.doi.org/10.22251/jlcci.2022.22.18.393.

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Objectives The purpose of this study was to investigate the effects of smarlogue(smart+analogue) type reading activities using parody picture books on elementary school students’ critical literacy. Methods The researcher selected 20 fourth-grade students and taught English lessons over a period of 10 weeks. Classes were conducted both online and offline utilizing various edutech tools. Different types of data such as worksheets, journals, critical literacy test, questionnaire and interview were collected. They were analyzed mainly in a qualitative way to identify the critical literacy pa

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Karrebæk, Martha Sif, and Özgün Nergiz. "Language ideologies, the soft g, and parody in the Turkish mother tongue classroom." Multilingua 38, no. 6 (2019): 625–51. http://dx.doi.org/10.1515/multi-2018-0086.

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Abstract Although not often discussed, complementary (‘mother tongue’) classrooms comprise participants who differ substantially in a number of ways. Differences comprise, e.g. participants’ orientations to and understandings of the indexicalities of linguistic registers, which may have been brought along from the presupposed country of origin. It has local consequences when students and teacher do not share normative models, and students refuse the teacher as an expert authority. For instance, it may disrupt the classroom order and complicate processes of classroom language socialization. The

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Corbu, Nicoleta, Alina Bârgăoanu, Raluca Buturoiu, and Oana Ștefăniță. "Does fake news lead to more engaging effects on social media? Evidence from Romania." Communications 45, s1 (2020): 694–717. http://dx.doi.org/10.1515/commun-2019-0152.

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AbstractThis study examines the potential of fake news to produce effects on social media engagement as well as the moderating role of education and government approval. We report on a 2x2x2 online experiment conducted in Romania (N=813), in which we manipulated the level of facticity of a news story, its valence, and intention to deceive. Results show that ideologically driven news with a negative valence (rather than fabricated news or other genres, such as satire and parody) have a greater virality potential. However, neither the level of education nor government approval moderate this effe

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전형진 and Im,Byung-Bin. "The effect of role-play using parody on primary school students’ English communicative ability and affective factors." STEM Journal 15, no. 3 (2014): 195–221. http://dx.doi.org/10.16875/stem.2014.15.3.195.

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Cho, Eun Jung. "An Analysis of Aesthetic Effect of ‘Self-Parody’ in a Text: Focusing on John Fowles’s The Collector." Journal of Modern British & American Language & Literature 40, no. 2 (2022): 21–40. http://dx.doi.org/10.21084/jmball.2022.05.40.2.21.

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Shilikhina, Ksenia M. "Humour and intertextuality in online spoof news." European Journal of Humour Research 8, no. 3 (2020): 83. http://dx.doi.org/10.7592/ejhr2020.8.3.shilikhina.

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The paper discusses spoof news as a parody of the traditional genre of news and the role of intertextual references in the creation of the intended humorous or satirical effect. The study is based on the texts published by various online sources specialising in the production and spreading of spoof news. On the surface, the main aim of such non-bona fide pieces of news is not to misinform the readers, but rather to entertain them. However, along with entertainment, these texts also convey serious social implications. They implicitly undermine social norms and values and existing stereotypes ab

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MORRISON, SIMON. "The semiotics of symmetry, or Rimsky-Korsakov's operatic history lesson." Cambridge Opera Journal 13, no. 3 (2001): 261–93. http://dx.doi.org/10.1017/s0954586701002610.

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Rimsky-Korsakov dwelled at length on his place in music history. His musings informed his creative processes, notably his handling of operatic time and space relationships. His stage works rely on structural and syntactic reflection rather than patterns of cause and effect for cohesion. This article examines the narrative contents of Sadko (1896), a setting of the merchant tale ‘‘Sadko the Rich Trader” that follows the contours of the Orpheus parable. The analysis, focusing on the mirror relationships between Russians and non-Russians, indicates that the composer conceived the score as a parod

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Tzoy, A., E. Lomova, B. Abuova, E. Akopova, and N. Yertayeva. "AESTHETICS OF LAUGHTER CULTURE IN THE PROSE OF O. SOMOV IN THE LIGHT OF PARODY OF MYTHOLOGICAL STORIES." Annali d'Italia 40 (February 21, 2023): 39–42. https://doi.org/10.5281/zenodo.7662526.

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In the literary text of the writer, the polarization of the author's voice and the voices of the characters was manifested, allowing in several verbal fragments to highlight the individual-personal perception of the world by his characters, and the author himself avoids intonation of mentoring or open moralization. The ironic position of the author organizes such a development of the plot, when alogisms are formed by circumstances and the futile efforts of the characters to overcome them. The writer says that the human mind is limited by the infinite wisdom of life itself, each time openin

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Elena Yu., Kulikova. "“And Again, the Skald Will Add Someone Else’s Song”: “Marine”, “Scottish”, “May” and Other Ballad Stylizations by Georgy Ivanov." Humanitarian Vector 15, no. 5 (2020): 16–27. http://dx.doi.org/10.21209/1996-7853-2020-15-5-16-27.

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The thematic justification involves demand for detecting and identifying patterns of transformation and modification of ballads by poets of the Silver Age. The twentieth century loved poetry experiments, a game with form, and there are a variety of genres: sonnets, rondos, gazella, pantoons, ballads in the works of symbolists and especially those of the Acmeists. Acmeist ballads reveal a part of the early twentieth century poetic world and contain both the traditional elements of the genre and the features of modernism. The works by Georgy Ivanov, the so-called “youngest acmeist”, who was a me

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Abensour, Gérard. "Du Repentir aux Yeux Noirs, ou du bon usage du "nationalisme"." Slovo 9, no. 1 (1988): 125–35. https://doi.org/10.3406/slovo.1988.989.

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From "repentance" to "black eyes", or the proper use of "nationalism". T. Abouladze's fable, "Repentance", is the third part of a tragi-lyrical trilogy on the relationship between man and the powers that be. With deep roots in his native Georgian soil, it expresses, in a vivid language, the guilt of successive generations. Although it speaks of Stalinism in veiled terms, it is in fact an indictment of all dictatorships. In contrast, "Black eyes" by N. Mikhalkov is deliberately international in intent, situated both in Russia and Italy during a mythical "belle epoque". The parody of Chekov by a

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Syvachenko, Galyna, and Antonina Anistratenko. "Emigration in the works of V. Vinnichenko and L.-F. Selin as a narrative and artistic reception." Current issues of social sciences and history of medicine, no. 1 (December 30, 2024): 115–24. https://doi.org/10.24061/2411-6181.12.024.427.

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The purpose of the proposed article is to analyze the émigré work of V. Vinnychenko (the story "Rivnovaga" (1912) and "Golden Scatters" (1927). As well as L.-F. Selin's novel "From Castle to Castle" (1959). The novelty of the article is that , that despite the obviousness of the philosophical foundations of Vinnichenko and Selin, the works of these writers, as well as the worldviews of both modernists, have not been the subject of a comparative literary study. The following scientific methods were used in the study: historical and comparative. Written at different times and under different lif

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Ilic, Tatjana Rosic. "Belgrade Pride Parade 2014.: Tabloidization and Parody of the Process of EU Integration." European Journal of Social Sciences Education and Research 5, no. 1 (2015): 19. http://dx.doi.org/10.26417/ejser.v5i1.p19-24.

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Print Serbian media presented Belgrade Pride Parade 2014 in an ambivalent way - as a successful state project, on the one hand, and as a threat to the national security, on the other. Contradictory media discourse related to the promotion of human rights favored the tabloidization of almost all contents related to the Belgrade Pride Parade 2014.In this way in the focus of tabloidization was put wider cultural and social contexts including issues such as the process of EU integration, the effort of redefining national identity in the context of EU, and, finally, the very role of the LGBT commun

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Katsev, Libbie. "“What truth are you telling me about?”." IASPM Journal 14, no. 2 (2024): 139–62. http://dx.doi.org/10.5429/2079-3871(2024)v14i2.8en.

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This article discusses two Belarusian music videos from 2020, “Shchuchynshchyna” and “Ne Smeshno” (“Not Funny”), both of which were framed by their creators as commentary on the 2020 protests. In “Ne Smeshno,” band Molchat Doma seemingly attempts to wake a city stricken by an epidemic of sleep—and fails, with one exception. The parody video “Shchuchynshchyna” debuted in a satirical web series, where Elena ZheludOk’s performance of state-approved pop entrances a rebellious rock guitarist. I discuss these videos through Almira Ousmanova’s work on defamiliarization in Belarusian art and politics

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Fox, Richard. "Screening Piety, Class, and Romance in Indonesia." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 176, no. 1 (2020): 70–104. http://dx.doi.org/10.1163/22134379-bja10003.

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Abstract The collapse of the New Order ushered in what many had hoped would be a new era of openness and transparency for Indonesia. The loosening of laws pertaining to broadcast and print publication gave rise to a proliferation of new media and cultural production. This had a profound effect on everything, from politics, religion, and the economy to popular conceptions of romantic intimacy and personal accomplishment. The question is whether prevailing approaches to media and popular culture are adequate to the task of accounting for these oft-cited transformations in Indonesian public life.

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Matthes, Jörg, and Adrian Rauchfleisch. "The Swiss “Tina Fey Effect”: The Content of Late-Night Political Humor and the Negative Effects of Political Parody on the Evaluation of Politicians." Communication Quarterly 61, no. 5 (2013): 596–614. http://dx.doi.org/10.1080/01463373.2013.822405.

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Duncan, Samuel. "Protecting Nominative Fair Use, Parody, and Other Speech-Interests by Reforming the Inconsistent Exemptions from Trademark Liability." University of Michigan Journal of Law Reform, no. 44.1 (2010): 219. http://dx.doi.org/10.36646/mjlr.44.1.protecting.

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Federal trademark law exempts certain communicative uses of a trademark from liability so that the public can freely use a trademark to comment on the markowner or to describe its products. These exemptions for "speech-interests" are badly flawed because their scope is inconsistent between infringement and dilution law, and because the cost and difficulty of claiming their protection varies significantly from court to court. Many speech-interests remain vulnerable to the chilling threat of litigation even though they are "protected" by current law. This Note proposes a simple statutory reform

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Xie, Haiyan. "Interpreting Mythorealism: Disenchanted Shijing and Spiritual Crisis in Yan Lianke’s Ballad, Hymn, Ode." Modern Chinese Literature and Culture 34, no. 1 (2022): 32–65. http://dx.doi.org/10.3366/mclc.2022.0004.

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“Mythorealism” is a formal literary experiment developed by Yan Lianke, whose 2008 novel Ballad, Hymn, Ode ( Feng ya song) produces a cumulative effect of absurdity that has provoked controversy over the extent to which it offers an effective social critique. In response to the scholarship based on realist readings of the novel, this article analyzes it from a “mythorealistic” perspective. It argues that the mythorealist narrative does not necessarily cancel out Yan’s social commentary but instead transfers his critical impulse to a psychological exploration of marginal intellectuals in a desy

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Ryabova, Marina Yu. "Graphic-Stylistic Expressivity in Media Discourse." SHS Web of Conferences 50 (2018): 01151. http://dx.doi.org/10.1051/shsconf/20185001151.

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The article deals with the analysis of graphic-stylistic means of the language, such as punctuation, functioning in modern English based on the language material of literary and media texts (on-line site of The Guardian). The aim of the paper is to reveal some actual functional characteristics of punctuation marks compared with their traditional syntactic and stylistic usage. The linguistic analysis is conducted within the methodology of semantic and syntactic interpretation and description. The following new functional usage of punctuation marks is described: the playing (ludic) function (cre

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López Díaz, Montserrat. "El humor como procedimiento discursivo en los anuncios publicitarios." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 43, no. 1 (2008): 25–62. http://dx.doi.org/10.1075/rro.43.1.03lop.

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Humorous discourse overlays conventional discourse, providing both a humorous surface interpretation of reality, and a serious or standard underlying one. This paper attempts to show how humorous discourse in printed advertising usually produces a deviant understanding due to the fact that there is normally an incongruous sign or icon that distorts our vision of things. There is a transgression of common norms that transforms familiar things into weird and bizarre, creating a playful message. We distinguish various humorous procedures: irony, sarcasm, parody, pastiche, wit, absurdity, rarity a

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Hurtado, Albert L. "Empires, Frontiers, Filibusters, and Pioneers: The Transnational World of John Sutter." Pacific Historical Review 77, no. 1 (2008): 19–47. http://dx.doi.org/10.1525/phr.2008.77.1.19.

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This article reassesses John Sutter's role in borderlands history as a destabilizing influence in Mexican California and model for filibusters of the 1850s. Nominally a Mexican citizen, his national loyalties were slippery. In effect, Sutter was an independent filibuster before 1846; californios and the Mexican government regarded him as such. After 1848 his contributions to the American settlement and conquest of California (suitably sanitized and mythologized) made him a pioneer hero who had shown filibusters what might be done in Latin America with a small army and a lot of swagger. Sutter

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Suslova, Inga V. "The “Genuine” History of the Picture in F. Umbral’s Novel “The Young Ladies of Avignon”." World Literature in the Context of Culture, no. 16 (2023): 97–106. http://dx.doi.org/10.17072/2304-909x-2023-16-97-106.

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The article analyzes the alternative history of the creation of the painting, presented in the novel by the Spanish writer F. Umbral «The Young Ladies of Avignon» (1995). The presence of elements of parody and burlesque in the poetics of the work, an arbitrary combination of historical, biographical information with fiction is noted. The hero-narrator in the novel writes a «saga about the 20th century», claims to be exceptionally authentic. A special place in this «epic» is occupied by the history of the Spanish avant-garde, embodied in Pablo Picasso and his painting «The Young Ladies of Avign

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Del Buono, Bianca. "‘Coi libri o col mondo?’." Incontri. Rivista europea di studi italiani 36, no. 1 (2021): 60–74. http://dx.doi.org/10.18352/inc11007.

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‘With books or with the world?’ Alienation effects without disorientation in Viaggio e maravigliose avventure d’un veneziano by Francesco Contarini This paper investigates the forms and effects of displacement in Viaggio e maravigliose avventure d’un veneziano ch’esce per la prima volta dalle lagune e si reca a Padova e a Milano, published anonymously in Milan in 1818. According to Luigi Catucci, the author is Francesco Contarini, who translated many travel books for the editor Sonzogno between 1816 and 1817: this would explain the noticeable intertextual dialogue between the Viagg

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Box, Kiernan, and Greg Aronson. "Protest Songs From Indonesia And Australia: A Musicological Comparison." Journal of Urban Society's Arts 9, no. 1 (2022): 48–59. http://dx.doi.org/10.24821/jousa.v9i1.7146.

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Protest music is both commercially viable and an important tool for shaping community awareness of socio-political issues. Indonesian and Australian artists have produced protest music which has stimulated significant effect upon community attitudes and behaviours. Socio-political issues can be described and examined in songs using various lyrical methods, including strategic use of characters and narrative. Iwan Fals is a Javanese singer-songwriter who frequently employs satire and parody in relation to weighty political issues. Cold Chisel, Midnight Oil and Paul Kelly are Australian rock art

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