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1
Cochrane, Neil. "Swart koring van Joan Hambidge as parodie en pastiche op populêre kultuur." Tydskrif vir Letterkunde 41, no. 2 (April 24, 2018): 127–41. http://dx.doi.org/10.4314/tvl.v41i2.29679.
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In this article the functioning of parody and pastiche as postmodern strategies in Swart koring [Black Wheat] by Joan Hambidge are investigated. Firstly, the concepts of parody and pastiche within traditional and postmodern theoretical frameworks are discussed to clarify the distinction between these two closely related concepts. Secondly, the ways in which popular culture is undermined through the functioning of parody and pastiche and how this process operates within two specific post-modern manifestations will be explored. These manifestations include the disappearance of boundaries between high and popular literature and the manifestation of mass culture.
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Periklis Politis and Maria Kakavoulia. "Pastiche and Parody in Greek Radio Advertisements." Journal of Modern Greek Studies 28, no. 1 (2010): 121–45. http://dx.doi.org/10.1353/mgs.0.0082.
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Ciocan, Ioana-Tatiana, and Bianca-Elena Voşloban. "Parody and Pastiche of Satirical Romanian Press." Sæculum 47, no. 1 (July 1, 2019): 209–15. http://dx.doi.org/10.2478/saec-2019-0020.
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AbstractSatirical Romanian press use irony form with the purpose to transpose realities in acid writing and to reform the problems which exist in our society. This study presents one of the most known ways to express irony: intertextuality. Through a series of examples extracted from the satirical press we will try to observe the role that the parody and the pastiche – as important elements of the intertextuality – hold in the expression of irony, but also the impact that they have on the reader.
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Valjakka, Minna. "Parodying Mao’s Image: Caricaturing in Contemporary Chinese Art." Asian Studies, no. 1 (December 1, 2011): 87–114. http://dx.doi.org/10.4312/as.2011.-15.1.87-114.
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Although Chinese contemporary artists are often criticized for creating superficial works that parody Chairman Mao without any deeper meaning, the employment of parody is a far more complex phenomenon. Instead of being representatives of Jamesonian pastiche, many artists employ varying methods of trans-contextual parody to express their mixed and even controversial intentions and notions. With a detailed structural analysis of the art works, and taking into account the socio-cultural context and the artists’ own intentions, I will show that the common assumptions—that parodying Mao is equivalent to political pop or that political pop represents pastiche—are oversimplifications of this complex phenomenon, especially when caricaturing is used as a method to violate the visual norms.
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Lee, Min-Hyoung. "Christian Evangelism and Popular Culture : Parody, Pastiche, and Simulation." Theology and Praxis 54 (May 30, 2017): 503–31. http://dx.doi.org/10.14387/jkspth.2017.54.503.
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Mortensen, Stehn Aztlan. "Between Parody and Pastiche: The Posthuman Biomechanics of Bulgakov’s Novellas." Scando-Slavica 66, no. 2 (July 2, 2020): 264–80. http://dx.doi.org/10.1080/00806765.2020.1832913.
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Marshall, Joshua. "Balancing the Right to Integrity with caricature, parody and pastiche." Journal of Intellectual Property Law & Practice 13, no. 12 (May 24, 2018): 955–65. http://dx.doi.org/10.1093/jiplp/jpy072.
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Horn, Peter. "Michael K: Pastiche, parody or the inversion of Michael Kohlhaas." Current Writing 17, no. 2 (January 2005): 56–73. http://dx.doi.org/10.1080/1013929x.2005.9678220.
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BEER, JANET, and AVRIL HORNER. "“This isn't exactly a ghost story”: Edith Wharton and Parodic Gothic." Journal of American Studies 37, no. 2 (August 2003): 269–85. http://dx.doi.org/10.1017/s0021875803007084.
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Edith Wharton's ghost stories have usually been seen as skilful appropriations of the Gothic that allowed her, in Kathy Fedorko's words, to dramatise “the conflict between male and female selves in a ‘dialogue with the unconscious.’” They are also vehicles through which she expresses not only her indebtedness to her precursors in the Gothic mode, such as the Brontës, Nathaniel Hawthorne, Robert Louis Stevenson and Sheridan Le Fanu, but also her independence from them. In this article we shall argue that some of Wharton's ghost stories contain a further dimension, beyond allusion, where they shift into a parodic and humorous strain that enables her to engage self-reflexively with the Gothic tradition. Here we define parody as a literary mode that, whilst engaging with a target text or genre, exhibits a keen sense of the comic, an acute awareness of intertextuality and an engagement with the idea of metafiction. This is a deliberately generous and inclusive definition that differs, for example, from some postmodern definitions of parody which (perhaps in an attempt to elevate its cultural function) minimise or excise the importance of comedy as an aspect of parody. We would suggest, furthermore, that it differs from travesty, pastiche and satire in that travesty reduces the target text to something ludicrous, pastiche “works by imitation rather than direct transformation” and satire does not necessarily engage with precursive texts.
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Kenneth David Eckert. "Pride and Pastiche: Humor and Intertextual Parody in Bridget Jones’s Diary." Journal of English Language and Literature 63, no. 2 (June 2017): 263–79. http://dx.doi.org/10.15794/jell.2017.63.2.005.
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Han, Lingeng. "Absurdity and Postmodernism: An Analysis of Barthelme’s The Glass Mountain." Theory and Practice in Language Studies 6, no. 7 (July 1, 2016): 1513. http://dx.doi.org/10.17507/tpls.0607.24.
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Barthelme’s Glass Mountain is a masterpiece of postmodernism. As a leading author of his age, Barthelme makes use of techniques of postmodernism, such as parody, pastiche, fragments, and irony, to demonstrate a world of deconstruction and a theme of absurdity. However, the absurdity depicted by Barthelme actually has its profound social meaning, which reflects the author’s real understanding to the reality.
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Petridis, Sotiris. "Postmodern Cinema and Copyright Law: The Legal Difference Between Parody and Pastiche." Quarterly Review of Film and Video 32, no. 8 (October 19, 2015): 728–36. http://dx.doi.org/10.1080/10509208.2015.1078273.
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Song, Ho-Jin, and Eui-Tae Jeong. "A Study on the utilizing parody and pastiche in Contemporary Art Works." Journal of the Korea Convergence Society 6, no. 6 (December 31, 2015): 201–12. http://dx.doi.org/10.15207/jkcs.2015.6.6.201.
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Muro Munilla, Miguel Ángel. "La debatible existencia de una “comedia romántica”: “Muérete… ¡y verás!”, de Bretón de los Herreros, como parodia y pastiche de los dramas románticos." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1149. http://dx.doi.org/10.5944/signa.vol28.2019.25114.
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Este artículo participa en la polémica sobre la noción de comedia romántica. Después de revisar de forma crítica los argumentos de las aportaciones más relevantes sobre este asunto, se centra en la obra de Bretón de los Herreros Muérete… ¡y verás! —presentada por varios especialistas como ejemplo acabado de comedia romántica— y defiende que se trata, en realidad, de una curiosa mezcla de parodia y pastiche de los dramas románticos.This article participates in the controversy about the notion of romantic comedy. After critically reviewing the most relevant contributions to these notions, it focuses on the play by Bretón de los Herreros’ Muérete… ¡y verás! —presented by several specialists as a perfect example of romantic comedy—. It also defends that it is, in fact, a curious mixture of parody and pastiche of romantic dramas.
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Suyatno, Suyono. "EKSPRESI ESTETIK POSMODERNIS DALAM MUSEUM PENGHANCUR DOKUMEN KARYA AFRIZAL MALNA (POSTMODERNIST AESTHETIC EXPRESSION IN AFRIZAL MALNA�S MUSEUM PENGHANCUR DOKUMEN)." Widyaparwa 45, no. 2 (December 31, 2017): 120–36. http://dx.doi.org/10.26499/wdprw.v45i2.220.
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Penelitian ini bertujuan mengungkap jenis ekspresi estetik posmodernis dalam kumpulan sajak Afrizal Malna Museum Penghancur Dokumen. Masalah yang dibahas adalah jenis-jenis ekspresi estetik posmodernis dan jenis ekspresi estetik posmodernis yang dominan dalam Museum Penghancur Dokumen karya Afrizal Malna tersebut. Teori yang digunakan dalam penelitian ini ialah teori posmodernisme. Metode yang digunakan ialah metode kualitatif dengan pendekatan hermeneutik. Hasil penelitian ini memperlihatkan bahwa skizofrenia merupakan jenis ekspresi estetik posmodernis yang dominan dalam Museum Penghancur Dokumen; selain itu, juga terdapat pastiche dan parodi. Simpulan penelitian ini adalah dominannya skizofrenia secara langsung dan tidak langsung merefleksikan kondisi sosiokultural dan politis masyarakat yang secara umum tengah mengidap skizofrenia, yakni kepribadian terbelah dengan orientasi ganda.This research aims to reveal the type of postmodernist aesthetic expression in the poems anthology by Afrizal Malna, Museum Penghancur Dokumen. The problem discussed are the types of postmodernist aesthetic expression contained in Museum Penghancur Dokumen and the dominant type of posmodernist aesthetic expression in AfrizalMalna's poem. The theory used in this research is postmodernism theory. The method uses qualitative method with hermeneutic approach. The result shows that schizophrenia is a dominant type of postmodernist aesthetic expression in Museum Penghancur Dokumen; besides, there are also pastiche and parody. The conclusion shows that the dominance of schizophrenia directly and indirectly reflects socio cultural and political condition of society who commonly suffered from schizophrenia, a split personality with doubled orientation.
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Wright, Barbara. "Salome: a fin de siècle legend." European Review 2, no. 3 (July 1994): 233–38. http://dx.doi.org/10.1017/s1062798700001137.
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The Salome legend developed as John the Baptist became the object of increased veneration. It was profoundly modified in the medieval and Renaissance periods. Well suited to Schopenhauerian misogyny and to the burgeoning interest in Freudian psychoanalysis, it became central to the fin de siècle in Western Europe. An instrument of self-reflection as well as of parody, the Salome legend has shown itself, in both the 19th and the 20th centuries, to be capable of ironic criticism and fertile pastiche, as well as of enigmatic mystery and deep psychological exploration.
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Alfadlilah, Muna. "POST-MODERN REPRESENTATION IN CEROS AND BATAZOR NOVELS WRITTEN BY TERE LIYE: JEANS FRANCOIS LYOTARD POST-MODERNISM." Prosodi 14, no. 1 (April 30, 2020): 57–64. http://dx.doi.org/10.21107/prosodi.v14i1.7194.
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Literature work is a notion which results a masterpiece with certain characteristics and it has aesthetics value. Understanding and enjoying literature work requires literature theoretical understanding. Literature theory explains to readers which will lead to a certain understanding or theory in a phenomenon consisted in it. This research aims to describe post-modern cultural aspects based on Jhon Francois Lyotard's theory in a novel written by Tere Liye, Ceros and Batazor edition. Tere Liye’s novel has data elaborating post-modernism aspects, such as electism, parody, pastiche, irony, and camp. The data source of this research is a novel written by Tere Liye, Ceros and Batazor edition. The data collection was done by reading and noting methods. This research was done by identifying, clarifying, analyzing, elaborating, and drawing in order to create conclusion within postmodern aspects in which represented social life as described in novel written by Tere Liye, Ceros and Batazor edition. The findings of Tere Liye’s novel describes fantasy and adventure words mixed in human lives and activities. They describe postmodern elements through several aspects. The research in Tere Liye’s novel, one of them is electism in which its behavior combines local and foreign cultures both from language or foreign good aspects. The parody element is uttered as criticism to describe or quip certain behaviors or activities done by society. Meanwhile, pastiche, in the novel is an event lasting as principles stated in the novel. Irony is a description of an unexpected occurred event or destiny. Camp in the novel is an emphasis on the characters’ behaviors which result to interpretation.
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Szeremeta, Katarzyna. "Micro-literature and Parodic Games in John Crace’s Brideshead Abbreviated: The Digested Read of the Twentieth Century." Tekstualia 1, no. 4 (January 1, 2018): 95–108. http://dx.doi.org/10.5604/01.3001.0013.5154.
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The following article aims to discuss parodic reworkings of literary classics for the twenty-first century readers as a form of micro-literature. The short format initiated in 2000 by the British satirist John Crace in The Guardian has become increasingly popular and outshone longer, traditional narratives. Although it generated significant critical attention it has not been exhausted by other researchers. Thus, the main objective is the analysis of the transformative process of digestion between source-texts and their abridged versions. The most relevant aspects investigated here include generic boundaries of parody and pastiche, intertextual strategies and the role of the reader.
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G. Cykman, Avital. "Parody and the gas station in William Shakespeare's Romeo and Juliet." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 70, no. 1 (January 27, 2017): 177. http://dx.doi.org/10.5007/2175-8026.2017v70n1p177.
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http://dx.doi.org/10.5007/2175-8026.2017v70n1p177O filme de 1996 de Baz Luhrmann, Romeu e Julieta de William Shakespeare, é uma adaptação pop da peça do final do século XVI. As referências cruzadas e transgressões das alusões e sua afirmação subversiva pós-moderna, juntamente com a extrema intensidade com que esses elementos aparecem no ato um, cena um, e especialmente na cena colocada em um posto de gasolina, produzem uma ironia autodirigida em uma combinação de referências que define o filme como paródia no sentido pós-moderno. Assim, este artigo examina o primeiro ato, com uma atenção especial à sequência de postos de gasolina, e analisa-o à luz das definições acadêmicas da paródia pós-moderna por Linda Hutcheon, John W. Duvall e Douglas Lanier e de pastiche por Fredric Jameson . Uma vez estabelecida a hipótese da paródia, o artigo analisa o que o filme parodia, de que maneira, e qual são o objetivo e o impacto do humor aplicado.
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Ермилова, Дарья, and Darya Ermilova. "Relevant methods in costume design in the context of the culture of Postmodern." Servis Plus 10, no. 4 (December 22, 2016): 45–56. http://dx.doi.org/10.12737/23723.
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The article is dedicated to the analysis of design methods in modern design being related with postmodernism aesthetics. Subject of research – is creative design methods. The aim of the study is to examine the methods characteristic of postmodern culture, which are used in the costume design. The hypothesis of the study – is typical interpretation methods of the tradition in postmodern – eclectic, collage (the method of citations), citation, deconstruction, parody, ironic pastiche, vintage, and used in costume design. The study used the cultural studies approach, considering modern project activities as a part of the culture of postmodernism, a systematic approach that allows revealing the relationship of aesthetic theories with practice, the specific design, aesthetic approach in the analysis of the characteristics of postmodernism, art analysis for costume design. It is proved that the modern costume designers are actively using methods of postmodernism that allow you to create a diverse environment reflecting the changing and diverse needs of man. Analysis of design practice in the context of postmodernism allowed to reveal when the costume design together with General cultural processes were first analyzed design methods in costume design which related to the category of comic – ironic pastiche, parody, playing with meanings, techniques of wit, considered in connection with other methods of postmodernism: eclectic, a collage, a transgression. The study of current design methods in costume design, on the one hand, complements insufficiently explored area in the theory of design. On the other hand, the results of the study can be used in curriculum development and teaching of professional disciplines profile “costume Design” directions 54.03.01 Design – costume design, history of design, history of fashion houses. In the future will be explored current design methods in costume design related to environmental aesthetics.
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Lee. "The Appropriation of Popular Culture: A Sensational Way of Practicing Evangelism of Korean Churches." Religions 10, no. 11 (October 23, 2019): 592. http://dx.doi.org/10.3390/rel10110592.
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Since the end of the 20th century, Korean churches have awakened to the fact that pop culture is enjoyed by a large segment of the population and thus provides a natural bridge between Christians and non-Christians. As a result, many Korean churches utilize popular cultural elements that Christians and non-Christians relish, such as movies, music videos, and images, as a way of demonstrating their evangelistic invitation to the world. They appropriate famous pop culture contents and present slightly modified materials through various channels, such as church websites, social media, and YouTube. This study focuses on the artistic technique of the evangelistic materials that Korean churches create. Based on the artistic understanding of appropriation, parody, and pastiche, this study examines whether the evangelistic imitations are “parodies” as they are introduced by their creators. I also look at ways another artistic style, “pastiches,” might be more suitable to those appropriations than “parodies.” Employing insights from the artistic analysis, this study explores which artistic style might be a better way of providing imitations of popular culture not so much as superficial entertainment but as a serious way to communicate the gospel. This will show how to appropriate popular culture as both faithful and efficient evangelistic methods.
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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (November 8, 2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.
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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.
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Ovodova, Svetlana N., and Dmitry V. Dobrotvorskiy. "The narrative of science and irony in «Rick and Morty»: metamodernism vs postmodernism." Herald of Omsk University 25, no. 3 (December 28, 2020): 54–60. http://dx.doi.org/10.24147/1812-3996.2020.25(3).54-60.
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The article reveals how the ideas of metamodernism influence the phenomena of mass culture. As an example, the animated series "Rick and Morty" is analyzed in detail, where the mechanisms of work of metamodern humor, oscillations, "new sincerity", post-irony are revealed, the narrative of science is analyzed from the standpoint of metamodernism. A distinction is made between the irony of postmodernism and the irony of metamodernism. In the animated series, the swing from irony, parody and pastiche to sincerity and seriousness is carried out when representing the topics of raising children in an incomplete family, suppressing information about the ecological situation, aggressive colonialist policy, cultural trauma, globalism and capitalism, the status of science in modern society.
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Stričević Gladić, Mila N. "SCREENING THE GOTHIC: PARODY OF THE GOTHIC GENRE IN TIM BURTON’S DARK SHADOWS." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 8, no. 8 (April 4, 2019): 131–43. http://dx.doi.org/10.19090/zjik.2018.8.131-143.
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Since the first Gothic work, Horace Walpole’s The Castle of Otranto, was published in 1764, the Gothic genre has constantly been changing and evolving. One of its main purposes has always been social criticism, and therefore Gothic literature had to change together with the society. In the 20th and especially in the 21st century with the arrival of new technologies, Gothic moved from the paper to the screen. Film and television offered a whole new range of possibilities for the postmodern authors of Gothic works to express themselves. One such artist is certainly the American director Tim Burton who is famous for his dark comedies that are almost exclusively crammed with Gothic elements. In this paper, the author shows how, in his movie Dark Shadows from 2012, Tim Burton used parody as a tool to make an on-screen pastiche of Gothic elements packed in a dark comedy for the true lovers of the Gothic genre, creating a genuine example of the postmodern Gothic.
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Davis, J. M. "Pictorial Irony, Parody, and Pastiche: Comic Interpictoriality in the Arts of the 19th and 20th Centuries." British Journal of Aesthetics 53, no. 3 (November 2, 2012): 365–67. http://dx.doi.org/10.1093/aesthj/ays050.
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Wnuk, Agnieszka. "Regaining Lost Time." Tekstualia 1, no. 1 (January 2, 2013): 209–16. http://dx.doi.org/10.5604/01.3001.0013.6141.
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The articles presents the parallel between the constructive role of the decline in comparative literature and in literary history. The authoress of the text shows that the crisis should be considered a spur to research. The questions or problems often called the decline of the history of literature have brought positive effects. They have initiated a diagnosis of the state of affairs, but also triggered analyses of issues such as the grotesque, parody, pastiche, and irony. Comparative literature as a metadiscipline (especially its diachronic perspective) draws much from the achievements of literary history and literary-historical knowledge and, in this respect, it is largely dependent upon it. As long as it exists, it comments on the literary knowledge systematized by literary theoreticians and historians.
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Holdsworth, Marie. "A transgressive story of the flood." English Text Construction 2, no. 2 (October 27, 2009): 173–84. http://dx.doi.org/10.1075/etc.2.2.02hol.
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Jeanette Winterson’s overlooked revision of the biblical text of the Flood, Boating for Beginners (1985), epitomises postmodern narratives that question patriarchal and capitalist society by means of irony, parody and pastiche. Focusing on the theme of creation and re-creation, this article explores how — through several textual processes — discredit is brought on the biblical text and on the God figure, so as to reaffirm the power of creative writers. Yahweh, a subversive character, is allegedly the Creator, but quickly turns out to be Noah’s Frankenstein-like creation. Noah’s function as God’s maker and writer of Genesis furthermore mirrors the author’s own writing process. By using Feuerbach’s projection theory, I examine how, while the godhead is de-constructed, the status of the author is subversively reasserted.
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Basada, Diana Joy L., and Mark Anthony G. Moyano. "Breaking-Away from the Comfort Zones: Postmodernism in Selected Philippine Contemporary Novels in English." International Journal of Language and Literary Studies 3, no. 1 (March 30, 2021): 130–50. http://dx.doi.org/10.36892/ijlls.v3i1.468.
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The paper tries to prove the existence of postmodernism in selected Philippine contemporary novels, namely: Salamanca (2017), Leche (2011), and Naermyth (2010), by identifying the postmodern characteristics embedded in them. It also discusses the association of the identified characteristics of postmodernism with the overall meaning of the novels. After the analysis, this study yields the following major findings: the characteristics of postmodernism are identified in the selected Philippine contemporary novels in English; these include pastiche, intertextuality, the celebration of little narratives, the technique of using nonlinear narratives, parody, irony, the question of identity, the issue of subjectivity, and magic realism. Furthermore, it is proven that the postmodern characteristics help each of the novels to achieve their overall meanings through contributing to the development of their themes.
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Chalupský, Petr. "When William Met Mary: The Rewriting of Mary Lamb’S and William-Henry Ireland’S Stories in Peter Ackroyd’S The Lambs Of London." Studia Anglica Posnaniensia 47, no. 4 (December 1, 2012): 177–95. http://dx.doi.org/10.2478/v10121-012-0018-4.
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Abstract Peter Ackroyd’s London novels represent a distinctive component in his project of composing a literary-historical biography of the city. Understanding London as a multilayered palimpsest of texts, Ackroyd adds to this ongoing process by rewriting the city’s history from new, imaginative perspectives. For this he employs approaches and strategies such as parody, pastiche, genre mixture, metafiction, intertextuality and an incessant mixing of the factual with the fictititious. The aim of this article is to explore the various ways in which he toys with historical reality and blurs the borderline between fiction and biography in The Lambs of London (2004), offering thus an alternative rendering of two unrelated offences connected with late eighteenth and early nineteenth century London literary circles: Mary Lamb’s matricide and William-Henry Ireland’s forgeries of the Shakespeare Papers.
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Levy, John F. "The Gospel according to Aucupre, or Réécriture on the cheap." Reinardus / Yearbook of the International Reynard Society 23 (December 23, 2011): 104–25. http://dx.doi.org/10.1075/rein.23.05lev.
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Previous commentators on the prologue to the gamma version of the Roman de Renart have dealt with it brilliantly but selectively, thereby omitting certain features of interest. After a brief initial look at authorial tone in the other families – alpha, beta and composite – we focus on the author’s effort to “cyclify” the gamma version and, especially, on how we read the gamma version’s two exemplary tales. A diverse set of new problems arises in regard to the prologue: how the pastiche or parody of the chansons de geste in the Renart mock epic may have been received by the medieval public, why Ysengrin keeps coming back for more punishment, why escharsetez ‘stinginess’ receives so much emphasis in the list of sins, and what lies hidden in the mysterious name Aucupre. The focusing device of the present study is tonality.
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Newman, Barbara. "The Passion of the Jews of Prague:The Pogrom of 1389 and the Lessons of a Medieval Parody." Church History 81, no. 1 (March 2012): 1–26. http://dx.doi.org/10.1017/s0009640711001752.
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Outbreaks of anti-Jewish violence in late medieval cities were hardly rare. For that reason, among others, surviving records are often frustratingly brief and formulaic. Yet, in the case of the pogrom that devastated Prague's Jewish community on Easter 1389, we have an extraordinary source that has yet to receive a close reading. This account, supplementing numerous chronicle entries and a Hebrew poem of lament, is thePassio Iudeorum Pragensium, orPassion of the Jews of Prague—a polished literary text that parodies the gospel of Christ's Passion to celebrate the atrocity. In this article I will first reconstruct the history, background, and aftermath of the pogrom as far as possible, then interrogate thePassioas a scriptural and liturgical parody, for it has a great deal to teach us about the inner workings of medieval anti-Judaism. By “parody” I mean not a humorous work, but a virtuosic pastiche of authoritative texts, such as the Gospels and the Easter liturgy, that would have been known by heart to much of the intended audience. We may like to think of religious parodies as “daring” or “audacious,” seeing in them a progressive ideological force that challenges corrupt institutions, ridicules absurd beliefs, and pokes holes in the pious and the pompous. ButThe Passion of the Jews of Pragueshows that this was by no means always the case.
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Suyatno, Suyono, and Dina Amalia Susamto. "INTERTEKSTUALITAS SAJAK “KAMPUNG” DAN CERPEN “DILARANG MENYANYI DI KAMAR MANDI” DALAM PERSPEKTIF POSMODERNISME." Widyaparwa 48, no. 2 (December 24, 2020): 292–306. http://dx.doi.org/10.26499/wdprw.v48i2.429.
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This study aims to discover the intertextuality of the poem "Kampung" by Subagio Sastrowardojo and the short story "Dilarang Menyanyi di Kamar Mandi" by Seno Gumira Ajidarma. The problem discussed is the realization of the short story text of "Dilarang Menyanyi di Kamar Mandi" as a postmodernist work seen in its aesthetic tool. The theoretical framework applied in this paper is intertextuality and postmodernism, while the method used is a qualitative method with a hermeneutic approach. The result of this study shows that "Dilarang Menyanyi di Kamar Mandi" in fact substantially confirms the hypnogram, the problem of the individual conflict with the social environment. However, in a postmodernist style "Dilarang Menyanyi di Kamar Mandi" demonstrates resistance to the former aesthetics or its hypogram and utilizes intertextuality by means of pastiche, kitsch, schizophrenia, and parody to express the poetic. In addition, the short story has also shifted the perspective differently than its hypogram by displaying the female protagonist as a victim of gender bias thus, it has a feminist atmosphere, while the hypogram represents lyrical characters identical to men. The last point is appropriate with the postmodernist obsession to voice the minorities and oppressed, including those who are marginalized.Penelitian ini bertujuan mengungkap intertekstualitas sajak “Kampung” karya Subagio Sastrowardojo dan cerpen “Dilarang Menyanyi di Kamar Mandi” karya Seno Gumira Ajidarma. Masalah yang dibahas ialah bagaimana cerpen “Dilarang Menyanyi di Kamar Mandi” sebagai cerpen posmodernis merealisasikan intertekstualitas sebagai puitika/sarana estetika posmodernis? Teori yang digunakan dalam penelitian ini ialah teori intertekstualitas dan posmodernisme. Metode yang digunakan ialah metode kualitatif dengan pendekatan hermeneutik. Hasil penelitian memperlihatkan bahwa cerpen “Dilarang Menyanyi di Kamar Mandi”, dari sisi substansi mengukuhkan hipogramnya, yakni masalah konflik individu dengan lingkungan sosialnya. Namun, sebagai cerpen posmodernis, “Dilarang Menyanyi di Kamar Mandi” melakukan “perlawanan” terhadap estetika hipogramnya dan memanfaatkan intertekstualitas dengan sarana pastiche, kitsch, skizofrenia, dan parodi untuk mewujudkan puitikanya. Selain itu, cerpen tersebut juga telah melakukan pergeseran perspektif terhadap hipogramnya dengan menampilkan protagonis perempuan sebagai seorang korban bias gender sehingga cerpen ini beratmosfer feminis, sementara hipogramnya merepresentasikan tokoh lirik yang identik dengan laki-laki. Hal terakhir ini sejalan dengan obsesi kaum posmodernis untuk menyuarakan pembelaan terhadap kaum minoritas dan tertindas, termasuk mereka yang tersisih secara gender.
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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 (April 7, 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 and paradox. These procedures are categorized in three main functions: (a) amusement, when humor is seen as entertainment; (b) cynicism, when it is provocative; and (c) criticism, when it is understood as reproof. Humor must produce an unexpected, but pleasant, relationship with the recipient, who is always prompted to make firstly a common sense interpretation. In that way, recipient’s cooperation is necessary to obtain the humorous effect.
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Lawlor, Jennifer A. Wagner. "“Yet Many of These Are Askew”: On Imitation, Originality, and Parody in Swinburne's Heptalogia." Victorian Literature and Culture 26, no. 2 (1998): 237–57. http://dx.doi.org/10.1017/s1060150300002400.
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Algernon Charles Swinburne's Specimens of Modern Poets: The Heptalogia or The Seven Against Sense, a volume of parodic poems published in 1880, is a text that has sparked little modern criticism, and even those few remarks seem to take the volume about as seriously as contemporary critics did, seeing it essentially as a mark of Swinburne's well-known talent for imitation. Andreas Höfele, the most recent critic to mention the work, is perhaps the first to consider the work as more than a literary lark, seeing in it a self-conscious reflection upon the procedures of literary imitation, and upon Swinburne's own artistry. Höfele's valuable but rather general comments lack detailed analysis, and any greater specificity in his article only goes so far as to say that the volume aims its wit at “poetry with a message,” and has particular sport with the more “earnest” of the poets, namely Tennyson and Patmore. Jerome McGann's Swinburne: An Experiment in Criticism does mention The Heptalogia in the context of Swinburne's talent for pastiche and imitation — but he places the parody volume outside of Swinburne's primary intentions: “These things [The Heptalogia and his other literary ‘hoaxes and burlesques’] are much, it is true, but they also seem, as it were, the outlying territories of an ideal center within which he would live” (80). This dismissal, on top of lack of attention to The Heptalogia, needs to be remedied, and it is the intention of this essay to do so.
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Putri, Citra Kemala. "The Influence Of Popular Culture On The Visual Music Album Cover." ArtComm : Jurnal Komunikasi dan Desain 3, no. 1 (May 1, 2020): 98–113. http://dx.doi.org/10.37278/artcomm.v3i1.285.
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Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musicians from different time periods as samples to compare the similarities or friction caused by various art developments as their response toward happening trends. This study uses qualitative method. This study of various visual images was considering the aesthetic idioms of postmodernism, including Pastiche, Parody, Kitsch, Camp and Schizophrenia, as well as the concepts of several art movements, such as Pop Art and Lowbrow Art. The final result of this study reveal that several music albums using the Pop Art and Lowbrow Art style contained postmodern aesthetic idioms. Each album cover can contain one or several aesthetic idioms simultaneously.
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Bondarenko, Mariia. "Non-linearity and/in Translation: On Complex Strategies in the Ukrainian Rendition of Joyce’s Novel-Hypertext “Ulysses”." Respectus Philologicus 35, no. 40 (April 23, 2019): 195–210. http://dx.doi.org/10.15388/respectus.2019.35.40.14.
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[full article and abstract in English]
By positing that translation is the main manifestation of “interliterarity” (in D. Ďurišin’s conceptualization) that brings to the fore the meta-creational capacities of the target literature, the present article attempts (1) to study a translatability potential of a hypertext as based on the Ukrainian translation of James Joyce’s novel-hypertext Ulysses, and (2) to justify the role of its reception in the Ukrainian literary field as a force for language and culture development. The synthesis of a “verbal music” with a mosaic of texts and narratives – imitated, playfully transformed or directly quoted – is claimed to be a key source of hypertextuality in Ulysses. In this line of reasoning, the paper particularly focuses on (1) the role of both overcoming cultural barriers and leaving a space for reader’s co-creativity while transferring of intertexts; (2) the approaches to interpretation of parody and pastiche as forms of writing-as-translation practice; (3) J. Wawrzycka’s concept regarding translation of musicalized fiction as trans-semantification, i. e. attending to literariness of the text; (4) the idea of translator’s visibility attributed to the Ukrainian re-languaging of musicalized fiction.
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ÇAKIROĞLU, Elif. "APPROPRIATION IN THE POSTMODERNISM PROCESS: REVIEW OF LLUIS BARBA'S ARTWORKS IN THE CONTEXT OF INTERSEMIOTIC." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 490–504. http://dx.doi.org/10.7456/11102100/011.
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Appropriation can generally be explained as the reinterpretation and production of artworks by quoting them. Appropriation is associated with the postmodern period, although it was also seen in previous periods. In the postmodern period, in which the pluralist approach gained prominence, collage and montage became widespread; artists perform reproductions containing different expressions and effects, using quotes, pastiche, parody, emulation, and similar usage within the scope of intersemiotic. Artists can use the works they quote through these reproduction forms in different contexts as meaning and content, as well as in similar tendencies. In this study, it is aimed to examine the concept of appropriation in line with the artistic qualities of the postmodern period and the Spanish artist Lluis Barba's reproduction on famous artworks named American Gothic, Athens School and The Gleaners in the context of intersemiotic. Within the scope of the study, the reproductions analyzed with intersemiotic,which examines interformal quotations between homogeneous or different types of art products, were interpreted in consideration of the artist's explanations. Analyzing and interpreting the reproductions in relation to the artworks is considered important in terms of developing interpretation knowledge and critical perspective.
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Hartwig, Marcel. "“We Can Always Empathize with Ourselves”: Pastiche, Parody, and Rock Journalism in Bret Easton Ellis’s American Psycho (1991) and Kanye West’s Yeezus (2013)." Rock Music Studies 4, no. 1 (January 2, 2017): 57–69. http://dx.doi.org/10.1080/19401159.2017.1291794.
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Rovner, Adam. "So Easily Assimilated: The New Immigrant Chic." AJS Review 30, no. 2 (October 27, 2006): 313–24. http://dx.doi.org/10.1017/s0364009406000158.
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Last year, a friend drew my attention to the lyrics of a famous song in Leonard Bernstein’s Candide, the composer’s first attempt in 1956 to write the “Great American Opera.” The song, “I Am Easily Assimilated,” remains one of the best-loved musical numbers from the play and includes the following lines: My father came from Rovno Gubernya.But now I’m here, I’m dancing a tango….My father spoke a High Middle Polish.In one half-hour I’m talking in Spanish:Por favor! Toreador!I am easily assimilated.I am so easily assimilated. The irreverent lyrics are often credited to Bernstein himself and refer to the biography of his father, Sam, who immigrated to America from the province (gubernya) of Rovno. This Jewish tango exhibits a musical pastiche of Hispanic and Klezmer traditions in its instrumentation and displays a manic shift from Russian to English to Spanish that mirrors the composer’s playful notation that it be played “Moderato Hassidicamente.” The song is both a parody of and a monument to the assimilatory spirit. My friend, however, thought I would be interested in the song because my last name is Rovner; he expected that I would want to track down Bernstein’s reference to the area, Rovno, that lent my family its patronymic.
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Grodź, Iwona. "Religia i film. Stylizacje na język religijny w filmach Wojciecha Jerzego Hasa." Studia Filmoznawcze 40 (June 27, 2019): 187–200. http://dx.doi.org/10.19195/0860-116x.40.15.
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Religion and film. Stylizationson religious language in films made by Wojciech Jerzy HasThe main aim of the article is to answer the question about, how religious language functions in cinematography. It is both about specifying an aim of introducing it to a plot or narration of a film and about when it is introduced. It will be crucial to specify what goal the director attains by using religious language in his films. How important it is for the plot development. Is it connected with the will to remind the viewers about the world which does not exist currently or is it rather parodying the defined view.The next stage is an analysis of the particular examples of the use of religious language in Wojciech Has’s films, for example The Codes, The Sandglass, The Manuscript Found in Saragossa, The Personal Diary of the Wicked… Written by Himself, The Amazing Journey of Balthazar Kober. Next, the ways of showing its functioning in cinematography: stylization, allusion, form of quotations, collage, parody, pastiche, travesty.Concluding, the director uses the religious language stylisations and quotations for example the Holy Scripture or other cultural texts, like Juliusz Słowacki’s Anhelli in the considerate way. Using the religious language, he characterizes setting and time of action, the film characters and, above all, his attitude towards religion. Love language gets the markers of religious language in his films. In this way, Has approaches to understanding the new version of religion and religiousness, not consistent with the Old Testament, but rather with New Testament’s message which means: “Love your neighbor as yourself”.
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Zarei, Narges. "The Postmodern Analysis of Marry Me : A Romance in Terms of Form." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 2, no. 1 (February 26, 2019): 24–37. http://dx.doi.org/10.33258/birle.v2i1.183.
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This article is a qualitative one and the researcher by depicting one novel of John Updike: Marry Me, published for the first time in 1976, attests that romances at present are not written to cultivate imagination but they are created in order to embellish reality with fantasy, to reconcile imagination with objective presentation of reality. This is done by the artist to attain the reality effect, an effect that ends and culminates in a moral lesson. Updike in day by day record of the life of the Americans in his novel tries to create an effect that is permanent. The objective of romance and realism differ. This is what makes Marry Me, a problematic case. The organizing principle of romance is not objective social reality but the use of literary devices. The presence of these opposing factors in one novel makes it an excellent example of postmodern novel. It is said that romance and realism often are juxtaposed and yet they are not separable. In other words, they overlap. So, it is hard to consider any border for them. Although Updike uses many realistic details, there are some scenes of fantasy and idealism where the elements of romance are eminent. Perchance, the novel has the three main elements of romance including love, adventure, and quest while Updike does not use them in a normal and habitual way. Although there are many admiring romance critics and thinkers, the present writer mostly employs the theories of Northrop Frye, Richard Chase, Pamela Regis, Diane Elam, Kimberly A. Freeman, Heidi Hansson, and Judie Newman whose approaches to romance and postmodern romance are apparently applicable to prove that Marry Me is a postmodern romance. This textual research focuses on discussing different theories on postmodernism and romance separately and casting a debate on postmodern romance elements illustrated by parody, pastiche, intertextuality, self-reflexivity, irony, and imitation; and applying them to Marry Me in order to claim that Marry Me is a postmodern romance.
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-, Hasbullah, Hendra Santosa, and I. Wayan Swandi. "DAYA TARIK DESAIN KARAKTER “SI METON”." Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia) 6, no. 1 (January 20, 2021): 26. http://dx.doi.org/10.25124/demandia.v6i1.2823.
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Desain Karakter “Si Meton” merupakan pemenang sayembara jingle dan maskot yang diselenggarakan KPUD Provinsi NTB tahun 2017. Meskipun “Si Meton” menggambarkan patron budaya sebagai daya tarik promosi Pilkada NTB tahun 2018, rupanya belum tentu dapat dipahami sebagian besar masyarakat NTB. Permasalahan yang diangkat pada penelitian ini akan menyorot daya tarik desain karakter “Si Meton” yang mendapat juara pertama pada sayembara jingle dan maskot yang diselenggarakan KPUD NTB tahun 2017. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan landasan teori estetika postmodern Piliang dan teori prinsip penggambaran karakter animasi Walt Disney. Hasilnya, terdapat daya tarik dua unsur budaya yang berbeda yaitu budaya masa lalu membentuk keindahan yang mengarah pada pastiche dan parodi dengan membentuk penjiwaan karakter yang baru. Manfaat penelitian ini untuk mengembangkan pemahaman daya tarik dari keindahan pastiche, parodi dan kesan yang tercipta dalam desain karakter.
Kata Kunci: Daya Tarik, Desain karakter, “Si Meton”, Parodi, Pastiche.
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Harmita Sari, Sumiati Putri Natalia, Wahyuniar, and A. Nurhayati. "Nilai Budaya dalam Novel Ulid Karya Mahmud Ikhwan Suatu Tinjauan Postmodernisme Jean Francois Lyotard." Jurnal Onoma: Pendidikan, Bahasa, dan Sastra 7, no. 1 (May 1, 2021): 1–14. http://dx.doi.org/10.30605/onoma.v7i1.444.
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Penelitian ini bertujuan untuk mendeskripsikan aspek-aspek budaya postmodernisme yang terdapat dalam novel Ulid karya Mahfud Ikhwan yang terdiri dari; ekletisisme, parodi, pastiche, ironi, dan camp. Jenis penelitian ini adalah penelitian kualitatif yang bersifat deskriptif. Data dalam penelitian ini berupa kata, frasa, klausa atau kalimat yang berwujud ekletisisme, parodi, pastiche, ironi, dan camp. Sumber data dalam penelitian ini adalah sebuah novel yang berjudul Ulid Karya Mahfud Ikhwan. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah teknik baca, teknik simak, dan teknik catat dengan teknik analisis data yaitu mengidentifikasi, mengklasifikasi, mendeskripsikan dan menginterpretasikan. Hasil penelitian dalam novel Ulid karya Mahfud Ikhwan menunjukkan bahwa terdapat berbagai situasi yang menggambarkan perilaku postmodernisme yang lebih didominasi oleh sifat ironi yang ditemukan dalam berbagai situasi seperti bencana alam, perekonomian dan hal-hal yang bertentangan dengan perasaan. Aspek selanjutnya adalah prilaku Camp yang digambarkan dalam bentuk pengelabuan penampilan, sikap, benda dan sifat. Pastiche diungkapkan melalui situasi yang berhubungan dengan perilaku tokoh, harapan di masa lalu, serta informasi mengenai tokoh pada masa lalu Ekletisisme yang digambarkan dalam bentuk perpaduan benda, bahasa dan makanan. Aspek parodi diungkapkan dalam bentuk ungkapan perasaan puas, tidak senang, dan tidak nyaman. Berdasarkan hasil penelitian dalam novel Ulid karya Mahfud Ikhwan dapat disimpulkan bahwa masyarakat postmodern dapat diidentifikasi dari aktivitas atau tindakan yang digambarkan oleh tokoh dalam menyikapi sebuah peristiwa yang berhubungan dengan zamannya.
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Chan, Leo Tak-hung. "Imitation as translation: from Western theories of parody to Japanese postmodern pastiches." Perspectives 25, no. 2 (August 29, 2016): 214–26. http://dx.doi.org/10.1080/0907676x.2016.1213305.
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Prihantono, Kahar Dwi. "Estetika Posmodern Puisi “Aku Ingin” Karya Saut Situmorang." Gramatika: Jurnal Ilmiah Kebahasaan dan Kesastraan 6, no. 1 (June 30, 2018): 21–35. http://dx.doi.org/10.31813/gramatika/6.1.2018.132.21--35.
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Penelitian ini mengkaji estetika puisi “Aku Ingin” karya Saut Situmorang dengan melibatkan pengamatan unsur tekstual dan ekstratekstual, unsur-unsur di dalam dan di luar teks puisi. Hasil kajian menunjukkan bahwa terdapat lima gejala estetika puisi “Aku Ingin” karya Saut Situmorang mencakupi (1) pastiche, (2) parodi, (3) kitsch, (4) camp, dan (5) skizofrenia. Transformasi puisi yang lebih dahulu ada, yakni “Aku Ingin” karya Sapardi Djoko Damono ke dalam bentuk puisi baru versi Saut menunjukkan gejala pastiche. Gejala pastiche juga terlihat dalam hubungan intertekstualitas dengan teks sebelumnya, yakni drama tragedi Romeo and Juliet. Pemikiran dan ungkapan penyair Sapardi diimitasi sedemikian rupa untuk membuatnya tampak absurd. Ungkapan “mencintai dengan membabi buta” ali-alih “mencintai dengan sederhana” menjadi sebuah penanda imitasi karya yang dibuat mendekati aslinya tetapi disimpangkan arahnya menunjukkan gejala parodi. Gejala kitsch terlihat pada masuknya drama tragedi Romeo and Juliet dalam puisi yang menunjukkan hilangnya batas hasil dan nilai-nilai budaya tinggi dengan budaya massa kontemporer. Gejala camp terlihat pada jawaban Saut terhadap “kebosanan” dan sekaligus merupakan satu reaksi terhadap keangkuhan kebudayaan tinggi yang telah memisahkan seni dari makna-makna sosial dan fungsi komunikasi sosial yang dapat dilihat pada ungkapan “tanpa sangsi yang membuat kematiannya jadi puisi” serta “yang membuatnya jadi abadi”. Gejala skizofrenia terlihat pada kekacauan pertandaan klitika “-Ku” dan “-Mu” pada ungkapan “mencintaiMu” dan “mencintaiKu” sebagai objek penyerta. Skizofrenia juga tampak pada kompleksitas susunan puisi yang terpecah-pecah, bahkan kenirhubungan antara baris pertama dan kedua di tiap bait puisi juga menunjukkan adanya idiom serupa. Kesemua temuan tersebut mentabalkan ciri estetika postmodernisme dalam puisi Saut, yakni ciri yang memanfaatkan citra dan tanda yang tanpa batas dengan cara menghancurkan makna, mengangkat hal-hal yang telah sekian lama dianggap tabu untuk menuju implikatur perenungan mendalam, berfikir intensif, dan perhatian penuh pembaca yang menjadi ciri keindahan postmodern.
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Mønster, Louise. "Elefantungens diskursive dans – Peter Adolphsens forfatterskab med fokus på pastiche og parodi." Edda 98, no. 01 (April 13, 2011): 3–17. http://dx.doi.org/10.18261/issn1500-1989-2011-01-02.
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Halsall, Alison. "“A Parade of Curiosities”: Alan Moore's The League of Extraordinary Gentlemen and Lost Girls as Neo-Victorian Pastiches." Journal of Popular Culture 48, no. 2 (April 2015): 252–68. http://dx.doi.org/10.1111/jpcu.12255.
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Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.
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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-André Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works ‒ miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».
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Syafril, Syafril. "Idiom-idiom Estetik Pastiche, Parodi, Kitsch, Camp, dan Skizofrenia dalam Karya Teater Postmodern Indonesia Jalan Lurus." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 9, no. 2 (July 2, 2012). http://dx.doi.org/10.24036/komposisi.v9i2.97.
Full textAbstract:
Theater can be viewed as the strongest in denying post modernization. It also can be found in Indonesian postmodernism theater, especially through pastiche aesthetic idiom, parody, kitsch, camp, and schizophrenia which reveal and deconstruct the previous art theater modernization as well as the high culture modernization, or modernism itself. The purpose of this paper is to show how deconstructionist idiom occurs in the “Jalan Lurus” which can be viewed as one of Indonesian postmodern theaters. Keywords: theater, postmodern, pastiche, parody, kitsch camp, schizophrenia.
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Lotermann, Clarice. "AMOR DE CAPITU?" Revista Letras 61 (December 23, 2004). http://dx.doi.org/10.5380/rel.v61i0.2897.
Full textAbstract:
Este estudo, que acrescenta uma interrogação ao título do romance Amor de Capitu, de Fernando Sabino, traz à baila a discussão sobre cânone e paródia, para concluir que o romance se limita ao pastiche, sem alcançar o distanciamento crítico produzido pela ironia. Abstract This study, which adds a question mark to the title of the novel Amor de Capitu, by Fernando Sabino, brings up the discussion about canon and parody, and the conclusion is that the novel is just a pastiche and it doesnt achieve the critical distancing created by irony.