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Dissertations / Theses on the topic 'Parody'
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1
Sadrian, Mohammad Reza. "Parody In Stoppard." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12610471/index.pdf.
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This study scrutinizes parody in Stoppard&rsquos Rosencrantz and Guildenstern Are Dead, The Real Inspector Hound, and Dogg&rsquo
s Hamlet, Cahoot&rsquo
s Macbeth. After a historical survey of the definitions of parody with a stress on its definitions in our era, this study puts forward its definition of parody which is mainly based on Bakhtin&rsquo
s dialogic criticism. Parody then can be defined as a deliberate imitation or transformation of a socio-cultural product that takes a stance towards its original subject of imitation. Based on the original subject of parody, three kinds of parody are distinguished: genre, specific, and discourse. Following determining the kinds of parody that each of the aforementioned plays exhibits, this study expounds how Stoppard applies parody of the characters, plots, and themes in relation to their original subjects of parody. Later, a close critical study of these parodies will be conducted to elaborate on their functions and significances in each of the plays, their relations with and efficacy in the thematic context of the plays, the techniques used to achieve them, and how far they are applied in line with or opposite to the post-modern&rsquo
s ideas.
2
Rem, Tore. "Dickens and parody." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267491.
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3
Stones, G. P. "Parody and romanticism." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240606.
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4
Briones-Manzano, Luisa. "La parodia quijotesca en el cine = Quixotic Parody in Film." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104030.
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Thesis advisor: Elizabeth RhodesEsta tesis analiza la función de la parodia en Don Quijote de La Mancha (1605, 1615). A partir de la cual se explora la manera en que tres adaptaciones cinematográficas de la novela de Cervantes reutilizan la estructura paródica de Don Quijote. Estas adaptaciones son Don Quijote cabalga de nuevo de Roberto Gavaldón (México, 1973), Don Quijote de Orson Welles de Jess Franco (España, 1992) y Don Quijote de La Mancha de Rafael Gil (España, 1948). La novela Don Quijote de Cervantes ofrece una estructura de la parodia que los directores de estas tres películas emplean para criticar discursos originalmente parodiados por Cervantes en su novela--la condenación de la literatura de caballerías. Esta tesis explora las nuevas funciones de la parodia quijotesca analizando cómo se representan y transforman en las adaptaciones cinematográficas. El marco teórico tiene en cuenta recientes contribuciones a la teoría de la parodia, que interpreta esta figura más allá de los estudios de la parodia tradicional vinculados a la representación cómica. Puede ser homenaje o crítica seria de los contextos culturales y políticos del momento en el que el nuevo texto, la adaptación, se produce. Igualmente, recientes estudios teóricos sobre adaptaciones cinematográficas desplazan el privilegio tradicionalmente concedido al texto literario. Estas tres adaptaciones cinematográficas de la novela Don Quijote de La Mancha utilizan la parodia original para crear parodias posmodernas de acuerdo a sus propios contextos históricos y artísticos
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures
5
Stavropoulou, Anna Magia. "L’enfant lecteur et la parodie : Composantes et fonctions de la réception du parodique dans l’oeuvre d’Eugène Trivizas." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040207.
Full textAbstract:
L’objet de la présente recherche est l’étude de l’accessibilité des enfants lecteurs à la réception de l’élément parodique, présent dans les œuvres littéraires d’Eugène Trivizas, auteur grec d’une grande renommée dans la littérature d’enfance. Ceci concerne toute forme de parodie et à tous les niveaux où elle pourrait se produire, des conditions dans lesquelles elle se produit, des facteurs qui favorisent sa réalisation et des manières par lesquelles elle pourrait être aperçue. Par ailleurs la recherche se propose de vérifier si les fonctions des parodies de Trivizas estimées « libératrices » ont bien eu cet effet sur les jeunes lecteurs et si la poétique parodique de l’auteur contribue à la création du jeune lecteur critique. L’étude des résultats de la recherche réalisée avec des élèves des écoles maternelles et primaires en Grèce aboutit aux convictions suivantes: a. La réceptivité parodique des enfants lecteurs concernant l’œuvre d’Eugène Trivizas peut être réalisable à certaines conditions. b. La communication parodique suscitée dans les œuvres littéraires d’Eugène Trivizas, possède la dynamique de fonctionner au niveau de la socialisation et de la politisation des jeunes lecteursThe object of the present research is to investigate the capabilityof children readers to perceive the parodic element which emerges in the literary texts of Eugene Trivizas, one of the most renounced Greek writers of children' s literature. This concerns every form of parody, also the levels on which it is produced, the circumstances under which it is produced, and finally the factors which favour its realisation and the ways in which it can function. Furthermore, this research aims at verifying whether the functions of parody in the work of Eugene Trivizas which are conceived as "liberating" have, indeed, this impact on children readers and whether the parodic poetics of the writer contributes to the creation of a young critical reader. The study of the results of the research which was carried out on pupils of nursery and primary schools of Greece leads to the following two conclusions: a. The reception of the parodic element in the work of Eugene Trivizas is feasible/ possible under certain circumstances. b. The communication of parody possesses the dynamics to lead towards the socialisation and politicalisationof young readers
6
Holden, Terence Joseph. "Levinas, Messianism and parody." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/26012.
Full textAbstract:
Levinas has come to be seen as one of the principle representatives in contemporary thought of a certain philosophically articulated concept of 'messianism'. On the one hand, the appeal by philosophy to messianism is conceived by many as a 'turn' within postmodern thought broadly conceived towards a theology and ethics. On the other hand, there is the closely related consensus that Levinas‘ messianism is an expression of a certain 'correlation' between 'philosophy' and 'Judaism', a correlation in which Judaism becomes the suppressed voice of conscience of the latter. We revisit some of the consensuses upon which these related understandings are based. Firstly, we consider whether the heterogeneity of Levinas‘ different articulations of the messianic dimension should be emphasized, a heterogeneity which defies simple classification. Secondly, we consider whether Levinas‘ thought can properly be called messianic as such: we emphasize the functional character of messianism in Levinas, and how messianism is structurally re-ordered according to the function it takes on. We explore namely the manner in which messianic discourse in Levinas is implicated in the construction of a certain humanism, and how it is called upon to negotiate the obstacles which such a construction faces. Re-ordered according to this regime, we consider whether what unites the various expressions of messianism in Levinas is not the articulation of a discourse which progressively realizes its non-eschatological status. We frame this thesis in terms of what we call the 'parody' of messianism, a notion we derive from Nietzsche. This complicates any notion of a 'turn' within postmodernism; and yet it can be shown to be an intensification of a certain tendency at work already within normative Judaism.
7
Davison, Sarah Jane. "Parody and Modernism : The Practice of Parody and Pastiche in Early Twentieth-Century Literature." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519760.
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8
Sibley, David J. "The sixteenth-century parody mass." Thesis, University of Nottingham, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.254959.
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9
Danielewicz, Joseph Robert. "Parody as Pedagogy in Plato's Dialogues." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429860470.
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10
Müller, Beate. "Komische Intertextualität : die literarische Parodie /." Trier : Wiss. Verl, 1994. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=005887648&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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11
Tekin, Kugu. "Parody In The Context Of Salman Rushdie." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611466/index.pdf.
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The aim of this dissertation is to trace the function of parody in the context of Salman
Rushdie&rsquos magical realistic fiction. The magical realism of Rushdie&rsquo
s fiction presents a complex Third World experience which constitutes an alternative to, and challenges the Eurocentrism of western culture. The form and content of Rushdie&rsquo
s novels are so intense and rich that the whole body of his work comes to the fore, not as an outcome of the two clashing civilisations, that is East and West, but rather as an immense medley of the two cultures. While &ldquo
writing back to the empire&rdquo
, Rushdie draws on innumerable sources ranging from such grand narratives as Genesis, Iliad, Ramayana, A Thousand and One Nights, Hindu, Persian, Greek, and Norse mythologies, and local cultural traditions, to modern politics mingling fiction and reality in a broad historical perspective, so that his work becomes a synthesis of East and West, an international aesthetic plane where diversities express themselves freely. The dissertation focuses particularly on Rushdie&rsquo
s Midnight&rsquo
s Children, The Moor&rsquo
s Last Sigh,and Shalimar The Clown.
it contains an introductory chapter, a theory chapter, including two subchapters, a development chapter with three subchapters which analyse the above mentioned three novels, and a conclusion chapter. The introductory chapter presents an overview of the issues to be investigated in the subsequent chapters. The theory chapter deals with the concepts of colonialism, nationalism, and the past and the present of postcolonial literary theory with reference to its leading theorists, such as M. Foucault, E. Said, H. Bhabha, and other recent critics
this chapter also introduces magical realism by reference to a number of current definitions and approaches. The following three subchapters, which focus on the analyses of the three novels, explore how parody functions both thematically and structurally in relation to Rushdie&rsquo
s magical realism. The concluding chapter demonstrates that Rushdie&rsquo
s work creates an unrestrained plane of an international culture where multiple visions and diversities can find a room to assert themselves.
12
Dudink, Peter. "Hoax, Parody, and Conservatism in Harry Potter." Thesis, University of Waterloo, 2002. http://hdl.handle.net/10012/760.
Full textAbstract:
This essay examines the ideology or value system implicit in Joanne Rowling's Harry Potter series. Many of the images in the series, despite being fantastic or empirically unprecedented, are minor transformations of popular books and of our very common physical and cultural reality. However, these imaginative transformations of mundane reality actually imitate, reiterate, and conserve common and contemporary secular values. On a third level the thesis will show that this conservation of contemporary secular values is undermined by a cynical and very subtle transformative element of satire, parody, and criticism.
Depending on the theme explored by the particular chapter, a different level of meaning might be evident. Chapter One discusses Rowling's parody of popular secular values. Chapter Two focuses on her parody of Christianity. Chapter Three focuses on Rowling's representations of nature and technology and on her parodic reversal of their traditional representation in similar literature. Chapter Four discusses how Rowling has made a critical appropriation of popular culture's reliance on thoughtless and 'instant' solutions, and discusses how she has made a mockery of her own hero, Harry Potter.
The conclusion discusses the value of literary devices that transform literal meanings and verbal images into new meanings and images, and concludes that Harry Potter should be read cautiously. A second conclusion is that the author's claim the series is incomplete is a hoax. This argument is defended with a demonstration that the existing four Harry Potter books form a complete unit, and with a reminder that an element of hoax pervades Rowling's entire series.
13
Jacques, Sabine. "The right to parody? : a comparative analysis." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/32990/.
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Copyright law grants exclusive rights to right-holders which prevent others from exploiting copyright-protected works without authorisation. However, this right is not absolute. Legislation includes specific exceptions which preclude right-holders from exercising their prerogatives in particular cases which foster creativity and cultural diversity within that society. The parody exception pertains to this ultimate objective by permitting users to reproduce copyright-protected materials for the purpose of parody. While the parody exception is not harmonised at international level, the EU Information Society Directive offers EU Member States the option of including a parody exception within national copyright legislation as part of a harmonising framework. The UK took advantage of this option, and introduced a new copyright exception for parody in October 2014. To understand the meaning and scope of the new exception in UK copyright law and to analyse whether EU harmonisation of the parody exception is achievable, this thesis examines and compares four jurisdictions which differ in their protection of parodies: France, Australia, Canada and the United Kingdom. This thesis is concerned with finding an appropriate balance between the protection afforded to right-holders and the public interest in encouraging parody. This is achieved by analysing the parody exception to the economic rights of right-holders, the application of moral rights and the interaction of the parody exception with contract law. As parodies constitute an artistic expression protected under the right to freedom of expression, this thesis considers the influence of freedom of expression on the interpretation of this specific copyright exception. Furthermore, this thesis aims to provide guidance on how to resolve conflicts where fundamental rights are in conflict.
14
Bourkiba, Larbi Abdelrhaffar. "Parody and ideology: The case of Othello." Doctoral thesis, Universitat de València, 2005. http://hdl.handle.net/10803/9791.
Full textAbstract:
This disertation is composed of a preface introducing the themes, the data and the reasons after their selection. My concern is to investigate some artistic and social aspects of parody, through the study of Shakespeare's Othello, and Dowling's 19th century and Welles' and Marowitz' 20th century parodies. Chapter one includes the theory. It studies the concepts of parody and ideology, and gives an approach of the politics of reworking Shakespeare. Shakespeare's patronage writings were found conservative. His elevation in the 18th century as a hero of wit against the 'French' and his canonizing in literature minimized negative criticism to his works. In the 19th century, veneration to Shakespeare continued though many restrictions were imposed on the performance of serious tragedies. Victorian parodists used subterfuges, such as singing and dancing, in order to be permitted to perform the tragedies. This is the case of Dowling's Othello Tavestie. In the 20th century, literature became a second hand writing, Shakespeare's works were reworked against a mark of social concerns. Welles' film and Marowitz' collage are representatives of this reworking and are concerned with the problems strangers suffer in occident. Ideology is a found to difuse term and its defining characteristics needing and common to other domains. Parody is ideological in its relation with art from where it sucks its form, and with society from where it lends its moral and aesthetic norms. It has a status of authorized transgresion, and often uses satire to denounce what it thinks old and immoral in the original texts. In the conclusion, I see that parody has incessantly displaced the objectives of its writings and adapted itself to the ideological and aesthetic interests of its public. In the age of Shakespeare its objective was to enrich the new English culture by model-works of Italian Renaissance artists. The use of tragedy helped Shakespeare emphasize human weakness before the forces of evil and disorder and purge his public from disobedience and false appearances (chapter 2). In the nineteenth century, parody assimilated satire, burlesque, and ridicule to denounce social and artistic flaws. Dowling criticizes the oppression of the privileged official theatre to the illegitimate one. The comic transposition of the canon and the ridiculing of action and actors celebrates a popular carnival and taught realism by fixing the eyes of its humble public on vulgar objects and trivial actions proper to their way of life (chapter 3).By the times of Welles, imitating and rewriting ancient works were being considered necessary for new creations: The reflexive second degree literature. The cinema, by its visual and auditive effects, and its sophisticated techniques and illumination, came to pursue the role theatre as a denuder of literature. While parodying Othello, Welles questions the tragedy's conventions of causality and lineal composition by inverting the chronological order of the story and anticipating the final action through starting the film from the last scene of Othello's funeral and Iago's punishment, and narrating the story as flash backs in Iago's memories (chapter 4). Later on, parody gained a status equivalent to a vision of the world, with proper cultural and ideological implications. It became a reflexive archeology of texts which analyzed the conditions of composition and reception of these texts. In An Othello, Marowitz first inverted the text of Shakespeare, then transtextualizes the tragedy giving it an actual context and a vivid situation (multi-racial marriage in a post-holocaust society). He resumes to satire to crystallize his moral and aesthetic vision, in a denouncing mood of what he sees as incongruities of Shakespeare's work and society (the tragedy empathy and the society's tolerance with outsiders), (chapter 5).La parodia es un campo de ideología por dos razones: por su relación con el arte de donde saca su forma, y en relación con la sociedad donde reside sus valores morales y estéticos. És una transgresión authorizada que empieza como una crítica al viejo texto y termina como su protector. Ésta disertación estudia la transformación de una misma obra literaria: la historia de Cintio sobre el moro de venecia, en la tragedia de Otelo por Shakespeare en 1604, en la burleta de Otelo por Maurice Dowling en 1839, en un film melodramático por Orson Welles en 1952, y finalmente en un colage postmodernista por Charles Marowitz en 1972. Del estudio de éstas obras se ha podido llegar a la conclusión de que el acto de re-escribir un texto conlleva la introducción de cualquier cambio el parodista juzga necesario para modernizar el viejo texto y amoldarlo a las nuevas normas socials y estéticas; pero ésta recontextualization del viejo texto es al mismo tiempo el chivato de las intenciones ideological que el parodista intenta inculcar en el receptor.
15
Sibley, David J. "Parody technique in the Masses of Palestrina." Thesis, University of Nottingham, 1990. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632408.
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16
Bayless, Martha. "Parody in the Middle Ages : the Latin tradition." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385364.
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Gibson, Robert Raphael. "Parody lost and regained : Richard Strauss's double voices." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:8e0fdace-c499-4ca4-a9d8-a312d33d78c6.
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This thesis argues the case for the parodic voice in a range of works by Richard Strauss. In doing so, it challenges the long-held view of Strauss as a composer whose music has little to offer beyond superficial grandeur and shallow sentimentality; music which may be impressive in some respects but, ultimately, remains stubbornly one-dimensional. Parody — a double-voiced device — plays with texts and subtexts and, by definition, insists upon the presence of dimensions additional to the one located on the surface. Thus, the grandly pompous or sweetly sentimental exterior of a given passage may function within a context in which the pomposity or sentimentality is undone, critiqued, or, at very least, dented by the critical presence of a parodic voice. Indeed, I argue that we should be particularly sceptical of reading at face value those episodes in Strauss's works where the trivial, the banal, or, very often, the sublime is (apparently) projected, for this is frequently a cue for the parodic. The emergence of Strauss's parodic voice can be traced to a work relatively early in his career: the Burleske for piano and orchestra (1886). Here, in this quasi piano concerto (or, indeed, anti-piano concerto) we find double-voiced strategies used to telling effect. This study therefore takes the Burleske as its starting point and uses the work as a means of introducing parody theory generally. Subsequent chapters consider in detail specific episodes in Der Rosenkavalier (1910), Ariadne auf Naxos (both the 1912 version and the 1916 revision), and Intermezzo (1923). Thus, the body of works that form the core of this investigation are firmly rooted in the period of Strauss's so-called 'volte-face', the post-Elektra period when the composer was conventionally thought to have turned his back on progressive trends and produced one shallow, empty, irrelevant work after another. Examination of the composer's parodic voice suggests otherwise.
18
Shallcross, Michael Ronald. "The worshipper's half-holiday : G.K. Chesterton and parody." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10662/.
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This thesis constitutes the first study of G.K. Chesterton’s status as a theorist and practitioner of parody. Employing a combination of original archival research, historical contextualisation, theoretical analysis, and textual close reading, I demonstrate that an extensive range of parodic strategies permeate Chesterton’s diverse output, from his detective fiction, to his nonsense verse, journalism, novels, and critical essays. I particularly focus upon elaborating the affinity of Chesterton’s work with the literary and cultural theory of Mikhail Bakhtin, in relation to the latter’s principle of dialogism, and his account of the parodic basis of the carnivalesque. In this context, I interpret The Man Who Was Thursday (1908) and Father Brown (1910-1936) as archetypal dialogic and carnivalesque texts. Reading Chesterton in this way not only produces a unified framework through which to understand his aesthetic method, but also enables a far-reaching reassessment of his relationship to aesthetic programmes that he opposed. In particular, I discuss his parodic engagement with the ascendant tropes of literary modernism, employing archival research into his youthful friendship with E.C. Bentley and close textual analysis of his later relationship to T.S. Eliot to trace the chronology of Chesterton’s interaction with diverse voices of cultural modernity. In pursuing this analysis, I use the simultaneous inscription of similarity and difference encoded within the parodic act as a means of questioning compartmentalising approaches to genre and literary history which militate against accurate valuation of essentially dialogic thinkers such as Chesterton. In this way, I apply Chesterton’s work as an exemplary model through which to develop a more comprehensive theory of the culturally disruptive operation of literary dialogism.
19
Cobby, Anne Elizabeth. "Ambivalent conventions : formula and parody in old French /." Amsterdam ; Atlanta (Ga.) : Rodopi, 1995. http://catalogue.bnf.fr/ark:/12148/cb35789041p.
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Version remaniée de: Th. Ph. D.--University of Cambridge, 1984. Titre de soutenance : Formulaic parody in old French : the contribution of formulae to parody in the fabliaux , "Aucassin et Nicolette" and "Le voyage de Charlemagne à Jérusalem et à Constantinople.Bibliogr. p. 165-180.
20
Brill, Patrick John. "The parody masses of Tomás Luis de Victoria /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063380r.
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21
Korkut, Nil. "Kinds Of Parody From The Medieval To The Postmodern." Phd thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606707/index.pdf.
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This study approaches parody as a multifarious literary form that has assumed diverse forms and functions throughout history. The study handles this diversity by classifying parody according to its objects of imitation. Three major parodic
kinds are specified: parody directed at texts and personal styles, parody directed at genre, and parody directed at discourse. In the light of this classification, this study argues that different literary-historical periods in Britain have witnessed the prevalence of different kinds of parody –
a phenomenon that may be accounted for mainly through the dominant literary, cultural, social, and ideological characteristics of each period. Although all periods from the Middle Ages to the present are considered in this regard, the study attributes a special significance to the postmodern age, where parody has become not only an essential area of inquiry but also a highly popular and widely produced literary form. In line with this emphasis, the study contends further that postmodern parody is primarily discourse parody. It argues, in other words, that discourse is the most essential target of parody during the postmodern age &
#8211
a phenomenon which can again be explained through the major concerns of postmodernism as a movement. In addition to situating parody and its kinds in a historical context, then, this study engages in a detailed analysis of parody in the postmodern age, preparing the ground at the same time for making an informed assessment of the direction parody in general and its kinds in particular may take in the near future.
22
Onal, Elif. "Analysis Of The Use Of Parody In Jeanette Winterson." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609080/index.pdf.
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This study aims to analyze the use of parody in Jeanette Winterson&rsquos Oranges Are Not the Only Fruit and Boating for Beginners. Winterson uses parody as a means to re-contextualise and re-interpret the Biblical material in a playful manner in these two novels. Moreover, parody becomes a means for her to revise certain other texts and discourses. Due to these parodic references to other texts and discourses, the novels have an intertextual structure and they are open to a variety of interpretations instead of releasing a single meaning.
23
Jiramonai, Chalermkwan. "Online Parody Videos and the Enactment of Cultural Citizenship." Thesis, Uppsala universitet, Medier och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-175392.
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This thesis – Online Parody Videos and the Enactment of Cultural Citizenship – examines the enactment of the practice of cultural citizenship in new media contexts. Through a cultural study approach, it seeks to find how citizens enact the practices of cultural citizenship, participate in public deliberation, engage in politics and construct identities as citizens in an informal way through digital creativity. In this thesis, “JorKawTeun,” an online news parody program, is selected as a case study. The main research question is, “based on the case study of “JorKawTeun,” how are the practices of cultural citizenship and popularization of politics enacted through online parody videos in Thailand? Specifically, how is humor utilized in the videos, and what rhetorical strategies/tactics are used to make political points?” The theoretical framework is comprised of monitorial citizenship and cultural citizenship. In addition, the concept of “parody as genre” is also employed in order to be implemented in the analysis of the techniques used in the videos. The methodology is critical discourse analysis. The findings of the study reveal the complex and paradoxical dimensions of citizenship, the tendency towards individualized political participation, and the subversive potential of parody: a vernacular form of political communication that is remediated in a media convergence environment. Finally, the thesis aims at contributing to an understanding of the relationship between popular culture and politics in contemporary mediated contexts, as well as the rethinking of the notion of citizenship, political participation and civic engagement based on a culturally-oriented perspective.
24
Connolly, Michael. "Genre and parody in the music of the Beatles." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52892.
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From the earliest outbreak of “Beatlemania” in 1963 to the announcement of their breakup in 1970, The Beatles fulfilled, exceeded, and reformed our conceptions of popular music. They have enjoyed an enduring popularity with critics and audiences and have cemented their position as one of the most celebrated acts in popular culture. Although it would be difficult to attribute their success to a single factor, it could be argued that their eclectic sound ensured their mass appeal. As their careers progressed, The Beatles effortlessly combined and moved between different genres. Many of these genres were atypical for popular music of the 1960s and can be regarded as parody. This thesis approaches parody as an important stylistic trait of The Beatles’ music.
Parody is a broad concept that can be found in a number of forms of art and entertainment. By drawing from literary criticism and musicological discourse, this study develops a broader understanding of parody in which popular musicians evoke the music of another genre through borrowing and create a critical distance between their work and the preexisting one. Further investigation reveals how The Beatles applied parody to their music and how it was used by the band to connect with their listeners. In such songs as “Back In The U.S.S.R.” and “Happiness Is A Warm Gun,” The Beatles parody different musical genres in order to evoke social commentary. Genre parody is not exclusive to individual songs. It is one of the unifying threads in Sgt. Pepper’s Lonely Hearts Club Band, in which The Beatles parody the English music hall and use genre to connect themes on the album. Despite these instances, parody remains an underexplored practice in their music. Many scholars of the band will acknowledge the musical and critical elements associated with parody; however, they do not use the term, nor identify parody as a recurring practice in The Beatles’ music. This thesis hopes to shed light on this topic and add to our understanding of the rich legacy of The Beatles.Arts, Faculty of
Music, School of
Graduate
25
Andersen, David Hess Jonathan M. "Parody as criticism the literary life of Eulalia Meinau /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1550.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Germanic Languages and Literature." Discipline: Germanic Languages; Department/School: Germanic Languages.
26
Newbould, Mary-Céline. "Parody in eighteenth-century literature, in particular Laurence Sterne." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613260.
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27
Brownlee, Pamela Pender. "“Changeably meaning vocable scriptsigns”: Protean parody in Joyce’s “Telemachiad”." Case Western Reserve University School of Graduate Studies / OhioLINK, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=case1056657886.
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Gribble, Lyubomira Parpulova. "Russian verse parody 1815-1870 : literary and social functions /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487678444258622.
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Naidansuren, Ochirbat. "Political parody: The new image of Mongolian contemporary art." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/379.
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This research investigates the paradigm of parody in Mongolian political art through exploring its connection with the mythological figure of the manggus. As it has emerged in the Mongolian visual art of parody, the manggus figure incarnates various fears. Fundamental to this exegesis is researching the national sensibility for using parody in Mongolian art as a response to fear and as a mode of resistance-this is a new investigation in academic scholarship into Mongol identity and art.
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FERRAGAMO, EMANUELA. "Christian Morgenstern's Parody in the Context of his Poetry." Doctoral thesis, Università degli studi di Genova, 2018. http://hdl.handle.net/11567/932956.
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Guimarães, Lealis Conceição [UNESP]. "A ironia na recriação paródica em novelas de Moacyr Scliar." Universidade Estadual Paulista (UNESP), 2005. http://hdl.handle.net/11449/103690.
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guimaraes_lc_dr_assis.pdf: 833311 bytes, checksum: 4d7622827843bbea4bf2bc6349e90034 (MD5)O universo da criação literária de Moacyr Scliar (1937 - ) funda-se na recriação paródica do insólito filtrado pela visão irônica do escritor, que emprega o recurso da mise-en-abyme para estruturar sua poética. Para comprovar essa afirmação, selecionamos três novelas: Mês de cães danados: uma aventura nos tempos de Brizola (1977), A mulher que escreveu a Bíblia (1999) e Os leopardos de Kafka (2000). Nas obras citadas, enfatizamos a ironia como princípio da carnavalização na relação paródica entre a ficção e a história do Brasil, a Bíblia e a Revolução Russa, respectivamente. A intensidade da ironia scliariana é característica de uma espécie de parábola contemporânea, que combina a fantasia com a tragicômica realidade. Quanto ao aspecto estrutural das novelas, trata-se da especularidade narrativa, configurada pela mise-en-abyme, como postula Dällenbach (1977), uma vez que tal processo constitui um dos sustentáculos de apropriação do insólito pela ironia da paródia.
Moacyr Scliar's literature is based on the parody of the unusual filtered by the ironic author's view that uses the mise-en-abyme technique to organize his art of writing poems. In order to support this statement, three novels were analysed: Mês de cães danados: uma aventura nos tempos de Brizola (1977), A mulher que escreveu a Bíblia (1999) and Os leopardos de Kafka (2000). In these works, irony was concerned as principle of caranivalization in the relation between fiction and Brazilian history, the Bible and the Russian Revolution respectively. The intensity of the author's irony is the characteristic of a kind of contemporary parable that matches fantasy with the tragicomic reality. The organization of the novels is focused on the narrative refletion, formed by mise-en-abyme, as Dällenbach (1977) postulates, since such process is considered one of the supports of the unusual appropriateness by the irony of parody.
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Napiorski, Nancy Lynn. "Petronius and the Greek parodic tradition /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11462.
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Martin, Michelle H. Trites Roberta Seelinger. "Periods, parody, and polyphony ideology and heteroglossia in menstrual education /." Normal, Ill. Illinois State University, 1997. http://wwwlib.umi.com/cr/ilstu/fullcit?p9819894.
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Thesis (Ph. D.)--Illinois State University, 1997.Title from title page screen, viewed June 29, 2006. Dissertation Committee: Roberta Seelinger Trites (chair), Jan Susina, Bruce W. Hawkins. Includes bibliographical references (leaves 170-177) and abstract. Also available in print.
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Kallemeyn, Rebecca. "ESCAPIST CATHARSIS: REPRESENTATION, OBJECTIFICATION, AND PARODY ON THE PANTOMIME STAGE." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211920375.
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Yau, Vickie Wai Ki. "Parody and nostalgia : contemporary re-writing of Madame White Snake." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/855.
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Between 1950s and 1990s, Hong Kong had a frenzy for writing and re-writing materials from classical literature and myths. The myth of Madame White Snake is one of the most well known stories that survived a long period of time. The earliest known version of Madame White Snake was a supernatural story in 1550, which later became a prototype of numerous subsequent versions starting in 1624. This prototype was repeatedly re-written throughout history and was also made into different genres including plays, playlets, novels, films and television dramas. One of the latest versions was written by Li Pikwah, a popular novelist in Hong Kong, in 1993, titled, Green Snake. Green Snake is a parody of Madame White Snake written from the perspective of Little Green, the servant of Madame White and an auxiliary figure in the tradition. The novel is also an autobiography of Little Green, who satirically criticizes the story of Madame White Snake in retrospect. Little Green’s autobiography is a nostalgic reflection of the past as well as a critique of the structure of the story that has survived throughout history. These implications made in the story hint at the author’s personal yearning for traditional China as a Chinese resident in Hong Kong. Her nostalgia for traditional China is not idealistic but paradoxical, because her re-writing of the story was an avenue to understand and re-negotiate her identity. Li is also well-known for her other novels, which are parodies of classical literature, traditional myth and legend. Many of these works were also made into films in the 80’s and 90’s. These novels and films were part of a phenomenon in contemporary Hong Kong literary and popular culture that tried to grasp a cultural connection with traditional China in order to embrace the return to mainland China in 1997 after a hundred years of British colonial rule.
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Tate, Mark Eugene. "Religious processions, folklore and parody : Holy Week in Leon, Spain." Thesis, London School of Economics and Political Science (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294750.
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Martin, Paul S. "Parody and parôidia : a study in literary genre and mode." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/29154.
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This thesis explores the relationship between the genre of Greek poetry called parôidia and parody as a literary mode. I argue that the poetics of parôidia as genre are inextricably linked to the poetics of parody as mode. This argument produces a new methodological approach to the concept of parody, which recognizes its idiosyncratic nature. Since everyone has different ideas about what parody is, there is no absolute definition of parody. Instead, I use approaches drawn from cognitive linguistics and poetics to illuminate the parodic script, a set of terms commonly used to explain parody’s effect but which in themselves do not define parody. This methodology is supported by an appendix that analyses the terminology of parody in Greek (!αρῳδία, !αρῳδή, etc.). I argue that the noun !αρῳδία is only ever found with a generic meaning before the first century BC. The main body of the thesis examines six poems from this genre, parôidia, to demonstrate how this genre influenced Greek ideas about parody. This thesis is the first literary study of all of the major poems belonging to the genre. Furthermore, it is the first study of parody to appreciate fully the importance of this genre for notions of parody. While most studies of parody have centred on Greek Comedy, I show that this genre, which has been almost entirely left out of discussions of parody, is essential for the development of parody as a mode. As the first detailed literary study of the genre parôidia, the central chapters provide new interpretations of the genre’s most important poems. In several of these, I show how the poems engage in different kinds of satire. For instance, Timon uses Sceptic philosophy against the dogmatic sophists, and Archestratus uses tropes drawn from the figure of the comic mageiros. In other chapters, I argue that the humour of the poems derives in part from their manipulation of the audience’s expectations. Thus the Batrachomyomachia leads us to anticipate divine intervention, but uses this expectation to create humorous reveals at the end of the poem. In each chapter, I aim to show specifically how the poem’s parody of epic contributes to its construction of meaning. The conclusion then brings these chapters together to present the bigger picture of Greek conceptions of parody that emerge from these discussions. What links the poetry of a Sceptic philosopher and a shit-stained nobody from Thasos? Are there any similarities between the espousal of fine cuisine in Archestratus and the absurdification of the Batrachomyomachia? I conclude by making three claims: 1) parody’s allusive form must be understood as multifaceted and can be approached through several frameworks; 2) parody is not inherently critical of the text it parodies, but can use the process of parody as a framework for satirizing other figures; 3) although frequently regarded as a “low” or “playful” form, parody incorporates its supposedly inferior literary position into its construction of meaning. Parôidia, I argue, is not only a product of its specific literary and cultural context but also contributes to the shaping of parody in Greek thought.
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Thomerson, John P. "Parody as a Borrowing Practice in American Music, 1965–2015." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1510063658786716.
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Kruger, Caue. "Experiencia social e expressão comica : os Parlapatões, Patifes e Paspalhões." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282027.
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Orientador: Heloisa PontesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O desafio da análise sociológica da arte está em esmiuçar as relações entre forma, conteúdo e contexto, indo além das concepções que tratam a arte de forma desconectada do mundo social, concebendo o fenômeno estético como mero ¿reflexo social¿, produto de um ¿gênio criador¿ ou a partir de um ¿modelo ritual de inversão¿. O presente trabalho tem a pretensão de contribuir para a discussão sobre arte e sociedade, uma vez busca compreender e explicar a relação entre a forma expressiva cômica escolhida por um grupo de jovens artistas paulistanos, sua trajetória e o contexto social e artístico no qual se inseriu. A partir dessa perspectiva, pretende demonstrar como as características do grupo Parlapatões, Patifes e Paspalhões (que vieram a se tornar, se não a maior, uma das mais importantes referências de comédia no país), sua linguagem cênica anárquica, sua ¿estética do escracho¿, ancorada na tradição circense, no palhaço, na improvisação e na relação direta com a platéia, se conectam às tradições imemoriais da comédia, mas também, e principalmente, a um ideário e a um modus operandi inscrito no campo teatral brasileiro. Partindo das fecundas inspirações de Victor Turner (1982), Mikhail Bakhtin (1999) e Pierre Bourdieu (2005), bem como de uma incursão histórica no teatro paulistano moderno e uma experiência etnográfica com os Parlapatões, o trabalho destaca como a figura tradicional do palhaço e do circo-teatro passam a ser o suporte de diversos significados específicos no campo teatral das décadas de 80 e 90. Nesse contexto de revalorização da linguagem circense e cômica no teatro, os Parlapatões, Patifes e Paspalhões são, ao mesmo tempo, uma das principais causas e um dos mais irreverentes efeitos
Abstract: The challange of the sociology of art is to associate form, content and context, going further than the analysis that treat art and its social world separately (as a ¿reflex¿, accomplishment of a genius or based in a ritual model of inversion). This work aims to contribute to the discussion between art and society, once it intends to understand and explain the relation between the comic form of expression chosen by a group of young artists of São Paulo, its career and the context in which it was inserted. Starting from this point of view, it intents to show how the characteristics of the group Parlapatões, Patifes e Paspalhões (that have become one of the major references in comedy of Brazil), its anarchic language, its derisive style, improvisation and the direct relation with the audience based on the clown and the circus tradition, are connected with the old tradition of comedy, but as well, and mainly, with an modus operandi of the brazilian theater. Inspired by Victor Turner (1982), Mikhail Bakhtin (1999) and Pierre Bourdieu (2005), this work combines one incursion in the history of modern theater in São Paulo and an ethnographic experience to argue that the figure of the clown chosen by the group absorb many specific meanings in the theatre world of the eighty and ninety decades. In this context of valorization of the language of the circus and clowns, the Parlapatões, Patifes e Paspalhões, are one of its main causes, and also one of the most irreverent effects
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Antropologia Social
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Tromly, Luke. "Sabotaging utopia, politics and self-parody in A.M. Klein's short fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22407.pdf.
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Dyer, Klay. "Parody and the horizons of fiction in nineteenth-century English Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/NQ32443.pdf.
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Krasner, David. "Resistance, parody, and double consciousness in African American theatre, 1895-1910 /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1996.
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Thesis (Ph.D.)--Tufts University, 1996.Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 315-341). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Gray, Jonathan. "Reading through intertextuality : television, parody and the case of The Simpsons." Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406769.
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Henry, Barbara J. "Theatrical parody at the Krivoe zerkalo : Russian #teatr miniatyur', 1908-1931." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361748.
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Fenn, Nirmali Kathlin. "Perter Maxwell Davies, Vesalii Icons : Narrative,Ritual,Image,Parody and Theatre." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530028.
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Tan, Peter Kok Wan. "A stylistics of drama : Stoppard's travesties, with particular reference to parody." Thesis, University of Edinburgh, 1989. http://hdl.handle.net/1842/19338.
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Zapkin, Phillip. "“Culturally Homeless”: Queer Parody and Negative Affect as Resistance to Normatives." ScholarWorks @ UVM, 2011. http://scholarworks.uvm.edu/graddis/245.
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The main theoretical thrust of my project involves the political uses of parodically performing shame and shaming rituals in resisting normative regulation. I argue that parodic performances of this negative affect—traditionally deployed to erase, obscure, and regulate queers—can expose how shame regulates the gender/sexuality performances of straight people as well as queers. I view this project primarily as a tactical shift from the parodic performances outlined by Judith Butler in texts like Gender Trouble, and I feel that the shift is important as a counter measure to increasing homonormative inclusion of (white, middle class) gays and lesbians into straight or neoliberal society. The first section of my thesis is dedicated to exploring theories of homonormativity. I work primarily from Michael Warner’s The Trouble with Normal, which is a queer polemic, and Lisa Duggan’s The Twilight of Equality, which contextualizes homonormativity in the cultural project of neoliberalism. Homonormativity is, in essence, the opening of cultural space in mainstream society for a certain group of gays and lesbians—those who are “the most assimilated, genderappropriate, politically mainstream portions of the gay population” (Duggan 44). As Warner discusses at length, the shift from queer to conservative gay interests has shifted attention from issues like HIV/AIDS research and physical protection of queers to gay marriage and the repeal of “Don’t Ask, Don’t Tell,” which are causes that primarily benefit the gays and lesbians already most assimilated to straight culture. Section II focuses on the work of Judith Butler and other theorizations of parody. Butler’s theory suggests that gender and sexuality consist of a set of continuously repeated performances, and that by performing gender one is constituted as a subject. Butler argues that it is impossible to step outside gender—to stop performing, as it were —because there is no agency prior to the imposition of gender. She locates the only possibility for resistance to gender as a socially regulatory myth structure in the failure to properly perform gender, or in performing in such a way that gender is exposed as always already performative. I have paired Butler’s theory with Linda Hutcheon’s A Theory of Parody, which examines the uses, limitations, and value of artistic parody. These two theorists, of course, have different goals, which complicates the potential for combining their work. In the final section I develop my own theory, which largely takes its cue from Butler’s notion that we can resist gender/sexuality regulation through parodic performance. But, whereas Butler argues for parodic performances of gender/sexuality, I suggest the usefulness of parodying shame and shaming rituals. Shame—the social imposition of it, as well as the desire to avoid it—has long been a force maintaining proper behavior in the largest sense, but I am concerned specifically with the regulation of gender and sexual performances. Queers (understood broadly) and women have long been the targets of shame, while straight males have long been the performers of shaming rituals—mockery, brutal laugher, violence. What I suggest is that through an appropriation and parodic reinterpretation of these shaming rituals and shame itself, queers can expose the centrality of shame in repressing not only queer existence and performance, but in restricting the performative possibilities of straight people. This new notion of performative resistance is especially important as some gays and lesbians enter straight society and become subject to its shaming restrictions, but also become complicit in shaming those queers still outside the realm of homonormative possibilities
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Essary, Brandon K. Cervigni Dino S. "Religious parody and the economy of significance in Decameron day five." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2395.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages Italian." Discipline: Romance Languages; Department/School: Romance Languages.
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Anan, Nobuko. "Playing with America parody and mimesis in contemporary Japanese women's performance /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930321591&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Carignano, Maria Laura Moneta. "As formas do humor. Copi : um caso argentino /." Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/91542.
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Orientador: Sylvia Helena Tellarolli de Almeida LeiteBanca: Maria Dolores Aybar Ramirez
Banca: Pablo Fernando Gasparini
Resumo: A pesquisa visa estudar a obra de Copi ( Raúl Damonte Botana 1939-1987), escritor argentino, num âmbito maior de questões, que servirão de apoio teórico- crítico possibilitando uma abordagem mais ampla. Da totalidade de sua obra (ele escreveu romances, peças teatrais e é autor também de desenhos e quadrinhos humorísticos), enfatizar-se-á o estudo da série teatral e dentro dela três peças: Cachafaz, A sombra de Wenceslao, e Eva Perón. Elas foram escolhidas por serem altamente representativas da estética controversa, humorística, paródica e irônica do autor. Primeiramente, tem-se como objetivo realizar uma investigação das formas do humor relacionando-as aos textos do autor argentino e procurando uma leitura crítica que permita repensar essas categorias à luz das particularidades da obra de Copi. Num segundo momento, situar-se-ão estas obras do autor em relação à tradição literária argentina. Elas devem ser lidas como um diálogo com a literatura e a história argentina, com os mitos e estigmas de sua cultura (tanto literários quanto históricos) que compõem ou têm composto os "grandes traços" daquilo que se supõe ser a "argentinidade". Em relação com o primeiro objetivo, estudar-se-á teoricamente a gênesis, as especificidades e diferenças entre o humor, a comicidade, a paródia, a sátira e a ironia e formas afins, fazendo um percurso pelos principais filósofos e teóricos que abordaram estas questões. Estudar-se-á especialmente a parodia, por ser ela a forma constitutiva da escrita de Copi, mas também por ser uma das formas recorrentes da arte (tanto literária quanto pictórica) das ultimas décadas. Em relação ao segundo objetivo, ao vincular a obra de Copi a tradição literária argentina, realizar-se-á um estudo dos seguintes gêneros e movimentos da literatura rioplatense: gauchesca, sainete, grotesco, criollismo, tango. A intenção da pesquisa visa esclarecer e fornecer uma leitura...
Abstract: This research aims to study the work of Copi (Raúl Damonte Botana 1939-1987), Argentinean writer, in a broader scenery of topics, that will be of theoretical and critical support, to permit a more general boarding. From the totality of his work (he wrote novels, theatrical plays, and is also the author of cartoons and humoristic comics), we will emphasize the study of his theater and within it three plays: Cachafaz, A sombra de Wenceslao, and Eva Perón. They were chosen because they are highly representative of the author's controversial esthetics, humorous, parodic and ironic. Our first objective is to investigate about the forms of humor relating them to the texts of the Argentinean author and looking for a critical reading that allows us to represent those categories in the light of the particularities of Copi's work. In a second time, we are going to situate the author's texts in relation to the Argentinean literature. His work must to be read as a conversation with the Argentinean literature and history, with the myths and stigma of its culture (both literary and historical) that are part or have been part of the "great traits" of what is supposed to be the "argentinity". In relation to our first objective, we will study the genesis, the specificity and the differences between the humor, the hilarious, the parody, the satire and the irony and related forms, beginning from the main philosophers and theoretic whom studied these themes. The parody is specially going to be analyzed, not only because it is the form that constitutes Copi's work, but also because it is one of the recurrent forms of the art (both literary and pictorial) of the lasts decades. In relation to our second objective, when relating Copi's work to the Argentinean literature, we are going to study the following genera and movements of Rioplatense literature: gauchesca, sainete, grotesco, criollismo, tango. The intention of this research aims to...
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