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Sulistyorini, Wiwin, and Karkono Karkono. "Parodi dalam Rubrik “Terminal” pada Situs Mojok.co." JoLLA: Journal of Language, Literature, and Arts 1, no. 9 (September 27, 2021): 1263–79. http://dx.doi.org/10.17977/um064v1i92021p1263-1279.
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Abstract: This research was conducted to determine the topic, meaning, and function of parody contained in the "Terminal" rubric on the Mojok.co website. The “Terminal” rubric contains a collection of articles submitted by Mojok.co contributors consisting of several categories, namely gaya hidup, hiburan, pojok tubir, kampus, politik, media sosial, nusantara, and luar negeri. This research is a qualitative research that uses documentation techniques for data collection. There are two theories used in this research, Teun van Dijk's theory of critical discourse analysis for topics and meaning analysis, and M.A.K. Halliday's theory of language functions for function analysis. The results of this study indicate that there are three parody topics discussed in the article "Terminal" rubric, namely the Omnibus Law, the performance of politicians, and historical truth in a documentary. The meaning of parody in the article rubric "Terminal" is relevant to the situation, events, and political figures in Indonesia. There are seven parody functions found in the “Terminal” rucbric article, namely instrumental function, regulatory function, representation function, interactional function, heuristic function, personal function, and imaginative function. Keywords: parody, topic, meaning, function Abstrak: Penelitian ini dilakukan untuk mengetahui topik, makna, serta fungsi parodi yang terdapat dalam rubrik “Terminal” pada situs Mojok.co. Rubrik “Terminal” berisi kumpulan artikel yang dikirimkan oleh kontributor Mojok.co yang terdiri dari beberapa kategori, yakni gaya hidup, hiburan, pojok tubir, kampus, politik, media sosial, nusantara, dan luar negeri. Penelitian ini merupakan penelitian kualitatif yang menggunakan teknik dokumentasi untuk pengambilan data. Terdapat dua teori yang digunakan dalam penelitian ini, yakni teori analisis wacana kritis van Dijk untuk analisis topik dan makna, serta teori fungsi bahasa M.A.K. Halliday untuk analisis fungsi. Hasil penelitian ini menunjukkan bahwa terdapat tiga topik parodi yang dibahas dalam artikel rubrik “Terminal”, yakni Undang-Undang Omnibus Law, kinerja politisi, serta kebenaran sejarah dalam sebuah film dokumenter. Makna parodi dalam artikel rubrik “Terminal” relevan dengan situasi, peristiwa, serta tokoh politik di Indonesia. Terdapat tujuh fungsi parodi yang ditemukan dalam artikel rubrik “Terminal”, yakni fungsi instrumental, fungsi regulasi, fungsi representasi, fungsi interaksional, fungsi heuristik, fungsi personal, dan fungsi imajinatif. Kata kunci: parodi, topik, makna, fungsi
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Sukmawati, Putri, and Oky Mauludya Sudradjat. "PENCIPTAAN KARYA FOTOGRAFI PARODI DALAM KARAKTER SUPER HERO." LAYAR: Jurnal Ilmiah Seni Media Rekam 9, no. 1 (February 2, 2023): 11. http://dx.doi.org/10.26742/layar.v9i1.2407.
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ABSTRACT
This article describes the research and creation of photographic works in a parody style. Parody photography works are presented with superhero objects from within the country and abroad. The research method used is qualitative with observation and interview data collection techniques. In addition, the method of creating works is carried out in 3 stages, namely: 1) exploration stage; 2) the design stage; and 3) the embodiment stage. Produced works in the form of photographic works in a parody style. It has the aim of being an irony/satire in today's society which has forgotten its own culture and pays more attention to foreign culture (pop) originating from other countries.
ABSTRAK
Artikel ini menjelaskan mengenai penelitian dan penciptaan karya fotografi dengan gaya parodi. Karya fotografi parodi disajikan dengan objek superhero yang berasal dari dalam negeri dan luar negeri. Metode penelitian yang dipakai adalah kualitatif dengan teknik pengumpulan data observasi dan wawancara. Selain itu, metode penciptaan karya dilakulkan dengan 3 tahap, yaitu: 1) tahap eksplorasi; 2) tahap rancangan ; dan 3) tahap perwujudan. Dihasilkan karya berupa karya fotografi dengan gaya parodi. Hal itu memiliki tujuan sebagai ironi/sindiran pada masyarakat dewasa ini yang telah melupakan budayanya sendiri dan lebih memperhatikan budaya luar (pop) yang berasal dari negara lain.
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Putro, Abdullah Bimo Prakoso, and Arya Giri Anggara. "Parodi Kritik Politik dalam Cerpen Dilarang Menyanyi di Kamar Mandi Karya Seno Gumira Ajidarma." REFEREN 1, no. 2 (November 30, 2022): 176–88. http://dx.doi.org/10.22236/referen.v1i2.9182.
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Abstrak Seno Gumira Ajidarma terkenal dengan karya sastranya yang mengangkat tema sosial dan politik. Karya-karyanya banyak terbit pada masa orde baru yang mana sering terjadi penindasan, diskriminasi, dan pembatasan hak politik. Karya sastra sebagai karya fiksi memberikan gambaran permasalahan masyarakat dan realitas di lingkungannya. Pengarang menggunakan perantara karya sastra untuk menyampaikan ide, pemikiran, atau gagasan mengenai hal atau persoalan yang terjadi di masyarakat dan juga untuk menyampaikan pesan kepada pembaca. Seperti dalam Cerita pendek Dilarang Menyanyi Di Kamar Mandi karya Seno Gumira Ajidarma yang mengisahkan kegundahan hati para ibu di suatu kampung. Cerpen ini mengandung parodi kritik politik kepada pemerintah melalui humor yang diciptakan oleh Seno. Tujuan dari penelitian ini adalah untuk mengetahui parodi kritik politik dalam cerpen dan juga mengetahui unsur intrinsik yang terkandung dalam cerpen tersebut. Penelitian ini dilakukan dengan menggunakan metode kualitatif deskriptif dengan teknik pengumpulan data menggunakan teori sosiologi sastra dan parodi politik. Kata kunci: Parodi; Kritik; Penindasan Abstract Seno Gumira Ajidarma is famous for his literary works on social and political themes. His works were widely published during the New Order period where there was often oppression, discrimination, and restrictions on political rights. Literary works as works of fiction provide an overview of the problems of society and the reality in its environment. Authors use the intermediary of literary works to convey ideas, thoughts, or ideas about things or problems that occur in society and also to convey messages to readers. As in the short story Forbidden to Sing In The Bathroom by Seno Gumira Ajidarma which tells the story of the heartache of mother in a village. This short story contains a parody of political criticism of the government through humor created by Seno. The purpose of this study is to find out the parody of political criticism in short stories and also know the intrinsic elements contained in the short story. This research was conducted using descriptive qualitative methods with data collection techniques using the theory of literary sociology and political parody. Keywords: Parody; Criticism; Oppression
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MELIYANI, MELIYANI. "PENGGUNAAN PARODI DALAM MEMPERTAHANKAN INGATAN MATERI PELAJARAN KIMIA." TEACHING : Jurnal Inovasi Keguruan dan Ilmu Pendidikan 2, no. 1 (April 7, 2022): 112–18. http://dx.doi.org/10.51878/teaching.v2i1.1082.
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Many teenagers are happy and even have a hobby with singing activities. Not infrequently the song he likes is faster to remember than the subject matter. This study was conducted to provide a reference for the use of parody in retaining the memory of the subject matter. The research conducted is a qualitative descriptive study with the respondents being students of SMA Adzkia Islamic School class XII MIPA in chemistry subjects in the 2021/2022 school year. Previously, students had used parodies in ongoing chemistry subjects in grades X, XI and XII. Data collection techniques using observation techniques and unstructured interviews. In the process of collecting data, the student’s memory of the material that was parodied and which was not parodied was explored. The results showed that the use of parody can maintain a memory of chemistry subject matter. This is shown from the research data as much as 95% of students still remember the material for X and XI class which is presented in the form of a parody. The results of the interview showed that 19 out of 20 students agreed that parody could help them remember the subject matter and motivate students in chemistry. ABSTRAKBanyak remaja senang bahkan hobi dengan aktivitas bernyanyi. Tak jarang lagu yang disukainya lebih cepat diingat daripada materi pelajaran. Penelitian ini dilakukan untuk memberikan referensi penggunaan parodi dalam mempertahankan ingatan materi pelajaran. Penelitian yang dilakukan merupakan penelitian deskriptif kualitatif dengan responden siswa SMA Adzkia Islamic School kelas XII MIPA pada mata pelajaran kimia tahun pelajaran 2021/2022. Sebelumnya siswa sudah pernah menggunakan parodi pada mata pelajaran kimia di kelas X, XI dan kelas XII yang sedang berjalan. Teknik pengumpulan data menggunakan teknik observasi dan wawancara tidak terstruktur. Pada proses pengumpulan data, digali daya ingat siswa terhadap materi yang diparodikan dan yang tidak diparodikan. Hasil penelitian menunjukkan bahwa penggunaan parodi dapat mempertahankan ingatan terhadap materi pelajaran kimia. Hal ini ditunjukkan dari data penelitian sebanyak 95% siswa masih mengingat materi kelas X dan XI yang disajikan dalam bentuk parodi. Hasil wawancara menunjukkan 19 dari 20 siswa setuju bahwa parodi dapat membantu mereka mengingat materi pelajaran dan memotivasi siswa dalam mata pelajaran kimia.
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Miranda, Chaileisya. "Perlindungan Hak Cipta Terhadap Pencipta Lagu Dalam Penggunaan Video Parody Di Youtube." JIPRO : Journal of Intellectual Property 4, no. 1 (January 2, 2022): 47–56. http://dx.doi.org/10.20885/jipro.vol4.iss1.art4.
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Menjadi isu menarik adalah bagaimana Lagu Parodi dan Hak Cipta dalam Pengaturan di Indonesia. dan Isu selanjutnya adalah Perlindungan Hak Cipta Terhadap Pencipta Lagu Dalam Penggunaan Video Parody di Youtube. Penelitian ini menggunakan pendekatan: statute approach, serta conceptual approach. Tehnik penelusuran bahan hukum menggunakan tehnik studi dokumen (library Research), serta analisis kajian menggunakan analisis kualitatif. Hasil penelitian menunjukkan bahwa Perlindungan Hak Cipta Terhadap Pencipta Lagu Dalam Penggunaan Video Parody Di Youtube berdasarkan UUHC, baik pencipta dan pelaku pertunjukan dapat mengajukan upaya hukum dengan cara penghentian dan secara perdata. Secara penghentian, Pecipta dan Pelaku Pertunjukan Lagu Asli melaporkan kepada menteri atas lagu parodi di YouTube yang melanggar hak cipta agar tidak dapat diakses oleh publik berdasarkan pasal 55 UUHC dengan. Secara Perdata baik Pencipta dan Pelaku Pertunjukan lagu asli dapat mengajukan gugatan ganti rugi ke Pengadilan Niaga berdasarkan pasal 99 UUHC yang harus didahului dengan upaya perdamaian. Secara pidana hanya pencipta lagu asli saja yang dapat mengajukan tuntutan pidana berdasarkan pasal 113 ayat 2 UUHC, sedangkan untuk pelaku pertunjukan tidak dapat mengajukan tuntutan pidana berdasarkan UUHC, melainkan pasal 315 KUHP jika merasa lagu parodi yang diunggah di YouTube tersebut menimbulkan pencemaran nama baik baginya.
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Ilic, Tatjana Rosic. "Belgrade Pride Parade 2014.: Tabloidization and Parody of the Process of EU Integration." European Journal of Social Sciences Education and Research 5, no. 1 (December 30, 2015): 19. http://dx.doi.org/10.26417/ejser.v5i1.p19-24.
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Print Serbian media presented Belgrade Pride Parade 2014 in an ambivalent way - as a successful state project, on the one hand, and as a threat to the national security, on the other. Contradictory media discourse related to the promotion of human rights favored the tabloidization of almost all contents related to the Belgrade Pride Parade 2014.In this way in the focus of tabloidization was put wider cultural and social contexts including issues such as the process of EU integration, the effort of redefining national identity in the context of EU, and, finally, the very role of the LGBT community in organization of Belgrade Pride Parade. Tabloidization of the issue of EU integration was achieved mostly through indirect reporting on Belgrade Pride Parade by the combination of the articles which - in the same issue and often within the same section - reported on the Pride mutually quite contradictory for the audience, in sensationalist and confusing ways. The result of such reporting is, quite unexpectedly, the strategy of constant parody of topics which are declaratory considered to be policy priorities of Republic of Serbia while in the Serbian cultural and media practices are called into question and ridiculed. This kind of parody is based on a hidden affirmation of (in) equality and discrimination, as well as on the violation of journalistic ethics codes. The aim of the paper is to analyze – in the case of reporting on Belgrade Pride Parade 2014 - the narrative forms and the communication effects of this populist-based media parody, as well as to deconstructs its ideological reception and consequences.
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Samokhina, Viktoriia, and Svitlana Tarasova. "Parody as the “epicenter” of carnivalization." 95, no. 95 (July 27, 2022): 52–59. http://dx.doi.org/10.26565/2786-5312-2022-95-07.
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Carnivalization is the embodiment of direct connection with real life which allows us to establish the essence of the phenomenon of “permanent dialogic carnival” and to define the boundaries in disclosure of its nature. In this article we consider the genre of parody, the main participant of which is the discursive personality of the parodist. The aim is comprehensive multifaceted study and description of modern parody in polyphony of its forms. In parody, which heads the system of conversational carnivalized genres, where the addressee parodist acts as a communicative type of discursive personality, it was established the existence of a paradox of parody – the logic of alogism. This has become the scientific novelty of the study. Alogism is a surprise, a scandal, a game with the addressee. The logic of alogism in its basis implies ambiguity. Communicative features of the parody genre are established (intentionality, intentional explicit realization of comic means). Three types of parody are established in a dialogical relationship: 1) parody as a speech genre; 2) parody of the language; 3) parody as an element of the text. Two types of parody are analyzed: 1) parody of form / mocking imitation, 2) imitation and parody of content. Both types are based on hyperbole, grotesque, when either the situation itself, or the language of the characters, or the characters themselves are exaggerated and, moreover, significantly modified. A special characteristics of the parody genre is its interdiscursiveness. Parody performance is solely related to the act of evaluation and interpretation. The linguistic aspect of parody is related to the dialogue of the carnival world, which requires the parodist to expressive ideas, images, jokes, style and words; it is characterized by intensification of expression, emotional and artistic coloring. The perspective of the research is the contrastive study of parody as a linguocognitive phenomenon determined by cultural-historical context.
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Bazargan, Susan, and Linda Hutcheon. "Political Parody." NOVEL: A Forum on Fiction 24, no. 2 (1991): 229. http://dx.doi.org/10.2307/1345572.
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Fredericksen, Don. "On Parody." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 14, no. 23 (January 13, 2014): 25. http://dx.doi.org/10.14746/i.2014.23.3.
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Kapur, R. "Imperial parody." Feminist Theory 2, no. 1 (April 1, 2001): 79–88. http://dx.doi.org/10.1177/14647000122229389.
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Baker, J. R. "Shakespearian parody." Parasitology Today 3, no. 9 (September 1987): 283. http://dx.doi.org/10.1016/0169-4758(87)90109-8.
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Bonhomme, Marc. "Parodie et publicité." Travaux neuchâtelois de linguistique, no. 44 (September 1, 2006): 165–80. http://dx.doi.org/10.26034/tranel.2006.2753.
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This article has a double aim. On the one side, it proposes a critical re-examination of parody in the frame of represented discourse and interdiscursivity practices. On the other side, it wants to study the function of parody in advertising communication. The following points will be emphasized: the importance of comparison between parody and pastiche in advertising, the procedures of advertising parody, the role of parody in ads transmission. Finally, the parody appears as a media phenomenon that transpires as being ordinary and central at the same time.
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Ježek, Michal. "Humour and Intellectual Property Law." Masaryk University Journal of Law and Technology 18, no. 1 (June 29, 2024): 27–61. http://dx.doi.org/10.5817/mujlt2024-1-2.
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This article discusses the issue of humour in the context of intellectual property law,with a focus on parody in trademark law. Parody is a form of humorous expressionthat is generally protected by freedom of expression. Although copyright law hasa statutory exception for caricature, parody, and pastiche, no such exception existsin trademark law. Therefore, parody must be treated differently in this area of law.The article first introduces the legal position of parody and discusses the assessmentof parody in both copyright and trademark law in the EU and Czech law. Then itexamines the peculiarities of the trademark law approach and with the help of Germanlandmark cases, highlights the possibilities for the treatment of trademark parody inthe Czech Republic. The outcomes may apply to closely related laws throughoutthe EU territory.
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Almawla, Hanan. "Parody in Copyright Laws of GCC States: Where Does It Fit?" Arab Law Quarterly 32, no. 3 (January 18, 2018): 298–312. http://dx.doi.org/10.1163/15730255-12322021.
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Abstract The relationship between parody and copyright law has not been discussed in the copyright laws of the Gulf Cooperation Council (GCC) or in Arab states in general. Nevertheless, in the past ten years, there has been a remarkable increase in parody shows and programmes in the region, triggering the question of copyright infringement. This article therefore examines the position of parody in the copyright laws of GCC states. It considers protection of parody − as an expressive tool − under the principle of freedom of speech. As no explicit statutory or judicial guidance in relation to parody in the current national copyright laws of GCC states is found, this article argues that parody should be explicitly recognized in the copyright laws of GCC states.
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Alareer, Refaat, Noritah Omar, and Hardev Kaur. "A Bakhtinian Reading of John Donne’s Parody Poem “The Bait”." Advances in Language and Literary Studies 8, no. 1 (February 1, 2017): 200. http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.200.
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While conventional critics seek the comic aspect of parody, modernist critics credit parody with questioning mainstream literary trends and subverting literary production. For instance, Mikhail Bakhtin believes in parody’s power to create “a decrowning double” by turning the official worldview up-side-down. For experimental poets like John Donne, parody transcends mere comical imitation into a serious practice. Donne, having lived in the heyday of the Renaissance with its overemphasis on decorum and courtly love, sought refuge in parody to resist and disturb existing norms of versification and offer an alternative worldview. This paper examines John Donne’s parody poem “The Bait” in the light of Bakhtin’s concept of parody as a decrowning double. The analysis shows that not only had Donne resorted to parody to criticize the society, but he also employed it to undermine established rules of poetry. The study concludes that Donne used parody to create an important platform to liberate poetry from dominant modes of versification, invite readers, often by means of defamiliarisation, to reconsider their stance and literary taste, and promote experimental styles; thus, Donne transcends the norms of prevalent courtly love poetry once and for all.
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Park, Kwangtaek, and Sangjoon Bae. "Parody in the Film Viewed through the Theory of Individuation: The Shining in Ready Player One." Academic Association of Global Cultural Contents 39 (May 31, 2019): 66–94. http://dx.doi.org/10.32611/jgcc.2019.5.39.66.
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Parody which used as the way of creating for a long time has stood out by the spread of postmodernism. Parody that is defined as ‘repetition that includes difference’ by Linda Hutcheon structure the new semantic network in the process of transforming the original text. This paper focuses on the generation process of parody from the perspective of Gilbert Simondon, the theory of individuation. Likewise, technics and technical object, also the elements of culture have potential energy causing the transduction to the other individual, and individuation is occurred to form the new meanings. That is, parody is the phenomenon of individuation between the contents that have potential energy inside. Parody is animatedly applicated in the part of visual culture due to the progress of the digital culture. Especially film which is the interface between the technology, the industry, and the art, can be said as the advanced guard of parody aesthetics. After the 1970s, parody applied to begin in earnest in film produce abundant meaning in the network between film connecting the numerous work. One of the node of the film, <Ready Player One>(2018) tried parody covering the entire popular culture not only film but also game and so on. In that, <The Shining>(1980) is recontextualized of high importance. In the <The Shining> in the <Ready Player One>, value-neutral parody with no satirical or respectful intent unfolds icon or settings such as typewriter, anniversary picture, maze, and the banquet room. In this progress, after the fundamental elements in the adventure genre are taken the information of the original text, the internal potential energy form the parody. On the other hand, a filmic element such as a film texture rendering and steadycam commemorate the film historical position of the original, at the same time, those are represented in homage parody varied the meaning. Like the aforesaid parody, this brings about the process of individuation, as well as the nostalgia, which leads to trans-contextualization
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Bedenko, Vladimir Nikolaevich. "Parody film as a postmodernist deconstruction in cinematography." Человек и культура, no. 2 (February 2021): 82–100. http://dx.doi.org/10.25136/2409-8744.2021.2.34754.
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Lately, the research of Parody film as a part of film discourse have reached its peak in the history and philosophy of science. The polycode essence of the concept of film discourse prompts changes and modifications in the interpretation of Parody film. Therefore, the subject of this analysis is Parody film. The goal of this research consists in examination of the peculiarities, meaning, and role of the concept of “parody film”, which is a creative work intended to ridicule the plot through satirical or ironic imitation. Research methodology is based on the method of analytical study of sources for clarification of the logic and content of the concepts of “parody”, “parody film”, and “film discourse”, as well for revealing the essence of parody film as a postmodernist deconstruction in cinematography. The article also employs the methods of comparative analysis and the concept of local cultures. The scientific novelty of this research consists in systematization of the existing knowledge on parody film in the light of film discourse, which being the phenomenon at the intersection of multiple disciplines is in the epicenter of scientific inquiries in linguistics, literary studies, sociolinguistics, philosophy of semiotics and film semiotics, critical discourse analysis, and theory of cinematography. The theoretical importance lies in characterization of the concepts of “parody”, “parody film”, “comedy”, “comedy film” in the context of modern knowledge of moviemaking and cinematography. The acquired results give a better perspective on the role of parody film in art and life of the society. The Interpreters fight for cinema, on the one hand adoring it as the art with unlimited capabilities, while on the other – neglecting the fact that it should need the unpretentious demands of the audience. The author claims that in a broad context, the parody film of the XXI century is not aimed at parodying a literary text. The filmmakers rather consider and use parody film as a means for drawing attention of various life circumstances.
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Aulina, Winda, and Siti Hanifa. "IRONY AND PARODY IN JACQUELINE WOODSON’S HARBOR ME: A POSTMODERNISM STUDY." Prosodi 15, no. 1 (April 24, 2021): 44–50. http://dx.doi.org/10.21107/prosodi.v15i1.10486.
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This study concerns to discuss the Irony and Parody in Jacqueline Woodson’s novel entitled Harbor Me. This study is focused on postmodern theory, since the novel tells about social phenomena in daily life such as irony and parody. This study aims to disclose how irony and parody are reflected in Harbor Me novel by Jacqueline Woodson.This study was conducted by applying a qualitative type since the data are in the form of words. The source of data in this study is Harbor Me novel by Jacqueline Woodson. The data are the utterances of the characters and the author’s narration in Jacqueline Woodson’s Harbor Me. In analyzing the data, the writer used three concurrent processes. They are data reduction, data display, and conclusion drawing or verification. The result of this study found that irony and parody also as a theme in postmodernism literature. The irony and parody are used for illustrating the social condition in Harbor Me novel by Jacqueline Woodson. The characters experienced the irony as a real occurrence which is not accordance with their expectation. Meanwhile, they also experienced the parody for giving an insinuation by imitating others characters’ words and attitudes. In addition, the presentation of irony and parody demonstrate the influence of theme in postmodernism. It is because the characteristics of irony and parody as the parts of postmodernism which have been stated by Lyotard in Sarup (1993). Keywords: Postmodernism, Irony, Parody
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Inkpin, Andrew. "Nietzsche’s Genealogy: A Textbook Parody." Nietzsche-Studien 47, no. 1 (November 1, 2018): 140–66. http://dx.doi.org/10.1515/nietzstu-2018-0006.
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Abstract Given its apparently scholarly form, the Genealogy of Morals is often read as a succinct, relatively systematic, and canonical exposition of Nietzsche’s mature views on morality. This article argues, however, that the work was intended as a parody of a scholarly treatise and examines how this parody is best understood. It begins by surveying some evidence that supports reading the Genealogy as a ‘textbook’ presentation of Nietzsche’s views. It then develops an exegetic case for reading it as a work of parody, based on the third essay’s claims about the ‘self-cancellation’ of truth-directed discourse and how to oppose the ascetic ideal, along with the Genealogy’s internal organization and its place in Nietzsche’s oeuvre. Finally, it examines whether this parody is best interpreted philosophically as having the force of a strong parody that denies the possibility of truth-directed enquiry or that of a weak parody denying the intrinsic value of such enquiry. Although reading it as a strong parody perhaps makes it more radical and potentially appealing, I argue that the Genealogy is best read as a weak parody, because this is both more tenable and suffices for the claims Nietzsche himself makes about the work’s aims and character.
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Xu, Xinhong, and Zhibo Chen. "Breaking the Circle of Parody Art and Exploring its IP Creation." Highlights in Art and Design 1, no. 2 (October 19, 2022): 14–17. http://dx.doi.org/10.54097/hiaad.v1i2.1892.
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As a form of artistic creation, parody has both the imitation of previous texts and the aesthetic pursuit of cultural conception. From literary text to film and television text, this article mainly takes the parody of classic texts as an example to study the innovative way of parody to uphold the traditional culture and promote local IPs on the basis of classic literary and artistic works under the influence of the pan-entertainment trend, and to study the innovative path of parody IP. This article also analyzes the successful case of parody IP "breaking the circle" and discusses the new ideas of IP in the cultural industry.
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Troitskiy, Sergey. "Is parody dangerous?" European Journal of Humour Research 9, no. 2 (July 20, 2021): 92–111. http://dx.doi.org/10.7592/ejhr2021.9.2.517.
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This article arose from the scandal which broke out in Russia in 2018, when Ulyanovsk cadets made an amateur video clip parodying the Benny Benassi’s musical video (2003). Soon, this video had more than a million views. But official Russian media sharply reproached the cadets’ performance, and even Russian authorities discussed the video. The Russian Internet community issued a lot of videos in support of the cadets. The reaction of Russian media on the cadets’ parody was mainly strong and not always adequate. I am interested in the reasons behind the fear of parody because, in my opinion, the official discourse had nothing to fear. My analysis is based on the Russian theories of parody and the medieval cultural experience. Can parody be dangerous? Why did the official media overreact?
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Reid, Christopher. "History and Parody." Grand Street 5, no. 1 (1985): 18. http://dx.doi.org/10.2307/25006794.
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Chatman, S. "Parody and Style." Poetics Today 22, no. 1 (March 1, 2001): 25–39. http://dx.doi.org/10.1215/03335372-22-1-25.
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Simon, William C. "Welles : Bakhtin : Parody." Quarterly Review of Film and Video 12, no. 1-2 (January 1990): 23–28. http://dx.doi.org/10.1080/10509209009361336.
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Sevik. "Poetry, Prosody, Parody." Mark Twain Annual 13, no. 1 (2015): 130. http://dx.doi.org/10.5325/marktwaij.13.1.0130.
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Hutchinson, Ian, Wilfred Smith, and Ruth Fenn. "Parody not poetry." Physics World 15, no. 6 (June 2002): 20–21. http://dx.doi.org/10.1088/2058-7058/15/6/34.
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Hoppenstand, Gary. "Editorial: Comic Parody." Journal of Popular Culture 46, no. 1 (February 2013): 1–2. http://dx.doi.org/10.1111/jpcu.12012.
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Lloyd, Moya. "Performativity, Parody, Politics." Theory, Culture & Society 16, no. 2 (April 1999): 195–213. http://dx.doi.org/10.1177/02632769922050476.
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HOWELLS, R. "BURLESQUE AND PARODY." French Studies Bulletin 9, no. 31 (January 1, 1989): 7–10. http://dx.doi.org/10.1093/frebul/9.31.7.
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Levi, Don S. "The Liar Parody." Philosophy 63, no. 243 (January 1988): 43–62. http://dx.doi.org/10.1017/s0031819100043126.
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The Liar Paradox is a philosophical bogyman. It refuses to die, despite everything that philosophers have done to kill it. Sometimes the attacks on it seem little more than expressions of positivist petulance, as when the Liar sentence is said to be nonsense or meaningless. Sometimes the attacks are based on administering to the Liar sentence arbitrary if not unfair tests for admitting of truth or falsity that seem designed expressly to keep it from qualifying. Some philosophers have despaired of ever beating the Liar; so concerned have they been about the threat posed by the Liar that they have introduced legislation to exclude the Liar sentence and anything like it.
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Rose, Margaret A. "Parody/post-modernism." Poetics 17, no. 1-2 (April 1988): 49–56. http://dx.doi.org/10.1016/0304-422x(88)90021-6.
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Elliott, K. "Gothic--Film--Parody." Adaptation 1, no. 1 (March 1, 2008): 24–43. http://dx.doi.org/10.1093/adaptation/apm003.
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Erwin, Timothy. "Parody and Prostitution." Huntington Library Quarterly 68, no. 4 (December 2005): 677–84. http://dx.doi.org/10.1525/hlq.2005.68.4.677.
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Gurney, David, and Matthew Thomas Payne. "Parody as brand." Convergence: The International Journal of Research into New Media Technologies 22, no. 2 (September 5, 2014): 177–98. http://dx.doi.org/10.1177/1354856514546097.
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Creekmur, C. K. "BROKEBACK: THE PARODY." GLQ: A Journal of Lesbian and Gay Studies 13, no. 1 (January 1, 2007): 105–7. http://dx.doi.org/10.1215/10642684-2006-020.
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Berg, Mari-Ann. "Book Review: Parody." Language and Literature: International Journal of Stylistics 12, no. 2 (May 2003): 183–85. http://dx.doi.org/10.1177/096394700301200208.
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Laycock, Joseph. "Laughing Matters." Bulletin for the Study of Religion 42, no. 3 (September 27, 2013): 19–26. http://dx.doi.org/10.1558/bsor.v42i3.19.
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The term “parody religion” is used to describe movements that deliberately mimic the elements of established religions and are intentionally absurd. It is generally assumed that people create and participate in parody religions primarily for their own amusement. However, the participants of parody religions occasionally demand to be taken seriously by invoking the legal rights and privileges that Western democracies afford to traditional religions. This article examines two such cases involving The Neo-American Church and the Church of the Flying Spaghetti Monster. It is argued that the true function of parody religions, as demonstrated by these cases, is not simply to entertain, but to force a public conversation about the definition of religion. When practitioners of parody religions demand the legal rights afforded to traditional religion, they are issuing a public challenge to articulate how exactly religion is defined. Furthermore, ardent practitioners of parody religions frequently have a political agenda and feel that the legal system’s unstated criteria of religion unfairly benefit particular established religious institutions.
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Gallagher, Mark. "Sleepy Hollow in Concord: Melville's Gothic Parody of Transcendentalist Spirit in “The Apple-Tree Table”." New England Quarterly 92, no. 1 (March 2019): 109–42. http://dx.doi.org/10.1162/tneq_a_00722.
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Inspired by Concord's newly consecrated Sleepy Hollow Cemetery, Herman Melville's “The Apple-Tree Table; or, Original Spiritual Manifestations” (1856) undercuts spirituality with materiality in a gothic parody that is both a literal parody of the “Sleepy Hollow” genre and an ironic parody of both Thoreau and Hawthorne.
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Kretova, O., and P. Kretov. "POSTMODERN PARODY AS ONTOLOGIZATION OF REALITY (BASED ON THE STORY BY D. BARTHELMY "A SHOWER OF GOLD")." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 3(98) (December 23, 2022): 35–45. http://dx.doi.org/10.35433/philology.3(98).2022.35-45.
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The article examines the problem of postmodern parody from the point of view of its ontologizing potential, namely the interpretation within its limits of the problem of the subject. The concept of ontologization is interpreted in the tradition of the opposition to the paradigm of the philosophy of presence to extra-subjective versions of ontology, in particular the postmodern concept of intertextuality. The actualization of the parody concept as a formative tool along with the explicit or implicit accentuation of the integrity of the world picture is interpreted as a search for metaphysical grounds for the aesthetic system of postmodernism and D. Barthelemy's poetics. The article substantiates the philosophical aspect of the interpretation of parody accepted in the scientific literature as a mode of organization of the structure of the text and the form-content of the text in general for postmodern aesthetics. The universal nature of parody as an interpretive optics and postmodern technique of textual collage for literature in the conditions of the visual turn of the 20th-21st centuries is outlined. It has been found that the use of the collage technique in the form of cataloging reality as its reformatting is inherent in the poetics of D. Barthelemy. It is shown that parody for the writer is a formal and substantive principle, an artistic and aesthetic instruction, and not just a technique. The demonstrativeness, or "nakedness" of the parody is achieved by changing phrasal modes, alternating dialogues and descriptions, and visualizing the action. The structural levels of parody overlap both at the formal intertextual level and at the level of numerous pretexts and supporting semantic and symbolic series. Therefore, the transgression of parody manifests itself through the unity and separation of the coder and the decoder at the moment of forming the ethos of the fragmented text as its experience. It is concluded that grotesque and parody can be considered as synesthetic sense-generative models of postmodern literature. Parody as a vital receptive and cognitive form can ontologize the subject of the text. The grotesque is a paradoxical, finalized, objectified entelechy of parody, which is practically never ontologized and does not acquire features of subjectivity. Postmodern parody reformats the subject of the narrative and the text as a formal structure, thus giving it additional semantic dimensions.
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Hirsch, Galia. "It’s all in the attitude." Translation and Interpreting Studies 15, no. 2 (April 6, 2020): 223–41. http://dx.doi.org/10.1075/tis.19004.hir.
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Abstract Building on various theoretical approaches to translation (Hickey 1998; Bassnett 2001), this article demonstrates the intersection between translation and parody (Aoyama and Wakabayashi 1999) by comparing two musical texts: Rachid Taha’s “Douce France” and Seu Jorge’s Portuguese translation of David Bowie’s “Life on Mars?”. According to Linda Hutcheon’s (1985) view of parody as a form of repetition maintaining a critical distance, both texts are parodic. Each parody presents a very different attitude, which influences their ethos. Rachid Taha’s cover involves irony, which often marks parody (Hutcheon 1985), and thus a negative ethos: criticizing his new country for grievances against immigrants. Seu Jorge, however, pays tribute to the Bowie song he translates. These observations illustrate the close relationship between parody and translation.
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Salmi-Niklander, Kirsti. "Bitter Memories and Burst Soap Bubbles: Irony, Parody, and Satire in the Oral-Literary Tradition of Finnish Working-Class Youth at the Beginning of the Twentieth Century." International Review of Social History 52, S15 (November 21, 2007): 189–207. http://dx.doi.org/10.1017/s0020859007003197.
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This article discusses irony, parody, and satire in the oral-literary tradition of Finnish working-class youth during the first decades of the twentieth century. The most important research material is Valistaja (The Enlightener, 1914–1925), a handwritten newspaper produced by young working-class people in the industrial town of Karkkila in southern Finland. This research material provides examples of different kinds of parody: ideological parody is directed against both political opponents and the texts representing their ideology; generic parody involves playing with linguistic norms and generic conventions. Parody and satire provided means for exposing the cruelty and cowardice of the anti-Bolshevik Whites, the hypocrisy of the Church, and the conservatism of the older generation of workers. The ironic expressions reflect the experiences and tensions among groups of young people in Karkkila.
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Lai, Amy. "The Natural Right To Parody: Assessing The (Potential) Parody/Satire Dichotomies In American And Canadian Copyright Laws." Windsor Yearbook of Access to Justice 35 (May 30, 2018): 69–98. http://dx.doi.org/10.22329/wyaj.v35i0.5111.
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This paper argues that the right to expressing oneself through parodies should constitute part of the core freedom of expression of a normative copyright regime. By drawing upon natural law legal theories, the paper proposes a legal definition of parody that would help to bring the copyright jurisprudence of a jurisdiction more in line with its free speech tradition. It argues that a broad parody definition, one that encompasses a great variety of expressive works but would not compete with the original and its derivatives in the market, is preferable to a narrow one. The paper then explains why the parody defence in American law and the parody exception in the Canadian copyright statute should follow the proposed parody definition, which would properly balance the rights of copyright owners with those of users.
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Kynes, Will. "Beat Your Parodies into Swords, and Your Parodied Books into Spears: A New Paradigm for Parody in the Hebrew Bible." Biblical Interpretation 19, no. 3 (2011): 276–310. http://dx.doi.org/10.1163/156851511x576900.
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AbstractWhile previous works on parody in the Hebrew Bible have addressed the literary technique ad hoc in the service of the interpretation of specific texts, this article approaches the topic more broadly, attempting to understand the nature of the technique itself. Drawing on literary criticism, particularly the work of Linda Hutcheon, the commonly accepted definition of parody as a text which "ridicules" its "target" is questioned, and a broader definition of parody as "antithetical allusion," in which the earlier text may act as a "weapon" instead of a "target," and subversion and humor are only secondary features, is presented. This redefinition of the term grounds a new paradigm for parody that divides parody into four types: ridiculing, rejecting, respecting, and reaffirming. This paradigm is then applied to a series of exemplary parodies in the Hebrew Bible (Song 7:1-10, Psalm 29, Jonah, Job 7:17-18, Joel 4:10) that demonstrate the versatility of parody and the necessity of reading parodies in their wider context to determine their meaning.
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Busurkina, Irina P. "Ethics and Values in the Digital Environment: by the Example of Parody Videos on TikTok." Galactica Media: Journal of Media Studies 3, no. 3 (October 29, 2021): 374–89. http://dx.doi.org/10.46539/gmd.v3i3.137.
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The ethics of the comic is a relatively new interdisciplinary field of knowledge that is gaining new relevance with the development of a variety of social media. The purpose of this article is to review the existing research and show by examples how ethics and values are closely related to the specific functions of social media, such as distributing parody content and commenting on it. The main focus of our study is a parody which can be defined as communicative behavior in the form of a text, movement, or even a song, imitating the characteristics or behavior of the object being ridiculed. Unlike a literal quotation, a parody reproduces the original in a distorted form for the purpose of mockery. Within this article modern ethical approaches to the evaluation of parody as well as the main functions of parody in the digital environment are considered. Based on the examples of parody videos on TikTok the particular ways of expressing social problems and cultural traumas by using the comic strategies are identified. Furthermore, the issues of algorithmic censorship concerning such videos as well as the problem of the moral autonomy of users are discussed.
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Hou, Guojin, and Mei Feng. "Parody and Garden Path." Chinese Semiotic Studies 16, no. 1 (February 25, 2020): 71–89. http://dx.doi.org/10.1515/css-2020-0003.
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AbstractThis is a study of Chinese rhetorical constructions, parody and garden path (GP), from the perspective of lexico-constructional pragmatics (LCP). LCP adopts a holographic view of lexicon and construction so that they can be analyzed alike. We take parody and GP examples from Chinese advertisements for analysis. The LCP analysis highlights the pragmaticity and rhetoricality of each case: for a particular effect. When difficulty arises, pragmatic means may be used to “pragma-coerce” the right, clever, or erroneous use of a rhetorical construction for delivery of a retrievable intended effect, an Aha-effect. We conduct a mini-questionnaire with two cases, the former dealing with parody and the latter with GP. The study indicates the humor competence of ordinary Chinese participants (around the level of BA) as far as parody and GP are concerned and the participants’ potential for cognition of the pragma-rhetorical values of parody and GP or their potential for generation of such utterances. It is suggested that rhetorical constructions outwit the less rhetorical or grammatical constructions iff they are available and accessible, and that LCP can offer us a feasible interpretation of such tropes as parody and GP.
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Boxman-Shabtai, Lillian. "The practice of parodying: YouTube as a hybrid field of cultural production." Media, Culture & Society 41, no. 1 (April 27, 2018): 3–20. http://dx.doi.org/10.1177/0163443718772180.
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Parody is so pervasive in participatory culture that it is described as a central component of Internet vernacular. Valuable insight has accumulated about parodies as artifacts, however, little is known about their creators. Drawing on the sociology of culture, this article explores YouTube music video parodies as a field of cultural production. Through interviews with 22 YouTubers recruited from a sample of top-ranked parodies, it examines the relationship between practitioner characteristics and their evaluation of parody. Contrary to other studies of participatory culture, the field was predominantly male in its participation and norms. It presented a divide between ‘strategic’ and ‘passionate’ practitioners who used parody to different ends. Nevertheless, interviewees valued similar attributes of parody, often diverging from scholarly definitions of the genre as critical commentary. This dynamic and the genre’s popularity are explained by the hybrid qualities of the field, which encourage diverse uses of parody.
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Kohler, Gregory. "‘Gregory Dry’: Parody and the morality of brand." Language in Society 46, no. 5 (September 11, 2017): 719–37. http://dx.doi.org/10.1017/s0047404517000586.
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AbstractWhile Bakhtin's (1981) notions of voicing, double voicing, and ventriloquation have been applied extensively in linguistic anthropology and sociolinguistics, only a few scholars have engaged with his related notion of parody. This article examines how a Sardinian manager uses parody in an oral narrative to construct and contest moralities surrounding personal and corporate identities. Through an analysis of both the story and the storytelling event, I show how this manager uses parody to better align himself with the ideals of his company and to frame his relationships with his employers and with the market more generally. In particular, my analysis focuses on how managers discursively create moral hierarchies of value that become key resources for understanding their stance in relation to the competitive dynamics of their industries. Parody in storytelling thus proves to be a crucial analytical tool for understanding brand and branding strategies. (Parody, narrative, brand, Italy, discourse analysis)*
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Rahmanissa, Shafira Shava, Sudjana Sudjana, and Sudaryat Sudaryat. "Konten Video Parodi pada Platform Digital dalam Perspektif Pelindungan Hak Cipta dan Doktrin Fair Use." Al-Adl : Jurnal Hukum 15, no. 1 (January 31, 2023): 45. http://dx.doi.org/10.31602/al-adl.v15i1.9351.
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Parody video content on digital platforms is generally made by imitating previous works, but in it, there are also characteristics of parody makers that are different from the original work. The purpose of this study was to determine the application of the fair use doctrine, namely the doctrine that allows the use of copyrighted material without the creator's permission concerning parody video content on digital platforms and to describe the copyright protection of parody video content reviewed under Law Number 28 of 2014 concerning Copyright. This research is normative legal research by examining library materials or secondary data. The approach method used is a conceptual approach (conceptual approach), statutory approach (statute approach), and comparative approach (comparative approach). The data were obtained through a literature study using primary, secondary and tertiary legal materials. These data were processed and analyzed, then presented in a qualitative descriptive manner. The results of the study show that the application of the fair use doctrine to parody video content on digital platforms is limited in some instances. Parody video content can be considered fair use if it meets the indicators required in the provisions of Article 43 letter d or Article 44 paragraph (1) letter a UUHC. These indicators include being non-commercial, benefiting the creator or copyright holder of the original work, or he expresses no objection, or as long as the parody video content mentions and includes the full name of the creator or copyright holder of the original work, aims to criticize an issue, and does not harm the interests of the original work. From the creator or the copyright holder of the original work. Copyright protection can apply to parody video content on digital platforms made with the permission of the creator or copyright holder of the original work and are original, namely as derivative works. However, parody video content does not meet the requirements as a derivative work or is even proven to violate Copyright. In that case, it cannot be protected unless it is considered fair use.
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Brooks, W. G., and Beate Muller. "Parody: Dimensions and Perspectives." Modern Language Review 93, no. 4 (October 1998): 1074. http://dx.doi.org/10.2307/3736280.
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Riemer, Andrew. "Translation, Imitation and Parody." Australian Journal of French Studies 47, no. 1 (January 2010): 36–45. http://dx.doi.org/10.3828/ajfs.47.1.36.
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