In this major study of a flexible and multifaceted mode of
expression, Linda Hutcheon looks at works of modern literature,
visual art, music, film, theater, and architecture to arrive at a
comprehensive assessment of what parody is and what it does.
Hutcheon identifies parody as a major form of modern
self-reflexivity, one that marks the intersection of invention and
critique and offers an important mode for coming to terms with the
texts and discourses of the past. Looking at works as diverse as
Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de
Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz
Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is
Not a Pipe, Hutcheon discusses the remarkable range of intent in
modern parody while distinguishing it from pastiche, burlesque,
travesty, and satire. She shows how parody, through ironic playing
with multiple conventions, combines creative expression with
critical commentary. Its productive-creative approach to tradition
results in a modern recoding that establishes difference at the
heart of similarity.
In a new introduction, Hutcheon discusses why parody continues
to fascinate her and why it is commonly viewed as suspect -- for
being either too ideologically shifty or too much of a threat to
the ownership of intellectual and creative property.
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