The stigmatisation of parody as "the worst enemy" of creativity has
been pervasive in our literary culture. Although recent theoretical
approaches have compelled critics to rethink many received notions
regarding the significance of contemporary parodic activity, the
perception remains that parody existed only on the disreputable
margins of earlier literary cultures. This study places parody
firmly (if paradoxically) where it belongs: at the centre of the
literary-creative process in much of the literature of the
seventeenth and eighteenth centuries.
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