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Tytuł:
Parodic and Post-Classic, British Decadent Aestheticism Re-Approached
Autorzy:
Budziak, Anna
Powiązania:
https://bibliotekanauki.pl/articles/889036.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
British Decadence
postmodernism
Max Beerbohm
Oscar Wilde
stylistic parody
social parody
Opis:
Considering the fact that postmodernism may, from a certain viewpoint, be called “neo-Decadence” and Oscar Wilde a “pre-postmodernist,” this essay approaches the affinity between Decadence and postmodernism in terms of their shared post-classical and parodist condition. Indicating the insufficiency of the romantic/classicist model, and taking as the point of departure Symons’s description of Decadence as the disfiguring of the “classic,” it looks at Decadent subversions through Linda Hutcheon’s twofold parodist paradigm. It shows how Decadence, which is doubly parodist – in the stylistic sense (as in Max Beerbohm) and in social sense (as in Wilde) – subverts its classical heritage, thus, anticipating postmodernist strategies.
Źródło:
Anglica. An International Journal of English Studies; 2014, 23/1; 83-93
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Linda Hutcheon’s Theory of Parody and Its Application to Postmodern Music
Autorzy:
Kostka, Violetta
Powiązania:
https://bibliotekanauki.pl/articles/632404.pdf
Data publikacji:
2016
Wydawca:
Projekt Avant
Tematy:
intertextuality
parody
Linda Hutcheon
musical parody
Paweł Szymański
two-level music
Opis:
Parody-a particular case of intertextuality-is an important term for scientists interested in modern and postmodern art. Linda Hutcheon stated that 20th century parody, to be found in every kind of art, is a repetition with critical difference. It is composed of two structural levels, of which the first one is an authority, the second-a transgression of the authority. Its entire act of enunciation includes also a pragmatic frame, i.e. the intent of parody, which spreads from comedy through neutrality to seriousness. From the author’s point of view, the compositions of Paweł Szymański (born in 1954) are interesting examples ofmusical parodies from the last decades. Among them are the second study from Two Stud- ies for piano (1986) and Through the Looking Glass...I for chamber orchestra (1987). Both these pieces are two-level and algorithmic music. The parodied texts consist of basic deter- minants of the baroque style, such as regular semiquaver rhythm and tonal configurations, expressed either by melody or by harmony. The parodying texts, which we hear, are certain mixtures of baroque and contemporary elements. Besides motoric rhythm and tonal melody or harmony, there are post-tonal fragments, a new timbre, spaciousness, fragmentation, new kinds of articulation and schematic dynamics. Taking the issue of ethos into consideration,Szymański’s parodies are serious, since baroque texts are treated as authorities.
Źródło:
Avant; 2016, 7, 1
2082-6710
Pojawia się w:
Avant
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Od „dna” ku „denku”. Postmodernistyczna aktualizacja dramatu M. Gorkiego
From the bottom to the shallowness. Postmodernism in M. Gorkie’s drama
Autorzy:
Pieczyński, Maciej
Powiązania:
https://bibliotekanauki.pl/articles/915273.pdf
Data publikacji:
2018-09-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
postmodernism
intertextuality
transcontextualization
parody
Opis:
Contemporary Russian drama is situated in a dialogue with literary and more precisely dramatic tradition. For example, this thesis clearly confirms a comedy by Igor Shpric On the bottom. The text at the level of its title refers to Maxim Gorky's play  The Lower Depths.  Shpric’s comedy parodies this work by presentingGorky's characters in the social and cultural context of contemporary reality. The main purpose of the paper is the intertextual analysis and interpretation of ironic Shpric’s comedy as the transcontextualization of language, poetics, themes, plot and characters ofGorky's text.
Źródło:
Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2014, 4; 151-158
2391-470X
Pojawia się w:
Kultury Wschodniosłowiańskie – Oblicza i Dialog
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Technika parodii w Mszy Doctor Bonus Giovanniego Francesca Aneria
The parody technique in Giovanni Francesco Anerio’s Mass Doctor bonus
Autorzy:
Różańska, Róża
Powiązania:
https://bibliotekanauki.pl/articles/514112.pdf
Data publikacji:
2013-07-01
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Giovanni Francesco Anerio
Giovanni Pierluigi da Palestrina
parody Mass
parody technique
Doctor bonus
Opis:
The main topic of the article is the analysis of the parody technique in the Mass Doctor bonus by Giovanni Francesco Anerio. The text consists of two parts: a historical presentation of the artist’s biography and an analytical study. The first part presents the composer’s life and musical achievements as well as the state of research on the history of the genre, while the second part describes the rules of the parody technique, in the light of treatises of the era, in comparison with equally entitled Palestrina’s motet. The parody technique allows Anerio to quote both entire polyphonic structures and single melodic lines. However, despite the strong convergence essential for the procedure of parody, the composer was able to present their own solutions while adhering to the rules of classical counterpoint and the style of his famous Roman predecessor. Thus, the piece is entirely based on Palestrina’s ideas, such as interweaving phrases with the equality of votes, shaping of phrases or use of intervals with Anerio’s own texture very alike. Therefore, the Mass, based on the perception of parody in the late Renaissance era, should be assessed as a perfect musical work.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2013, 9(19); 1-34
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Elements of Comedy and Parody in the Dionysiaca of Nonnus
Autorzy:
Lasek, Anna Maria
Powiązania:
https://bibliotekanauki.pl/articles/1046567.pdf
Data publikacji:
2017-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Nonnus
Dionysiaka
parody
Ares
Aphrodite
Opis:
In this article the author presents the elements of comedy and parody in the Dionysiaca of Nonnus. The analysis of the passages excerpted from the Dionysiaka shows that the composition of Nonnus’ poem is based on the principle of generic variety.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2017, 27, 3; 59-71
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Parodied Locations: A Play on Genre Conventions and Place in Flann O’Brien’s The Poor Mouth and Alasdair Gray’s Poor Things
Autorzy:
Szot, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/578860.pdf
Data publikacji:
2017
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
representation of place
parody
intertextuality
Opis:
Flann O’Brien in The Poor Mouth and Alasdair Gray in Poor Things use parody (of Gaeltacht memoirs and Gothic fiction respectively) to join in a discussion on literary representations of their homelands (Ireland and Scotland). This paper discusses the subversive play on the reader’s expectations regarding literary representation of places driven by previous knowledge of the parodied genre’s conventions which the two authors use to pinpoint the inadequacy of the hitherto existing literary tradition.
Źródło:
Zagadnienia Rodzajów Literackich; 2017, 60, 2 (122); 99-112
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wokół definicji parodii filmowej
Around the definition of a movie parody
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/917988.pdf
Data publikacji:
2014-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
parody
film parody
genre
metagenre
comic effect
intertext
pars destruens
renewal
restoration
parody in contemporary cinema and new medias
parodia filmowa
parodia
Opis:
The revision of key topics that are related to film parody. The crucial question of Marek Hendrykowski’s research sounds as follows: what is the semiotic mechanism that gives parodistic effect expressed in the language of motion pictures? According to the author, conditio sine qua non of each parody are: incorrectness, caricatural exaggeration, comic effect, deconstruction, pars destruens and new meaning of old characteristic elements confronting the audience and its common memory. In the light of new reading and revised definition of this term, film parody is not a separate genre but rather meta-genre in its relations to many other film genres and individual screen performances being object of parody
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 29-38
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Crying of Lot 49 and the Parody of Detective Fiction
Autorzy:
Róg, Borys
Powiązania:
https://bibliotekanauki.pl/articles/601309.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Tematy:
Pynchon, Postmodernism, parody, detective fiction
Opis:
The Crying of Lot 49, recognized as an important example of postmodern fiction, is a novella by an American author Thomas Pynchon. It follows the story of Oedipa Maas, who encounters a possible underground conspiracy related to postal services. Its themes and structural properties suggest affinities with a detective story genre, although there are crucial differences which actually mark the novel as a parody of the genre. In my article I want to analyze two elements which contribute to the parodic nature of The Crying of Lot 49. One is the wide use of various cultural references to the popular culture, history, American society etc.; they are usually satirized by the author as to what contributes to the overall sense of a parody. The second contributes directly to the reversed structure of a detective fiction; the use of entropy as the plot device distorts the unraveling mystery in the novel. Moreover, the reading of the novel as a parody in terms of the characteristics listed above justifies its reputation as a postmodern text. 
Źródło:
New Horizons in English Studies; 2017, 2
2543-8980
Pojawia się w:
New Horizons in English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Book review : Rowden, Claire (2020). Opera and Parody in Paris 1860-1900. Turnhout: Brepols.
Autorzy:
Clements, Paul
Powiązania:
https://bibliotekanauki.pl/articles/2098507.pdf
Data publikacji:
2022-08-11
Wydawca:
Krakowskie Towarzystwo TERTIUM
Tematy:
opera
satire
France
Wagner
parody
Źródło:
The European Journal of Humour Research; 2022, 10, 2; 155-158
2307-700X
Pojawia się w:
The European Journal of Humour Research
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zachować wierność wobec własnej nieautentyczności
Remaining Faithful to One’s Own Inauthenticity
Autorzy:
Szkaradnik, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/534694.pdf
Data publikacji:
2019
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
autobiography
parody
confessional works
Artur Hellich
Opis:
This thorough review discusses in detail a book by Artur Hellich Gry z autobiografią: przemilczenia, intelektualizacje, parodie [Playing Games with Autobiography: Concealing, Intellectualizing, Mocking]. Together with Hellich, the author inspects the reasons for distrust of the eponymous genre during the People’s Republic of Poland’s period, and traces the transmutations thereof instigated by the writers. Strategies deployed in selected literary works by K. Brandys, S. Lem, R. Zimand, A. Sandauer, P. Roth, and P. Feyerabend, described as a crypto-autobiography, selfmythologizing, and autothematic picaresque novel. Jewish descent, in the case of majority of mentioned authors, was a factor prompting the titular games with the confessional genre. Aside from giving justice to Hellich’s novel discoveries and compelling interpretations, the review’s author also enters into dialogue with him concerning the understanding of broadly understood autobiographical writing.
Źródło:
Śląskie Studia Polonistyczne; 2019, 13, 1; 227-236
2084-0772
2353-0928
Pojawia się w:
Śląskie Studia Polonistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
La literatura nazi en América de Roberto Bolaño: imitatio caricatural y lectura paródica de la crítica literaria
Autorzy:
Rodríguez De Arce, Ignacio
Powiązania:
https://bibliotekanauki.pl/articles/2087595.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Warszawski. Wydział Neofilologii
Tematy:
Pastiche
satire
parody
transformation
literary criticism
Opis:
El objeto del presente artículo es examinar el uso que Roberto Bolaño hace de la técnica del pastiche o de la imitatio caricatural en La literatura nazi en América (1996). Esta obra nos parece extraordinariamente interesante para abordar el problema siempre vivo de las relaciones, pero también de las respectivas definiciones y categorizaciones, entre metaficción y parodia, y parodia y pastiche. El formato de diccionario literario ficticio de la obra analizada nos permitirá asimismo establecer un vínculo entre la dimensión netamente textual y escritural del ejercicio de la imitatio y un objetivo externo fustigado –la peripecia estética de ciertos artistas, por ejemplo– que proporciona a dicha imitatio un carácter eminentemente satírico. De hecho, el análisis del texto de Bolaño nos permitirá elaborar un discurso que intente reconceptualizar las diferencias entre el elemento lúdico y el elemento satírico que normalmente caracterizan los ejercicios literarios fundados en el principio imitativo. Por último, nos ocuparemos de la dimensión transformativa y no meramente imitativa del texto: el concepto de transformación nos lleva, dentro de una lectura forzosamente genettiana de la obra, a hablar ya no de pastiche sino de parodia. Y de parodia, de lectura paródica de parte de la tradición de la crítica literaria, tendremos necesariamente que hablar para disfrutar de la red de relaciones intertextuales que la obra tan magníficamente presenta.
Źródło:
Itinerarios; 2009, 9; 23-34
1507-7241
Pojawia się w:
Itinerarios
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Repeated Allusion to Pindar and the Eleusinian Mysteries in Anaxilas’ Comic Fragments?
Powtarzająca się aluzja do Pindara i misteriów eleuzyńskich we fragmentach komedii Anaksilasa?
Autorzy:
Danielewicz, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/1806887.pdf
Data publikacji:
2021-10-12
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Anaxilas
Pindar
allusive art
parody
jokes
Opis:
Anaxilas in fragments 25 and 30 K.-A. deliberately alluded to Pindar’s fragment 137 S.-M. and the mystery references it contains, but at the same time completely redesigned the sense of the Pindaric phrase for a strong comic effect.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2021, 31, 1; 79-83
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Фольклорные маргиналии в белорусских медиа: cоздание и преодоление социальных мифов
Folk marginals in Belarussian media: creation and overcoming of social myths
Autorzy:
Ratnikova, Irina
Powiązania:
https://bibliotekanauki.pl/articles/481415.pdf
Data publikacji:
2006-12-01
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
Belarussian media
folk marginals
anecdote
parody
Opis:
Folk units as the special element of the modern cultural process are described in the article; the author takes into consideration the catch-words, anecdotes, parodies etc. Despite a lot of differences in the comparison with classical folklore, the „marginal” units become similar to it. In the most of cases it refers to: the mutual function in the process of socialization and in the cultural context, trade and political advertisement as the contemporary sphere of the folklore, expressed conviction about the possibility to order the world, to defense against the chaos. Furthermore, in the contemporary „folk communication” the scheme of universal deconstruction of social and cultural myths functions.It’s worth adding that in the function of universe, which organizes „classical” and contemporary verbal folk creativity, laugh, which creates much fairer, though an illusory „world of anticulture”, appears.
Źródło:
Acta Polono-Ruthenica; 2006, 1, XI; 267-278
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Urodzone cytaty”. Wisława Szymborska jako aforystka
“Quotations Born”: Wisława Szymborska as an Aphorist
Autorzy:
Tarnogórska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/578912.pdf
Data publikacji:
2019
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
philosophical poetry, aphorism, parody, paradox, tautology
Opis:
The aim of this article is to analyze Wisława Szymborska’s literary works in order to demon-strate that her aphoristic style is one of the most striking elements of her texts. Szymborska’s style is particularly notable in that it is ironically aphoristic, containing parody of typical aphoristic schemata, paradox and tautology. Through this style, her work not only enriches the traditional repertoire of the genre but seems also to justify an important feature of her writing: its philosophical and intellectual character often discerned by critics. As a consequence, quotes from her oeuvre frequently enter diverse anthologies of ‘wise and funny thoughts’ and collections of the so-called ‘winged’ words.
Źródło:
Zagadnienia Rodzajów Literackich; 2019, 62, 3; 91-102
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM
Autorzy:
Sosnowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/648044.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
cabaret performance
parody
digital Shakespeare
Opis:
Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 81-93
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
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