Andere Kunden interessierten sich auch für
![Soul Music]( "Soul Music")
Soul Music13,99 €![Penis Pokey]( "Penis Pokey")
Penis Pokey12,99 €![Humans]( "Humans")
Humans10,99 €![Pride and Prejudice and Zombies: Dawn of the Dreadfuls]( "Pride and Prejudice and Zombies: Dawn of the Dreadfuls")
Pride and Prejudice and Zombies: Dawn of the Dreadfuls15,99 €![Pride and Prejudice and Zombies: Dreadfully Ever After]( "Pride and Prejudice and Zombies: Dreadfully Ever After")
Pride and Prejudice and Zombies: Dreadfully Ever After15,99 €![Soul Music]( "Soul Music")
Soul Music14,99 €![MacTrump]( "MacTrump")
MacTrump18,99 €
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.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.