Modern Musical Parody

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  • Topic: Parody, Parody music, Don Quixote
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  • Published : May 8, 2011
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A parody (pronounced /ˈpærədi/; also called send-up, spoof or lampoon), in contemporary usage, is a work created to mock, comment on, or trivialise an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. As the literary theorist Linda Hutcheon (2000: 7) puts it, "parody … is imitation, not always at the expense of the parodied text." Another critic, Simon Dentith (2000: 9), defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice." Often, the most satisfying element of a good parody is seeing others mistake it for the genuine article.

Parody may be found in art or culture, including literature, music (although "parody" in music has an earlier, somewhat different meaning than for other art forms), animation, gaming and film.

The writer and critic John Gross observes in his Oxford Book of Parodies, that parody seems to flourish on territory somewhere between pastiche ("a composition in another artist's manner, without satirical intent") and burlesque (which "fools around with the material of high literature and adapts it to low ends").[1]

Look up parody in Wiktionary, the free dictionary.
Contents [hide]
1 Origins
2 Music
3 English term
4 Modernist and post-modernist parody
5 Reputation
6 Film parodies
7 Self-parody
8 Copyright issues
8.1 United States
8.2 Canada
8.3 United Kingdom
9 Social and political uses
10 Examples
10.1 Historic examples
11 References
12 See also

[edit] OriginsAccording to Aristotle (Poetics, ii. 5), Hegemon of Thasos was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient Greek literature, a parodia was a narrative poem imitating the style and prosody of epics "but treating light, satirical or mock-heroic subjects" (Denith, 10). Indeed, the apparent Greek...
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