Download Parody (The New Critical Idiom) by Simon Dentith PDF

By Simon Dentith

Parody is a part of all our lives. It happens not just in literature, but in addition in daily speech, in theatre and tv, structure and movies. Drawing on examples from Aristophanes to The Simpsons, Simon Dentith explores:
* where of parody within the historical past of literature
* parody as a subversive or conservative mode of writing
* parody's pivotal function in debates approximately postmodernism
* parody within the tradition wars from precedent days to the present
This energetic advent situates parody on the middle of literary and cultural reviews and gives a remarkably transparent advisor to this occasionally complicated subject. Parody will function a necessary source, to be learn and re-read via scholars of all degrees.

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Additional info for Parody (The New Critical Idiom)

Sample text

But it is probable that satyr plays did not provide specific parody of the preceding material; rather, they characteristically presented, in the words of Dana Sutton, ‘a famous mythological character in a grotesque situation rich in comic possibilities’ (Sutton, 1980:13). Thus Cyclops provides a structural parody of the Cyclops episode in the Odyssey: Odysseus arrives in Sicily, the home for the purposes of the play of various Cyclops, where he finds Silenus and his troop of satyrs already imprisoned by Polyphemus; he eventually escapes in the prescribed manner (blinding of the Cyclops’s one eye with pointed stick), but only after a couple of his men have provided a gorily described meal for his host.

Or open ones. Since we have many parodic works which come from both such situations, we must conclude, not that there is no relation between literary modes and social situation, but that the nature of that relationship needs to be specified. In subsequent chapters I will consider some of these parodic forms in more detail: the medieval parodia sacra, as well as the parodic practices of ancient Greeks and modern novelists and playwrights. For now we can simply recognise that parody will play very different roles in these differing APPROACHES TO PARODY situations, perhaps reinforcing community norms in a monastery or private boarding school, and being interpretable as an act of piety in both, while at the same time serving to overturn and discredit the discourses of authority in the Early Modern world of Rabelais and Shakespeare.

Yeats’s famous poem from the 1890s, ‘The Lake Isle of Innisfree’: I will arise and go now, and go to Innisfree, And a small cabin build there, of clay and wattles made: APPROACHES TO PARODY Nine bean-rows will I have there, a hive for the honey-bee, And live alone in the bee-loud glade. And I shall have some peace there, for peace comes dropping slow, Dropping from the vales of the morning to where the cricket sings; There midnight’s all a glimmer, and noon a purple glow, And evening full of the linnet’s wings.

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