Search results for "Parody"
showing 10 items of 14 documents
Phantom of the Paradise de Brian De Palma ou comment la captation sauve de la mort
2004
J’ai récemment lu sur un site web consacré à Brian De Palma, qu’il avait eu l’idée du film après qu’il ait entendu une version instrumentale d’une chanson des Beatles dans un ascenseur, ce que l’on appelait dans les années soixante-dix la muzak, une musique d’ambiance réalisée pour les lieux publics à base de tubes réarrangés.Mais Brian de Palma n’a pas seulement réalisé un film sur les relations du rock et du show-bizz et une parodie féroce des producteurs. Le film est également une réflexion très aboutie sur la façon dont les supports d’enregistrements (qu’il s’agisse de la pellicule ou du disque) ont profondément modifié les rapports entre les auteurs (au sens large), les éditeurs, les i…
Parodie et Vandalisme chez les frères Chapman
2014
International audience
"Listening to you, I get the music”: The Who, "Tommy" i forma opery rockowej
2017
Niniejszy artykuł jest próbą częściowej analizy podgatunku muzycznego opery rockowej na podstawie tekstu Tommy grupy The Who. Ta hybrydowa forma, która, w szerokim znaczeniu pop musicalu, wywodzi się z amerykańskiej muzyki popularnej, w kontekście brytyjskim parodystycznie odwzorowuje niektóre elementy strukturalne klasycznej opery, wykorzystując przy tym wyraźnie rockowy idiom. Narodziny i okres świetności podgatunku przypadają na koniec lat sześćdziesiątych i początek siedemdziesiątych dwudziestego wieku, a pierwszym brytyjskim albumem, który nazywa się operą rockową, jest skomponowany głównie przez Petera Townshenda Tommy (1969), forma wywodząca się z wcześniejszych eksperymentów artysty…
Fortuna dell’«Alda» di Guglielmo di Blois fra il XII e il XIII secolo: commedie elegiache, “fabliaux” e romanzi cortesi
2018
In questo intervento vengono studiate la fortuna e le imitazioni dell’Alda, commedia elegiaca latina di Guglielmo di Blois (scritta verso il 1169-1170), nella letteratura latina e volgare dei secc. XII e XIII. In particolare, dopo una presentazione generale dell’opera ci si sofferma su alcune commedie elegiache latine successive (Baucis et Traso, De mercatore, De uxore cerdonis di Iacopo da Benevento), su alcuni fabliaux antico-francesi del sec. XIII (Trubert di Douin de Lavesne, Li sohaiz desvez di Jean Bodel, l’anonimo De la damoisele) e sui romanzi di Chrétien de Troyes (Yvain) e di Roberto di Blois (Floris et Lyriopé). L’ultima sezione del lavoro è fondata, infine, sullo studio delle co…
Usage(s) politique(s) de la parodie chez Eduardo Arroyo, Equipo Crónica et les Malassis
2014
International audience
Girls strike back : the politics of parody in an indigenous TV comedy
2016
The diversification of the media has opened up new spaces for performances that seek not only to evoke laughter but also to voice social critique. One example of this development is the TV comedy show Märät säpikkäät/Njuoska bittut, created by two young women belonging to the indigenous Sámi people living in Finland. This paper focuses on one particularly critical sketch in the show: a counter-parody of a popular parody of the Sámi presented by two Finnish male comedians. The original sketch was a parody of ethnicity. As they strike back, however, the female presenters consciously foreground the categories of gender and class, thereby introducing a completely new figure: a white, urban, und…
Kombination und Rekombination in der Renaissance
2020
Ein hervorstechendes Merkmal der Musik des 15. und 16. Jahrhunderts ist die Verwendung von praexistenter Musik als Grundlage oder Ausgangspunkt einer neuen Komposition. Solche Werke lassen sich anhand zweier grundsatzlich unterschiedlicher Herangehensweisen unterscheiden, die jeweils eigene kompositionstechnische Probleme nach sich ziehen: Einerseits finden sich Kompositionen, die auf additiven Prozessen und kontrapunktisch anspruchsvollen Strukturen wie Kanons basieren, andererseits solche, in denen eine meist mehrstimmige Vorlage fragmentiert und ihre Bestandteile zu einer neuen Komposition rekombiniert werden. Im vorliegenden Artikel wird diese Unterscheidung ausgehend von Detailanalysen…
Castron kastraatio : Pedro Juan Gutiérrezin proosa castrokommunistisen utopian romuttajana
2016
This dissertation explores how Pedro Juan Gutiérrez's fiction corresponds to the Castrocommunist utopia. The study has three goals: (1) to explain how Castro-communism has formed, altered and impacted on Cuban literature; (2) to investigate how Gutiérrez's fiction corresponds to the Castro-communist utopia and ideals; and (3) how his parodic (anti)detective story Nuestro GG en La Habana (2004) is based on and relates to Cuban socialist detective stories, Graham Greene's spy farce Our Man in Havana, Castro-communist historiography and the social, ideological and economic shifts in Cuban society during the 1990s. Previous studies on Gutiérrez's fiction have focused almost exclusively on the a…
Intertestualità e parodia nella commedia per musica napoletana: il caso dell’"Armida immaginaria" di Giuseppe Palomba e Domenico Cimarosa (1777)
2021
"Armida immaginaria" by Palomba and Cimarosa is tangled in a thick network of intertextual connections. Many are its references, partly known, to Tasso’s Gerusalemme. In addition, scene I.10 turns out to be an effective literary and musical parody of scene II.10 of "Armida abbandonata" by De Rogati and Jommelli. That imitation is the outcome of a strategy shared between the librettist, the composer and the singer (the buffo Antonio Casaccia) and implies the deliberate connivance of the audience, whose reactions may be partly retraced by comparison with similar episodes.
"Ich werde euch ein anderes Abenteuer erzählen..." Die Parodie des Landadel-Romans in Witold Gombrowiczs Autorschaft
2021
On the one hand, “Sarmatian culture” in Poland led to a cultural syncretism blossoming on a large scale; on the other hand, culture closed in, Poland moved inwards in terms of civilisation and space – “provincial art” blossomed and the church congregation became the central cell of administrative and intellectual life. These elements are taken up in Gombrowicz’s “Pornography” and in the process – typical of Gombrowicz’s work – the Polish national tradition (here Sarmatism) becomes a parodic template and a game with the reader.