Search results for "Parody"
showing 10 items of 14 documents
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
Parodie et Vandalisme chez les frères Chapman
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…
Parody in art from the sixties to our times
2014
The word parody has been coined during classical antiquity and has since been considered mostly as a literary genre or figure. Nevertheless, numerous plastic artists are making use of its forms, processes and connotations. During the 1960s decade, the advent of consumerism and its effects on the work of art duplicability gave a new rise to parody. Reproducibility allowed the transformation of history of arts into a vast repertoire in which one may draw to create from and thus, offered a fertile ground for parodic creation. This study focuses on understanding why and how such a wide range of artists are taking advantage of parody for personal or contextual ends from the 1960s to nowadays. Th…
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…
Poetycki teatrzyk małych form dramatycznych na łamach "Muchy" i "Kolców" w latach siedemdziesiątych XIX wieku
2017
The repertoire of humorous periodicals, even at its early inception, allows to be organized according to numerous criteria – thematic, genealogical, formal and aesthetic ones. One can distinguish marriage and family, professional and social, fantastic and parody dramas. The selected types penetrate each other. Formal parody was signaled by subtitles containing the qualification that determined the formal shape of the work. In this way the newspaper theater revived the conventions revoked by the literary reform of Romanticism. A theater of Paris cabarets was to soon follow in its footsteps with the projects of great 19th century stage reformers – and this is not the only resemblance to the l…
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.
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…