BiblioVault - Books about Parody

Amphoteroglossia

A Poetics of the Twelfth-Century Medieval Greek Novel

Panagiotis Roilos

Harvard University Press, 2005

This work offers the first systematic and interdisciplinary study of the poetics of the twelfth-century medieval Greek novel. This book investigates the complex ways in which rhetorical theory and practice constructed the overarching cultural aesthetics that conditioned the production and reception of the genre of the novel in twelfth-century Byzantine society. By examining the indigenous rhetorical concept of amphoteroglossia, this book probes unexplored aspects of the re-inscription of inherited allegorical, comic, and rhetorical modes in the Komnenian novels, and offers new methodological directions for the study of Byzantine secular literature in its cultural complexities. The creative re-appropriation of the established generic conventions of the ancient Greek novel by the medieval Greek novelists, it is argued in this wide-ranging study, has invested these works with a dynamic dialogism. In this book, Roilos shows that this interdiscursivity functions on two pivotal axes: on the paradigmatic axis of previously sanctioned ancient Greek and—less evidently but equally significantly—Christian literature, and on the syntagmatic axis of allusions to the broader twelfth-century Byzantine cultural context.

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Ben Jonson’s Parodic Strategy

Literary Imperialism in the Comedies

Robert N. Watson

Harvard University Press, 1987

This provocative study provides a radically new perspective on Ben Jonson's comedies. Robert Watson's theory of the “parodic strategy” offers a solution to many of the most perplexing cruxes of Jonson criticism. By betraying the expectations of his characters and his audience, Jonson subsumes and chastises his rival playwrights, and seizes territory within the dramatic genre for his special form of satiric city-comedy.

He builds his complex plots out of the wreckage of more conventional works, in a way that allows him to criticize and combat not only his literary competitors, but also the histrionic tendencies of Renaissance English society. This view of Jonson's notorious borrowings has broad implications for the staging and editing of the comedies, as well as for scholarly criticism. It reveals a Jonson who is more coherent, more consistently funny, and more modernistically aware of the conventions and paradoxes of his medium than has generally been supposed. Watson's approach allows him to reorient major comedies such as Volpone, The Alchemist, and Bartholomew Fair, and to rehabilitate the later works that have commonly been dismissed as “dotages.” Ben Jonson's Parodic Strategy thus provides fresh and vivid insights into Jonson's changing attitudes toward popular culture and toward his own censorious critical persona.

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Kamikaze Biker

Parody and Anomy in Affluent Japan

Ikuya Sato

University of Chicago Press, 1991

In this firsthand account of high-risk car and motorcycle racing in Japan, Ikuya Sato shows how affluence and consumerism have spawned various experimental and deviant life-styles among youth. Kamikaze Biker offers an intriguing look at a form of delinquency in a country traditionally thought to be devoid of social problems.

"Ikuya Sato's Kamikaze Biker is an exceptionally fine ethnographic analysis of a recurrent form of Japanese collective youth deviance. . . . Sato has contributed a work of value to a wide range of scholarly audiences."—Jack Katz, Contemporary Sociology

"A must for anyone interested in Japan, juvenile delinquency and/or youth behavior in general, or the impact of affluence on society."—Choice

"The volume provides a sophisticated . . . discussion of changes happening in Japanese society in the early 1980s. As such, it serves as a window on the 1990s and beyond."—Ross Mouer, Asian Studies Review

"Kamikaze Biker is a superlative study, one that might help liberate American social science from the simplistic notion that behavior not directly contributing to economic productivity should be summarily dismissed as 'dangerous' and 'deviant.' "—Los Angeles Times Book Review

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Parody and Decadence

Laforgue’s Moralités légendaires

Michele Hannoosh

The Ohio State University Press, 1900

Parody in the Middle Ages

The Latin Tradition

Martha Bayless

University of Michigan Press, 1996

Parody in the Middle Ages: The Latin Tradition surveys and analyzes Latin parodies of texts and documents--Biblical parody, drinker's masses, bawdy litanies, lives of saints such as Nemo (Nobody) and Invicem (One-Another), and nonsense texts--in Western Europe from the early Middle Ages to the Renaissance. This book also sketches in the background to the canonical works of medieval literature: Chaucer's fabliaux, French comic tales such as the Roman de Renart, and medieval satire in general.
Bayless' study shows with great clarity that parody was a significant and vibrant literary form in the Middle Ages. In addition, her research sheds new light on clerical culture. The clerics who composed these parodies were far from meddling guardians of somber piety; rather, they appeared to see no contradiction between merriment and devotion. The wide dissemination and long life of these drolleries--some circulated for a thousand years--indicate a taste for clerical amusement that challenges conventional views of medieval solemnity.
Parody in the Middle Ages surveys in detail five of the most common traditions of parody. It provides a complete list of all known medieval Latin parodies, and also provides twenty complete texts in an appendix in the original Latin, with English translations. These texts have been collated from over a hundred manuscripts, many previously unknown. The study brings to light both a form and many texts that have remained obscure and inaccessible until now.
Parody in the Middle Ages appeals to the modern audience not only for its cultural value but also for the same reason the parodies appealed to the medieval audience: they are simply very funny. This welcome new volume will be of particular interest to students of medieval satire and literary culture, to medieval Latinists, and to those who want to explore the breadth of medieval culture.
Martha Bayless is Assistant Professor of English, University of Oregon.

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Poker

The Parody of Capitalism

Ole Bjerg

University of Michigan Press, 2011

Poker is an extraordinary worldwide phenomenon with major social, cultural, and political implications, and Poker: The Parody of Capitalism investigates the game of poker as a cultural expression of significance not unlike art, literature, film, or music. Tracing the history of poker and comparing the evolution of the game to the development of capitalism, Ole Bjerg complicates prevalent notions of “casino capitalism” and correspondingly facile and simplistic comparisons of late capitalism and poker. By employing Slavoj Žižek’s threefold distinction between imaginary-symbolic-real as a philosophical framework to analyze poker and to understand the basic strategies of the game, Bjerg explores the structural characteristics of poker in relation to other games, making a clear distinction between poker and other gambling games of pure chance such as roulette and craps. With its combination of social theory and empirical research, Poker offers an engaging exploration of a cultural trend.

"Poker is a theoretically sophisticated, highly original and innovative treatment of a contemporary social phenomenon, and contributes greatly to our understanding of the nature of contemporary capitalism."
—Charles Livingstone, Monash University Australia

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Stephen Crane

From Parody to Realism

Eric Solomon

Harvard University Press

A Theory of Parody

The Teachings of Twentieth-Century Art Forms

Linda Hutcheon

University of Illinois Press, 1985

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 one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of 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.

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