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Parody, Popular Culture, and the Narrative of Javier Tomeo
PARODY, POPULAR CULTURE, AND THE NARRATIVE OF JAVIER TOMEO by MARK W. PLEISS B.A., Simpson College, 2007 M.A., University of Colorado at Boulder, 2009 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Spanish and Portuguese 2015 This thesis entitled: Parody, Popular Culture, and the Narrative of Javier Tomeo written by Mark W. Pleiss has been approved for the Department of Spanish and Portuguese __________________________________________________ Dr. Nina L. Molinaro __________________________________________________ Dr. Juan Herrero-Senés __________________________________________________ Dr. Tania Martuscelli __________________________________________________ Dr. Andrés Prieto __________________________________________________ Dr. Robert Buffington Date __________________________________ The final copy of this thesis has been examined by the signatories, and We find that both the content and the form meet acceptable presentation standards of scholarly work in the abovementioned discipline. iii Pleiss, Mark W. (Ph.D. Spanish Literature, Department of Spanish and Portuguese) Parody, Popular Culture, and the Narrative of Javier Tomeo Dissertation Director: Professor Nina L. Molinaro My thesis sketches a constellation of parodic Works Within the contemporary Spanish author Javier Tomeo's (1932-2013) immense literary universe. These novels include El discutido testamento de Gastón de Puyparlier (1990), Preparativos de viaje (1996), La noche del lobo (2006), Constructores de monstruos (2013), El cazador de leones (1987), and Los amantes de silicona (2008). It is my contention that the Aragonese author repeatedly incorporates and reconfigures the conventions of genres and sub-genres of popular literature and film in order to critique the proliferation of mass culture in Spain during his career as a writer. -
James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors
THEORY AND INTERPRETATION OF NARRATIVE James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors Narrative Theory Core Concepts and Critical Debates DAVID HERMAN JAMES PHELAN PETER J. RABINOWITZ BRIAN RICHARDSON ROBYN WARHOL THE OHIO STATE UNIVERSITY PRESS | COLUMBUS Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Narrative theory : core concepts and critical debates / David Herman ... [et al.]. p. cm. — (Theory and interpretation of narrative) Includes bibliographical references and index. ISBN 978-0-8142-5184-3 (pbk. : alk. paper) — ISBN 0-8142-5184-6 (pbk. : alk. paper) — ISBN 978-0-8142-1186-1 (cloth : alk. paper) — ISBN 0-8142-1186-0 (cloth : alk. paper) — ISBN 978- 0-8142-9285-3 (cd-rom) 1. Narration (Rhetoric) I. Herman, David, 1962– II. Series: Theory and interpretation of nar- rative series. PN212.N379 2012 808.036—dc23 2011049224 Cover design by James Baumann Text design by Juliet Williams Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materi- als. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Preface ix Acknowledgments xiii Part One Perspectives: Rhetorical, Feminist, Mind-Oriented, Antimimetic 1. Introduction: The Approaches Narrative as Rhetoric JAMES PHElan and PETER J. Rabinowitz 3 A Feminist Approach to Narrative RobYN Warhol 9 Exploring the Nexus of Narrative and Mind DAVID HErman 14 Antimimetic, Unnatural, and Postmodern Narrative Theory Brian Richardson 20 2. Authors, Narrators, Narration JAMES PHElan and PETER J. -
OH, PRETTY PARODY: CAMPBELL V. ACUFF-ROSE MUSIC, INC
Volume 8, Number 1 Fall 1994 OH, PRETTY PARODY: CAMPBELL v. ACUFF-ROSE MUSIC, INC. Lisa M. Babiskin* INTRODUCTION For the second time ever, the Supreme Court addressed the affirmative defense of fair use to copyright infringement in the context of parody in Campbell v. Acuff-Rose Music, Inc. ~ The unanimous opinion found a parody rap version of Roy Orbison's song "Oh, Pretty Woman" by the group 2 Live Crew could be a fair use within the exceptions to the protections of the Copyright Act of 1976. 2 The fair use defense is an inconsistent and confusing area that has been called "the most trouble- some [issue] in the whole law of copyright. "3 The Campbell decision helps preserve the flexible, case-by-case analysis intended by Congress and recognizes the value of parody both as a form of social criticism and catalyst in literature. The decision affords wide latitude to parodists, emphasizing the irrelevance of the judge's personal view of whether the parody is offensive or distasteful. It is unclear whether future courts will interpret this holding to be limited to fair use of parody in the context of song, or whether they will construe it more broadly to confer substantial freedom to parodists of all media. It is also unclear what effect this decision will have on the music industry's practice of digital sampling. This article will review the historical background of fair use in the context of parody and the case law preceding the Supreme Court's decision. A detailed discussion of the lower courts' decisions will be followed by analysis of the Supreme Court's decision and its implications for the future. -
Postmodernist Poetics and Narratology: a Review Article About Mchale's Scholarship
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 3 Article 15 Postmodernist Poetics and Narratology: A Review Article about McHale's Scholarship Biwu Shang Shanghai Jiao Tong University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Shang, Biwu. -
Theory and Interpretation of Narrative) Includes Bibliographical References and Index
Theory and In T e r p r e Tati o n o f n a r r ati v e James Phelan and Peter J. rabinowitz, series editors Postclassical Narratology Approaches and Analyses edited by JaN alber aNd MoNika FluderNik T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved Library of Congress Cataloging-in-Publication Data Postclassical narratology : approaches and analyses / edited by Jan Alber and Monika Fludernik. p. cm. — (Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-5175-1 (pbk. : alk. paper) ISBN-10: 0-8142-5175-7 (pbk. : alk. paper) ISBN-13: 978-0-8142-1142-7 (cloth : alk. paper) ISBN-10: 0-8142-1142-9 (cloth : alk. paper) [etc.] 1. Narration (Rhetoric) I. Alber, Jan, 1973– II. Fludernik, Monika. III. Series: Theory and interpretation of narrative series. PN212.P67 2010 808—dc22 2010009305 This book is available in the following editions: Cloth (ISBN 978-0-8142-1142-7) Paper (ISBN 978-0-8142-5175-1) CD-ROM (ISBN 978-0-8142-9241-9) Cover design by Laurence J. Nozik Type set in Adobe Sabon Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Introduction Jan alber and monika Fludernik 1 Part i. -
Translating Alice in Wonderland for Different Audiences Through the Years
Translating Alice in Wonderland for Different Audiences through the Years Édith Félicité Koumtoudji A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Translation Johannesburg, March 2012 ABSTRACT The purpose of this research is to compare four French translations of Alice in Wonderland with the original version in order to study the strategies used by the French translators to render certain cultural elements while addressing different audiences. Another aspect of the research is the study of paratext in the selected translations. The theoretical framework is based on Klingberg’s approach to cultural context adaptation and Rojo Lopez’s approach to the translation of humour. Selected passages are analysed and suggestions are made at the end of the research. The research showed that the first French translation of Alice in Wonderland which was released in 1869 was localised and contained more deletions than the other three French translations. Also, the style of the contemporary illustrators of Alice in Wonderland presented in this study differs considerably from that of the original illustrator. ii DECLARATION I, Édith Félicité Koumtoudji, declare that this research report is my own, unaided work. It is submitted in partial fulfilment of the requirements for the degree of Master of Arts in Translation to the Faculty of Humanities of the University of the Witwatersrand, Johannesburg. It has not been submitted to any other university before. The iii DEDICATION To my family To my brethren To all those who are involved in language studies in general, and in translation studies in particular. -
Getting Schmedieval: of Manuscript and Film Parodies, Prologues, And
Exemplaria Medieval, Early Modern, Theory ISSN: 1041-2573 (Print) 1753-3074 (Online) Journal homepage: https://www.tandfonline.com/loi/yexm20 Getting Schmedieval: Of Manuscript and Film Prologues, Paratexts, and Parodies Richard Burt To cite this article: Richard Burt (2007) Getting Schmedieval: Of Manuscript and Film Prologues, Paratexts, and Parodies, Exemplaria, 19:2, 217-242, DOI: 10.1179/175330707X212840 To link to this article: https://doi.org/10.1179/175330707X212840 Published online: 18 Jul 2013. Submit your article to this journal Article views: 971 View related articles Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yexm20 EXEMPLARIA, VOL. 19, NO. 2, SUMMER 2007, 217 – 242 Getting Schmedieval: Of Manuscript and Film Prologues, Paratexts, and Parodies RICHARD BURT GUEST C0-EDITOR University of Florida This introduction examines how historical effects in cinematic medievalism are produced through analogies between their shared marginal paratexts, including historiated letters, prefaces, opening title sequences, fi lm prologues, and intertitles. Close attention to the cinematic paratext of medieval fi lms such as The Adventures of Robin Hood, Richard III, Prince Valiant, El Cid, and Monty Python and the Holy Grail offers us insights not only into connections between medieval manuscript culture and fi lm but into the way analogies drawn within medieval fi lms between old and new media blur if not fully deconstruct distinctions -
International Journal of Education & the Arts
International Journal of Education & the Arts Editors Christine Marmé Thompson S. Alex Ruthmann Pennsylvania State University University of Massachusetts Lowell Eeva Anttila William J. Doan Theatre Academy Helsinki Pennsylvania State University http://www.ijea.org/ ISS1: 1529-8094 Volume 134 1umber 2 February 14, 2013 Appropriation, Parody, Gender Play, and Self-representation in Preadolescents’ Digital Video Production Olga Ivashkevich University of South Carolina, USA samantha shoppell Shizuoka City Board of Education, Japan Citation: Ivashkevich, O., & shoppell, s. (2012). Appropriation, parody, gender play, and self-representation in preadolescents’ digital video production. International Journal of Education & the Arts, 14(2). Retrieved [date] from http://www.ijea.org/v14n2/. Abstract The authors discuss their participant observation study with the 10-year-old boy and 8- year-old girl who collaborated on making digital videos at home. Major themes that emerged from this research include appropriation of popular culture texts, parody, gender play, and managing self-representations. These themes highlight the benefits of video production for children and youth, which allows them to take on the roles of writers, producers, directors, actors, and editors in their own right and understand the inner workings of new media enterprise. It also offers them an opportunity to respond to and rework popular images, scripts, and characters; try on and enact multiple identities; and make important decisions about their self-representations. IJEA Vol. 14 1o. 2 - http://www.ijea.org/v14n2/ 2 Appropriation, Parody, Gender Play, and Self-representation in Preadolescents’ Digital Video Production Increased access to new technologies such as digital photography, video, computer applications, and the Internet has rapidly expanded the territory of children’s self-directed artistic exploration beyond the conventional medium of pencil and paper. -
In Shakespeare's Twelfth Night
International Journal on Studies in English Language and Literature (IJSELL) Volume 8, Issue 9, September 2020, PP 13-21 ISSN 2347-3126 (Print) & ISSN 2347-3134 (Online) https://doi.org/10.20431/2347-3134.0809002 www.arcjournals.org Aspects of ‘Parody’ And ‘Play within a Play’ in Shakespeare’s Twelfth Night. Dr. Shirin Sadallah Rasheed1*, Kawa Othman. O. Ahmed2 1Lect. Department of English College of Education University of Salahadin 2Department of Translation College of Languages University of Sulaimani *Corresponding Authors: Dr. Shirin Sadallah Rasheed, Lect. Department of English College of Education University of Salahadin Abstract: The research investigates aspects of parody and ‘play within a play’ in Shakespeare’s Twelfth Night (1601-1602). One important issue to be investigated is the parodic relation between two interrelated plots in this romantic comedy. The main focus is on the play’s subplot with regard to the aspects of ‘parody’ and ‘play within a play’. The play’s minor-plot, as the research demonstrates, parodically reflects on the play’s main themes and dramatic action. There is also a striking similarity and parodic relation between the two female protagonists in both interrelated plots with regard to female protagonists’ witty usage of language and deceptive schemes. Such parodic relationship reaffirms the play’s essential message in respect to female protagonists’ quest for individuality and selfhood. This is in accord with Shakespeare’s humanist and feminist perspective with regard to woman’s right in determining her own destiny. The current research is significant for many reasons, Above all, it shed lights on unexplored aspects in Shakespeare’s romantic comedy such as the dramatic technique of parody and ‘play within a play’. -
Humor & (Classical) Music
Humor & (Classical) Music: * 20th Century Parodists * October 22, 2020 Humor & Classical Music ● Quick Introductions ● Refresher on Humor/Satire/Parody ● 20th Century Parodists ● Q&A WHY & WHAT is something funny? WHY WHAT ● Broken Expectations! ● Music = Emotion with a side order of analytical ● thinking. Verisimilitude ● Humor = Analytical ● Context thinking with a side order of emotion. Types of Funny Music Many of these got started in Vaudeville: the world of NATIONAL MEDIA made it possible for performers to make their entire careers from satire/spoof/parody. ● Musical Jokes = Performed by a comedian, not usually a musician ● Musical Comedian = Comedian who chooses music as the medium ● Novelty Songs = Composed for the silly content ● Musical Parody & Satire ○ Spoof of pre-existing work/style with comic twist ● Musical Ridicule/Incompetence ○ Spoof of pre-existing work/style with demented twist ● Musical Comedy/Operetta = Feature length novelty song with plot and coherence ● Composed Humor = “Normal” composer tossing in something funny HOW is something in music funny? A. Slapstick Level a. Strange instruments, funny sounds, obvious musical gags b. Requires no musical background or context B. Moderately Keen Music Understanding a. Title humor, music theory gags b. Requires a certain level of musical background and context C. Musicological Esotheria a. Minutia jokes, structure and analysis gags, insider jokes b. Requires a deep understanding of music contexts Top scores go to those pieces that can combine all 3 at once! Spike Jones [A & B] ● Lindley Armstrong Jones born in CA in 1911. Called Spike early on. ● Percussion on original Bing Crosby “White Christmas” recording ● Joined the Feather Merchants, started to do the occasional silly recording, and in 1941 changed their name to The City Slickers (inspired by a Cindy Walker song Spike played on). -
Anatomy of Criticism with a New Foreword by Harold Bloom ANATOMY of CRITICISM
Anatomy of Criticism With a new foreword by Harold Bloom ANATOMY OF CRITICISM Four Essays Anatomy of Criticism FOUR ESSAYS With a Foreword by Harold Bloom NORTHROP FRYE PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 3 Market Place, Woodstock, Oxfordshire OX20 1SY Copyright © 1957, by Princeton University Press All Rights Reserved L.C. Card No. 56-8380 ISBN 0-691-06999-9 (paperback edn.) ISBN 0-691-06004-5 (hardcover edn.) Fifteenth printing, with a new Foreword, 2000 Publication of this book has been aided by a grant from the Council of the Humanities, Princeton University, and the Class of 1932 Lectureship. FIRST PRINCETON PAPERBACK Edition, 1971 Third printing, 1973 Tenth printing, 1990 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R1997) {Permanence of Paper) www.pup.princeton.edu 25 24 23 22 21 20 19 18 17 16 15 Printed in the United States of America HELENAE UXORI Foreword NORTHROP FRYE IN RETROSPECT The publication of Northrop Frye's Notebooks troubled some of his old admirers, myself included. One unfortunate passage gave us Frye's affirmation that he alone, of all modern critics, possessed genius. I think of Kenneth Burke and of William Empson; were they less gifted than Frye? Or were George Wilson Knight or Ernst Robert Curtius less original and creative than the Canadian master? And yet I share Frye's sympathy for what our current "cultural" polemicists dismiss as the "romantic ideology of genius." In that supposed ideology, there is a transcendental realm, but we are alienated from it. -
Appropriation Film”
An unauthorized partial recording of Christian Marclay’s The Clock as accessed on Vimeo, May 21, 2015 . Trespassing Hollywood: Property, Space, and the “Appropriation Film” RICHARD MISEk In the two decades since the first exhibition of Douglas Gordon’s 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has become a common feature of experimental filmmaking and artists’ film and video. Many of the most prominent contemporary practitioners in these fields (including Cory Arcangel, Mark Leckey, Christian Marclay, and Nicolas Provost) have made their names by creating montages, collages, mash-ups, and other transformative works from preexisting moving images. Perhaps the clearest evidence so far of appropriation’s prominence within moving-image arts was the 2012 Turner Prize, in which the works of two of the four finalists (Luke Fowler and Elizabeth Price, who won) were videos constructed mainly from archival televi - sion footage. Of course, this artistic turn is symptomatic of a broader cultural turn that has seen media reuse spread to everyday practice. However artists’ audiovisual appropriations may differ from fan-made YouTube supercuts, the two share a cru - cial technological precondition: the ability to copy and transform source files with - out a significant reduction in quality. 1 Applied to video, Nicolas Bourriaud’s char - acterization of contemporary artistic practice as “postproduction” loops back to its original meaning. It describes not only the creative process of “selecting cultural objects and inserting them into new contexts” but also the technologies through which this process takes place: video-editing, sound-mixing, and visual-effects (i.e., “postproduction”) software.