The paper presents J. R. Fowles's novel "The French Lieutenants's Woman" as imitation and parody of Victorian novel.The epigraphs, duality of presentation and multiple endings of the novel, analyzed in the paper, made "The French Lieutenant's Woman" an uotstanding parody of the Victorian novel.

Revision of thesis, Münster. / Bibliography: p. 181-189.

Zugl.: Bochum, Universiẗat, Diss., 1993. / Zugl.: Bochum, Univ., Diss., 1993.

Thesis (M.M.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 191-193).

Thesis (Ph.D.)--Boston University. / Many of Bach's greatest masterpieces contain movements based on music from earlier compositions. These parodies of previously composed works seemed to require as much, if not more, ingenuity than that required for the composition of fresh musical material. A thorough study, then, of Bach's technique of parody should provide new insight into his music and his methods of composition. All changes have been listed and classified in an appendix so that references, other than those cited in the text, can easily be made to the published work. References are made, whenever possible, to the edition of the composer's collected works by the Bach Gesellschaft. [TRUNCATED]

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American composer Andrew Rindfleisch (b. 1963) has contributed twenty-one pieces to the repertoire of contemporary choral literature to date. His works have been commissioned, premiered, and recorded by notable choral ensembles and performed in significant venues around the country. Influenced by his own early choral singing experience in his native Wisconsin, much of Rindfleisch’s choral music is infused with influences of the music of earlier composers and choral idioms. With these works, Rindfleisch participates in a long-standing trend in choral composition of looking to the musical past for inspiration and procedure while writing in a contemporary harmonic vocabulary, and his efforts can be evaluated through the lens of a study of musical borrowing. Through a case study of five of Rindfleisch’s choral works – “In manus tuas,” “Mille regretz,” “Psalm,” “Anthem,” and “Graue Liebesschlangen” – this document identifies common characteristics of Rindfleisch’s choral music and demonstrates his uses of musical borrowing and allusion. The influence of Renaissance polyphony, Debussy, Brahms, and German expressionism is revealed.

The main theoretical thrust of my project involves the political uses of parodically performing shame and shaming rituals in resisting normative regulation. I argue that parodic performances of this negative affect—traditionally deployed to erase, obscure, and regulate queers—can expose how shame regulates the gender/sexuality performances of straight people as well as queers. I view this project primarily as a tactical shift from the parodic performances outlined by Judith Butler in texts like Gender Trouble, and I feel that the shift is important as a counter measure to increasing homonormative inclusion of (white, middle class) gays and lesbians into straight or neoliberal society. The first section of my thesis is dedicated to exploring theories of homonormativity. I work primarily from Michael Warner’s The Trouble with Normal, which is a queer polemic, and Lisa Duggan’s The Twilight of Equality, which contextualizes homonormativity in the cultural project of neoliberalism. Homonormativity is, in essence, the opening of cultural space in mainstream society for a certain group of gays and lesbians—those who are “the most assimilated, genderappropriate, politically mainstream portions of the gay population” (Duggan 44). As Warner discusses at length, the shift from queer to conservative gay interests has shifted attention from issues like HIV/AIDS research and physical protection of queers to gay marriage and the repeal of “Don’t Ask, Don’t Tell,” which are causes that primarily benefit the gays and lesbians already most assimilated to straight culture. Section II focuses on the work of Judith Butler and other theorizations of parody. Butler’s theory suggests that gender and sexuality consist of a set of continuously repeated performances, and that by performing gender one is constituted as a subject. Butler argues that it is impossible to step outside gender—to stop performing, as it were —because there is no agency prior to the imposition of gender. She locates the only possibility for resistance to gender as a socially regulatory myth structure in the failure to properly perform gender, or in performing in such a way that gender is exposed as always already performative. I have paired Butler’s theory with Linda Hutcheon’s A Theory of Parody, which examines the uses, limitations, and value of artistic parody. These two theorists, of course, have different goals, which complicates the potential for combining their work. In the final section I develop my own theory, which largely takes its cue from Butler’s notion that we can resist gender/sexuality regulation through parodic performance. But, whereas Butler argues for parodic performances of gender/sexuality, I suggest the usefulness of parodying shame and shaming rituals. Shame—the social imposition of it, as well as the desire to avoid it—has long been a force maintaining proper behavior in the largest sense, but I am concerned specifically with the regulation of gender and sexual performances. Queers (understood broadly) and women have long been the targets of shame, while straight males have long been the performers of shaming rituals—mockery, brutal laugher, violence. What I suggest is that through an appropriation and parodic reinterpretation of these shaming rituals and shame itself, queers can expose the centrality of shame in repressing not only queer existence and performance, but in restricting the performative possibilities of straight people. This new notion of performative resistance is especially important as some gays and lesbians enter straight society and become subject to its shaming restrictions, but also become complicit in shaming those queers still outside the realm of homonormative possibilities

The purpose of this thesis is to analyse the different ways in which naturalist fiction was parodied in France at the end of the nineteenth century. It demonstrates first of all the validity of approaching naturalist literature through the medium of parody by defining and explaining the interrelation between parody and naturalism. If parody, which inscribes texts within texts, seeks by its very nature to reveal the illusory status of literature and makes the reader aware of the literary medium, naturalist fiction obeys the opposite impulse: its mimetic pretences lead it to hide its literariness. The principal aim of the thesis is thus to determine whether and to what extent parody can undermine the mimetic strategies of naturalist literature; and whether parody led to a renewal of naturalist fiction as it has done with other kinds of fiction. The thesis is divided into three parts. Part 1 concentrates on the theory of parody and provides a survey of the different conceptions of parody through the centuries. Chapter 1 of Part 1 deals with definitions of parody as a relatively minor practice. Chapter 2 is devoted to parody as a key factor in the renewal of literary genres as well as being a constituent of modern and post-modern aesthetics. In Chapter 3, I outline a twofold approach to parody: I argue that some texts are parodic by nature and that other texts are potentially parodic. In the former case the text is intentionally parodic, whether the reader is capable of identifying parody or not. In the latter case the very intentionality of parody is put into question. For a comprehensive poetics of parody both modes must be taken into account. Part 2 examines the numerous parodies that arise in the context of the reception of naturalist literature. I have uncovered over a hundred of these multigeneric parodies, which have allowed me to establish an extensive bibliography of the parodies of naturalist literature. Even though some of these parodies can be thought of as slight from a literary point of view, they provide us with invaluable information on naturalism and its literary context. Besides their general sociological and documentary value, these parodies unveil completely unexplored aspects of the literary battle provoked by naturalist writings. In this way new light is shed on the process of reception of naturalist fiction. The parodic dimension that can be found in the works of the so-called second generation of naturalist writers - Paul Bonnetain, Leon Hennique, Henri Ceard and others - is discussed in Part 3 of the thesis. In their works naturalist themes and procedures often become mechanised and overcoded: the strategies used to explore the very limits of the naturalist genre range from the comic grotesque, to the 'shocking', to the absurd. I f in the parodies studied in Part 2 naturalism was parodied from outside, in this phase it is undermined from within by a ' fifty. Interestingly, such practices are also to be found in the works of major writers associated with the naturalist movement (Joris-Karl Huysmans and Octave Mirbeau). Thus I use parody or self-parody as an interpretative grid to cast a different light on certain naturalist writings. Even though parody does not really lead to the renewal of naturalist fiction, it sometimes gives rise to reflection on literariness and the writing process. Such a meta-fictional use of parody is fundamentally innovative and represents a modern trend already evident in the fiction of the last decades of nineteenth-century.