Este trabalho examina modalidades intertextuais em quatro peças de Marina Carr - Low in the Dark (1989), The Mai (1994), By the Bog of Cats (1998) e Ariel (2002) -, tendo por objetivo mostrar que a obra da dramaturga, embora organicamente integrada na tradição dramatúrgica irlandesa, exibe um ponto de tensão entre o desejo de preservação de aspectos tradicionais do teatro irlandês e a rebeldia que se traduz na subversão de velhas fórmulas. Esses dois pólos entre os quais se situam as peças da dramaturga revelam-se através da paródia, da alusão, do travestimento e da reescritura, por um lado, e, por outro, através da mistura dos gêneros. As peças selecionadas evidenciam a trajetória percorrida por Marina Carr na medida em que ao mesmo tempo em que se afirmam como locais, lidam com temas que ultrapassam as fronteiras do nacional. / This thesis examines modes of intertextuality in four plays by Marina Carr - Low in the Dark (1989), The Mai (1994), By the Bog of Cats (1998) and Ariel (2002) -, and aims at demonstrating that her theatre production, although organically integrated into the Irish drama tradition, presents a point of tension between the wish to cling to traditional features of Irish theatre and the rebellion against them. These two poles between which the playwright\'s work can be defined are revealed, on the one hand, through intertextual forms such as parody, allusion, travesty and rewriting and, on the other, by the mixture of genres. The chosen plays show evidence of Marina Carr\'s trajectory insofar as they present marks of Irishness and at the same time deal with themes that are not restricted to national problems.

Most of Peter Ackroyd&rsquo / s work takes place in London, and the city can be said to be a unifying element in his work. Even those of his novels that do not use London as a setting are about London and Londoners, in history and in the present. London, in Ackroyd&rsquo / s work, is represented by multiple points of view &ndash / firstly that of a historical personage and secondly of a researcher in the present day. Through the use of such a structure, Ackroyd parodies biography writing (by rewriting and distorting the life of a historical Londoner), and detective fiction (by making the contemporary researcher ineffectual and underqualified). These narratives, while being clearly separate and linear in themselves, focus on London, which acts as a bridge between the characters and themes in the separate centuries, culminating in their merge at the end. Thus, methods of rewriting in Ackroyd&rsquo / s work come together in the ulterior aim of rewriting the city of London. The main aim of this dissertation is to account for the various types of rewriting and parody that becomes evident in Ackroyd&rsquo / s fiction. In the light of the discussions on parody of detective fiction and biography in each chapter, this dissertation will attempt to view Ackroyd&rsquo / s fiction as a chronological metamorphosis of London itself, through rewriting its artists and their texts as productions of London.

This study aims to analyze the use of parody in Jeanette Winterson&rsquo / s Oranges Are Not the Only Fruit and Boating for Beginners. Winterson uses parody as a means to re-contextualise and re-interpret the Biblical material in a playful manner in these two novels. Moreover, parody becomes a means for her to revise certain other texts and discourses. Due to these parodic references to other texts and discourses, the novels have an intertextual structure and they are open to a variety of interpretations instead of releasing a single meaning.

This study aims to examine the relation between mock-documentary and factual discourse of documentary. By factual discourse it is meant to documentary&rsquo / s claim of representing reality. Within this respect, documentary has its own particular codes and conventions to construct its factual discourse. Mock-documentary, simulates these codes and conventions to create a fictional world. In this study, mock-documentary and its relationship with the most popular modes of documentary is examined. Within this study the earliest examples of mock-documentary and recent examples of the form are compared, and it is stated that with the recent examples of the form the critical approach of mock-documentary has been reduced.

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Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 222-233).

This thesis analyzes Viktor Pelevin's Chapaev i Pustota (1996) from the perspective of its (extra-)literary context, and status as a threshold text on various levels. It argues that through the expression of satire, parody, and nostalgia, Pelevin's novel exemplifies and transcends the threshold between the Soviet and post-Soviet literary narrative. Against the background of various comparison texts, by such precursors and contemporaries as Kaledin, Makanin, Petrushevskaia, P'ietsukh, Sorokin and Tolstaia, Pelevin's novel is shown both to conform with and diverge from the (post-)glasnost' literary text. Common features on the levels of theme and motif are identified, in order to establish both the notion of literary threshold, and a link to its extra-literary counterpart, in keeping with the crises of national transition from late- to post-Soviet status. Using Bakhtinian theory as a point of departure, the notion of threshold is identified on various levels of Pelevin's text, including theme, motif, and bifurcated structure in the form of dual time frames and plotlines. Through satire, Pelevin is shown to reconcile the notion of threshold as change, with that of frozen transition. / Overtly parodic, Chapaev i Pustota manipulates three principal constructs of Socialist Realism: the positive hero, the mentor/disciple relationship, and the spontaneity/consciousness dialectic. The thesis traces the role and development of these constructs in the four (un-)official versions of the so-called 'Chapaev myth' before examining Pelevin's own manipulation of the constructs against three distinct models of parody by Gary Saul Morson, Linda Hutcheon, and the Russian Formalists. / As an aesthetic manifestation of the extra-literary threshold state, the expression of nostalgia is examined in various texts of the (post-)glasnost' period. Pelevin's parody and satire of nostalgic expression attests to the evolution in his novel from Socialist Realism to sots-art, and beyond.

My dissertation is motivated by two general problems within contemporary North American racial politics. First, the increasing ideological impetus of a “post-racist” society contradicts a spate of events that are symptomatic and constitutive of racial and ethnic essentialisms. Second, the logic of multiculturalism and antiracism has often been expressed in a language of race and identity rooted in a rigid system of immutable differences (Hall, 1997; Ang, 2001). The challenge is to deconstruct race and ethnicity in a language that is critical of new racisms as well as the ways in which racial and ethnic difference is seized and diffused by market multiculturalism. While some theorists have used elements of postmodern theory to develop a “resistance multiculturalism” sensitive to shifting social meanings and floating racial signifiers (see McLaren, 1994), they have rarely explored the political possibilities of “ludic postmodernism” (parody, pastiche, irony) as a critical response to multicultural ideologies. If part of postmodernism as an intellectual movement includes self-reflexivity, self-parody, and the rejection of a foundational “truth,” for example, the various racial and ethnic categories reified under multiculturalism are perhaps open to revision and contestation (Hutcheon, 1989). To develop this particular postmodern critique of multiculturalism, I draw on three case studies concerned with identity and representation in North American popular media. The first case considers vocal impersonation as a disruption to the visual primacy of race by examining the stand-up comedy films of Dave Chappelle, Russell Peters, and Margaret Cho. The second case turns to the postmodern bodies of cyborgs and humanoid robots in the science fiction film I, Robot (2004) as a racial metaphor at the crossroads of whiteness, inhumanity, and redemption. The final case discusses the politics of irony in relation to ethnolinguistic identity and debates surrounding sports mascots. Each case study recycles racial and ethnic stereotypes for a variety of political purposes, drawing out the connections and tensions between postmodernism and multiculturalism. A postmodern critique of multiculturalism may offer antiracist politics an understanding of race and ethnicity rooted in a strategic indeterminacy, which allows for multidimensional political coalitions directed against wider socioeconomic inequalities.

Darbo objektas - reklamos parodija ir jos kūrimo būdai. Tikslas: nustatyti reklamos daromą įtaką žmogaus psichologijai ir ištirti juoko kūrimo principus reklamų parodijose. Išsikelti uždaviniai: aprašyti reklamos kūrimo būdus bei atskleisti reklamos ir jos parodijos daromą įtaką individui; remiantis anketavimo būdu aprašyti visuomenės požiūrį į reklamą ir jos parodiją, atskleisti anekdotų ir reklamos parodijų žanrų panašumus bei išskirti personažus būdingus abiems žanrams; nustatyti bendrus literatūrai ir folkloristikai juoko kūrimo principus reklamų parodijose. Rašant darbą naudoti metodai: aprašomasis – analitinis, lyginamoji analizė. Darbą sudaro įvadas bei trys dėstymo dalys. Pirmoje dalyje aptariami reklamos kūrimo būdai bei jos įtaka žmogaus psichologijai, analizuojama, kuo svarbus yra juokas ir kaip per reklamos parodiją sukuriama atsvara profesionaliajai reklamai, taip pat pateikiama autoriaus atliktos apklausos analizė, kurioje atsiskleidžia visuomenės požiūris į reklamą ir jos parodijavimą. Antrojoje dalyje aptariami reklamų parodijų ir anekdotų žanrų panašumai, lyginami populiariausi personažai. Trečioji dalis skirta humoro kūrimo principams reklamų parodijose aptarti. Darbas baigiamas išvadomis, literatūros ir šaltinių sąrašu bei priedais. Anketų duomenys rodo, kad reklama ir jos parodijomis domisi didžioji dalis apklaustųjų. Tai lemia informacinė reklamos funkcija bei humoristiškai pateikiamos originalių reklamų parodijos. Reklama individui daro tiek teigiamą... [toliau žr. visą tekstą] / The object of this work - a parody of advertisement and ways to create them. The aim: to determine the impact of advertisement for psychology of human and explore the ways to create laugh in advertising parodies. Tasks: describe the ways of creating advertisement and disclose advertisement and parodies of advertising impact on the individual; based on questionnaires, describe public attitudes towards advertisement and parody; display anecdotes and advertising parodies genres similarities and identify typical characters of both genres; determine typical principles of making laugh in advertising parodies of literature and folklore. In this work are used these methods: a descriptive - analytical, comparative analysis. The work consists of an introduction and three parts. The first part discusses ways to create advertisement and its influence on human psychology, also examines the importance of laugh and how a parody makes a balance in professionally created advertisement, as well layed the author's analysis of the survey, which reveals public attitudes towards advertisement and parody. The second part deals with advertising parodies and jokes genre similarities, comparing the most popular characters. The third part is devoted to discuss the principles of laugh in advertising parodies. The paper ends with conclusions, references and a list of accessories. Data of survey suggests, that the majority of the respondents are interested in advertising and parodies. This... [to full text]

No abstract available. / Thesis (LL.M.)-University of KwaZulu-Natal, Durban, 2013.