This study scrutinizes parody in Stoppard&rsquo / s Rosencrantz and Guildenstern Are Dead, The Real Inspector Hound, and Dogg&rsquo / s Hamlet, Cahoot&rsquo / s Macbeth. After a historical survey of the definitions of parody with a stress on its definitions in our era, this study puts forward its definition of parody which is mainly based on Bakhtin&rsquo / s dialogic criticism. Parody then can be defined as a deliberate imitation or transformation of a socio-cultural product that takes a stance towards its original subject of imitation. Based on the original subject of parody, three kinds of parody are distinguished: genre, specific, and discourse. Following determining the kinds of parody that each of the aforementioned plays exhibits, this study expounds how Stoppard applies parody of the characters, plots, and themes in relation to their original subjects of parody. Later, a close critical study of these parodies will be conducted to elaborate on their functions and significances in each of the plays, their relations with and efficacy in the thematic context of the plays, the techniques used to achieve them, and how far they are applied in line with or opposite to the post-modern&rsquo / s ideas.
| Identifer | oai:union.ndltd.org:METU/oai:etd.lib.metu.edu.tr:http://etd.lib.metu.edu.tr/upload/3/12610471/index.pdf |
| Date | 01 September 2009 |
| Creators | Sadrian, Mohammad Reza |
| Contributors | Icoz, Nursel |
| Publisher | METU |
| Source Sets | Middle East Technical Univ. |
| Language | English |
| Detected Language | English |
| Type | Ph.D. Thesis |
| Format | text/pdf |
| Rights | To liberate the content for public access |
Page generated in 0.0055 seconds