| 单词 | parody | |||||||||||||||
| 释义 | parodypar·o·dyP0079400 (păr′ə-dē)parody(ˈpærədɪ)par•o•dy(ˈpær ə di)n., pl. -dies, n. parodyPast participle: parodied Gerund: parodying
parody
parodyparodynounparody(ˈpӕrədi) – plural ˈparodies – nounparodyparody,mocking imitation in verse or prose of a literary work. The following poem by Robert Southey was parodied by Lewis Carroll:
Parodies have existed since literature began. Aristophanes brilliantly parodied the plays of Euripides; Cervantes's Don Quixote (1605–15) parodies chivalric romances; Henry Fielding's novel Joseph Andrews (1742) parodies Samuel Richardson's moral novel Pamela (1740); and Max Beerbohm's A Christmas Garland (1912) wickedly parodies such authors as Kipling, Conrad, and Henry James. Noted 20th-century parodists include Ogden Nash, S. J. Perelman, Robert Benchley, James Thurber, E. B. White, and Woody Allen. Parodyin literature and, more rarely, in music and the representational arts, a comical imitation of an artistic work or group of works. Usually, parody depends on a deliberate disparity between the stylistic and thematic levels of an artistic form. There are two classic types of parody (sometimes referred to as special genres): the burlesque, in which a vulgar subject is presented in a lofty style (A. Tassoni’s The Rape of the Bucket and V. I. Maikov’s Elisei…), and the travesty, in which a lofty subject is presented in a vulgar style (L. Pulci’s Morgante maggiore and N. P. Osipov’s Vergil’s Aeneid Turned Inside Out). Ridicule may be focused on both the style and the theme—on techniques of poetry that are hackneyed and remote from real life, as well as on aspects of reality that are vulgar or unworthy of poetry. It is sometimes very difficult to distinguish parodies of style from parodies of theme. For example, Russian humorous poetry of the 1850’s and 1860’s exposes and condemns the system of that period, using stylistic devices borrowed from A. S. Pushkin and M. Iu. Lermontov. The poetics of a specific work is open to parody, as are genres, entire literary schools, and world views. (Examples of each of these types of parody are found in the works of Koz’ma Prutkov.) Depending on the character of the comic element, parody can be humorous or satiric, or it may belong to one of many gradations between these categories. Usually, parodies are short; however, longer works may contain many parodic elements (for example, Rabelais’s Gargantua and Pantagruel, Voltaire’s The Maid of Orleans, M. E. Saltykov-Shchedrin’s The Story of a Town, and Joyce’s Ulysses). The first examples of parody date from antiquity (the Battle of Frogs and Mice, sixth century B.C.). During the Middle Ages, parodies of biblical and liturgical texts were common. Later, the transition from one literary period or school to another (Renaissance, baroque, classicist, romantic, realist, modernist) was usually accompanied by a flurry of parody on both sides. In Russian literature of various periods, the most characteristic examples of parody were created by A. P. Sumarokov, A. A. Shakhovskoi, N. A. Polevoi, I. I. Panaev, V. S. Kurochkin, D. D. Minaev, V. S. Solov’ev, and A. A. Izmailov. The most famous parodies in Soviet literature were written by A. G. Arkhangel’skii, A. M. Argo, and A. B. Ruskin. Similar to parody, but lacking a direct, comical tone, are works marked by a disparity between style and theme. For example, Pushkin’s “southern poems” are thematically similar to Eugene Onegin. However, such phenomena have not been sufficiently studied and are rarely referred to as parodies. In the theater, the circus, and estrada (the variety stage), parody depends on the audience’s familiarity with the parodied subject. There have been special theaters of parody, such as the Krivoe Zerkalo (Distorting Mirror). Among the many operatic parodies is J. Gay’s The Beggar’s Opera. Nineteenth-century operettas, especially works by F. Hervé and J. Offenbach, are outstanding for their brilliant parodic and satiric tone. In the Soviet estrada, A. I. Raikin, S. V. Obraztsov, G. M. Dudnik, and E. A. Arnol’dova have presented parodies. Among the outstanding performers of parody in the Russian and Soviet circus are V. E. Lazarenko, S. S. Al’perov and Bernardo, B. P. Viatkin, D. S. Al’perov and M. P. Kaliadin, Eizhen and Lepom, and Karandash. A number of parodic motion pictures have been made (for example, Lemonade Joe, 1964, the Czechoslovak Socialist Republic). TEXTSRusskaia literaturnaia parodiia. Edited by B. Begak, N. Kravtsov, and A. Morozov. Moscow-Leningrad, 1930. (Contains a bibliography.)Mnimaia poeziia. Edited and with an introduction by Iu. N. Tynianov. Moscow-Leningrad, 1931. Russkaia stikhotvornaia parodiia. Introduction and notes by A. A. Morozov. Leningrad, 1960. REFERENCESTynianov, Iu. N. Gogol i Dostoevskii (K teorii parodii). Petrograd, 1921.Tomashevskii, B. V. Teoriia literatury: Poetika, 6th ed. Moscow-Leningrad, 1931. Berkov, P. N. “Iz istorii russkoi parodii 18–20vv.” In the collection Voprosy sovetskoi literatury, vol. 5. Moscow-Leningrad, 1957. Morozov, A. A. “Parodiia kak literaturnyi zhanr.” Russkaia literatura, 1960, no. 1. Rassadin, St. “Zakony zhanra.” Voprosy literatury, 1967, no. 10. Freidenberg, O. M. “Proiskhozhdenie parodii.” In the collection Trudy po znakovym sistemam, vol. 6, fasc. 308. Tartu, 1973. M. L. GASPAROV (literature) parodyParodyParodyA form of speech protected by the First Amendment as a "distorted imitation" of an original work for the purpose of commenting on it. The use of parody as a means to express political and social views has a long history in the United States. Every president of the United States, including George Washington, has been the subject of satire and parody, often in the form of political cartoons. The cartoons, caricatures, and other forms of parody and satire typically distort and overly emphasize certain aspects of the subject's physical characteristics, such as Abraham Lincoln's lanky posture, franklin d. roosevelt's jutting jaw and cigarette holder, ronald reagan's long face and slick, black hair, and bill clinton's large nose and red cheeks. Although often comical, political cartoons and other forms of satire and parody have often immortalized the individuals portrayed. Parody and satire can be used for purposes beyond lighthearted comic intent. Many political cartoons, for example, have influenced the course of national debate. For instance, Thomas Nast, the famous nineteenth-century political cartoonist, published a series of post–Civil War cartoons in Harper's Weekly characterizing the activities of William M. "Boss" Tweed and other corrupt politicians in New York City's Tammany Hall political machine. More recently, countless political cartoonists drew caricatures of Clinton with Monica Lewinsky, the White House intern with whom Clinton had an affair. Clinton's dishonesty regarding the affair eventually led to his Impeachment by the House of Representatives in 1998. Some forms of parody and satire are difficult to distinguish from truthful publications. Moreover, many forms of parody and satire can be particularly offensive to the subject of the parody. As a result, publication of various types of parody often involves litigation over libel, slander, and other types of Defamation. In 1988, the U.S. Supreme Court reviewed the most famous case involving the use of parody in Hustler Magazine, Inc. v. Falwell, 485 U.S. 46, 108 S. Ct. 816, 99 L. Ed. 2d 41 (1988). In 1983, the adult magazine Hustler published a parody of an advertisement for Campari Liqueur, which featured Jerry Falwell, a nationally recognized evangelist who is well known for his conservative commentary on political and social issues. The original advertisements contained interviews with celebrities discussing the "first time" they had consumed Campari. Hustler's parody used a layout similar to the original advertisement, but included a fictitious interview with Falwell where he stated that his "first time" occurred with his mother in an outhouse. Falwell brought suit, alleging libel and intentional infliction of emotional distress. The trial court found in favor of Hustler and its publisher, Larry Flynt, on the libel claim because the court found that no reasonable person would have believed the advertisement to be true. However, the court found Hustler and Flynt liable for intentional infliction for emotional distress. The Fourth Circuit Court of Appeals affirmed the district court's ruling. The Supreme Court, per Justice william rehnquist, reversed the Fourth Circuit. The Court has held in a line of cases regarding defamation that the First Amendment requires a plaintiff who is a public official or a public figure to demonstrate "actual malice," meaning it must be proven that the person being accused showed a reckless disregard as to whether a statement was true or false. These cases generally apply to claims of Libel and Slander brought by public officials or public figures. After reviewing a brief history of the use of parody in the United States, the Court found that the actual malice standard applies to cases involving intentional infliction of emotional distress as well. Since Falwell was unquestionably a public figure under the Court's analysis, he had to prove actual malice on the part of Hustler. The Court also rejected a claim by Falwell that this particular form of parody was so outrageous that it should not be the subject of First Amendment protection. This case establishes that the First Amendment protects forms of parody and satire involving public figures or public officials against a variety of claims, including libel, slander, and intentional infliction of emotional distress. Parody also involves the application of other laws. Because many parodies mimic or copy other publications, the parodies may implicate Copyright and other Intellectual Property laws. In Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569, 114 S. Ct. 1164, 127 L. Ed. 2d 500 (1994), the Court reviewed whether a parody of Roy Orbison's song,"Oh, Pretty Woman," by the rap group 2 Live Crew violated the Copyright Act of 1976. The court of appeals held that the parody did not constitute fair use under copyright law, primarily due to its commercial character. The Supreme Court disagreed, holding that the commercial character of the song did not create a presumption that the parody violated fair use. Further readingsBeck, Joseph M. 2003. "Copyright and the First Amendment after The Wind Done Gone." Vanderbilt Journal of Entertainment Law and Practice 5 (spring). Post, Robert C. 1990."The Constitutional Concept of Public Discourse: Outrageous Opinion, Democratic Deliberation, and Hustler Magazine v. Falwell." Harvard Law Review 103 (January). parodyn. the humorous use of an existing song, play, speaker or writing which changes the words to give farcical and ironic meaning. Parodies have been challenged as copyright infringements on the original works, particularly since some have reaped terrific profits. Recent decisions favor the parodies and say they have an originality of their own and, thus, are not infringements. There is a free speech issue involved in these decisions since parodies traditionally have social and political significance. (See: copyright) parody
Synonyms for parody
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parody - a composition that imitates or misrepresents somebody's style, usually in a humorous way