The Greek word parodia it is a combination of its prefix para- wich means 'counter' and/or also 'beside' plus the word odos wich means 'song'. Interesting, isn't it? So the author wich I've been reading claims that at least since the XX century this genre features imitation with critical difference, carries on the inscription of continuity and change, that is, it is repetition but repetition that includes difference (Deleuze 1968).
She undderlines that parody is imitation with critical ironic distance, whose irony can cut both ways, I think she means: playful or belittling. She also believes that critics just see one side of this irony.
As Linda Hutcheon insists supporting the ideas of Russian formalists for those who parody was seen as a dialetic substitution of formal elements whose functions have become mechanized or automatic, hence," a new form develops out of the old, without really destroying it." (35/36)
Summing up, parody implies "ironic versions of 'trans-contextualization' and inversions are its major formal operatives, and the range of pragmatic ethos is from scornful ridicule to reverential homage." Hutcheon also points out that some theorists see the later as not as bona fide parody.
By the way, I've been reading her book " A theory of parody - the teachings of twentieth century art forms (1985), I haven't finished it yet.
Ad Reinhardt is one of the in-numerous artists which are cited by Hutcheon. I've chosen this picture ramdomly without taking into account her hints.
She undderlines that parody is imitation with critical ironic distance, whose irony can cut both ways, I think she means: playful or belittling. She also believes that critics just see one side of this irony.
As Linda Hutcheon insists supporting the ideas of Russian formalists for those who parody was seen as a dialetic substitution of formal elements whose functions have become mechanized or automatic, hence," a new form develops out of the old, without really destroying it." (35/36)
Summing up, parody implies "ironic versions of 'trans-contextualization' and inversions are its major formal operatives, and the range of pragmatic ethos is from scornful ridicule to reverential homage." Hutcheon also points out that some theorists see the later as not as bona fide parody.
By the way, I've been reading her book " A theory of parody - the teachings of twentieth century art forms (1985), I haven't finished it yet.
Ad Reinhardt is one of the in-numerous artists which are cited by Hutcheon. I've chosen this picture ramdomly without taking into account her hints.
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