Imitative work created to mock, comment on or trivialise an original work
A parody is a creative work designed to imitate, comment on, and/or mock its subject by means of satirical or ironicimitation. Often its subject is an original work or some aspect of it (theme/content, author, style, etc), but a parody can also be about a real-life person (e.g. a politician), event, or movement (e.g. the French Revolution or 1960s counterculture). Literary scholar Professor Simon Dentith defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice".[1] The literary theorist Linda Hutcheon said "parody ... is imitation, not always at the expense of the parodied text."
Parody may be found in art or culture, including literature, music, theater, television and film, animation, and gaming. Some parody is practiced in theater.
The writer and critic John Gross observes in his Oxford Book of Parodies, that parody seems to flourish on territory somewhere between pastiche ("a composition in another artist's manner, without satirical intent") and burlesque (which "fools around with the material of high literature and adapts it to low ends").[2] Meanwhile, the Encyclopédie of Denis Diderot distinguishes between the parody and the burlesque, "A good parody is a fine amusement, capable of amusing and instructing the most sensible and polished minds; the burlesque is a miserable buffoonery which can only please the populace."[3] Historically, when a formula grows tired, as in the case of the moralistic melodramas in the 1910s, it retains value only as a parody, as demonstrated by the Buster Keaton shorts that mocked that genre.[4]
Terminology
A parody may also be known as a spoof, a satire, a send-up, a take-off, a lampoon, a play on (something), or a caricature.
Origins
According to Aristotle (Poetics, ii. 5), Hegemon of Thasos was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient Greek literature, a parodia was a narrative poem imitating the style and prosody of epics "but treating light, satirical or mock-heroic subjects".[5] Indeed, the components of the Greek word are παρά para "beside, counter, against" and ᾠδή oide "song". Thus, the original Greek word παρῳδία parodia has sometimes been taken to mean "counter-song", an imitation that is set against the original. The Oxford English Dictionary, for example, defines parody as imitation "turned as to produce a ridiculous effect".[6] Because par- also has the non-antagonistic meaning of beside, "there is nothing in parodia to necessitate the inclusion of a concept of ridicule."[7]
In Greek Old Comedy even the gods could be made fun of. The Frogs portrays the hero-turned-god Heracles as a glutton and the God of Drama Dionysus as cowardly and unintelligent. The traditional trip to the Underworld story is parodied as Dionysus dresses as Heracles to go to the Underworld, in an attempt to bring back a poet to save Athens. The Ancient Greeks created satyr plays which parodied tragic plays, often with performers dressed like satyrs.
Parody was used in early Greek philosophical texts to make philosophical points. Such texts are known as spoudaiogeloion, a famous example of which is the Silloi by Pyrrhonist philosopher Timon of Phlius which parodied philosophers living and dead. The style was a rhetorical mainstay of the Cynics and was the most common tone of the works made by Menippus and Meleager of Gadara.[8]
In the 2nd century CE, Lucian of Samosata created a parody of travel texts such as Indica and The Odyssey. He described the authors of such accounts as liars who had never traveled, nor ever talked to any credible person who had. In his ironically named book True History Lucian delivers a story which exaggerates the hyperbole and improbable claims of those stories. Sometimes described as the first science fiction, the characters travel to the Moon, engage in interplanetary war with the help of aliens they meet there, and then return to Earth to experience civilization inside a 200-mile-long creature generally interpreted as being a whale. This is a parody of Ctesias' claims that India has a one-legged race of humans with a single foot so huge it can be used as an umbrella, Homer's stories of one-eyed giants, and so on.
Satires and parodies are both derivative works that exaggerate their source material(s) in humorous ways.[9][10][11] However, a satire is meant to make fun of the real world, whereas a parody is a derivative of a specific work ("specific parody") or a general genre ("general parody" or "spoof"). Furthermore, satires are provocative and critical as they point to a specific vice associated with an individual or a group of people to mock them into correction or as a form of punishment.[11][12] In contrast, parodies are more focused on producing playful humor and do not always attack or criticize its targeted work and/or genre.[11][13] Of course, it is possible for a parody to maintain satiric elements without crossing into satire itself, as long as its "light verse with modest aspirations" ultimately dominates the work.[11]
Travesty
A travesty imitates and transforms a work, but focuses more on the satirization of it. Because satire is meant to attack someone or something,[11] the harmless playfulness of parody is lost.[13]
Pastiche
A pastiche imitates a work as a parody does, but unlike a parody, pastiche is neither transformative of the original work, nor is it humorous.[13][14] Literary critic Fredric Jameson has referred to the pastiche as a "blank parody", or "parody that has lost its sense of humor".[14]
Skit
Skits imitate works "in a satirical regime". But unlike travesties, skits do not transform the source material.[13]
Burlesque
The burlesque primarily targets heroic poems and theater to degrade popular heroes and gods, as well as mock the common tropes within the genre.[11] Simon Dentith has described this type of parody as "parodic anti-heroic drama".[13]
Spoof
A parody imitates and mocks a specific, recognizable work (e.g. a book, movie, etc.) or the characteristic style of a particular author. A spoof mocks an entire genre by exaggerating its conventions and cliches for humorous effect.[13]
The musicological definition of the term parody has now generally been supplanted by a more general meaning of the word. In its more contemporary usage, musical parody usually has humorous, even satirical intent, in which familiar musical ideas or lyrics are lifted into a different, often incongruous, context.[16] Musical parodies may imitate or refer to the peculiar style of a composer or artist, or even a general style of music. For example, "The Ritz Roll and Rock", a song and dance number performed by Fred Astaire in the movie Silk Stockings, parodies the rock and roll genre. Conversely, while the best-known work of "Weird Al" Yankovic is based on particular popular songs, it also often utilises wildly incongruous elements of pop culture for comedic effect.
The first usage of the word parody in English cited in the Oxford English Dictionary is in Ben Jonson, in Every Man in His Humour in 1598: "A Parodie, a parodie! to make it absurder than it was." The next citation comes from John Dryden in 1693, who also appended an explanation, suggesting that the word was in common use, meaning to make fun of or re-create what you are doing.
Modernist and post-modernist parody
Since the 20th century, parody has been heightened as the central and most representative artistic device, the catalysing agent of artistic creation and innovation.[17][18] This most prominently happened in the second half of the century with postmodernism, but earlier modernism and Russian formalism had anticipated this perspective.[17][19] For the Russian formalists, parody was a way of liberation from the background text that enables to produce new and autonomous artistic forms.[20][21]
Historian Christopher Rea[22] writes that "In the 1910s and 1920s, writers in China's entertainment market parodied anything and everything.... They parodied speeches, advertisements, confessions, petitions, orders, handbills, notices, policies, regulations, resolutions, discourses, explications, sutras, memorials to the throne, and conference minutes. We have an exchange of letters between the Queue and the Beard and Eyebrows. We have a eulogy for a chamber pot. We have 'Research on Why Men Have Beards and Women Don't,' 'A Telegram from the Thunder God to His Mother Resigning His Post,' and 'A Public Notice from the King of Whoring Prohibiting Playboys from Skipping Debts.'"[23][24]
Jorge Luis Borges's (1939) short story "Pierre Menard, Author of the Quixote", is often regarded as predicting postmodernism and conceiving the ideal of the ultimate parody.[25][26] In the broader sense of Greek parodia, parody can occur when whole elements of one work are lifted out of their context and reused, not necessarily to be ridiculed.[27] Traditional definitions of parody usually only discuss parody in the stricter sense of something intended to ridicule the text it parodies. There is also a broader, extended sense of parody that may not include ridicule, and may be based on many other uses and intentions.[27][28] The broader sense of parody, parody done with intent other than ridicule, has become prevalent in the modern parody of the 20th century.[28] In the extended sense, the modern parody does not target the parodied text, but instead uses it as a weapon to target something else.[29][30] The reason for the prevalence of the extended, recontextualizing type of parody in the 20th century is that artists have sought to connect with the past while registering differences brought by modernity.[31][page needed] Major modernist examples of this recontextualizing parody include James Joyce's Ulysses, which incorporates elements of Homer's Odyssey in a 20th-century Irish context, and T. S. Eliot's The Waste Land,[29] which incorporates and recontextualizes elements of a vast range of prior texts, including Dante's The Inferno.[citation needed] The work of Andy Warhol is another prominent example of the modern "recontextualizing" parody.[29] According to French literary theorist Gérard Genette, the most rigorous and elegant form of parody is also the most economical, that is a minimal parody, the one that literally reprises a known text and gives it a new meaning.[32][33]
Blank parody, in which an artist takes the skeletal form of an art work and places it in a new context without ridiculing it, is common.[14]Pastiche is a closely related genre, and parody can also occur when characters or settings belonging to one work are used in a humorous or ironic way in another, such as the transformation of minor characters Rosencrantz and Guildenstern from Shakespeare's drama Hamlet into the principal characters in a comedic perspective on the same events in the play (and film) Rosencrantz and Guildenstern Are Dead.[citation needed] Similarly, Mishu Hilmy's Trapped in the Netflix uses parody to deconstruct contemporary Netflix shows like Mad Men providing commentary through popular characters. Don Draper mansplaining about mansplaining, Luke Danes monologizing about a lack of independence while embracing codependency.[34] In Flann O'Brien's novel At Swim-Two-Birds, for example, mad King Sweeney, Finn MacCool, a pookah, and an assortment of cowboys all assemble in an inn in Dublin: the mixture of mythic characters, characters from genre fiction, and a quotidian setting combine for a humor that is not directed at any of the characters or their authors. This combination of established and identifiable characters in a new setting is not the same as the post-modernist trope of using historical characters in fiction out of context to provide a metaphoric element.[citation needed]
In more recent times, the television sitcom 'Allo 'Allo! is perhaps better known than the drama Secret Army which it parodies.
Some artists carve out careers by making parodies. One of the best-known examples is that of "Weird Al" Yankovic. His career of parodying other musical acts and their songs has outlasted many of the artists or bands he has parodied. Yankovic is not required under law to get permission to parody; as a personal rule, however, he does seek permission to parody a person's song before recording it. Several artists, such as rapper Chamillionaire and Seattle-based grunge band Nirvana stated that Yankovic's parodies of their respective songs were excellent, and many artists have considered being parodied by him to be a badge of honor.[35][36]
In the US legal system the point that in most cases a parody of a work constitutes fair use was upheld in the case of Rick Dees, who decided to use 29 seconds of the music from the song When Sonny Gets Blue to parody Johnny Mathis' singing style even after being refused permission. An appeals court upheld the trial court's decision that this type of parody represents fair use. Fisher v. Dees794 F.2d 432 (9th Cir. 1986)
Some genre theorists, following Bakhtin, see parody as a natural development in the life cycle of any genre; this idea has proven especially fruitful for genre film theorists. Such theorists note that Western movies, for example, after the classic stage defined the conventions of the genre, underwent a parody stage, in which those same conventions were ridiculed and critiqued. Because audiences had seen these classic Westerns, they had expectations for any new Westerns, and when these expectations were inverted, the audience laughed.
Many parody films have as their target out-of-copyright or non-copyrighted subjects (such as Frankenstein or Robin Hood) whilst others settle for imitation which does not infringe copyright, but is clearly aimed at a popular (and usually lucrative) subject. The spy film craze of the 1960s, fuelled by the popularity of James Bond is such an example. In this genre a rare, and possibly unique, example of a parody film taking aim at a non-comedic subject over which it actually holds copyright is the 1967 James Bond spoof Casino Royale. In this case, producer Charles K. Feldman initially intended to make a serious film, but decided that it would not be able to compete with the established series of Bond films. Hence, he decided to parody the series.[38]
The first was to use parody to attack the author parodied, as in J K Stephen's mimicry of Wordsworth, "Two voices are there: one is of the deep....And one is of an old half-witted sheep."[40]
The second was to pastiche the author's style, as with Henry Reed's parody of T. S. Eliot, Chard Whitlow: "As we get older we do not get any younger...."[41]
The third type reversed (and so undercut) the sentiments of the poem parodied, as with Monty Python's All Things Dull and Ugly.
A fourth approach was to use the target poem as a matrix for inserting unrelated (generally humorous) material – "To have it out or not? That is the question....Thus dentists do make cowards of us all."[42]
Finally, parody may be used to attack contemporary/topical targets by utilizing the format of a well-known piece of verse: "O Rushdie, Rushdie, it's a vile world" (Cat Stevens).[43]
A further, more constructive form of poetic parody is one that links the contemporary poet with past forms and past masters through affectionate parodying – thus sharing poetic codes while avoiding some of the anxiety of influence.[44]
More aggressive in tone are playground poetry parodies, often attacking authority, values and culture itself in a carnivalesque rebellion:[45] "Twinkle, Twinkle little star,/ Who the hell do you think you are?"[46]
Although a parody can be considered a derivative work of a pre-existing, copyrighted work, some countries have ruled that parodies can fall under copyright limitations such as fair dealing, or otherwise have fair dealing laws that include parody in their scope.
United States
Parodies are protected under the fair use doctrine of United States copyright law, but the defense is more successful if the usage of an existing copyrighted work is transformative in nature, such as being a critique or commentary upon it.
In Campbell v. Acuff-Rose Music, Inc., the Supreme Court ruled that a rap parody of "Oh, Pretty Woman" by 2 Live Crew was fair use, as the parody was a distinctive, transformative work designed to ridicule the original song, and that "even if 2 Live Crew's copying of the original's first line of lyrics and characteristic opening bass riff may be said to go to the original's 'heart,' that heart is what most readily conjures up the song for parody, and it is the heart at which parody takes aim."
In 2007, the Ninth Circuit Court of Appeals denied a fair use defense in the Dr. Seuss Enterprises v. Penguin Books case. Citing the Campbell v. Acuff-Rose decision, they found that a satire of the O.J. Simpson murder trial and parody of The Cat in the Hat had infringed upon the children's book because it did not provide a commentary function upon that work.[47][48]
Canada
Parts of this article (those related to Changes from the Copyright Modernization Act, 2012) need to be updated. Please help update this section to reflect recent events or newly available information.(September 2012)
As of the implementation of the Copyright Modernization Act 2012, "Fair dealing for the purpose of research, private study, education, parody or satire does not infringe copyright."[50]
United Kingdom
In 2006 the Gowers Review of Intellectual Property recommended that the UK should "create an exception to copyright for the purpose of caricature, parody or pastiche by 2008".[51] Following the first stage of a two-part public consultation, the Intellectual Property Office reported that the information received "was not sufficient to persuade us that the advantages of a new parody exception were sufficient to override the disadvantages to the creators and owners of the underlying work. There is therefore no proposal to change the current approach to parody, caricature and pastiche in the UK."[52]
However, following the Hargreaves Review in May 2011 (which made similar proposals to the Gowers Review) the Government broadly accepted these proposals. The current law (effective from 1 October 2014), namely Section 30A[53] of the Copyright, Designs and Patents Act 1988, now provides an exception to infringement where there is fair dealing of the original work for the purpose of parody (or alternatively for the purpose of caricature or pastiche). The legislation does not define what is meant by "parody", but the UK IPO – the Intellectual Property Office (United Kingdom) – suggests[54] that a "parody" is something that imitates a work
for humorous or satirical effect. See also Fair dealing in United Kingdom law.
Jail
Some countries do not like parodies and the parodies can be considered insulting. The person who makes the parody can be fined or even jailed. For instance in the UAE[55] and North Korea,[56] this is not allowed.
Internet culture
Parody is a prominent genre in online culture, thanks in part to the ease with which digital texts may be altered, appropriated, and shared. Japanese kuso and Chinese e'gao are emblematic of the importance of parody in online cultures in Asia. Video mash-ups and other parodic memes, such as humorously altered Chinese characters, have been particularly popular as a tool for political protest in the People's Republic of China, the government of which maintains an extensive censorship apparatus.[57] Chinese internet slang makes extensive use of puns and parodies on how Chinese characters are pronounced or written, as illustrated in the Grass-Mud Horse Lexicon.
Parody generators are computer programs which generate text that is syntactically correct, but usually meaningless, often in the style of a technical paper or a particular writer. They are also called travesty generators and random text generators.
Their purpose is often satirical, intending to show that there is little difference between the generated text and real examples.
Many work by using techniques such as Markov chains to reprocess real text examples; alternatively, they may be hand-coded. Generated texts can vary from essay length to paragraphs and tweets. (The term "quote generator" can also be used for software that randomly selects real quotations.)
Social and political uses
Satirical political cartoon that appeared in Puck magazine, October 9, 1915. Caption "I did not raise my girl to be a voter" parodies the anti-World War I song "I Didn't Raise My Boy To Be A Soldier". A chorus of disreputable men support a lone anti-suffrage woman.Reggie Brown, a voice actor and Barack Obama impersonator
Parody is often used to make a social or political statement. Examples include Swift's "A Modest Proposal", which satirized English neglect of Ireland by parodying emotionally disengaged political tracts; and, recently, The Daily Show, The Larry Sanders Show and The Colbert Report, which parody a news broadcast and a talk show to satirize political and social trends and events.
On the other hand, the writer and frequent parodist Vladimir Nabokov made a distinction: "Satire is a lesson, parody is a game."[58]
Some events, such as a national tragedy, can be difficult to handle. Chet Clem, Editorial Manager of the news parody publication The Onion, told Wikinews in an interview the questions that are raised when addressing difficult topics:
I know the September 11 issue was an obviously very large challenge to approach. Do we even put out an issue? What is funny at this time in American history? Where are the jokes? Do people want jokes right now? Is the nation ready to laugh again? Who knows. There will always be some level of division in the back room. It's also what keeps us on our toes.[59]
Parody is by no means necessarily satirical, and may sometimes be done with respect and appreciation of the subject involved, without being a heedless sarcastic attack.
Parody has also been used to facilitate dialogue between cultures or subcultures. Sociolinguist Mary Louise Pratt identifies parody as one of the "arts of the contact zone", through which marginalized or oppressed groups "selectively appropriate", or imitate and take over, aspects of more empowered cultures.[60]
Shakespeare often uses a series of parodies to convey his meaning. In the social context of his era, an example can be seen in King Lear where the fool is introduced with his coxcomb to be a parody of the king.
^Davis, Evan R.; Nace, Nicholas D. (2019). "Introduction". Teaching Modern British and American Satire. New York: Modern Language Association of America. pp. 1–34.
^Stevens, Anne H. (2019). "Parody". In Evan R. Davis; Nicholas D. Nace (eds.). Teaching Modern British and American Satire. New York: Modern Language Association of America. pp. 44–49.
^ abcdefGreenberg, Jonathan (2019). The Cambridge Introduction to Satire. Cambridge University Press. ISBN978-1-107-68205-4.
^Griffin, Dustin (1994). Satire: A Critical Reintroduction. University Press of Kentucky. ISBN0-8131-1844-1.
^ abcdefDentith, Simon (2000). Parody: The New Critical Idiom. Routledge. ISBN0-415-18221-2.
^ abcJameson, Fredric (1983). "Postmodernism and Consumer Society". In Hal Foster (ed.). The Anti-Aesthetic: Essays on Postmodern Culture. Bay Press. pp. 111–125.
^Tilmouth, Michael and Richard Sherr. "Parody (i)"' Grove Music Online, Oxford Music Online, accessed 19 February 2012 (subscription required)
^Burkholder, J. Peter. "Borrowing", Grove Music Online, Oxford Music Online, accessed 19 February. 2012 (subscription required)
Nearly all periods of artistic innovation have had a strong parodic impulse, advancing generic change. As the Russian formalist Boris Eichenbaum once put it: "In the evolution of each genre, there are times when its use for entirely serious or elevated objectives degenerates and produces a comic or parodic form....And thus is produced the regeneration of the genre: it finds new possibilities and new forms."
From these words, it can be inferred that Genette's conceptualisation does not diverge from Hutcheon's, in the sense that he does not mention the component of ridicule that is suggested by the prefix paros. Genette alludes to the re-interpretative capacity of parodists in order to confer an artistic autonomy to their works.
Genette individua la forma "piú rigorosa" di parodia nella "parodia minimale", consistente nella ripresa letterale di un testo conosciuto e nella sua applicazione a un nuovo contesto, come nella citazione deviata dal suo senso
^The Stationery Office. (2006) Gowers Review of Intellectual Property. [Online]. Available at official-documents.gov.uk (Accessed: 22 February 2011).
^UK Intellectual Property Office. (2009) Taking Forward the Gowers Review of Intellectual Property: Second Stage Consultation on Copyright Exceptions. [Online]. Available at ipo.gov.ukArchived 2011-05-17 at the Wayback Machine (Accessed: 22 February 2011).
^Christopher Rea, "Spoofing (e'gao) Culture on the Chinese Internet." In Humour in Chinese Life and Culture: Resistance and Control in Modern Times. Jessica Milner Davis and Jocelyn Chey, eds. Hong Kong: Hong Kong University Press, 2013, pp. 149–172
Hutcheon, Linda (1985). "3. The Pragmatic Range of Parody". A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen. ISBN0-252-06938-2.
Mary Louise Pratt (1991). "Arts of the Contact Zone". Profession. 91. New York: MLA: 33–40. Archived from the original(PDF) on 2008-10-26. archived at University of Idaho, English 506, Rhetoric and Composition: History, Theory, and Research. From Ways of Reading, 5th edition, ed. David Bartholomae and Anthony Petroksky (New York: Bedford/St. Martin's, 1999
Gates, Henry Louis Jr. (1988). The Signifying Monkey: A Theory of Afro-American Literary Criticism. Oxford University Press. ISBN0-19-503463-5.
David Bartholomae; Anthony Petroksky, eds. (1999). Ways of Reading (5th ed.). New York: Bedford/St. Martin's. ISBN978-0-312-45413-5. An anthology including Arts of the Contact Zone
Rose, Margaret (1993). Parody: Ancient, Modern and Post-Modern. Cambridge: Cambridge University Press. ISBN0-521-41860-7.
Caponi, Gena Dagel (1999). Signifyin(g), Sanctifyin', & Slam Dunking: A Reader in African American Expressive Culture. University of Massachusetts Press. ISBN1-55849-183-X.
