Le mythe comme détour dans Twelfth Night by Cécile Mauré

“…For the sake of comedy, he dares to parody and demythologize Ovid’s story. The myth seems to divert our attention from the direction of the text but closer analysis suggests the reverse and invites us to find the meaning of the play which can be seen as a real labyrinth.…”
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Doyle’s Diogenes Club: a Delightful Oddity Screening a Metatextual Clue by Nathalie Jaëck

“…I will show how this textual detail, that eminently Doylian delicious paradox, can read as a rather elaborate parody of the ambivalence of Victorian clubs, where the ideal of sociability cohabits with a more dissident taste for secrecy and seclusion. …”
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‘With Mike Hunt I Have Travelled Over the Town:’ the Norms of ‘Deviance’ in Sub-respectable Nineteenth-Century Song by C. M. Jackson-Houlston

“…These are deliberately subversive through their parody of established song models and tunes, and this paper explores the relation of this supposed ‘deviance’ to the respectable gender ideology of the period.…”
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Don Quijote und Rosenkreuz. Die Chymische Hochzeit als alchemokritischer Ritterroman by Carlos Gilly

“…As such they hardly noticed what a marvellous German writer, master of parody and great connoisseur of contemporary popular literature he was. …”
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Jarring Voices: Preserving and Releasing Memory in Suzan-Lori Parks’ Pickling (1988) by Marie Pecorari

“…The juxtaposition of logical impossibilities turns the work into a hermeneutical quandary, leaving the equation unresolved: is Miss Miss a self-parody of or foil for Parks? Both and neither.…”
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L’excès dans le premier volume des Juvenilia de Jane Austen by Marie-Laure Massei

“…Jane Austen’s juvenile works, written between 1787 and 1793, are framed by the joint themes of excess and exaggeration, which come out in the different plots and styles parodied by the young novelist. By focusing on the 1st volume of the Juvenilia, this paper intends to probe into the various modes and aims of this unexpected aesthetic of excess, while Jane Austen’s mature novels are often praised for their self-restraint and subtlety. …”
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Auden and MacNeice: Their Last Will and Testament – Thirties Classic or Existential Pause? by Sara R. GREAVES

“…Auden and Louis MacNeice’s 1937 travel narrative: Letters from Iceland, written entirely in terza rima and entitled “Their Last Will and Testament”. A humorous parody of a legal document, the 23-page-long poem consists of an inventory of miscellaneous bequests and their legatees, some of whom are prominent figures of the British establishment, considered against the sombre backdrop of the mounting threat of Nazism. …”
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Morgue of the Misbegotten: O’Neill’s Pattern of Salvation in The Iceman Cometh by Mufeed F. Al-Abdullah

“…O’Neill’s savior, however, proves to be a parody of a savior, who alienates the misfortunate group instead of saving it.Hickey’s brand of salvation leads to death as a means of terminating human life and negating spiritual values. …”
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The Evolution of the Concept of Prison in Viktor Pelevin’s Works by Tomas Čenys

“…The heroes of the story Stolypin – oligarchs, in spite of staying within the same student–teacher paradigm, represent a deconstruction of their predecessors, devoid of any interests other than mercantile ones, and in many ways parody the heroes of The Yellow Arrow and Hermit and the Six-Toes. …”
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„Święta misja profesora Abronsiusa”. Fantazmaty, abiektalność i transgresje w filmie Romana Polańskiego "Nieustraszeni pogromcy wampirów" by Jakub Rawski

“…Roman Polanski’s The Fearless Vampire Killers is usually approached in film and cultural studies from a genological perspective: as a game with the convention and genres, a work that has the features of parody and pastiche, yet complies with the poetics of horror. …”
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“I am a freak of nature”: Tourette’s and the Grotesque in Jonathan Lethem’s Motherless Brooklyn by Pascale Antolin

“…Through the grotesque and laughter, Lethem challenges the traditional representation of disability—and the stereotype of the disabled person—and also the major genres his novel borrows from: detective fiction and the coming-of-age narrative. The book turns into parody, in the Bakhtinian sense, i.e., both a homage to and a rewriting of traditional genres. …”
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Myth-making and Uchronia: The Advent of a Fascist America in Nathanael West’s A Cool Million (1934) by Frank Conesa

“…Nathanael West’s A Cool Million (1934) has been largely viewed as both a deadpan parody of the «Rags to Riches» success story popularized by Horatio Alger and a satire on nascent fascism in Depression-era America. …”
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ALFRED SCHNITTKE’S POLYSTYLISTIC JOURNEY: “THE THIRD STRING QUARTET” by Oana ANDREICA

“… Within the extremely eclectic musical manifestations of the 20th century, Alfred Schnittke stands as a key‑figure, being one of the most influential composers to have linked the past to the present, creating an original sound world, tormented by violent contrasts and conflicts, confusion, nostalgia, irony and parody. His works often look back at the musical tradition, exploring its potential by means of modern compositional techniques and thus giving it a totally new shape and value. …”
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Artists’ books et nursery porn : Ré-illustrer les Victoriens by Laurent Bury

“…In her book The Artist as Critic, Lorraine Kooistra defined as “bitextuality” the link between words and pictures within the covers of a book, a link that can exist according to five categories: quotation, impression, answering, parody and cross-dressing. To those five modes, this paper would like to add three more, which correspond to the relation between Victorian texts and twentieth-century images: the inversion of textual roles, exchangism and homotextuality. …”
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Două forme productive în anii 1990 şi 2000: eclectismul postmodern şi autoficţiunea by Cătălin Sturza

“…This article discusses two productive forms of Romanian prose of the last two decades: on the one hand, the novel that refines and moves beyond (by means of parody) the Postmodern eclecticism; on the other hand, a form borrowed in the 1990s and 2000s from the French prose by the young Romanian novelists of 2000 – generically known as Autofiction. …”
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Tip of Word-Making in \'Do Kalame- Harfe- Hesab\' by Kiumars Saberi by نعمت‌الله ایران‌زاده, نجمه زارع بنادکوکی

“…In terms of meaning, words and terms are classified in four categories: parody words and terms (words that are made following the style of a ââfamous writer or poet), critical (criticism of the state, making the critique of new word-making) and lexical which are mostly surprising and fun and have less critical aspect. …”
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“For mine is the bitter, the ale and the lager”: Parodic prayer and the spirituality of humour by A. Houck

“…The article then examines contemporary examples of parodic prayers, arguing that the confluence of humour and faith expressed in medieval parodies is still possible and potentially salutary today, both in furthering the work of justice and in expanding the religious imagination. …”
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Music videos as cultural artefacts of the eighties by Retha Van Niekerk

“…The connotative level or the level of representation includes television codes (non-filmic and filmic), narrative codes and intertextual codes The level of myth or the level of ideology includes stylistic or textual devices such as metaphors, allegories, fetishism, voyeurism and parody. This article is that music videos function as mod- ern artefacts which have the potential to express complex cultural meanings to signal a new Weltanschauung (Lorch 1988:143) …”
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Linguistic methods of personality identification in the fiction text (using S.D. Dovlatov's works) by A.V. Bastrikov, E.M. Bastrikova

“…Such language-game techniques as anecdote, pun, and parody have been revealed by the analysis. The significance of precedential phenomena has been determined (from names to expressions and situations), and as it has been demonstrated that many of them are reinterpreted and transformed in S.D. …”
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Creative rewritings of critical texts: report on a creative workshop, 3rd December 2022 by Helen E. MUNDLER-ARANTES, Laure-Hélène ANTHONY-GERROLDT, Florent DA SYLVA, Heathir LAWRENCE-MONASSA, Tanya TROMBLE-GIRAUD, Sara GREAVES

“…Building on her article on creative and critical convergence published in e-Rea 20.1,1 she relates cut-ups to other types of recycling texts, such as quotation, ventriloquy, pastiche and parody, with particular reference to the work of A.S. …”
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