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(More customer reviews)This study will certainly enhance your understanding, not just of parody, but of the Western literary canon. It's easy to forget the myriad tendrils that bind literary monoliths to antecedents, and Chambers's excursion through every level of parodic reference is a fascinating and educational reminder. My only criticism, in fact, lies in this broad scope and wide conception of the book's central term. By the last page, one might find it hard to imagine an instance of intertextual reference that could *not* be conceived as parodic.
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Parody: The Art That Plays with Art explodes the near-universal belief that parody is a copycat genre or that it consists of a collection of trivial and derivative forms. Parody is revealed as an uber-technique, a principal source of innovation and invention in the arts. The technique is defined in terms of three major variations that bang, bind, and blend artistic conventions into contrasting pairings, the results of which are upheavals of existing conventions and the formation of unexpected and sometimes startling and revolutionary new configurations. Parodic art fashions a galaxy of contrasts, and from these stem an illusionistic sense of multiplicity and an array of divergent meanings and interpretive paths. This book, an extreme departure from existing analyses of parody, is nonetheless highly accessible and will be of major interest not only to scholars but to general readers and to professional writers as well. Parody: The Art That Plays with Art is particularly suited for readers interested in modernism, postmodernism, meta-art, criticism, satire, and irony.
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