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040			_aGR-PaULI _bgre _cGR-PaULI _eAACR2
041	0		_aeng
082	0	4	_a700.1 _223
100	1		_aHutcheon, Linda, _d1947- _9147867
245	1	2	_aA theory of parody : _bthe teachings of twentieth-century art forms / _cLinda Hutcheon.
260			_aUrbana : _aChicago : _bUniversity of Illinois Press, _c2000, c1985.
300			_ax, 143 σ. : _bεικ. ; _c23 εκ.
504			_aΠεριλαμβάνει βιβλιογραφία (σ. [118]-135) και ευρετήριο.
505	0		_a1. Introduction --- 2. Defining parody --- 3. The pragmatic range of parody --- 4. The paradox of parody --- 5. Encoding and decoding: the shared codes of parody --- 6. Conclusion: the world, the parodic text, and the theorist.
520	0		_aIn this major study of a flexible and multifaceted mode of expression, Linda Hutcheon looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at a comprehensive assessment of what parody is and what it does. Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's "Rosenkrantz and Guildenstern Are Dead", Brian de Palma's "Dressed to Kill", Woody Allen's "Zelig", Karlheinz Stockhausen's "Hymnen", James Joyce's "Ulysses", and Magritte's "This Is Not a Pipe", Hutcheon discusses the remarkable range of intent in modern parody while distinguishing it from pastiche, burlesque, travesty, and satire. She shows how parody, through ironic playing with multiple conventions, combines creative expression with critical commentary. Its productive-creative approach to tradition results in a modern recoding that establishes difference at the heart of similarity.
650		0	_aΤέχνη, Μοντέρνα _y20ός αιώνας _987849
650		0	_aΑισθητική, Σύγχρονη _y20ός αιώνας _910865
650		0	_aΠαρωδία στην τέχνη _9156757
650		0	_aΠαρωδία _9146026
942			_2ddc _cBK15
998			_cΜΑΝΙΑ _d2016-09
999			_c124828 _d124828