Satirical Romanian press use irony form with the purpose to transpose realities in acid writing and to reform the problems which exist in our society. This study presents one of the most known ways to express irony: intertextuality. Through a series of examples extracted from the satirical press we will try to observe the role that the parody and the pastiche – as important elements of the intertextuality – hold in the expression of irony, but also the impact that they have on the reader.
Based on a framework consisting of postmodern theories of heterotopias, spatial pastiche, schizophrenic temporality and postmodern speed, this paper seeks to identify cinematic features in the works of the American director David Lynch, which exemplify time and space in postmodernism. Michel Foucault's theory of space will trigger the whole problematic of the time-space relation. This is followed by a discussion of Fredric Jameson's concepts of spatial pastiche and schizophrenic temporality and of the involute interaction between the two
Peter Ackroyd’s London novels represent a distinctive component in his project of composing a literary-historical biography of the city. Understanding London as a multilayered palimpsest of texts, Ackroyd adds to this ongoing process by rewriting the city’s history from new, imaginative perspectives. For this he employs approaches and strategies such as parody, pastiche, genre mixture, metafiction, intertextuality and an incessant mixing of the factual with the fictititious. The aim of this article is to explore the various ways in which he toys with historical reality and blurs the borderline between fiction and biography in The Lambs of London (2004), offering thus an alternative rendering of two unrelated offences connected with late eighteenth and early nineteenth century London literary circles: Mary Lamb’s matricide and William-Henry Ireland’s forgeries of the Shakespeare Papers.
Helsinki and Barcelona are particularly interesting cases for the study of the challenges associated with present-day multilingualism, due to their combining a well-entrenched endogenous patrimony of linguistic diversity, together with the politics this patrimony has entailed, with new layers of exogenous linguistic differentiation introduced by recent waves of immigration. As a result, the linguistic cleavages of the past intermingle in intricate ways with the imprint of the new heterogeneity. The assessment of the politics of multilingualism in the two cities demonstrates, on the one hand, how the national is "transnationalized" due to the new cultural and communicative practices introduced by immigrant groups. On the other hand, the politics of multilingualism is a politics that nationalizes the transnational: although the "hybridization" that is often associated with the dynamics of immigration may well change the parameters of identity politics, it apparently does not entail the waning of all cultural identities in a cosmopolitan pastiche of sorts. The analysis presented leads to the normative conclusion that the recognition of linguistic identities plays a key role in linking the dynamics of complex diversity and citizenization. By just political standards, cities concerned with how to confront a diverse citizenry should open up to introduce varying combinations of a multilingual repertoire at the level of their institutions.
In response to Chris Marker and Alain Resnais’s collaborative meditation on art and colonialism in Statues Also Die (1953), Duncan Campbell’s video installation It for Others (2013) takes a complex approach to presenting a Marxist criticism of the commoditization of art and culture. This article considers the intermedial and intertextual properties of It for Others as an example of convergence culture that transcends postmodern quotation and pastiche. While the film is apparently a bricolage of visual artefacts, it is in fact an intricately woven audiovisual essay concerned with the appropriation of not only colonized objects as its narration makes clear, but also of still images, moving images, written texts, sound samples, and the labour that produced them. The article examines how the film troubles notions of documentary realism and truth through its acts of appropriation that reflexively criticize the commercial appropriation and commoditization of artworks and histories. It also reflects on the film’s Marxist approach to related issues around authorship, ownership and access to artworks, particularly in the light of the film’s acknowledgement in prize culture.
This article explores American visual artist Mary Kelly’s autobiographical work Post-partum document in reference to the politics of life writing. Resorting to Lacanian psychoanalysis, a pastiche of scientific narratives and other (auto-)narrative strategies, in her work Kelly documented the first five years of her son’s life from his weaning from the breast until the day when he wrote his name. By documenting her child’s development, the artist also recorded the process of her own formation as a maternal subject, a formation gradually worked out through an evolving relationship with her son. In her work, the artist made vivid the incompatibility and limitations of various narrative frameworks in retelling a fundamentally relational experience that verges on the mental and bodily, and which is necessarily mediated by the patriarchal ideology. This article analyses Kelly’s conflicting narrative strategies that fail to successfully represent the mother-child formative relationship and which demonstrate the mother’s ideological alienation. It reads Kelly’s work politically, exploring the ways in which Post-partum document’s (auto-)narrative voices address questions and dilemmas of the feminine/maternal subject, the subject’s formation, and the limits of its (self-) representation within patriarchy. The article argues that Kelly challenges the traditional autobiographic genre by attending to her lived experience as a mother and the culturally repressed maternal desire.
The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory about the apprehensions and anxieties of everyday social and political life. My Winnipeg (2006) rescores the city symphony to reveal how personal history and cultural memory combine to structure the experience of the modern metropolis, whether it is Weimar Berlin or wintry Winnipeg. In this paper, I explore the influence of German Expressionism on Maddin’s work as well as argue that Maddin’s films preserve and perpetuate the energies and idiosyncrasies of Weimar cinema.
Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?
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