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Gore Vidal, known for such best-sellers as The City and the Pillar, Burr, Lincoln, and Myra Breckinridge, is a household name. The controversial Vidal ran for Congress in 1960, and set sparks flying with his public debates challenging William F. Buckley and Norman Mailer. Although one of America's most admired and prolific writers, Vidal has been steadfastly ignored or impugned by many critics. This is partly owing to the vast scope of his writings, which include more than twenty novels, half a dozen plays, dozens of screenplays, countless essays and book reviews, political commentary, and short stories; how do the critics approach such a writer? There has also been backlash against Vidal, whose radical polemics and undisguised contempt for those whom he has called "the hacks and hicks of academe" have hardly endeared him to the critical establishment. Gore Vidal: Writer Against the Grain is the first collection of critical essays to approach this important American writer in an attempt to rectify the unwarranted underestimation of his work. Jay Parini has drawn from the best of previously published criticism and commissioned fresh articles by leading contemporary critics to construct a comprehensive portrait of Vidal's multifaceted and memorable career. Writers as diverse as Harold Bloom, Stephen Spender, Catharine R. Stimpson, Richard Poirier, and Italo Calvino examine Vidal's work in their own highly individual ways, and each finds a different Vidal to celebrate, chide, recollect, or view close up. Also included is a recent interview with Parini in which Vidal discusses his career and his troubled relationship with the reviewers.The Vidal that finally emerges from these essays is a writer of undeniable weight and importance. As readers will agree, Gore Vidal: Writer Against the Grain establishes his rightful role as one of the premier novelists and leading critical observers of this century.
Parody is a most iridescent phenomenon: of ancient Greek origin, parody's very malleability has allowed it to survive and to conquer Western cultures. Changing discourse on parody, its complex relationship with related humorous forms (e.g. travesty, burlesque, satire), its ability to cross genre boundaries, the many parodies handed down by tradition, and its ubiquity in contemporary culture all testify to its multifaceted nature. No wonder that 'parody' has become a phrase without clear meaning. The essays in this collection reflect the multidimensionality of recent parody studies. They pay tribute to its long and varied tradition, covering examples of parodic practice from the Middle Ages to the present day and dealing with English, American, postcolonial, Austrian, and German parodies. The papers range from the Medieval classics (e.g. Chaucer), parodies of Shakespeare, and the role of parody in German Romanticism, to parodies of fin-de-si�cle literature and the intertextual puzzles of the late twentieth century (such as cross-dressing, Schwab's Faustparody, and Rushdie's Satanic Verses). And they have transformed the contentious nature of parody into a diverse range of methodologies. In doing so, these essays offer a survey of the current state of parody studies.
Parody is part of all our lives. It occurs not only in literature, but also in everyday speech, in theatre and television, architecture and films. Drawing on examples from Aristophanes to The Simpsons, Simon Dentith explores: * the place of parody in the history of literature * parody as a subversive or conservative mode of writing * parody's pivotal role in debates about postmodernism * parody in the culture wars from ancient times to the present This lively introduction situates parody at the heart of literary and cultural studies and offers a remarkably clear guide to this sometimes complex topic. Parody will serve as an essential resource, to be read and re-read by students of all levels.
The essays in this volume discuss the overlap between philosophical, aesthetic, and political concerns in the 1790s either in the work of individuals or in the transfer of cultural materials across national borders, which tended to entail adaptation and transformation. What emerges is a clearer understanding of the “fate” of the Enlightenment, its radicalization and its “overcoming” in aesthetic and political terms, and of the way in which political “paranoia”, generated by the fear of a spreading revolutionary radicalism, facilitated and influenced the cultural transfer of the “radical”. The collection will be of interest to scholars in French, German, English, and comparative studies working on the later 18th century or early 19th century. It is of particular interest to those working on the impact of the French Revolution, those engaged in reception studies, and those researching the interface between political and cultural activites. It is also of key interest to intellectual historians of this period, as well as general historians with an interest in modern conservatism and radicalism.
Empire Burlesque traces the emergence of the contemporary global context within which American critical identity is formed. Daniel T. O’Hara argues that globalization has had a markedly negative impact on American cultural criticism, circumscribing both its material and imaginative potential, reducing much of it to absurdity. By highlighting the spectacle of its own self-parody, O’Hara aims to shock U.S. cultural criticism back into a sense of ethical responsibility. Empire Burlesque presents several interrelated analyses through readings of a range of writers and cultural figures including Henry James, Freud, Said, De Man, Derrida, and Cordwainer Smith (an academic, spy, and classic 1950s and 1960s science fiction writer). It describes the debilitating effects of globalization on the university in general and the field of literary studies in particular, it critiques literary studies’ embrace of globalization theory in the name of a blind and vacant modernization, and it meditates on the ways critical reading and writing can facilitate an imaginative alternative to institutionalized practices of modernization. Drawing on Lacanian psychoanalytical theory, it diagnoses contemporary American Studies as typically driven by the mindless abjection and transference of professional identities. A provocative commentary on contemporary cultural criticism, Empire Burlesque will inform debates on the American university across the humanities, particularly among those in literary criticism, cultural studies, and American studies.
The English Radical Imagination addresses current critical assumptions about the nature of radical thought and expression during the English Revolution. Through a combination of biographical and literary interpretation, it revises the representation of radical writers in this period asignorant and uneducated 'tub preachers'. This representation has become a critical orthodoxy since Christopher Hill's seminal study, The World Turned Upside Down (1972). Despite the reservations of so-called 'revisionist' historians about the misleading implications of Hill's work, culturalhistorians and literary critics have continued to view radical texts as authentic artefacts of a form of early modern popular culture. This book challenges the divide between 'elite' and 'popular' culture in the seventeenth century. While research has revealed that the rank and file of the more organized radical movements was composed of the lower 'middling sort' of people who had little or no access to the elite intellectualculture of the period, some of the most important and most discussed radical writers had been to university in the 1620s and 1630s. Chapters 1-2 investigate how critics - especially those sympathetic to the radicals - have tended to repeat hostile contemporary stereotypes of the ideologists andpublicists of radicalism as 'illiterate Mechanick persons'. The failure to recognize the elite cultural background of these writers has resulted in a failure to acknowledge the range of their intellectual and rhetorical resources and, consequently, in a misrepresentation of the sophistication ofboth their ideas and their writing. Chapters 3-5 are case studies of some of the most important and innovative radical writers. They show how these writers use their experience of an orthodox humanist education for the purposes of satire and ridicule and how they interpret texts associated with orthodox ideologies and culturalpractices to produce heterodox arguments. Radical prose of the English Revolution thus emerges as a more complex literary phenomenon than has hitherto been supposed, lending substance to recent claims for its admission to the traditional literary canon.
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
Radical Satire and Print Culture 1790-1822 focuses on the work produced collaboratively between 1816 and 1822 by the poet and radical journalist William Hone and the brilliant young graphic satirist George Cruikshank. Wood provides a much needed analytical framework for Regency radical satire uncovering a set of new sources and previously unknown cultural contexts for Hone and Cruikshank's work, which is shown to combine modernity and tradition in thrilling ways. Entertaining and original, this is an important contribution to the study of radical satire, which sheds new light on the relations between popular political authors and graphic artists and the major Romantic writers of the period.
Includes parodies of Tennyson, Longfellow, Bret Harte, Thomas Hood, Swinburne, Browning, Shakespeare, Milton, Poe, Shelley, Cowper, Coleridge, Herrick, Carroll, Lever, Lover, Burns, Scott, Goldsmith, Kingsley, Byron and many others.