This book approaches parody as a literary form that has assumed diverse forms and functions throughout history. The author handles this diversity by classifying parody according to its objects of imitation and specifying three major parodic kinds: parody directed at texts and personal styles, parody directed at genre, and parody directed at discourse. The book argues that different literary-historical periods in Britain have witnessed the prevalence of different kinds of parody and investigates the reasons underlying this phenomenon. All periods from the Middle Ages to the present are considered in this regard, but a special significance is given to the postmodern age, where parody has become a widely produced literary form. The book contends further that postmodern parody is primarily discourse parody - a phenomenon which can be explained through the major concerns of postmodernism as a movement. In addition to situating parody and its kinds in a historical context, this book engages in a detailed analysis of parody in the postmodern age, preparing the ground for making an informed assessment of the direction parody and its kinds may take in the near future.

In this definitive work Margaret Rose presents an analysis and history of theories and uses of parody from ancient to contemporary times and offers a new approach to the analysis and classification of modern, late-modern, and post-modern theories of the subject. The author's Parody/Meta-Fiction (1979) was influential in broadening awareness of parody as a 'double-coded' device which could be used for more than mere ridicule. In the present study she both expands and revises the introductory section of her 1979 text and adds substantial new sections on modern and post-modern theories and uses of parody and pastiche which also discuss the work of theorists and writers including the Russian formalists, Mikhail Bakhtin, Hans Robert Jauss, Wolfgang Iser, Julia Kristeva, Roland Barthes, Michel Foucault, Jacques Derrida, Ihab Hassan, Jean Baudrillard, Fredric Jameson, A. S. Byatt, Martin Amis, Charles Jencks, Umberto Eco, David Lodge, Malcolm Bradbury and others.

Storytelling and remembering rely on similar practices: they both arrange images in an ordered structure. A story is initially memorised by the author in a mental structure which is transferred to the page via the author's choice of location, organisation and imagery. An interpretation that emphasises these features enhances the natural capacity for comprehension by mimicking the memory process. This study describes and uncovers memory systems (including the memory palace and the memory journey) in medieval texts. The ancient memory techniques are compared to cognitive psychology and used to interpret four modern novels. A practical method of interpretation is devised which provides the reader with direct access to a story by opening the door into the storyteller's memory palace.

Peplum or “sword-and-sandal” films—an Italian genre of the late 1950s through the 1960s—featured ancient Greek, Roman and Biblical stories with gladiators, mythological monsters and legendary quests. The new wave of historic epics, known as neo-pepla, is distinctly different, embracing new technologies and storytelling techniques to create an immersive experience unattainable in the earlier films. This collection of new essays explores the neo-peplum phenomenon through a range of topics, including comic book adaptations like Hercules, the expansion of genre boundaries in Jupiter Ascending and John Carter, depictions of Romans and slaves in Spartacus, and The Eagle and Centurion as metaphors for America’s involvement in the Iraq War.

In 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. In a new introduction, Hutcheon discusses why parody continues to fascinate her and why it is commonly viewed as suspect-–for being either too ideologically shifty or too much of a threat to the ownership of intellectual and creative property.

This groundbreaking work is the first full book-length publication to critically engage in the emerging field of research on the queer aspects of translation and interpreting studies. The volume presents a variety of theoretical and disciplinary perspectives through fifteen contributions from both established and up-and-coming scholars in the field to demonstrate the interconnectedness between translation and queer aspects of sex, gender, and identity. The book begins with the editors’ introduction to the state of the field, providing an overview of both current and developing lines of research, and builds on this foundation to look at this research more closely, grouped around three different sections: Queer Theorizing of Translation; Case Studies of Queer Translations and Translators; and Queer Activism and Translation. This interdisciplinary approach seeks to not only shed light on this promising field of research but also to promote cross fertilization between these disciplines towards further exploring the intersections between queer studies and translation studies, making this volume key reading for students and scholars interested in translation studies, queer studies, politics, and activism, and gender and sexuality studies.

This book gathers together for the first time the editors of some of the most prestigious Translation Studies journals, and serves as a showcase of the academic and geographical diversity of the discipline. The collection includes a discussion on the intralinguistic translation of Romeo and Juliet; thoughts on the concepts of adaptation, imitation and pastiche with regards to Japanese manga; reflections on the status of the source and target texts; a study on the translation and circulation of Inuit-Canadian literature; and a discussion on the role of translation in Latin America. It also contains two chapters on journalistic translation – linguistic approaches to English-Hungarian news translation, and a study of an independent news outlet; one chapter on court interpreting in the US and a final chapter on audio-description. The book was originally published as a special issue in 2017 to mark the twenty-fifth anniversary of Perspectives: Studies in Translation Theory and Practice.