Examines the historical development of parody in order to examine its place, purpose and practice in the postmodern world of contemporary artforms.

https://dialnet.unirioja.es/descarga/articulo/5695739.pdf

A Theory of Parody: The Teachings of Twentieth-Century Art Forms

También es mi escenario (Nacional)

En este trabajo voy a analizar el filme Cabeza de Vaca en tanto que discurso paródico que reproduce, al tiempo que comenta, la Relación de Alvar Núñez Cabeza de Vaca. Como se trata de textos generados en medios diferentes (escritura y cine), me concentraré en la forma (o formas) en que la película intenta recrear la situación de enunciación oral original (sometida por Cabeza de Vaca a la traducción y transcripción a una cultura letrada —la suya, la española) y en las modificaciones que hace a lo narrado por el libro. De este modo se podrán apreciar las diferencias y similitudes que existen entre la película y el texto parodiado, así como también los efectos que aquéllas producen. El concepto de parodia que manejo en este trabajo no es el que la identifica con la ridiculización de un modelo, sino el que Linda Hutcheon ha propuesto, entendida como canto paralelo, como comentario crítico y como reconocimiento (y a veces homenaje) del texto parodiado (33). Es decir, como repetición conservadora al mismo tiempo que como diferencia que marca una distancia crítica (Hutcheon, 77). Por eso propongo considerar la película sobre las aventuras del tesorero de la expedición de Panfilo de Narváez como un texto que se presenta como reconocimiento y como crítica de la narración de Cabeza de Vaca. Claro que para ver la parodia funcionando, tenemos primero que detectar las diferencias entre uno y otro texto. Una manera de iniciar esa búsqueda consiste en estudiar de qué modo la película respeta, suple o interpreta los silencios que aparecían en el modelo. Me refiero a aquéllo que el texto no dice pero cuya ausencia resulta significativa (Macheray). Creo que en la narración de Cabeza de Vaca existen dos grandes tipos de silencios. El primero incluye aquéllas cosas que no se dicen debido a dificultades para la transmisión de lo vivido, ya sea por a) falta de medios expresivos o de correlatos culturales en la cultura que va a recibir el mensaje (la española), o b) abstención de informar, debido a una posible censura o penalización en el contexto de la cultura receptora (otra vez, la española). El segundo tipo de silencio incluye aquellos episodios o eventos que no le

Cabeza de Vaca: Una visión paródica de la épica colonial

Klaus Haro and Aki Kaurismaki exemplify in two different ways the possible ways in which transnational contexts, both as regards production and aesthetics, have created new prospects for a small nation cinema. Haro made his first film in Sweden and thus came to know a film production tradition that was much more stable than what Finland could offer. The transnational collaboration also allowed him to deepen the themes of the experience of Finns or Finnish speakers living in Sweden. Kaurismaki in turn has succeeded in creating a small-scale but stable independent production company, which has allowed him to cultivate his own highly idiosyncratic style in which he has integrated stylistic features taken from various masters of international cinema.

Two Modes of Transnational Filmmaking

This thesis investigates materiality, meanings and the use of three crucial elements, World, Dust, and Daemon in Philip Pullman’s His Dark Materials Trilogy. Together, the three novels Northern Lights (1995), The Subtle Knife (1997) and The Amber Spyglass (2000) juxtapose and represent not only Philip Pullman’s counter-interpretation of Biblical representation, Genesis in particular, but also his worries about religious absolutism and story-telling based in Christian belief. As a New Atheist fantasy fiction written to young adult and adult readers, Pullman’s enthusiasm for playing with and materializing obscure religious concepts and relating them to our real life through story-telling is remarkable. This research is aimed to analyse the methodologies and further to understand how Pullman can fulfill his unique cosmology, as well as the problems and paradoxes these elements could have brought together with. The first chapter, World, composes etymological, philosophical and constitutive studies of Pullman’s World system in His Dark Materials. That system takes an organic tuber-like form in its arrangement of worlds in time and space. The thesis attempts to suggest that Pullman’s atheistic cosmology is, paradoxically, constructed in terms of a heavily theological materiality. 
The research in the second chapter, Dust, focuses on the transformation of Dust. It attempts to argue that Pullmanic Dust is a process of becoming rather than a status of being. The whole process is divided into three stages, and my critique observes how Dust is materially changed in meaning in each stage. The research also provides detailed studies of how Dust can be metaphorically related to the doctrine of original sin and, in consequence, the work’s close relation to the very Christianity that it seeks to eschew. Daemon, as the most materialized entity made of Dust, is at the crux of Pullman’s understanding of the human soul. It is also a starting point for high fantasy in His Dark Materials. By studying the materiality and meaning of Daemon, my research into what is termed the laws of “settlement” finds that they violate the ontological foundation of Pullman’s realism and of his psychological (and philosophical) understanding of the soul. This chapter suggests that Pullman’s animalization of the human soul and, conversely, his anthropomorphism of daemons together make for a significant contradiction in his cosmology.

In between materiality and meaning : world, dust and daemon in Philip Pullman's His Dark Materials trilogy

https://www.mdpi.com/2077-1444/10/11/592/pdf

A Theory of Parody: The Teachings of Twentieth-Century Art Forms

Citations

También es mi escenario (Nacional)

Cabeza de Vaca: Una visión paródica de la épica colonial

Two Modes of Transnational Filmmaking

In between materiality and meaning : world, dust and daemon in Philip Pullman's His Dark Materials trilogy

The Appropriation of Popular Culture: A Sensational Way of Practicing Evangelism of Korean Churches

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