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

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

Die Antwoord: postmodern performances of local identities

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Intercultural issues in the translation of parody; or, getting Alice to speak French and Afrikaans in Wonderland

That Jane Austen disparaged the idea of a heroine is a truth universally acknowledged. Northanger Abbey opens by mocking its heroine: “No one who had ever seen Catherine Morland in her infancy would have supposed her born to be a heroine,” for Catherine is neither pretty nor intelligent, and her learning, drawing, and music skills are all deficient (13, 14). Ironically, recent film spinoffs have taken a fancy to transforming Austen herself into a literary heroine. The biopics Becoming Jane (2007)1 and Miss Austen Regrets (2008) depict an attractive novelist: played by Anne Hathaway and Olivia Williams respectively, the filmic Austen strays far away from Cassandra’s drawing, the only likeness to have been authenticated by the National Portrait Gallery at the time of writing (January 2013). Modern fictional renditions of Austen’s life include T. C. Boyle’s I Dated Jane Austen (1977), Veronica Bennet’s Cassandra’s Sister (2006), and Laurie Viera Rigler’s Confessions of a Jane Austen Addict (2009). The reason for this upsurge of author fictions may be that, as was true of Catherine Morland, “when a young lady is to be a heroine, the perverseness of forty surrounding families cannot prevent her” (Northanger Abbey 16).

In Flesh and Blood

There are occasions when blasphemy must be seen as one privilege of the excluded Caliban. (Lamming 1984, 9)Rarely does a critic of Derek Walcotts poetry fail to mention his excellent command of the English language. John Figueroa, for example, describes Walcott as an "aficionado of English English," (1993, 158) and Seamus Heaney, Walcott's close friend, and fellow poet, remarks upon the "sumptuous authority" of Walcott's use of language (1993,304). Many commentators, pointing to the facility with which Walcott invokes West Indian dialects and vocabularies, also commend Walcott's adept incorporation of Creole into his poetry. As John Thieme affirms, Walcott "moves easily across illusory linguistic, literary, and social fault-lines" with his use of both Standard English and Creole (1995,165).Walcott consequently develops "a complex pluralistic aesthetic that spans the Caribbean linguistic continuum and its social and cultural correlatives" (167). While the critical attention to Walcott's considerable verbal skills is no doubt apposite, such an emphasis on eloquence or verbal virtuosity can obscure those moments when Walcott purposely adopts language that is coarser to the ears. Indeed, by focusing their praise either on eloquently phrased Standard English or the verbal nuances and inventiveness of Caribbean vernacular, critics have tended to overlook swearing and obscenity as integral aspects of Walcott's poetry. Though the impulse may be to dismiss the profanity as an aberration of poetic language, these obscenities should not be taken as anomalies. On the contrary, Walcott's use of profane language indicates a negative and ironic poetics at work. By integrating profanity into his poetry, Walcott explores how coarse language can counteract the staidness of "refined" poetic diction, and he also demonstrates how obscenity can inform an innovative poetics that redefines epic poetry and the epic hero through parody and irony. The recognition of Walcott's use of swearing and curse words in order to parody the epic tradition, moreover, elucidates his understanding of the complexities of Caribbean history, as he refutes those-in particularV.S. Naipaul-who would view Caribbean history as non-existent (Naipaul 1962, 29).Paula Burnett has suggested that Walcott "is generally not interested in using language to curse," asserting that Walcott is not inclined towards malediction when critiquing colonial history in the Caribbean (2000, 128). Nevertheless, Burnett does compare Walcott to Shakespeare's Caliban, in that both Walcott and Caliban artfully utilize cursing to contest inequities of power and identifies in each an impulse characteristic of the Caribbean cultural tradition of picong: "Like Caliban, Walcott has a double project, to create a counterdiscourse and to initiate new expression-utterance, in Caliban's terms, polarized between curse and song, or between Caribbean 'picong' and praise-song" (128). As Burnett explains further,'"picong' [piquant, sharp, hot] ... is the Trinidadian term for the language of abuse elevated to an art form" (140). That cursing could be considered an art presumably depends on the level of irony and nuance at play within the verbal exchange, and such a predilection for irony is prevalent throughout many Caribbean cultural practices, including, as Burnett notes, calypso and carinvalesque "robber talk." Jahan Ramanzani also argues that irony is a fundamental cultural form or practice historically found in the Caribbean.Although irony may seem to be a Western formalist concept, one of the world's most vibrant figures for the ironist is the folk hero Anancy-the mystical spider who gives his name to animal tales and even to West Indian storytelling in general. Derived from a West African prototype, he is arguably the Afro-Caribbean counterpart to the Greek eiron. . . . (Ramanzani 2001, 106-07)As a trickster figure, Anancy stands furthermore as a surrogate for the poet, since his tricks tend to involve using language as a vehicle. …

Swearing at—not by—History: Obscenity, Picong and Irony in Derek Walcott's Poetry

Although a literary term used primarily to ridicule somebody or some issue Satire has been used very effectively by the satirical media in Pakistan through various late night T.V talk shows. This article examines the role being played by T.V talk shows amalgamated with satire, irony or caricature to either develop the perception of the people or get them familiarized with on going socio-political, socio-economic and educational issues/happenings in Pakistan. The qualitative study was conducted, through focused group interview, on 100 University students. The subjects apparently appear to be appropriate sample because they represent a majority that remains unmoved because of monotony in various talk shows but is capable of steering socio-economic, educational and democracy boat in the right direction if attracted properly to un-talked issues in the country. In the light of the findings of the study it is concluded that such monotony takes the general masses, especially youth, away from ongoing debatable issues of Pakistan but the mimicking media has brought the same general masses and youth back to feel concerned about such issues to form their opinions. Further, the subjects suggest that free media in Pakistan is at growing stage and socio-economic, socio-political or educational, etc., issues may not be discussed bitterly but in a light tone and manner to educate people rather to irritate. Hence, mimicking media could be a very positive effort by T.V channels to educate people of Pakistan where much is to be done in social sector so that they may contribute effectively to make Pakistan socially, economically, educationally and politically a stable and progressive country.

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

Citations

Die Antwoord: postmodern performances of local identities

Intercultural issues in the translation of parody; or, getting Alice to speak French and Afrikaans in Wonderland

In Flesh and Blood

Swearing at—not by—History: Obscenity, Picong and Irony in Derek Walcott's Poetry

Mimicking Media: Funny Means To Achieve Serious End

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