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Margaret A. Rose is an internationally recognised author of books on the history, theory, and practice of parody. In this new study she turns her attention to the visual arts and to the use in them of forms of comic interpictoriality in the 19th and 20th centuries. In addition to examining examples of pictorial irony, parody, and pastiche, as well as of satire and caricature, this study discusses the distinctions that can be made between these forms, as well as between the new hybrid varieties of them that have developed, and looks at the role played by both artist and spectator in their reception and development.
Earlier books by Dr. Rose related to this subject include her Die Parodie: Eine Funktion der biblischen Sprache in Heines Lyrik, Meisenheim am Glan 1976, Parody//Meta-Fiction: an analysis of parody as a critical mirror to the writing and reception of fiction (London 1979), The post-modern and the post-industrial: a critical analysis (Cambridge 1991), and Parody: ancient, modern, and post-modern (Cambridge 1993). Other relevant works include her three most recent books published by the Aisthesis Verlag, Bielefeld: Theodor Mintrop. Das Album für Minna (1855-1857) nebst anderen neuentdeckten Materialien (Bielefeld 2003), Parodie, Intertextualität, Interbildlichkeit (Bielefeld 2006), and Flaneurs & Idlers. Louis Huart "Physiologie du flaneur" (1841) & Albert Smith "The Natural History of the Idler upon Town" (1848) (Bielefeld 2007).
In addition to these books Dr. Rose has recently completed articles on the subjects of 19th century caricature, the grotesque and parody, Karl Rosenkranz's "Aesthetics of the Ugly", and on parody in 19th Century British and German art.
Sommario
Acknowledgements
Introduction
Chapter 1. Varieties of Comic Interpictoriality I
1.1. Introduction
1.2. Parody
1.3. Meta-art
1.4. Irony
1.5. Satire
1.6. Parody, irony, and satire compared
Chapter 2. Varieties of Comic Interpictoriality II
2.1. Pastiche and comic pastiche
2.2. In performance art, photography, and film
2.3. In installation art and sculpture
2.4. Caricature
2.5. Visual puns
Chapter 3. Signals of Parodic Interpictoriality
3.1. Introduction
3.2. Signals of parody
3.3. The Reader/Spectator
3.4. The Recognition of Parody
3.5. Attitudes of the parodist to the work parodied
3.6. Public and private parody
Chapter 4. Pictorial Irony, Parody, and Pastiche across Time
4.1. Introduction
4.2. "Choices of Hercules"
5. Conclusion
6. Bibliography
7. Index of Artists Named
