s*f
发帖数: 1071 | 1 说小将剽窃，按照你的定义，不正是你个傻逼剽窃军港之夜在先。
你抡起一个大嘴巴最后落到你那张傻逼脸上。疼不疼啊。
无论西方还是东方文学史，滑稽模仿向来是重要文类，叫 Burlesque也好,叫parody也
好,还是叫 travesty，都是用戏谑方式模仿对方并解构对方文本。唐吉坷德尤利西斯这
些西方名著都是模仿讽刺典范 你个傻逼懂不懂 | s*f
发帖数: 1071 | 2 除了唱通俗歌曲，你读得懂英语吗，给你布置个作业，拿本字典回家慢慢读读。
Burlesque has been succinctly defined as "an incongruous imitation"; that is
, it imitates the manner (the form and style) or else the subject matter of
a serious literary work or a literary genre, in verse or in prose, but makes
the imitation amusing by ar idiculous disparity between the manner and the
matter. The burlesque may be written for the sheer fun of it; usually,
however, it is a form of satire. The butt of the satiricr idiculem ay be the
particular work or the genre that is being imitated, or else the subject
matter to which the imitation is incongruously applied, or (often) both of
these together. "Burlesque," "parody," and "travesty" are sometimes applied
interchangeably; simply to equate these terms, however, is to surrender
useful critical distinctions. It is better to follow the critics who use "
burlesque" as the generic name and use the other terms to discriminate
species of burlesque; we must keep in mind, however, that a single instance
of burlesque may exploit a variety of techniques. The application of these
terms will be clearer if we make two preliminary distinctions: (1) In a
burlesque imitation, the form and style may be either lower or higher in
level and dignity than the subject to which it is incongruously applied. (
See the discussion of levels under style.) If the form and style are high
and dignified but the subject is low or trivial, we have "high burlesque";
if the subject is high in status and dignity but the style and manner of
treatment are low and undignified, we have "low burlesque." (2) A burlesque
may also be distinguished according to whether it imitates a general
literary type or genre, or else a particular work or author. Applying these
two distinctions, we get the following species of burlesque.
I Varieties of high burlesque: (1) A parody imitates the serious manner and
characteristic features of a particular literary work, or the distinctive
style of a particular author, or the typical stylistic and other features of
a serious literary genre, and deflates the original by applying the
imitation to a lowly or comically inappropriate subject. John Phillips' "The
Splendid Shilling" (1705) parodied the epic style of John Milton's Paradise
Lost (1667) by
BURLESQUE 27
exaggerating its high formality and applying it to the description of a
tattered poet composing in a drafty attic. Henry Fielding in Joseph Andrews
(1742) parodied Samuel Richardson's novel Pamela (1740-41) by putting a
hearty male hero in place of Richardson's sexually beleaguered heroine, and
later on Jane Austen poked good-natured fun at the genre of the gothic novel
in Northanger Abbey (1818). Here is Hartley Coleridge's parody of the first
stanza of William Wordsworth's "She Dwelt among the Untrodden Ways," which
he applies to Wordsworth himself: He lived amidst th' untrodden ways To
Rydal Lake that lead, A bard whom there were none to praise, And very few to
read. From the early nineteenth century to the present, parody has been the
favorite form of burlesque. Among the gifted parodists of the present
century have been Max Beerbohm in England (see his A Christmas Garland, 1912
) and Stella Gibbons (Cold Comfort Farm, 1936), and the American writers
James Thurber, Phyllis McGinley, and E. B. White. The novel Possession (1990
), by the English writer A. S. Byatt, exemplifies a serious literary form
which includes straight-faced parodies of Victorian poetry and prose, as
well as of academic scholarly writings. (2) A mock epic or mock-heroic poem
is distinguished as that type of parody which imitates, in a sustained way,
both the elaborate form and the ceremonious style of the epic genre, but
applies it to narrate at length a commonplace or trivial subject matter. In
a masterpiece of this type, The Rape of the Lock (1714), Alexander Pope
views through the grandiose epic perspective a quarrel between the belles
and elegants of his day over the theft of a lady's curl. The story includes
such elements of traditional epic protocol as supernatural machinery, a
voyage on board ship, a visit to the underworld, and a heroically scaled
battle between the sexes—although with metaphors, hatpins, and snuff for
weapons. The term mock-heroic is often applied to other dignified poetic
forms which are purposely mismatched to a lowly subject; for example, to
Thomas Gray's comic "Ode on the Death of a Favorite Cat" (1748); see under
bathos and anticlimax.
II Varieties of low burlesque: (1 ) The Hudibrastic poem takes its name from
Samuel Butler's Hudibras (1663), which satirized rigid Puritanism by
describing the adventures of a Puritan knight, Sir Hudibras. Instead of the
doughty deeds and dignified style of the traditional genre of the chivalric
romance, however, we find the knightly hero experiencing mundane and
humiliating misadventures which are described in doggerel verses and a
ludicrously colloquial idiom. (2) The travesty mocks a particular work by
treating its lofty subject in a grotesquely undignified manner and style. As
Boileau put it, describing
28 CANON OF LITERATURE
a travesty of Virgil's Aeneid, "Dido and Aeneas are made to speak like
fishwives and ruffians." The New Yorker once published a travesty of Ernest
Hemingway's novel Across the River and Into the Trees (1950) wit the title
Aaoss the Street and Into the Bar, and the film Young Frankenstein is a
travesty of Mary Shelley's novel Frankenstein. Another form of burlesque is
the lampoon: a short satirical work, or a passage in a longer work, which
describes the appearance and character of a particular person in a way that
makes that person ridiculous. It typically employs caricature, which in a
verbal description (as in graphic art) exaggerates or distorts, for comic
effect, a person's distinctive physical features or personality traits. John
Dryden's Absalom and Achitophel (1681) includes a famed twenty-five-line
lampoon of Zimri (Dryden's contemporary the Duke of Buckingham), which
begins: In thef irst rank of these did Zimri stand; A man so various, that
he seemed to be Not one, but all mankind's epitome: Stiff in opinions,
always in the wrong; Was everything by starts, and nothing long.... The
modern sense of "burlesque" as a theater form derives, historically, from
plays which mocked serious types of drama by an incongruous imitation. John
Gay's Beggar's Opera (1728)—which in turn became the model for the German
Threepenny Opera by Bertolt Brecht and Kurt Weill (1928)—was a high
burlesque of Italian opera, applying its dignified formulas to a company of
beggars and thieves; a number of the musical plays by Gilbert and Sullivan
in the Victorian era also burlesqued grand opera. George Kitchin, A Survey
of Burlesque and Parody in English (1931); Rich mond P. Bond, English
Burlesque Poetry, 1700-1750 (1932); Margaret A. Rose, Parody: Ancient,
Modern, and Post-Modem (1993). Anthologies: Walter Jerrold and R. M. Leonard
, eds., A Century of Parody and Imitation (1913); Robert P. Falk, ed., The
Antic Muse: American Writers in Parody (1955); Dwight MacDon ald, ed.,
Parodies: An Anthology (1960) | v*********s
发帖数: 1990 | 3 原来butlesque 原意不是跳脱衣舞
看来vegas 的你马的还挺风雅
【在 s*f 的大作中提到】
: 说小将剽窃，按照你的定义，不正是你个傻逼剽窃军港之夜在先。
: 你抡起一个大嘴巴最后落到你那张傻逼脸上。疼不疼啊。
: 无论西方还是东方文学史，滑稽模仿向来是重要文类，叫 Burlesque也好,叫parody也
: 好,还是叫 travesty，都是用戏谑方式模仿对方并解构对方文本。唐吉坷德尤利西斯这
: 些西方名著都是模仿讽刺典范 你个傻逼懂不懂
| v*********s
发帖数: 1990 | 4 牛逼 可惜老将文盲
【在 s*f 的大作中提到】
: 除了唱通俗歌曲，你读得懂英语吗，给你布置个作业，拿本字典回家慢慢读读。
: Burlesque has been succinctly defined as "an incongruous imitation"; that is
: , it imitates the manner (the form and style) or else the subject matter of
: a serious literary work or a literary genre, in verse or in prose, but makes
: the imitation amusing by ar idiculous disparity between the manner and the
: matter. The burlesque may be written for the sheer fun of it; usually,
: however, it is a form of satire. The butt of the satiricr idiculem ay be the
: particular work or the genre that is being imitated, or else the subject
: matter to which the imitation is incongruously applied, or (often) both of
: these together. "Burlesque," "parody," and "travesty" are sometimes applied
| E*********0
发帖数: 1 | 5 liuhe这个煞笔拿着几个马甲互相顶来顶去还弄出高潮来真特么好笑 | C**********e
发帖数: 23303 | 6 呵呵
一个撒逼政屁 老将这样无耻的都没有
少理就好了 |
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