Keywords
Abstract
This article presents a comprehensive theoretical examination of parody and pastiche, two pivotal concepts in literary and cultural studies. The study traces their historical origins, delineates their defining characteristics, and analyzes their functional and rhetorical dimensions, with particular attention to their manifestations in modernist and postmodernist periods. Drawing on foundational theories by Linda Hutcheon, Gérard Genette, Mikhail Bakhtin, Simon Dentith, and Fredric Jameson, parody is framed as a critical, dialogical practice, whereas pastiche is interpreted as a mode of aesthetic homage and cultural recollection. The findings suggest that in contemporary cultural production, the demarcation between parody and pastiche is increasingly fluid, fostering innovative hybrid forms that reflect the complexities of postmodern expression. This research contributes to ongoing theoretical debates by clarifying key distinctions and proposing a framework for analyzing hybrid textual practices in contemporary media.
References
Bakhtin, Mikhail. The Dialogic Imagination: Four Essays, trans. Caryl Emerson and Michael Holquist. Austin, University of Texas Press, 1981. 480 p.
Dentith, Simon. Parody: The New Critical Idiom. London, Routledge, 2000. – 224 p.
Genette, Gérard. Palimpsests: Literature in the Second Degree. Lincoln, University of Nebraska Press, 1997. - 508p.
Hoesterey, I. Pastiche: Cultural Memory in Art, Film, Literature. Bloomington: Indiana University Press. 2001. - 160 p.
Hutcheon, Linda. The Politics of Postmodernism. London, Routledge, 1989. - 288 p.
Jameson, Fredric. Postmodernism, or The Cultural Logic of Late Capitalism. Durham, Duke University Press, 1991. - 314 p.
Mary Rose. Parody: Ancient, Modern, and Post-Modern. Cambridge, MA, Harvard University Press, 1993. -277 p.