Postmodern and contemporary critical assessments characterize parodic form as an increasingly metatextual strategy, broadening its scope and at times blurring the distinction with related forms such as pastiche. Through the analysis of Tom Holt’s “humorous fantasy” Who’s Afraid of Beowulf (1988), this paper aims to illustrate how postmodern parodies simultaneously target the source text, its generic framework and its context of production in a multi-layered refunctionalisation.
LA PARODIA NELLA POSTMODERNITÀ: WHO’S AFRAID OF BEOWULF DI TOM HOLT
Camilla Del GraziaPrimo
2019-01-01
Abstract
Postmodern and contemporary critical assessments characterize parodic form as an increasingly metatextual strategy, broadening its scope and at times blurring the distinction with related forms such as pastiche. Through the analysis of Tom Holt’s “humorous fantasy” Who’s Afraid of Beowulf (1988), this paper aims to illustrate how postmodern parodies simultaneously target the source text, its generic framework and its context of production in a multi-layered refunctionalisation.File in questo prodotto:
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