campbell-artasparodic-2015.pdf (1.47 MB)
Art as parodic practice
journal contribution
posted on 2015-10-17, 00:00 authored by Marion CampbellMarion Campbell, D Hecq, Jondi Keane, Antonia PontAntonia PontPerhaps because of the pervasive sampling, remixing, rehashing and promiscuous citational blending in postmodernity, where quote marks dissolve, parody has come to be seen as a somewhat archaic concept, pertaining to cultures more stably codified and hierarchically ordered, rather than subject to the fluctuations of global markets and phantasmagoric projections affecting the flow of investment moneys. Given the anxiogenic nature of postmodernity under its various guises, willed as hypermodernityand metamodernity or supermodernity, the ideologeme ‘parody’ might be seen as nostalgic symptom in the wake of the ‘grand narratives’ (Lyotard 1984 [1979]) – a rehearsed post-apocalyptic nostalgia for a world of neo-feudalism and fiefdoms, where the seasonal lifting of prohibition for carnival brought on the ‘allowed fool’ (Shakespeare 2006) for parody’s brief upending of the hierarchical order, when high became low, mouth met anus, and wise became mad, even within the Pater Noster of the Holy Mass. (Bakhtin 1980: 78). How the revisitation of parody might illuminate contemporary cultural politics is a driving question behind this collection, a questionmade more urgent by recent global developments of terror.
History
Journal
TextVolume
19Issue
Special Issue 33Series
Text Special IssueSeason
OctoberPagination
1 - 14Publisher
Australian Association of Writing ProgramsLocation
Gold Coast, QldPlace of publication
Melbourne; BrisbaneStart date
2015-10-30End date
2015-10-30Material type
issueISSN
1327-9556Language
engPublication classification
C1 Refereed article in a scholarly journal; C Journal articleCopyright notice
2015, Australasian Association of Writing Programs (AAWP)Extent
Electronic Special Issue of Peer Refereed JournalUsage metrics
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