"Pastiche A pastiche is a work of visual art, literature, theatre, or music that imitates the style or character of the work of one or more other artists. Unlike parody, pastiche celebrates, rather than mocks, the work it imitates. The word ""pastiche"" is a French cognate of the Italian noun ""pasticcio"", which is a pâté or pie-filling mixed from diverse ingredients. Metaphorically, ""pastiche"" and ""pasticcio"" describe works that are either composed by several authors, or that incorporate stylistic elements of other artists' work. Pastiche is an example of eclecticism in art. Allusion is not pastiche. A literary allusion may refer"
"Parody A parody (); also called a spoof, send-up, take-off, lampoon, play on (something), caricature, or joke is a work created to imitate, make fun of, or comment on an original work—its subject, author, style, or some other target—by means of satiric or ironic imitation. As the literary theorist Linda Hutcheon puts it, ""parody ... is imitation, not always at the expense of the parodied text."" Another critic, Simon Dentith, defines parody as ""any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice."" Parody may be found in art or culture, including literature, music"
"of literature and of the arts in general, works of art are for a large part repetitions of the tradition; to the entire history of artistic creativity belong plagiarism, literary theft, appropriation, incorporation, retelling, rewriting, recapitulation, revision, reprise, thematic variation, ironic retake, parody, imitation, stylistic theft, pastiches, collages, and deliberate assemblages. There is no rigorous and precise distinction between practices like imitation, stylistic plagiarism, copy, replica and forgery. These appropriation procedures are the main axis of a literate culture, in which the tradition of the canonic past is being constantly rewritten. Ruth Graham quotes T.S. Eliot—""Immature poets imitate; mature poets"
"Roman writers explained parody as an imitation of one poet by another for humorous effect. In French Neoclassical literature, ""parody"" was also a type of poem where one work imitates the style of another to produce a humorous effect. The Ancient Greeks created satyr plays which parodied tragic plays, often with performers dressed like satyrs. In classical music, as a technical term, ""parody"" refers to a reworking of one kind of composition into another (for example, a motet into a keyboard work as Girolamo Cavazzoni, Antonio de Cabezón, and Alonso Mudarra all did to Josquin des Prez motets). More commonly,"
"uses a series of parodies to convey his meaning. In the social context of his era, an example can be seen in ""King Lear"" where the fool is introduced with his coxcomb to be a parody of the king. Parody A parody (); also called a spoof, send-up, take-off, lampoon, play on (something), caricature, or joke is a work created to imitate, make fun of, or comment on an original work—its subject, author, style, or some other target—by means of satiric or ironic imitation. As the literary theorist Linda Hutcheon puts it, ""parody ... is imitation, not always at the"
"to another work, but it does not reiterate it. Moreover, allusion requires the audience to share in the author's cultural knowledge. Both allusion and pastiche are mechanisms of intertextuality. In literature usage, the term denotes a literary technique employing a generally light-hearted tongue-in-cheek imitation of another's style; although jocular, it is usually respectful. For example, many stories featuring Sherlock Holmes, originally penned by Arthur Conan Doyle, have been written as pastiches since the author's time. Ellery Queen and Nero Wolfe are other popular subjects of mystery parodies and pastiches. A similar example of pastiche is the posthumous continuations of the"
"imitation and, second, it would also include mechanisms such as priming, contagious behavior and social facilitation, which most scientist distinguish as separate forms of observational learning. Thorpe suggested defining imitation as ""the copying of a novel or otherwise improbable act or utterance, or some act for which there is clearly no instinctive tendency."" This definition is favored by many scholars, though questions have been raised how strictly the term ""novel"" has to be interpreted and how exactly a performed act has to match the demonstration to count as a copy. In 1952 Hayes & Hayes used the ""do-as-I-do"" procedure to"
"imitation, copying, plagiarism, rewriting, appropriation and so on as the central artistic device. Imitation (art) Imitation is the doctrine of artistic creativity according to which the creative process should be based on the close imitation of the masterpieces of the preceding authors. This concept was first formulated by Dionysius of Halicarnassus in the first century BCE as ""imitatio"", and has since dominated for almost two thousand years the Western history of the arts and classicism; in the 18th century, Romanticism reversed it with the creation of the institution of romantic originality. In the 20th century, the modernist and postmodern movements"
"Dionysian imitatio Dionysian imitatio is the influential literary method of imitation as formulated by Greek author Dionysius of Halicarnassus in the first century BCE, which conceived it as the rhetorical practice of emulating, adapting, reworking and enriching a source text by an earlier author. It is a departure from the concept of mimesis which only is concerned with ""imitation of nature"" instead of the ""imitation of other authors."" Three centuries after Aristotle's ""Poetics"", from the 4th century BCE to the 1st century BCE, the meaning of ""mimesis"" as a literary method had shifted from ""imitation of nature"" to ""imitation of"
"Imitation (art) Imitation is the doctrine of artistic creativity according to which the creative process should be based on the close imitation of the masterpieces of the preceding authors. This concept was first formulated by Dionysius of Halicarnassus in the first century BCE as ""imitatio"", and has since dominated for almost two thousand years the Western history of the arts and classicism; in the 18th century, Romanticism reversed it with the creation of the institution of romantic originality. In the 20th century, the modernist and postmodern movements in turn discarded the romantic idea of creativity, and heightened the practice of"
"Aristotle's ""Poetics"", lyric poetry, epic poetry, drama, dancing, painting are all described as forms of mimesis. Dionysian imitatio Dionysian imitatio is the influential literary method of imitation as formulated by Greek author Dionysius of Halicarnassus in the first century BCE, which conceived it as the rhetorical practice of emulating, adapting, reworking and enriching a source text by an earlier author. It is a departure from the concept of mimesis which only is concerned with ""imitation of nature"" instead of the ""imitation of other authors."" Three centuries after Aristotle's ""Poetics"", from the 4th century BCE to the 1st century BCE, the"
"Mitate-e In Japanese art, ""mitate-e"" () is a subgenre of ukiyo-e that employs allusions, puns, and incongruities, often to parody classical art or events. The term derives from two roots: ""mitateru"" (, ""to liken one thing to another"") and ""e"" (, ""picture""). The ""mitate"" technique arose first in poetry and became prominent during the Heian period (794–1185). Haiku poets revived the technique during the Edo period (1603–1868), from which it spread to the other arts of the era. Such works typically employ allusions, puns, and incongruities, and frequently recall classical artworks. In the context of ukiyo-e, ""mitate-e"" is often translated"
"Self-parody A self-parody is a parody of oneself or one's own work. As an artist accomplishes it by imitating his or her own characteristics, a self-parody is potentially difficult to distinguish from especially characteristic productions. Sometimes critics use the word figuratively to indicate that the artist's style and preoccupations appear as strongly (and perhaps as ineptly) in some work as they would in a parody. Such works may result from habit, self-indulgence, or an effort to please an audience by providing something familiar. An example from Paul Johnson writing about Ernest Hemingway: Political polemicists use the term similarly, as in"
"(the mimicking of another work or author's style), though the latter by its nature may include elements of the former; the same holds true of some parody and satirical works as well, which may well include formulaic elements such as common stereotypes or caricatures, or which may use formulaic elements in order to mock them or point out their supposedly cliché or unrealistic nature. Indeed, between parody, satire and such subgenres as romantic comedy, comedy as a whole often relies on either formulaic elements, or the mocking of such elements. Formula fiction is often stereotypically associated with early pulp magazine"
"meaning. Blank parody, in which an artist takes the skeletal form of an art work and places it in a new context without ridiculing it, is common. Pastiche is a closely related genre, and parody can also occur when characters or settings belonging to one work are used in a humorous or ironic way in another, such as the transformation of minor characters Rosencrantz and Guildenstern from Shakespeare's drama Hamlet into the principal characters in a comedic perspective on the same events in the play (and film) ""Rosencrantz and Guildenstern Are Dead"". Similarly, Mishu Hilmy's ""Trapped in the Netflix"" uses"
"into a different, often incongruous, context. Musical parodies may imitate or refer to the peculiar style of a composer or artist, or even a general style of music. For example, ""The Ritz Roll and Rock"", a song and dance number performed by Fred Astaire in the movie ""Silk Stockings"", parodies the Rock and Roll genre. Conversely, while the best-known work of Weird Al Yankovic is based on particular popular songs, it also often utilises wildly incongruous elements of pop culture for comedic effect. The first usage of the word ""parody"" in English cited in the ""Oxford English Dictionary"" is in"
"Music plagiarism Music plagiarism is the use or close imitation of another author's music while representing it as one's own original work. Plagiarism in music now occurs in two contexts—with a ""musical idea"" (that is, a melody or motif) or ""sampling"" (taking a portion of one sound recording and reusing it in a different song). For a legal history of the latter see sampling. Any music that follows rules of a musical scale is limited by the ability to use a small number of notes. All forms of music can be said to include patterns. Algorithms (or, at the very"
"Mode (literature) In literature and other artistic media, a mode is an unspecific critical term usually designating a broad but identifiable kind of literary method, mood, or manner that is not tied exclusively to a particular form or genre. Examples are the ""satiric"" mode, the ""ironic"", the ""comic"", the ""pastoral"", and the ""didactic"". In his ""Poetics"", the ancient Greek philosopher Aristotle uses 'mode' in a more specific sense. Kinds of poetry, he writes, may be differentiated in three ways: according to their ""medium"" of imitation, according to their ""objects"" of imitation, and according to their mode or 'manner' of imitation"
"Mimesis criticism Mimesis criticism is a method of interpreting texts in relation to their literary or cultural models. Mimesis, or imitation (""imitatio""), was a widely used rhetorical tool in antiquity up until the 18th century's romantic emphasis on originality. Mimesis criticism looks to identify intertextual relationships between two texts that go beyond simple echoes, allusions, citations, or redactions. The effects of imitation are usually manifested in the later text by means of distinct characterization, motifs, and/or plot structure. As a critical method, mimesis criticism has been pioneered by Dennis MacDonald, especially in relation to New Testament and other early Christian"
"as allegory for art itself. In ""Men in Space"" it takes the form of duplication of an artwork, and a set of patterns repeating over several centuries. In McCarthy's art projects it has taken the form of repeating sets of messages over radio in a homage to Jean Cocteau's ""Orphée"". Boyd Tonkin, in his ""Independent"" profile on McCarthy, picks up on the notion that literature itself is a series of repetitions and duplications. At least one critic has connected McCarthy's work to ""failed transcendence"", and McCarthy has used the term failed transcendence in interviews to describe the collapse of the"
"into English as ""parody picture"". This usage of the term arose much later; the term itself was used in different ways during the Edo period. Those works today called ""mitate-e"" used different labels at the time, such as ""fūryū"" (, ""elegant"" or ""fashionable"") which appeared frequently in the 18th century on works by Okumura Masanobu (1686–1764) and Suzuki Harunobu (1725–1770). Mitate-e In Japanese art, ""mitate-e"" () is a subgenre of ukiyo-e that employs allusions, puns, and incongruities, often to parody classical art or events. The term derives from two roots: ""mitateru"" (, ""to liken one thing to another"") and ""e"""
"(except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently: The point of imitation, ""marks the beginning of a series of imitative entries in a contrapuntal composition."" In counterpoint, imitation occurs in a second voice, usually at a different pitch. A short phrase treated imitatively is called an attacco. In European classical music, imitative writing was featured heavily in the highly polyphonic compositions of the Renaissance and Baroque"
"a parody mass (""missa parodia"") or an oratorio used extensive quotation from other vocal works such as motets or cantatas; Victoria, Palestrina, Lassus, and other composers of the 16th century used this technique. The term is also sometimes applied to procedures common in the Baroque period, such as when Bach reworks music from cantatas in his ""Christmas Oratorio"". The musicological definition of the term ""parody"" has now generally been supplanted by a more general meaning of the word. In its more contemporary usage, musical parody usually has humorous, even satirical intent, in which familiar musical ideas or lyrics are lifted"
"Literary adaptation Literary adaptation is the adapting of a literary source (e.g. a novel, short story, poem) to another genre or medium, such as a film, stage play, or video game. It can also involve adapting the same literary work in the same genre or medium just for different purposes, e.g. to work with a smaller cast, in a smaller venue (or on the road), or for a different demographic group (such as adapting a story for children). Sometimes the editing of these works without the approval of the author can lead to a court case. It also appeals because"
"in which artists parody their own work (as in Ricky Gervais's ""Extras"") or distinctions of their work (such as Antonio Banderas's Puss in Boots in the ""Shrek"" sequels) or an artist or genre repeats elements of earlier works to the point that originality is lost. Although a parody can be considered a derivative work of a pre-existing, copyrighted work, some countries have ruled that parodies can fall under copyright limitations such as fair dealing, or otherwise have fair dealing laws that include parody in their scope. Parodies are protected under the fair use doctrine of United States copyright law, but"
"Continuator A continuator, in literature, is a writer who creates a new work based on someone else's prior text, such as a novel or novel fragment. The new work may complete the older work (as with the numerous continuations of Jane Austen's unfinished novel ""Sanditon""), or may try to serve as a sequel or prequel to the older work (such as Alexandra Ripley's ""Scarlett"", an authorized continuation of Margaret Mitchell's ""Gone with the Wind""). This phenomenon differs from those authors who, because they share a common culture, use characters or themes from a common cultural stock. The development of European"
"Imitation Imitation (from Latin ""imitatio"", ""a copying, imitation"") is an advanced behavior whereby an individual observes and replicates another's behavior. Imitation is also a form of social learning that leads to the ""development of traditions, and ultimately our culture. It allows for the transfer of information (behaviours, customs, etc.) between individuals and down generations without the need for genetic inheritance."" The word ""imitation"" can be applied in many contexts, ranging from animal training to politics. The term generally refers to conscious behavior; subconscious imitation is termed mirroring. In anthropology, some theories hold that all cultures imitate ideas from one of"
"Simulacrum A simulacrum (plural: simulacra from , which means ""likeness, similarity"") is a representation or imitation of a person or thing. The word was first recorded in the English language in the late 16th century, used to describe a representation, such as a statue or a painting, especially of a god. By the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original. Philosopher Fredric Jameson offers photorealism as an example of artistic simulacrum, where a painting is sometimes created by copying a photograph that is itself a copy"
"Parallel novel A parallel novel is a piece of literature written within, derived from, or taking place during, the framework of another work of fiction by the same or another author. Parallel novels or ""reimagined classics"" are works of fiction that ""borrow a character and fill in his story, mirror an 'old' plot, or blend the characters of one book with those of another"". These stories further the works of already well-known novels by focusing on a minor character and making them the major character. The revised stories may have the same setting and time frame and even the same"
"Mimesis Mimesis (; ""mīmēsis"", from μιμεῖσθαι ""mīmeisthai"", ""to imitate"", from ""mimos"", ""imitator, actor"") is a critical and philosophical term that carries a wide range of meanings, which include imitation, representation, mimicry, ""imitatio"", receptivity, nonsensuous similarity, the act of resembling, the act of expression, and the presentation of the self. In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward"
"Copycat suicide A copycat suicide is defined as an emulation of another suicide that the person attempting suicide knows about either from local knowledge or due to accounts or depictions of the original suicide on television and in other media. A spike of emulation suicides after a widely publicized suicide is known as the Werther effect, following Goethe's novel ""The Sorrows of Young Werther"". The publicized suicide serves as a trigger, in the absence of protective factors, for the next suicide by a susceptible or suggestible person. This is referred to as suicide contagion. They occasionally spread through a school"
"of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama. Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals. The second, and more recent, sense of the word ""art"" as an abbreviation for ""creative art"" or ""fine art"" emerged in the early 17th century. Fine art refers to a skill used to express the artist's creativity, or to"
"produces a writing which resembles the style of the known reputable author to whom the fake is to be attributed. The forger may also fake the physical alleged original manuscript. This is less common, as it requires a great deal of technical effort, such as imitating the ink and paper. The forger then claims that, not only is the style of writing the same, but also that the ink and paper are of the kind or type used by the famous author. Other common types of literary forgery may draw upon the potential historical cachet and novelty of a previously"