In this major study of a flexible and multifaceted mode of expression, Linda Hutcheon looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at a comprehensive assessment of what parody is and what it does.

Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is Not a Pipe, Hutcheon discusses the remarkable range of intent in modern parody while distinguishing it from pastiche, burlesque, travesty, and satire. She shows how parody, through ironic playing with multiple conventions, combines creative expression with critical commentary. Its productive-creative approach to tradition results in a modern recoding that establishes difference at the heart of similarity. In a new introduction, Hutcheon discusses why parody continues to fascinate her and why it is commonly viewed as suspect-–for being either too ideologically shifty or too much of a threat to the ownership of intellectual and creative property.

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"Linda Hutcheon's thoughtful engagement with the theory of parody picks its way meticulously through this conceptual minefield, to emerge with a convincing map of the terrain. . . . [A] scrupulously reasoned case made more persuasive by the tenacity with which its details have been pursued."--Terence Hawkes, Times Literary Supplement
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Linda Hutcheon, a professor of English at the University of Toronto, is the author of Irony's Edge: The Theory and Politics of Irony, Narcissistic Narrative: The Metafictional Paradox, and other books.

在这本关于一种灵活而多面的表达方式的重要研究中，琳达-赫彻恩考察了现代文学、视觉艺术、音乐、电影、戏剧和建筑作品，对模仿是什么以及它的作用进行了全面评估。

Hutcheon认为模仿是现代自我反思的主要形式之一，它标志着发明和批判的交叉点，并提供了一种与过去的文本和话语达成一致的重要模式。从汤姆-斯托帕德的《罗森克兰茨和吉尔登斯特恩死了》、布莱恩-德-帕尔马的《穿衣杀人》、伍迪-艾伦的《泽》、卡尔海因茨-斯托克豪森的《赞美诗》、詹姆斯-乔伊斯的《尤利西斯》和马格里特的《这不是一个烟斗》等不同作品来看，赫彻恩讨论了现代戏仿的显著意图范围，同时将其与模仿、滑稽、恶搞和讽刺区分开来。她展示了戏仿如何通过对多种惯例的讽刺性游戏，将创造性的表达与批判性的评论相结合。它对传统的生产性-创造性的方法导致了一种现代的重新编码，在相似性的中心建立了差异。在新的导言中，赫彻恩讨论了为什么戏仿继续让她着迷，以及为什么戏仿通常被认为是可疑的--因为它要么在意识形态上过于狡猾，要么对知识和创意财产的所有权威胁太大。

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"琳达-赫彻恩对模仿理论的深思熟虑，在这个概念的雷区里一丝不苟地挑选着，并以一张令人信服的地图出现。. . [一个经过严格推理的案例，因其对细节的执着追求而更具说服力。"--特伦斯-霍克斯，《泰晤士报》文学副刊

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Linda Hutcheon是多伦多大学的英语教授，他是《反讽的边缘：反讽的理论和政治》、《自恋的叙事》的作者。Metafictional Paradox》等书。