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Margaret A. Rose is an internationally recognised author of books on the history, theory, and practice of parody. In this new study she turns her attention to the visual arts and to the use in them of forms of comic interpictoriality in the 19th and 20th centuries. In addition to examining examples of pictorial irony, parody, and pastiche, as well as of satire and caricature, this study discusses the distinctions that can be made between these forms, as well as between the new hybrid varieties of them that have developed, and looks at the role played by both artist and spectator in their reception and development.
Earlier books by Dr. Rose related to this subject include her Die Parodie: Eine Funktion der biblischen Sprache in Heines Lyrik, Meisenheim am Glan 1976, Parody//Meta-Fiction: an analysis of parody as a critical mirror to the writing and reception of fiction (London 1979), The post-modern and the post-industrial: a critical analysis (Cambridge 1991), and Parody: ancient, modern, and post-modern (Cambridge 1993). Other relevant works include her three most recent books published by the Aisthesis Verlag, Bielefeld: Theodor Mintrop. Das Album für Minna (1855-1857) nebst anderen neuentdeckten Materialien (Bielefeld 2003), Parodie, Intertextualität, Interbildlichkeit (Bielefeld 2006), and Flaneurs & Idlers. Louis Huart “Physiologie du flaneur” (1841) & Albert Smith “The Natural History of the Idler upon Town” (1848) (Bielefeld 2007).
Margaret A. Rose
Pictorial Irony, Parody, and Pastiche
Comic interpictoriality in the arts of the 19th and 20th centuries
2011
ISBN 978-3-89528-841-8
343 Seiten, zahlr. Abb.
kartoniert
In addition to these books Dr. Rose has recently completed articles on the subjects of 19th century caricature, the grotesque and parody, Karl Rosenkranz’s “Aesthetics of the Ugly”, and on parody in 19th Century British and German art.
Leseprobe: lp-9783895288418.pdf
[…] Turning to the substance of the book, it stresses the integration of structure and reception in parody, a vital aspect often missed in academic discussions of humour whether verbal or visual. Contextual and integral signals to the audience clearly impact on whether humour is perceived and hence enjoyed. Here Rose's deep knowledge of the models and contexts for historically remote works such as those of the nineteenth century is especially valuable: painstakingly annotated details reveal a powerfully comic discourse that might otherwise pass unnoticed. Drawing on her earlier studies (including of Heine's poetry), Rose develops convincing schematic outlines of how the world(s) of the picture and the world(s) of the spectator relate in both parody and pastiche. […] The admirable complexity of purpose in this book is reflected in its choice of cover image, Salvatore Fiume's Adunata nell'atelier (1987). This is not a broadly comic pastiche but a subtly ironic and respectful humorous tribute to Fiume's many quoted originals and models. In discussion (102-9), Rose observes that these can be seen as interrelated, allowing for some kind of comic intention to be attributed (they reflect the detail of Rose's diagram for comic pictorial pastiche on 98, rather than that for simple pictorial pastiche on 95). […] Rose proves her point that parody, pastiche, andirony are all techniques at the service of satirical purpose, but that they do not necessarily coincide with it so that we must remain alert to the full range of possibilities, both of artist's intention and of audience reception, in this ambiguous world of art. Her perceptive scholarship illuminates a complex topic and many will turn to it for reliable guidance.
Jessica Milner Davis in „The British Journal of Aesthetics Advance Access“ (November 2012)