Estudio crítico de la parodia y la revalorización del término.

  1. María Rocío Ramos Ramos 1
  1. 1 Universidad de Huelva
    info

    Universidad de Huelva

    Huelva, España

    ROR https://ror.org/03a1kt624

Journal:
Tonos digital: revista de estudios filológicos

ISSN: 1577-6921

Year of publication: 2022

Issue: 42

Type: Article

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More publications in: Tonos digital: revista de estudios filológicos

Abstract

This study aims to portray how parody's long and extensive history has made relevant traditional and contemporary critical voices interested in the nature of the term and the possibilities of its malleability−as it permeates all genres. Nevertheless, with this bibliographical sketch it becomes more than evident the polarisation of critics and their disagreements about its qualities, traits and the paradox it poses: for some, parody is mockery and criticism with contempt, for others, it expresses admiration with respect. Thanks to the critical turn that emerged from the 1990s onwards, rescuing romantic parody as a fundamental part for understanding the romantic movement and with the positive appreciations among postmodernist critics, parody is occupying and recovering an eminent place among the most recent critics and is no longer seen as a mere negative or pejorative resource. It is considered more and more as a creative vehicle for the revision of styles, voices and forms that requires an intelligent reader, and whose result exposes a hypertext with the same relevance as the hypotext on which it depends.

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