Margaret A. Rose Livres

The Parisian flâneur, a concept popularized by Walter Benjamin, connects to the 19th-century English idler and figures in German literature and cultural theory. Heinrich Heine first introduced the term in articles written in Paris in December 1841, later published in Lutezia in 1854. These articles followed Louis Huart's 1841 publication, Physiologie du flaneur, which has been referenced in studies of the flâneur but has not been republished or fully described recently. Similarly, Albert Smith's lesser-known Natural History of the Idler upon Town from 1848, based on Punch articles from 1842, has also been overlooked. This work aims to remedy that by presenting Huart’s and Smith’s texts in unabridged form, alongside John Leech’s illustrations. Both Smith and Leech were friends of Dickens, and Huart’s work offers context for later writers like Heine, Baudelaire, and Benjamin. Additionally, the 'panoramic' physiologies of Huart and Smith serve as significant examples of 19th-century caricature, parody, and satire, while providing contemporary analyses of the flâneur phenomenon.

Containing over 5,000 names ranging from traditional to unique, this book is suitable for parents-to-be looking for naming guidance.

In this definitive work, Margaret Rose presents an analysis and history of theories of parody from ancient to contemporary times. Her earlier Parody/Meta-fiction (1979) was influential in broadening awareness of parody as a "double-coded" device that could be used for more than mere ridicule. In the present study she both expands and revises the introductory section of her 1979 text and adds substantial new sections on modern and postmodern theories and uses of parody and pastiche that analyze the work of theorists and writers including Bakhtin and Eco.

Margaret A. Rose, an internationally recognized author on parody's history, theory, and practice, explores visual arts in her latest study, focusing on comic interpictoriality from the 19th and 20th centuries. She examines pictorial irony, parody, pastiche, satire, and caricature, discussing distinctions among these forms and the emergence of new hybrid varieties. The study highlights the roles of both artists and spectators in the reception and evolution of these artistic expressions. Dr. Rose's earlier works include "Die Parodie: Eine Funktion der biblischen Sprache in Heines Lyrik" (1976), "Parody//Meta-Fiction" (1979), "The post-modern and the post-industrial" (1991), and "Parody: ancient, modern, and post-modern" (1993). Her recent publications from Aisthesis Verlag include "Theodor Mintrop. Das Album für Minna" (2003), "Parodie, Intertextualität, Interbildlichkeit" (2006), and "Flaneurs & Idlers" (2007). Additionally, she has completed articles on 19th-century caricature, the grotesque, Karl Rosenkranz’s "Aesthetics of the Ugly," and parody in British and German art of the same period.

Die Parodie ist seit der Antike in der Geschichte der westlichen Literatur als die komische Nachahmung und Umfunktionierung von älteren Werken bekannt und immer zu neuen Zwecken gebraucht worden. Bei Cervantes wurde die komische sowie selbstreflexive, ‚metafiktive‘ Parodie Mittel zur Entwicklung des modernen Romans. Durch die Analyse von solchen Parodien haben die russischen Formalisten des frühen 20. Jahrhunderts sowie ihr Landsmann Michail Bachtin unsere Aufmerksamkeit auf den ‚dialogischen‘ bzw. (nach Julia Kristeva) ‚intertextuellen‘ Charakter der Literatur gelenkt. Obwohl die Parodie heutzutage auch in den bildenden Künsten (einschließlich des Films) verwendet und nachgewiesen wird, ist der ‚interbildliche‘ Charakter solcher Parodien – und die Interbildlichkeit im allgemeinen – nicht als solche, sondern eher als ‚Intertextualität‘ untersucht worden. Hier wird nicht nur eine Einführung in die Interpretation der Parodie und ihrer Intertextualität angeboten, sondern auch ein Begriff der Interbildlichkeit entwickelt, der sowohl bei Arbeiten zur Literatur wie zu den bildenden Künsten ergiebig sein kann.