Their schoolmates said, that the most beautiful girl in the class was Sandra and the most beautiful boy was Mikk. The most friendliest were Rauno and Helena. The most homorous girl was Sandra and the most homorous boy was Karl he got all the votes! The most smartest students in the class were Hendrik and Liisi. The schoolmates figured that Mikk and Eneken were the most sportive students in this class. Rauno and Kristin were the quietest students. Abitur made parody of our school's teachers. It was cool and very funny, but it doesn't insult anybody. After this parody they musted to sing, dance ballet, eat carrots, saw a billet and play a funny game with balloon. Rakke Gymnasium is empty now one of the bests class have gone. But this is the life and birds must to fly out of the nest.
Sarcasm and self-deprecation Deadpan delivery Insensitive to other cultures No subject is taboo Lack of subtlety, crass THEMES INNUENDO SATIRE imply to sth or ridiculing human someone vice or weakness Sexual humor Most commonly Shakespeare polititians ,,Young men will Irony, sarcasm, do't if they come parody to't/By Cock, they ,,I'm not young are to blame" enough to know everything." THEMES ABSURD surreal Unreasonable Monty Python Compared to The Beatles influence on music 3 of 6 voted among 50 greatest comedians ever THEMES MACABRE SURREAL AND Black humor CHAOTIC Grim and ghastly So bad, it's good atmosphere,
My favourite film star Ott Sepp (born 29 June 1982) is an Estonian actor, singer, writer and television presenter. Born in Tallinn, Sepp graduated from the Estonian Academy of Music and Theatre in 2004 and began performing at the Estonian Drama Theatre in 2005. Roles in Estonian films such as Names in Marble (2002), Malev (2005) and Tulnukas.Ott sep has worked with Märt Avandi as cohosts of Eesti otsib superstaari in 2008 and performed together on the comedic parody television program Tujurikkuja (2008 present). My favourite film star Ita Ever (1 April 1931 in Paide, Järva County) is an Estonian film, radio, theater and television actress. Ita Ever began her career in 1953 as a stage actress and has appeared in numerous Estonian and Russian film productions. She was formerly married to Estonian actor Eino Baskin and is the mother of director/actor Roman Baskin.
They are Tommy and Tuppence Beresford, a married couple. Tommy works for some kind of a agency which tells them to run a detective agency to catch a Russian spy. Tuppence was delighted because before that she was very bored and she had nothing to do. Before catching the spy they start working as real detectives. They are pretty good at solving mysterious cases because they are great fans of detective novels. Tommy and Tuppence like to role play. Every time they have a costumer they parody all kinds of famous fictional detectives from Dr Thorndyke to Hercule Poirot. Tommy is Poirot in the last chapter when he catches the spy. All mini stories were great but my favourite one was called The Unbreakable Alibi. A man comes to them with a request to outsmart his future wife. The woman had told him that she had been in two places at the same time and she had unbreakables alibis to prove it. Tommy and Tuppence found it very difficult to prove that she was not in one
Bean was directed by Mel Smith, Atkinson's colleague in Not the Nine O'Clock News. A second film, Mr. Bean's Holiday, was released in 2007. Atkinson's film career began with a supporting part in the 'unofficial' James Bond movie Never Say Never Again. His television character Mr. Bean debuted on the big screen with Bean to international success. A sequel, Mr. Bean's Holiday also became an international success. He has also starred in the James Bond parody Johnny English and its sequel, Johnny English Reborn. Atkinson later appeared in theatrical productions like The Nerd, The New Revue and The Sneeze. Best known for his use of physical comedy in his Mr. Bean persona, Atkinson's other characters rely more heavily on language. Atkinson often plays authority figures (especially priests or vicars) speaking absurd lines with a completely deadpan delivery. This talent for visual comedy has led to Atkinson being called "the man with the rubber face"
Satire – fitted Addisons wider objective of trying to avoid the extremes of either Puritan enthusiasm or Restoration libertinism. Using laughter against fanaticism and vice. Satire used for personal or political invective (sõim) was impolite. Politeness called satirist to use weapons against not some person but against vice in general. This was opinion of Addison and Steele. In practice, largely ignored. Satire was based on the events and personalities of the moment. Parody was central to its working. Contrasting ideas, values, principles, attitudes, style, identities. Vehicles: mock-panegyric (kiidukõne), mock-heroic, the burlesque and travesty as well as simple imitation. Generally free use of conversational language, humour, vividness, concreteness of description, topical subjects, general intention of improving society by exposing its vices and follies. Jonathan Swift: combined parody, with its imitation of form and style and satire in prose; technique to
precisely what is meant by “the tragic”); yet there is someone who understands each word in its duplicity, and understands further, one might say, the very deafness of the characters speaking in front of him: this someone is precisely the reader (or here the spectator). In this way is revealed the whole being of writing: a text consists of multiple writings, issuing from several cultures and entering into dialogue with each other, into parody, into contestation; but there is one place where this multiplicity is collected, united, and this place is not the author, as we have hitherto said it was, but the reader: the reader is the very space in which are inscribed, without any being lost, all the citations a writing consists of; the unity of a text is not in its origin, it is in its destination; but this destination can no longer be personal: the reader is a man without
E.g. to deem, watt (to know), time piece (clock), perchance (perhaps) ear (before). Stylistic point of view. We should keep apart natural and deliberate use of archaic words, thus, in Shakespeare many words are archaic today but where ordinary words at that time. (natural words). Contemporary writers and speakers use these words deliberately. Function: 1. recreate truthfully the atmosphere of a certain period (historical novels). 2. to parody historical novels (in this case archaic words are used extremely often). 3. to stress the characteristic toutchness of the past. E.g. Dickens "The Old curiosity shop". 4. for the sake of humour when used in everyday speech. In poetry archaic words are often used for their more elevated colouring and not for the sake of historical background. In official documents some archaic words are still used, however the tendency is that to avoid them. E.g. hereby, hereinafter.
Millest on neis katkendites aru saada, et intertektuaalne suhe on parodeeriv? Don Quijote parodeerib rüütliromaanide konventsioone; Väike maailm armastusromaane. Milline roll on paroodial ja pastiššil postmodernistlikus kirjanduses: Hutcheon: postmodernistlik paroodia on dekonstruktiivselt kriitiline ja konstruktiivselt loov, tehes meid samaaegselt teadlikuks nii representatsiooni piiridest kui selle mõjuvõimust. F. Jameson, pastišš kui ‘tühi paroodia’ (blank parody), iseloom. Postmodernismile. 18. Müüt. Milline roll on müütidel kultuuris? Müüdis väljendub mõttemall, mille abil ühiskond vormistab enesetunnetust ja eneseteostust, saavutab iseteadvust ja endausku, seletab omaenda ja ümbruskonna olemust ja algupära ja vahel püüab oma saatust juhendada. 19. Uuskriitika märksõnaks on ’lähilugemine’. Enne: kirjandustekst kui ajaloo lisandus v täiendus, mitte iseseisvat esteetilist tähendust omav entiteet
He reduced his compositions to their bare essence. Subsidiary artists: Paul Cadmus, Jared French, George Tooker, Ivan Albright. Post-1960 General Trends. Critics searched something to re-establish a connection with the past. The borders between painting and sculpture became blurred. Concept art stressed the idea of the artist over material execution to transform art from physical objects to mental images. Pop Art. Pop Art emerged as an original and irreverent parody of the vulgar imagery and artifacts of the commercial culture. It grew from Action Painting towards objectivity. Use of repetition and the elimination of dramatic climax were favored by the composer John Cage. Rauschenberg and Johns introduced "popular" materials into their art by depicting them or actually incorporating real objects. Pop Art debuted in 1962. The works spanned painting, sculpture and objects of daily use
He reduced his compositions to their bare essence. Subsidiary artists: Paul Cadmus, Jared French, George Tooker, Ivan Albright. Post-1960 General Trends. Critics searched something to re-establish a connection with the past. The borders between painting and sculpture became blurred. Concept art stressed the idea of the artist over material execution to transform art from physical objects to mental images. Pop Art. Pop Art emerged as an original and irreverent parody of the vulgar imagery and artifacts of the commercial culture. It grew from Action Painting towards objectivity. Use of repetition and the elimination of dramatic climax were favored by the composer John Cage. Rauschenberg and Johns introduced "popular" materials into their art by depicting them or actually incorporating real objects. Pop Art debuted in 1962. The works spanned painting, sculpture and objects of daily use
põhjustab luuletajas mõjuängi Paroodia Eesmärk - naeruvääristada teise autori teost, mingit kirjandustraditsiooni, voolu või žanrit, Teisendatakse alusteksti süžeed, tegelasi, stiili, võib olla liialdatud absurdini, ka sõbralik, lugupidav. Pastišš Eesmärk - mänguline jäljendamine. Jäljendatakse avalikult ühe või mitme kirjaniku, ajastu või koolkonna stiili, sõnavara, lausestust. F. Jameson, pastišš kui ‘tühi paroodia’ (blank parody), iseloom. postmodernismile Loengus kasutasin kaht paroodia näidet: lõiku Don Quijote algusest(Cervantes “Don Quijote” (1605, 1615), parodeerib rüütliromaanide konventsioone.) ja lõiku Lodge’i romaanist „Väike maailm“ (vt slaidid)? Millest on neis katkendites aru saada, et intertektuaalne suhe on parodeeriv? Kas on aru saada, millise kirjanduskonventsiooni pihta on paroodia suunatud? Milline roll on paroodial ja pastiššil postmodernistlikus kirjanduses (L
all kind of legends and myths that are connected to the south. Served in the canadian flying corps, took part of the WWI. He met Sherwood Anderson, who recommended that Faulkner's first book would be published. Anderson was very helpful and influencial. There are 3 major stages of his career. His first major book was published 1924, 1926 second masterpiece ,,Soldier's Pay"-anti war novel in the tradition of the lost generation. Early period contains the novel Mosquitoes, it's a parody attacking the superficial lives of society in the city of New Orleans. He makes fun of the pretentiousness of high society. He was still learning the art of writing. ,,The sound and the fury" and in 1932 ,,Light in August", ,,Absalom, Absalom!"- recurring characters, travel from one novel to another: Thomas Sutpen, Joe Christmas, Dilsey Gibson and Quantin Compson. After 1936 was the period of relative decline in his talent and he still produced important pieces
Donald Michael Thomas (1935-‐) – combines magic realism and historiographic metafiction. The White Hotel (1981). Holocaust through the perspective of one woman. Pastiche is an imitation of other, oftentimes non-‐fiction, genres or media in a work of fiction. However, unlike parody, which is another technique that involves imitation, pastiche does not mock the thing it imitates, instead it celebrates it. Examples of pastiche could be the use of an ad, essay, article of law, encyclopaedia entry, etc. in a work of fiction.
· For the sake of humour, esp. when these words clash with colloquial ones. Archaic words are not used any more. They are also called out-dated, cave words (timepiece, wot--know) We should distinguish between natural versus deliberate use of such words. Contemporary writers use Shakespeare's words often intentionally. Function: · To recreate truthful atmosphere of the certain period (used in historic novels) · To stress the character's fondness of the past · To parody the historical novels, these words are used in exaggeration. · To bring humour and irony when used in everyday speech · To suggest the speech of a foreigner · To bring more elevated colouring to the poem Poetic vocabulary (diction) is a set of words that are traditionally used in poetry, they partly overlap with archaic words (hapless, naught--nothing, aught--anything.) The function is satire, irony, humour.
g. thou you, timepiece clock). We should distinguish between natural and deliberate use of archaic words (e.g. many of the words Shakespeare used are archaic today but then they were ordinary). Contemporary writers use them deliberately; the function of such words is: a) in historical novels to recreate truthfully the atmosphere of the certain period b) to parody historical novels (the number of archaic words here is great) c) to stress the character's fondness of the past. d) in everyday conversation (dialogues) for satirical and humorous purposes e) to suggest a foreign nationality of the character (which is uncommon). f) in poetry theses words are employed just because they sound more elevated. 4. Poetic diction w-s traditionally used in poetry and they overlap with archaic w-s (e.g
Postcolonial situation and Postcolonial trauma. Historiographic metafiction is a term originally coined by literary theorist Linda Hutcheon. According to Hutcheon, in "A Poetics of Postmodernism", works of historiographic metafiction are "those well-known and popular novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages". Historiographic metafiction is a quintessentially postmodern art form, with a reliance upon textual play, parody and historical re-conceptualization. Hutcheon: there is no truth or falseness per se, there're only other people's truth History as a collection of representations. History vs story. History is a human construct. Can we know the past today except through representations? Can we know the truth? 19. Historiographic Metafiction and Magic realism in the writings of Salman Rushdie.HM: big events from point of view of small individual. Goes back to the beginnning of his story,
Travestia Eesmärk: moonutada alusteksti koomilises võtmes. Teisendatakse tõsise kirjandusteose süzeed > sisu säilib, vorm muutub, tegelased muutuvad koomiliseks, kaotavad oma väärikuse Jäljendamine Pastiss Eesmärk > mänguline jäljendamine. Jäljendatakse avalikult ühe või mitme kirjaniku, ajastu või koolkonna stiili, sõnavara, lausestust. Teiste teoste, stiilide, kujundite jne. juhuslik kollaaz F. Jamesoni jaoks on pastiss `tühi paroodia' (blank parody), eriti postmod. kasutuses, `surnud keel', milles puudub koomiline element, ajalooline või poliitiline sisu, ei oma paroodia või satiirina mõju. Võltsing Eesmärk >tõsiseltvõetavus, olemasoleva teose jätkamine või järje kirjutamine. Avallaneda järg Cervantese Don Quijote I osale Jäljendatakse alusteksti autori stiili, sõnakasutust, lausestust, jutustamislaadi jne. Kirjandusteooria koolkonnad 1, Strukturalism. Põhialused, struktuuri mõiste.
Travestia Eesmärk: moonutada alusteksti koomilises võtmes. Teisendatakse tõsise kirjandusteose süzeed > sisu säilib, vorm muutub, tegelased muutuvad koomiliseks, kaotavad oma väärikuse Jäljendamine Pastišš Eesmärk > mänguline jäljendamine. Jäljendatakse avalikult ühe või mitme kirjaniku, ajastu või koolkonna stiili, sõnavara, lausestust. Teiste teoste, stiilide, kujundite jne. juhuslik kollaaž F. Jamesoni jaoks on pastišš ‘tühi paroodia’ (blank parody), eriti postmod. kasutuses, ‘surnud keel’, milles puudub koomiline element, ajalooline või poliitiline sisu, ei oma paroodia või satiirina mõju. Võltsing Eesmärk >tõsiseltvõetavus, olemasoleva teose jätkamine või järje kirjutamine. Avallaneda järg Cervantese Don Quijote I osale Jäljendatakse alusteksti autori stiili, sõnakasutust, lausestust, jutustamislaadi jne. Kirjandusteooria koolkonnad 1, Strukturalism. Põhialused, struktuuri mõiste.
). We should distinguish between natural and deliberate use of archaic words (e.g. Shakespeare many of the words he used are archaic today but then they were ordinary words here we speak about natural use of archaic words). Contemporary writers use them deliberately; the function of such words is: a) in historical novels to recreate truthfully the atmosphere of the certain period b) to parody historical novels (the number of archaic words here is great) c) to stress the character's fondness of the past (e.g. Ch. Dickenson's "Old Curiosities Shop") d) in everyday conversation (dialogues), for satirical and humorous purposes e) to suggest a foreign nationality of the character (which is uncommon) (e.g. E. Hemingway's Spanish characters used archaic words).
Together with this goes great aptitude in thematic development and skill to amalgamate different components subordinating them to the artistic whole. His virtues are individually 1 First performance in Tallinn: the mixed choir of Estonia Music Department and Estonia Theatre orchestra, 20 Oct. 1929, conducted by Juhan Aavik. exposed in a serious mood that may be followed by raptures of humour, colourful joy, parody and joke.1 The Requiem may be regarded as the third among the essential ecclesiastic choral-symphonic works, written in Estonia up to the Eighties, when Arvo Pärt rose to prominence as a follower of this trend, his expression being quite different both in means and style (relying first on Gregorian chant). V. THE INFLUENCE OF NEW WESTERN MUSICAL TRENDS. HEINO ELLER: A PROGRAMME PAINTER. Estonian music was influenced by new trends from the West like Impressionism and
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