摘要：This paper describes parody as an effective teaching and learning practice in Advanced English course offered to English major juniors and seniors. The objective of this course is to help heighten students towards a more advanced level of English proficiency, and its main preoccupation is doing intensive analyses of carefully selected texts which amount to well-established classics and are characterized with linguistic complexity. To enhance students＇ learning, we embed in the course a practice of parody, which here refers to the creation of an imitative work of an original written work, usually with an attendant comic effect. Upon the completion of each module, students are assigned the task of parodying part of the text, which involves recasting its overall content while retaining formal framework, thus offering students a means of re-paying homage to the excellence of the text. Writing a parody demands great artistry in shaping a creatively simulative work, in fitting exotic content into a local form, and in transplanting new experiential logic into old textual order. The parodies are then peer-reviewed as well as instructor-reviewed. Close observation and survey show that the students have displayed heightened motivation in engaging themselves in the practice and they have benefited greatly from it. parody proves a particularly fruitful technique in teaching and learning Advanced English, and may also be useful in teaching English writing, since it entitles students to a very unique mode of savoring and wielding the artistic power of the English language.

摘要：Following the theory of Trauma as a critical approach, it is analyzed how Paul Auster＇ s Timbuktu shows up the maladies of the contemporary world with a parody of disease full of excess and somehow mocking at its own elements. It is a distorted version of infirmity, the way it used to appear in former works of literature. The device is a winkle to the reader to envisage whatever novel or story from a carefully distanced view, very much in the way that Postmodernist authors do but with the realistic use of the form that he regularly employs.

摘要：This paper focuses on Stephen King＇s （1947-） long-form narratives and attempts at perceiving the elements accounting for his endless success. As the author chooses this title for her paper, she clearly keep in mind John Barth＇s （1930-） essay. The choice of ＂punning＂ Barth＇s title is made so as to situate ourselves in the wake of postmodernist studies to try and analyze King＇s deconstruction and reconstruction of common ideas, myths, and the Gothic genre, applying them to the contemporary era. The choice of this angle of study is accounted by the fact that the aim is to prove that King has not literarily exhausted himself in spite of his 37 years of writing and is in a constant quest for a renewal of the Gothic genre. The notion of remolding is one of the red threads allowing to weave the intricate cloth of postmodernism. The author will here humbly try to unveil the essential elements perceived in King＇s narratives which allow to qualify him as ＂a postmodern writer＂.

摘要：This paper analyzes the poetry of Delmira Agustini, Alfonsina Storni, and Giovanna Pollarolo, three Latin American poets who collectively spanned the arc of the 20th century, in order to demonstrate that they were all acting to subvert certain stereotypical notions propagated by society and by canonical literature. While Agustini used a parodic discourse to deconstruct the sacrality of masculinity, Storni employed parody and excessive calculated use of quotes from canonical male authors to subvert the traditional images and roles assigned to women. parody, hyperbolic images, and ambiguity will be analyzed here as the major literary means used by these two poets to criticize the deep-rooted, gendered discourse of their times. Pollarolo＇s poetry, as well as that of Stomi, will be analyzed as ＂minor＂ literature, as described in the theories of Deleuze and Guattari

摘要：American playwright Shepard’s plays are known for their open *** ending of Shepard’s Pulitzer Prize-winning play-Buried Child is *** critics see this ending as a sign of the rebirth of American families and the revival of American *** this article stands on the opposite position to give a negative answer to Haile’s“That may be the sun”(Shephard,1981,p.66)at the end of the play through illustrating Shephard’s authorization and subversion of two important myths in the play,which is a way of parody in postmodern *** digging the family scandals and corruption of American families in the play,it is expressed that perhaps the natural world has a chance to be reborn,but not human society under the pathetic and corruptive social background.

摘要：“帕洛代”原文为parody,字典上对它的释义是“拙劣的模仿”或“通过模仿来加以嘲弄”。在美术运动中parody特指一类在他人作品上做了某些改动,从而改变了本来意思的作品。简言之,就是那些有意“歪曲”原作的新作品。其中最具代表性的画家首推法国的杜桑。此公最惊世骇俗之作就是给文艺复兴时期的名画《蒙纳丽莎》添上两撇胡子的那件。我们显然不能简单地肯定或否定这类貌似调侃的东西,不宜武断地判定其好与坏、雅与俗,对其社会功能乃至在美术发展史上的地位,恐怕也会莫衷一是。似乎一定要搞出个公认的结论并没多大必要。尤其是眼下这个艺术上日益“多元”的时代,更是如此。但画总是要给人看的,看后要有个态度则是人之常情。当然,作为一个画家或喜欢这一行当的人,更惯于对不同的作品品头评足,加以臧否。本人也常常未能“免俗”。依我的管见,长胡子的“蒙纳丽莎”诚然没有不长胡子的那幅受看、耐看,但芬奇自有芬奇的伟大,杜桑也自有杜桑的胆识!试想把“溺器”搬进堂皇的艺术殿堂。