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Vinter argues that theories of parody can help people understand the free-floating badness. From definition of parody of Julius Caesar Scaliger as ridicula in 1560 to the analysis of Mikhail Bakhtin of carnival, parodic techniques have generally been understood as derogatory in intent.But Giorgio Agamben suggests a fruitful alternative approach when he argues that parody might not simply deflate its target but could also function as a strategy for representing mysteries obliquely. To assess the value of his ideas, the author analyzes the Doctor Faustus play by Christopher Marlowe alongside another sixteenth century dramatization of dying badly, the Enough Is as Good as a Feast by William Wager.Both use derogatory parody to ridicule the characters who are unable to relinquish worldly things. It also suggest that parody can function as an investigative and representational tool, akin to a negative theology, that helps to explicate obscured divinity through avowedly imperfect imitations.