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In this major study of a flexible and multifaceted mode of expression, Linda Hutcheon looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at a comprehensive assessment of what parody is and what it does.

Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead , Brian de Palma's Dressed to Kill , Woody Allen's Zelig , Karlheinz Stockhausen's Hymnen , James Joyce's Ulysses , and Magritte's This Is Not a Pipe , Hutcheon discusses the remarkable range of intent in modern parody while distinguishing it from pastiche, burlesque, travesty, and satire. She shows how parody, through ironic playing with multiple conventions, combines creative expression with critical commentary. Its productive-creative approach to tradition results in a modern recoding that establishes difference at the heart of similarity.

In a new introduction, Hutcheon discusses why parody continues to fascinate her and why it is commonly viewed as suspect--for being either too ideologically shifty or too much of a threat to the ownership of intellectual and creative property.

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CHOICE Review

In her broad discussion of parody as ``repetition with difference,'' Hutcheon drops the pejorative cast of traditional definitions, arguing against the perspectives of ``trans-historical'' theories and for the ``teachings'' of works of literature, music, visual art, and architecture; her purpose is to examine the nature and range of parosodic intertextuality in 20th-century art. The first two chapters provide a lengthy and densely allusive introduction in which many recent writings are mentioned or discussed briefly in one or two paragraphs. Literature is central in Hutcheon's consideration (as indicated in her bibliography), with musical and visual examples generally used to illustrate tendencies parallel to the literary. The inclusion of some reproductions is gratuitous. Hutcheon's functional model for describing the interrelation of parody and satire reveals that the writer is more metacritic than critic. Her book bristles with provocative generalizations about parody in 20th-century art, but surely the ``teachings'' of modernism and postmodernism are more distinct than what she conveys.-W.B. Holmes, University of Rhode Island

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Linda Hutcheon, a professor of English at the University of Toronto, is the author of Irony's Edge: The Theory and Politics of Irony, Narcissistic Narrative: The Metafictional Paradox, and other books.