Parody And Intertextuality In Contemporary Art Context

Parody "justifies" it from ancient parody to Russian formalism in modern times,and then to modernism scholars’ deconstruction and construction of it from various perspectives,which makes it develop into a rhetorical means to deepen the connotation of the text under the influence of intertextuality.Moreover,contemporary art works are different from modern and contemporary art works.The works they provide are no longer simply a painting,but a text--a text waiting for readers to read and think about.On the one hand,when contemporary art works "make use of" parody,not only the current painting is a text,but also with the supplement of parody and intertextuality,the connotation of the current text will be deepened and the boundary of the text will be widened,that is,the parody intertextuality makes the boundary of the text flow all the time.Therefore,on the other hand,increasing the understanding of parody and intertextuality can help readers to understand contemporary art works.Because the word "parody" itself is introduced from the West,and there are still controversies about the understanding of post-modernism in the eyes of western scholars,and parody,as one of the rhetoric of post-modernism,is also controversial,so there are also controversies in the cognition of parody by Domestic scholars.The current controversy mainly includes the critics led by Jameson and Eagleton and the supporters led by Harqin.First of all,in the opinion of Jameson,the opposition,postmodernism abandoned the seriousness of traditional philosophy and overdissipated subjectivity.As one of the main rhetoric of postmodernism,the works produced by parody can only be an "empty" collage product,which is meaningless.That is,in Jameson’s eyes,post-modernism parody abandons history,reality and subject,so Jameson abandons post-modernism and parody.In the opinion of Eagleton,on the other hand,postmodernism abandons the grand and closed concept and value system,so postmodernism is also abandoned in eagleton’s perspective.Instead of the piano seems to postmodern parody is not completely empty value,significance and historical references,those who replace is the ultimate value of superstition,significance and the authority of the irony,is a reflection of the uncertainty of meaning,which is to increase the "depth" of history,enlarged the "grand",so the piano praise highly,and a postmodern parody.This paper interprets parody from the perspective approved by Hutchen,because parody is not a "random collage"(criticized by Jameson)and the abandonment of value system(criticized by Eagleton).Instead,the linear history is broken and the history is in the present(the pre-text is in the post-text),and the intertextuality generated between the two makes the boundary of the work fluid and further increases its connotation.In the first part of this paper,the present research status and research ideas are indicated.The second part further clarifies the connotation of parody and illustrates the complementary relationship between parody and intertextuality by combing the historical perspective of parody’s linear development.In the third part,the difference between modern art and contemporary art is first explained,and then the reason why parody is paid attention to in the context of contemporary art,and the strategy of parody and the significance of parody strategy are discussed.The fourth part is the parody strategy and specific works combined analysis,further combing the contemporary art and parody strategy,and further explain the relationship between parody strategy and contemporary art works;The fifth part is to stand in the concrete analysis of the further,and then summarize this paper and once again clear,deepen the understanding of parody and intertextuality in the context of contemporary art.