On Theory Of Parody Of Hypertextuality

Genette brings forward the theory of hypertextuality, whose emobodiment is imitative writing and parody. With the development of art way of modern novels, parody and it's text become more and more popular. As far as related researches on parody are concerned, there still exist many weaknesses, which are as follows: scattered and plain. In terms of the researches on literary theory of modern China, obviously, the research on parody should be deepened further. There are two folds: the research on parody is not systematic; misunderstanding of parody is wrong as well as it's text and taking it as a low art way. In view of the above mentioned, the author tries to make a all-round and systematic research on parody.The paper discusses hypertextual parody from three aspects which are existent theory of parody, textual theory of parody, acceptance and evaluation theory of parody.The introduction simply puts forward the definition of hypertextual parody the current research on parody, the necessity of the research, and simply summarizes the main question which this article needs to discuss.The chapter one is about existent theory of parody, refreshed some important problems including the distinctions between intertextuality and hypertextuality, the connotation of intertextual parody, the differences between parody and other similar arts, the theory basis for the existence of parody. The distinctions between intertextuality and hypertextuality are that the former one is brought by coexistence and the later one is derivation; the former attaches importance to the little and fragmentary reappearance of pastiche to manuscript, however, the later pays attention to the full transformation and reflection of pastiche to manuscript. The former attaches importance to the limited and fragmentary cite of pastiche to manuscript, nevertheless, the later pays attention to the full dissimilation of pastiche to manuscript. On the basis of careful distinction between hypertextuality and intertextuality, the article sets hypertextual parody as pastiche imitates original manuscript integrally, including, genre, image, styli, usual modif and narrative model, to reach the transference, replacement or deconstruction of thought and meaning of original manuscript, so as to lead to the confliction and confrontation between traditional and orthodox and unorthodox values and ideology. The chapter two is about textual theory of parody, discussed some important problems, including the three types of parody text, the character of meta-fiction and the character of blissful text, the dominant and obscure signs of parody identification, the ways parody imitating original text. On the basis of diachronic analysis, the article lists out three types of parody, that is pre-modern, modern and post-modern parody text. As a kind of pastiche, the afro-mentioned parody makes transformation, replacement and deconstruction to manuscript on the theme and meaning. Those parodies share the common signs, that is, character of meta-fiction and blissful text. The character of meta-fiction is four folds. Parody is the artificial of anti-artificial, the skill of anti-skill, the communication of anti-communication and the imitation of anti-imitation. The character of blissful text is three folds. The theme and meaning of parody text are of heterogeneity with traditional culture; it is hard to be accepted and understood; the theme and meaning of parody text is asynchronous and disprove with reading anticipation. As far as reader is concerned, it is most important to identify parody. To sum up, the dominant signs of parody include tile, introduction, reference, character and so on while the obscure signs include the plagiarism of style and character's tie. In addition, the imitative ways of parody to original text include imitating classical speech, action, plot and image, and those ways can be used alone or mixed up.The chapter three is about acceptance and evaluation theory of parody, elaborated some important problems including the features, conditions and types of receivers of parody; the spirit essence of parody, simple judgment of parody value and literary functions of parody. Non-parody texts pay attention to synchronic latitude alone, however, parody texts pay attention to two latitudes at the same time, which are synchronic latitude and diachronic latitude, So that, the feature of receiver of parody is of strong subjectivity. In view of parody which include pastiche and manuscripr, on the other hand, manuscript exists in the literary memory of receiver, so the conditions of acceptance are that receivers should have good literary cultivation, smart discernment and open, plural minds. According to receivers'condition, all the receivers could be divided into three types: ruminative, interpretative, unchronological readers. Of course, whether the parody receiver or the composer, they must correctly understand the spirit essence of parody because it is the foundation of existence of parody. The author thinks that the spirit essence of parody is confrontation of pluralism which is not different with subversion and deconstruction, however, it attaches importance to related existence and hybrid among pole, that is, each pole must be equal. In addition, the author also discusses the reasonability and limitation of parody on the basis of analysis of three views: the relation between creator and the world; the relation between creator and parody and reader's. in the end, the author puts forward the functions of parody which include diversion, stimulation, transmission, extension, leap, and hybrid.