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dc.creatorMüller, Jürgen
dc.date.accessioned2022-05-19T12:01:26Z
dc.date.available2022-05-19T12:01:26Z
dc.date.issued2021
dc.identifier.urihttps://www.sciendo.com/article/10.2478/kwg-2021-0016
dc.identifier.urihttps://mediarep.org/handle/doc/19241
dc.description.abstractImage parodies emerge at the same time as Erasmus of Rotterdam’s text In Praise of Folly from 1511, which also exerted great influence on painters. Thus it is obvious to connect the first parodies by artists like Albrecht Dürer or Urs Graf with the literary fashion of the paradoxical encomium. In this context, both the success of the Erasmian text and the spread of parodic pictorial procedures that began in Northern Europe are connected to the possibility of open and hidden criticism. Erasmus allows himself simple jokes, but at the same time he criticizes the image cult of the Catholic Church or a misunderstood Marian piety. Image parodies are also accompanied by an open genre structure of varying character, which can be ironic in the sense of paradoxical encomium and polemical with reference to satire and the Reformation disputes.en
dc.languagedeu
dc.publisherDe Gruyter
dc.relation.ispartofseriesKulturwissenschaftliche Zeitschrift
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/3.0/
dc.subjectParodiede
dc.subjectInversionde
dc.subjectparodyen
dc.subjectinversionen
dc.subject.ddcddc:300
dc.subject.ddcddc:800
dc.titleDie deutsche Bildparodie im 16. Jahrhundert. Ihre Anfänge, Formen und Funktionende
dc.typearticle
dc.type.statuspublishedVersion
local.source.spage201
local.source.epage223
local.source.issue1
local.source.volume6
dc.identifier.doi10.2478/kwg-2021-0016
dc.identifier.doihttp://dx.doi.org/10.25969/mediarep/18253
dc.relation.isPartOfissn:2451-1765
dc.publisher.placeBerlin
local.coverpage2022-05-19T14:25:42


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Except where otherwise noted, this item's license is described as Creative Commons - Attribution - Non Commercial - No Derivatives