Beans, etc, PS: The Battle Hymn...

Jonathan Lighter wuxxmupp2000 at YAHOO.COM
Fri Jun 8 22:48:48 UTC 2007


The absence of awareness by secondary vectors of a generating "act of parody" perpetrated by an unknowable parodist fails to impact negatively the subversive nature of a second-level iconoclasm not presumed by consumers or secondary or tertiary, etc., vectors to be derivative.

  One is instantly put in mind of the differance separating the _Dasein_ and the _Zazen_, if such a thing be permitted.

  JL

Charles Doyle <cdoyle at UGA.EDU> wrote:
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Sender: American Dialect Society
Poster: Charles Doyle
Subject: Re: Beans, etc, PS: The Battle Hymn...
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Which brings up an interesting question for "critical theory": How does a PARODY function if both the performer and the audience are unfamiliar with--possibly, in fact, oblivious to the existence of--the text being parodied? Is it just another iconoclastic song, spun free of its "intertextuality"? Or do performer and audience somehow share a residual awareness of desecrating a text esteemed by adults (in this case, perhaps, cootish adults)? The act of parody itself would ordinarily be an aspect of the iconoclasm.

--Charlie
_____________________________________________________________

---- Original message ----
>Date: Fri, 8 Jun 2007 16:22:46 -0400
>From: Grant Barrett
>Subject: Re: Beans, etc, PS: The Battle Hymn...
>
>We also had "Old Smoky," which is kind of surprising, since the song was clearly decades out of any kind of fashion (this being the Seventies and Eighties). The *only* versions of the song we knew were the satirical ones. I remember hearing the original years later and being a bit befuzzled.
>
>Grant Barrett
>gbarrett at worldnewyork.org

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