Jameson, knowledgeable on politics in terms of ideology, capitalism and socialism discusses the relationship between parody and pastiche referring closely to postmodernism. Examining post-modern architecture, nostalgic film and historic novels.
Whereas Hutcheon discusses the relationship between modernism and postmodernism in comparison to that of parody and pastiches relationship.
Jameson characterizes postmodern parody as "blank parody" without any political bite" , (Jameson)and later continues to suggest that parody is derived from modernism, whereby authors are portrayed by their own styles. "the Faulknerian long sentence, for example, with its breathless gerundives; Lawrentian nature imagery punctuated by testy colloquialism; Wallace Stevens's inveterate hypostasis of nonsubstantive parts of speech ('the intricate evasions of as')"(Jameson) He then continues the statement further discussing pastiches relationship with modernism."Modernist styles... become postmodernist codes leaving us with nothing but a field of stylistic and discursive heterogeneity without a norm" He then goes on to suggest that "the cannibalization of all the styles of the past, the play of random stylistic allusion, and in general what Henri Lefebvre has called the increasing primacy of the 'neo'" (
Postmodernism 18)."(Jameson) This therefore suggesting that parody is a distasteful way of imitating the past. Although it may be suggested that parody is pastiche without ulterior motives. Another perspective may be that parody challenges capable establishments through humour and aggression.
When discussing parody Hutcheon expresses she embeds its relationship to postmodern tendencies, suggesting suggesting that parody can contain both a positive and negative impact. "Parody—often called ironic quotation, pastiche, appropriation, or intertextuality—is usually considered central to postmodernism, both by its detractors and its defenders"(Hutcheon) Contradictory to Jameson, who suggests parody attempts to evoke nostalgia and retain the critical thinking, Hutcheon believes "through a double process of installing and ironizing, parody signals how present representations come from past ones and what ideological consequences derive from both continuity and difference".(Hutcheon) In similar turns suggesting that postmodernism is the parody of modernism. She also refers to this as "ironic readings of the past".(Hutcheon)
Jameson deferates between both parody and pastiche whereas Hutcheon does not, this being due to her beliefs upon it all being self reflective and critical. In some terms expressing them both as the same thing, on different formats.
Jameson is negative in turns of postmodernism, when discussing postmodern architecture his description is as follows "randomly and without principle but with gusto cannibalizes all the architectural styles of the past and combines them in overstimulating ensembles"(Jameson) expressing postmodernism it in a format in which does not appear valid, Jameson's negative approach to postmodernism largely differs to that of Hutcheon who suggests that postmodernism "takes the form of self-conscious, self-contradictory, self-undermining statement".(Hutcheon)Unlike Jameson she attempts to perceive postmodernism upon a different level, one in which attempts to justify its efforts, although her opinion upon the topic is clear.
Hutcheon, Linda. The Politics Of Postmodernism: Parody And History And Frederic Jameson. 1st ed. Print.
Jameson, Frederic. N.p., 2016. Web. 14 Nov. 2016.
Following a pastiche style, this graphic design poster explores a similar ideology to that of Armin hoffman's/ Muller Brockman's work, although the background separates itself from their constructed modernist style.
Pastiche is a tongue and cheek imitation used in literature, art, music and movies.
