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The article informs that the play "The Beggar's Opera," by John Gay serves as a central example of the "borrowing and pastiche" used by eighteenth-century artists to respond to a "new cultural world," with reference to John Brewer's book "The Pleasures of the Imagination." Gay has cobbled his play together out of genres ranging from Grub Street's criminal biographies to the operas that entranced the English elite. At the heart of Gay's work are the popular songs he uses instead of high operatic arias.

This paper considers the question of authorship attribution techniques when faced with a pastiche. We ask whether the techniques can distinguish the real thing from the fake, or can the author fool the computer? If the latter, is this because the pastiche is good, or because the technique is faulty? Using a number of mainly vocabulary-based techniques, Gilbert Adair's pastiche of Lewis Carroll, "Alice Through the Needle's Eye," is compared with the original 'Alice' books. Standard measures of lexical richness, Yule's "K" and Orlov's "Z" both distinguish Adair from Carroll, though "Z" also distinguishes the two originals. A principal component analysis based on word frequencies finds that the main differences are "not" due to authorship. A discriminant analysis based on word usage and lexical richness successfully distinguishes the pastiche from the originals. Weighted cusum tests were also unable to distinguish the two authors in a majority of cases. As a cross-validation, we made similar comparisons with control texts: another children's story from the same era, and other work by Carroll and Adair. The implications of these findings are discussed. [ABSTRACT FROM AUTHOR]

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The article describes the use of pastiche in teaching poetry to high school students. It addresses the exploration of the rich tradition of imaginative invention and literary formulation, the use of blending of the works of various master writers and Mother Goose rhymes, and the discovery of the meaning of rhymes in immediate and dynamic ways.

Provides information on pasticcio oratorios of music writer John Christopher Smith. Details on its operas and oratorios; Information on pasticcio oratorio `Gideon'; Performance practices issues of Smith.

The article focuses on sociologist Erving Goffman's poetics. Goffman was a stylist. His writing had a very characteristic voice. Commentators sometimes find it difficult to transcend Goffman's style, either one descends to pale imitation and pastiche, or one's own text seems leaden and pedestrian by comparison. The early works in particular established Goffman as a unique author within the sociological canon. He defied categorization in relation to a particular school or tradition of sociological theory. Moreover, he rarely wasted his creative energies on debating and defending his work vis-a-vis other scholars and critics. He drew on other authors, of course, but never in a spirit of pedantry or polemic, if anything, perhaps, his use of other sources was cavalier. Despite Goffman's somewhat cavalier approach to method, the heterogeneous and heterodox nature of his source-material, his reluctance to "locate" his own work in broader sociological contexts, his work has achieved quite extraordinarily wide audiences.

The article discusses the depiction of multiculturalism and ethnic difference facilitated by an aesthetic of postmodern pastiche in German filmmaker Ulrike Ottinger's "Johanna d'Arc of Mongolia." It describes the manifestations of the cultural transfer and transformation taking place in the diegesis and in the cinema in the film. The article also discusses the manner in which the film follows the historical trajectory of the classification of a character's racial status and the way in which it inverts the denigrated value traditionally assigned to racial difference.

The article discusses that there are not only several different definitions of post-modernism active at the moment in both theory and practice, but that there also exist several different understandings of the concept of pastiche and of its role in post-modernism. Pastiche, like parody, is a device used in several post-modernist works of art and architecture for several different “post-modernist” purposes, and it is not only a post-modern device, but one which has been used for at least the last few centuries. Jean-Francois Lyotard, Frederic Jameson, and Jean Baudrillard are cited as examples of theorists who have contributed to the understanding of post-modernism.

Analyzes the rape story of the poem "Fasti." Reasons for being an epic and a pastiche; Implications of its sexist prurience; Perspectives of the life of character Calisto; Scenes which show the rape experiences of the character; Evidence of patriarchy.

The article presents an examination into the literary sources used by Thomas Thomson in the construction of is 17th-century play "The Life of Mother Shipton." The article first identifies the three plays "The Obstinate Lady," "Trappolin," and "The Tragedy of Ovid," by Aston Cockain, as direct sources for Thomson's plot. Discussion is then offered regarding the complexities of borrowing and pastiche as a literary form.

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In this article, I explore my experience of shifting self-states while viewing Nathalie Djurberg's claymation video, It's the Mother. I also discuss ideas of witnessing, violence, and motherhood while describing how I move from an intellectualized understanding of the brutalizing action at hand to a parallel process of induced blankness. [ABSTRACT FROM AUTHOR]

The Disney on Ice series of touring ice shows aimed mainly at younger children highlight the alterity of the Middle Ages and the era's ongoing appeal in contemporary popular culture. The specific show "Follow Your Heart," which conjoins storylines from fifteen different films, provides the main text for this analysis of how these skated performances function as medievalism. This Disney on Ice show foregrounds the important status of the past as pastiche in the (post)modern imagination and reveals the ongoing vitality of open-ended narratives characteristic of medieval storytelling. [ABSTRACT FROM AUTHOR]

Tumblr accounts dedicated to criticizing or mocking a text and fandom pose an interpretive challenge. Far from a straightforward display of antifandom, what we find here is a comic pastiche of fragments enabled by the postmodern flatness of the medium. With reference to a group of blogs positioned as antithetical to BBC's Sherlock (2010-), I suggest we can read these pastiches as critique without authority--as a polyphonic surface that undermines both claims to discursive dominance and the dominance of mass media cultural icons. [ABSTRACT FROM AUTHOR]

P.Oxy. XXX 2512, published as 'Early Hexameters', and P.Köln III 127, a Homeric cento, are fragments of one and the same manuscript. [ABSTRACT FROM AUTHOR]

Rewritings and adaptations of the Sherlock Holmes stories are traditionally called pastiches among fandom. This article juxtaposes that established use with the literary critical notion of pastiche as imitation of style, and shows how stylistic affinity to the originals produces complex effects in the imitations. The article identifies two main strands in the pastiches: one that aims to correct the mistakes and fill in the gaps in the original stories, and one that supplements the canon with stories Watson left untold. Balancing among homage, criticism, and usurpation, the pastiches comment on the original story world and its cultural context, and engage in fictions of authorship to account for the apparent inauthenticity of the retellings. [ABSTRACT FROM AUTHOR]