Pastiche

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The pastiche [ pasˈtiːʃ ] (from French pastiche “imitation”, Italian pasticcio “ pate ”) is a work of art of a literary , musical , cinematic or architectural nature that openly imitates the work of a previous artist .

term

The pastiche is an intertextual work insofar as it precisely imitates an original. The type of imitation can either be characterized by respect or satire . In the case of respect there is a homage , in the case of satire one speaks of a parody . It differs from forgery in that it openly declares its epigonality .

literature

The motive for closely following the style of the imitated text can on the one hand lie in the author's lack of personality awareness, who does not trust himself to make his own style decisions, or with parodic intent. A homage can also be considered as a motif.

Pastiches were particularly popular in French literature since the 17th century. You can find them in the works of Jean de La Bruyère , Nicolas Boileau , Denis Diderot , Honoré de Balzac , Gustave Flaubert and Paul Verlaine , among others . In 1919 Marcel Proust presented his Pastiches et mélanges . Examples from German-language literature were provided by Clemens Brentano , who imitated the style of a late medieval chronicle in his Chronicle of a Traveling Schoolboy in 1805, and Wilhelm Meinhold with Maria Schweidler, the Amber Witch , a pastiche of the Baroque chronicle style in 1843 . Thomas Mann's novel The Chosen from 1950, in which he imitates medieval legends , among other things, is of particular literary significance .

Pastiches are a common stylistic device in postmodern literature : for example, John Barth imitated the language and literary conventions of the 18th century in his tobacco dealer in 1960, namely those of Henry Fielding and Laurence Sterne . Patrick Süskind's novel Das Parfum from 1986 contains several pastiches of works from German literature, including Hans Jakob Christoffel von Grimmelshausen's Simplicissimus , Mann's Zauberberg and Günter Grass ' Tin Drum . Thomas Pynchon built pastiches of several genres of popular literature around 1900 into his novel Gegen den Tag von 2008, such as the Wild West novel , the spy thriller and the youth book .

Fantasy vedute by Francesco Guardi

Visual arts

The terms “pastiche”, “pastiche” and “ capriccio ” have been in use in the fine arts since the 17th century. This refers to works of art in the production of which the work of several artists served as a model, or landscape pictures or vedute , the elements of which were arbitrarily assembled and not painted according to real models.

music

In music one speaks of a pasticcio .

Secondary literature

Individual evidence

  1. ^ Jan Erik Antonsen: Pasticcio, Pastiche. In: Klaus Weimar et al. (Ed.): Reallexikon der Deutschen Literaturwissenschaft . Walter de Gruyter, Berlin / New York 2007, Vol. 3, ISBN 978-3-11-091467-2 , p. 34 (accessed via De Gruyter Online)
  2. ↑ Gero von Wilpert : Pastiche. In: Subject dictionary of literature (= Kröner's pocket edition . Volume 231). 4th, improved and enlarged edition. Kröner, Stuttgart 1964, DNB 455687854 , p. 499.
  3. ^ Jan Erik Antonsen: Pasticcio, Pastiche. In: Klaus Weimar et al. (Ed.): Reallexikon der Deutschen Literaturwissenschaft . Walter de Gruyter, Berlin / New York 2007, Vol. 3, ISBN 978-3-11-091467-2 , p. 34 (accessed via De Gruyter Online)
  4. ^ Jan Erik Antonsen: Pasticcio, Pastiche. In: Klaus Weimar et al. (Ed.): Reallexikon der Deutschen Literaturwissenschaft . Walter de Gruyter, Berlin / New York 2007, Vol. 3, ISBN 978-3-11-091467-2 , p. 35 (accessed via De Gruyter Online)
  5. ↑ Buell Wisner: Textual Relics and Metaphysical Flux: Anti-Historicism in John Barth’s The Sot-Weed Factor. In: CEA Critic 76, Heft 1 (2014), pp. 37–51, here pp. 38 f. ( online , accessed October 21, 2018).
  6. ↑ Ingeborg Hoesterey: pastiche. Cultural Memory in Art, Film, Literature . Indiana University Press, Bloomington 2001, p. 100.
  7. ↑ David Seed: Thomas Pynchon. In: Timothy Parrish (Ed.): The Cambridge Companion to American Novelists. Cambridge University Press, New York 2013, p. 268.

See also