L’énonciation parodique : le masque et le calque

This paper proposes an analysis of the parodic genre which, starting from its implementation in performing arts, aims to identify the structure of its fundamental properties, which can also be generalized to literary works. In the first part, we outline the mimetic and alterative components of parody, which are not limited to the text but include paraverbal and non-verbal components, and outline the conditions of pragmatic success of the parodic performance. In particular, we identify three mechanisms of alteration: schematisation, hyperbolisation and transgression. The second part shows the need to widen the classical intertextual approach by including it in an enunciative framework: this will allow us to describe the complex relationship between the parodic enunciator and his model. The parodic process is deliberately aimed at blurring the lines between the reproduction of a discursive content whose point of view is really taken on by the model of the parody and the surreptitious imputation to the latter of a point of view belonging to the artist or the doxa. This repositioning of the parodic activity within an enunciative framework also shows the crucial role assigned to the addressee, on which the pragmatic success of this activity ultimately depends.