By general definition a parody is a derisive imitation whereas pastiche is a complimentary emulation of visual art, literature, theatre or music.
Hutcheon suggests that a parody reinstates a dialogue with the past, working towards a public discourse that will overtly shun modernist aestheticism/hermeticism. Hutcheon rejects patently critical authors and would suggest that they are unfair. In the way Hutcheon writes, she is clearly positive about parody. "The past as referent is not bracketed or effaced, as Jameson would like to believe: it is incorporated and modified, given new and different life and meaning." Hutcheon, L, 1989, The Politics of Postmodernism: Parody and History, Page 182.
Linguistically speaking Jameson’s tone of voice is formal, executed by alienating lexis and semantics. According to Jameson, pastiche, like parody, is the imitation of a peculiar or unique idiosyncratic style. As Jameson is a Marxist, he is obviously critical of pastiche as an author. "The producers of culture have nowhere to turn but to the past: the imitation of dead styles, speech through all the masks and voices stored up in the imaginary museum of a now global culture." Jameson, F, 1991, Postmodernism, or, The Culture Logic of Late Capitalism, Page 17-18.
An example of these definitions in a design slant is Stranger & Stranger’s work. It is reminiscent of victorianesque wood cut, also exercising Americana style art and partly mythological. These features are a display of cultural appropriation; symptomatic of what Jameson refers to as pastiche; self conscious appropriation of symbols and signs embedded in a culture in order to be aesthetically pleasing.
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