@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002125,
 author = {Schneider, Rorand and SCHNEIDER, Rorand},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {11},
 month = {Mar},
 note = {pdf, I ) As a mode of literary reception,parody is what may be called a 'productive'(authorial) form of reception.
II) Parody may be defined as method of literary expression in which the conventions of form and style of a prior work (or genre) are maintained but non-conventional content is supplied,with humorous results.
III) (1) As a literary genre, parody first appears in the Edo period, in Japan.
(2) Certain conditions must be met before parody can be successfully established :
(a) The parodied original must be well known. A medium of circulation is therefore required. In fact,the medium was the printed book.
(b) The genre parodied must have already passed its literary historical prime. (Such, in the Edo period, was the case for 'poem tales, e.g.)
(3) Parody employs four techniques, and falls into three categories,
as follows:
Techniques                Categories
1. Addition                 1. Artistic parody
2. Subtraction            2. Critical parody 
3. Transmutation        3. Propagandistic parody
4. Immutation
(4) Of the two examples taken up here, the Nisemonogatari, a parody of the lsemonogatari, is 'artistic parody,' while the Goginwagashu, a parody of the Kokinwakashu, is 'critical parody. '},
 pages = {166--181},
 publisher = {国文学研究資料館},
 title = {公開講演　日本文学におけるパロディ　―近世的受容方法としてのパロディ―},
 year = {1988},
 yomi = {シュナイダー, ローランド}
}