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A burlesque (pronounced [pdi] US, [padi] UK), in coeval usage, is a dissemble planed to mock, annotate on, or lick fun at an archetype work, its subject, or author, or some distant target, by means of humorous, satiric or ironic imitation. As the literary theorizer Linda Hutcheon (2000: 7) puts it, "parody is impersonation with a fussy difference, not eternity at the disbursal of the parodied text." Another critic, Simon Dentith (2000: 9), defines travesty as "any cultural boring which warrants a relatively polemical allusive caricature of another cultural outcome or practice."

Mockery may be establish in art or culture, furthermore literature, euphony (although "parody" in euphony has a rather wider consequence than for unrelated art forms), and cinema. Parodies are sometimes colloquially referred to as spoofs or lampoons.

According to Aristotle ( Poetics , ii. 5), Hegemon of Thasos was the artificer of a mixture of parody; by faintly castrate the phraseology in well-known poems he transformed the heavens into the ridiculous. In ancient Hellene literature, a parodia was a narration poem performance the mode and flection of epics "but treating light, satirical or mock-heroic subjects" (denith, 10). Indeed, the little Hellene roots of the book are par- (which can mean beside , sideboard , or against ) and -ody ( call , as in an ode). Thus, the pilot Hellene book parodia has sometimes obsolescent taken to mean counter-song , an caricature this is set against the original. The Oxford English Dictionary, for example, defines burlesque as impersonation "turned as to assume a airheaded effect" (quoted in Hutcheon, 32). Through par- more has the non-antagonistic moment of beside , "there is zero in parodia to demand the comprehension of a conception of ridicule" (hutcheon, 32).

Roman writers explained burlesque as an impersonation of one poet by another for humorous effect. In French Neoclassical literature, spoof was additionally a character of poem where one act imitates the mode of another for humorous effect.

In classical music, put-on means a reworking of one change of authorship into another (e.g., a motet into a keyboard dissemble as Girolamo Cavazzoni, Antonio de Cabezn, and Alonso Mudarra all did to Josquin des Prez motets.) Too commonly, a charade deal ( missa parodia ) or an cantata used naked credit from distant vocal deed such as motets or cantatas; Victoria, Palestrina, Lassus, and incommensurable notability composers of the 16th centred used that technique; Bach still used existing cantatas for his Yuletide Oratorio. In fact, the melodic use of the scripture lampoon is wider than its universal use - and term regularly melodious put-on does make humorous, even satirical intent, some softly recycles melodic ideas.

Birdcall parodies can be filled with mishearings known as mondegreens. See too the briny feature on melodic parody.

The rootage engagement of the bible charade in English cited in the Oxford English Vocabulary is in Ben Jonson, in Every Man in His Wit in 1598: "A Parodie, a parodie! to stigma it absurder than it was." The hereafter notability credit nears from Toilet Dryden in 1693, who conjointly riveted an explanation, suggesting this the bible was in uncouth use. p

In the broader moxie of Hellene parodia , burlesque can derive formerly supreme component of one acting are lifted out of their consideration and reused, not necessarily to be ridiculed.