Parody Poems

As a class assignment, the author created a series of parody poems inspired by the examples found in Lewis Carroll\u27s Alice in Wonderland

Trademark Parody: Lessons From the Copyright Decision in Campbell v. Acuff-Rose Music, Inc.

Parodies have long provided many of us with amusement, entertainment,and sometimes even information. An effective parody can convey one or more messages with powerful effect. The message may be a political statement, social commentary, commercial speech, a bawdy joke, ridicule of a brand name, criticism of commercialism, or just plain humor for its own sake. Often someone\u27s ox is being gored, or someone feels that a property right has been infringed. The party so injured often contemplates a lawsuit, and an array of legal theories are available to further that impulse. Perhaps copyright infringement is the claim, if some protectable expression has been used in the parody; or the right of publicity, if a person\u27s name, likeness, or other identifying characteristic has arguably been usurped; or intentional infliction of emotional distress, if the parody is perceived as too biting. When a trademark has been used in a parody, a panoply of federal and state law claims can be asserted, including federal trademark infringement, violation of section 43(a) of the Lanham Act of 1946,\u27 common law unfair competition, and violation of a state trademark statute. The gist of any of these claims is practically the same; the parodist caused a likelihood of consumer confusion or otherwise infringed upon the trademark owner\u27s good will. If the trademark owner cannot make this showing, it may resort to a dilution claim under state statutes or case law (and now under federal law), alleging here that the parody blurred the distinctiveness or tarnished the image of a distinctive mark, even though it did not cause a likelihood of confusion. The Supreme Court has recognized parody\u27s protected role a number of times in specific contexts but has not offered general guidelines for dealing with all intellectual property claims involving parody. Given the distinct nature of each of these claims and the need to decide only the particular case at hand, the lack of general guidance is not surprising. The result, however, has been confusion. Lower courts have often struggled with parodies in intellectual property cases, and many law review articles have been written on the topic. The treatment of parodies in trademark law is one of the more serious areas of difficulty, particularly because the Lanham Act does not appear to contemplate or address the issue. The likelihood of confusion test provides a conceptual approach that works well enough in garden variety trademark cases, but it provides an uncomfortable fit in parody cases. The Supreme Court\u27s recent copyright decision in Campbell v. Acuff-Rose Music, Inc., provides some guidance for the treatment of parodies in copyright cases. Although Campbell focused on copyright parodies, the case may also provide some important principles for the analysis of parody in trademark law. Therefore, this article discusses Campbell\u27s broader relevance, specifically in trademark cases

Parody

The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, however, include a comic element in the defining character of parody

Seeing Through the Invisible Pink Unicorn

This paper explores the quasi-religious aspects of the Invisible Pink Unicorn (IPU), an internet based spoof of religion. IPU message boards situate a moral orientation in an ongoing interactional process that sacralizes parody and an idealized form of “free thinking.” We employ content analysis and grounded theory to argue that IPU writers’ parody of religion serves as a ritual act and conclude our discussion by considering the implications of the findings for the literature on ritual

TWILIGHT AND INDONESIAN YOUNG ADULT FICTION TUILET’: A PARODY

This paper examines how Stephanie Meyer’s Twilight is parodied by the Indonesian contemporary young adult Tuilet. By using theory of parody, this paper is expected to provide a critical analysis of the teen novel which have similarities and differences in the title and character names of Meyer’s twilight. By applying the theory of parody, it will be seen how far the influence of the novel Twilight on Indonesian young adult fiction. Through cultural texts written for young readers, it will also be seen whether there is a shift in language use, especially among the youth or just simply the demands of consumerism

The persistence of parody in the music of Peter Maxwell Davies

In this article I take to task the uncritical use of terminology in relation to the music of Peter Maxwell Davies. Though my generating text is the quotation from John Warnaby’s 1990 doctoral thesis: "Since parody is implied in the notion of using pre-existing material as a creative model, it can be argued that, as traditionally understood, it is rarely absent from Maxwell Davies’s music". This is in no wise a criticism of Warnaby for whom I have much respect, and especially his ability to be able to perceive patterns, trends and unifying features between works and across extended periods of time. Rather, it is a commentary on particular aspects of Davies’s music which are often linked together under the catch-all term ‘parody’

Code of Best Practices in Fair Use for Poetry

Outlines best practices created by the poetry community for using copyrighted materials in parody and satire; "remixed" new works; education; criticism, comment, or illustration; poetry online; and literary performance. Lists principles and limitations