ABSTRACT
A crucial term in definitions of highbrow (Modernist) fiction is parody: the locus classicus being the ‘Nausicaa’ section of Ulysses, which parodies sentimental Victorian fiction. Parody has suited the critical mood of the last twenty years because it proclaims ‘intertextuality’. It illustrates the thesis that all writing is rewriting, and exemplifies the ‘self-reflexivity’ which has been said to characterize twentieth-century culture (Hutcheon 1985, p. 2).
