부산대학교 도서관

With its peculiar inclination to imitate and invert art forms, parody is often realized as a particular reflection to the cultural language of past popular texts, styles or even entire historical periods. This aspect of the pragmatic range of parody usually takes the role of a specific interpreter of cultural memory, animated through individual artistic position of a given author. Observing the postmodern approach as applied in the Tarantino’s film „Pulp Fiction” (1994), the article explores rather this functional aspect of parody. It is argued that through its jocular references to particular conventions associated with notorious clichés forged during the post-1950s North American popular culture, including in the realm of popular music, the film presents a subversive ideological position which expects on part of the spectators a certain intellectual effort, some recognition of the inverted art references as well as an ability to read the hints implied in the artistic metaphors, that is, an insight to the double meaning and the hidden intention of a seemingly one-sided screen text.