戏仿最初是对史诗的滑稽模仿,它既包含了游戏的一面又包含了互文的一面,但自文艺复兴始至19世纪,它却被当作低劣文学表现手段,虽然现代主义小说奉它为“陌生化”叙事艺术形式,但其固有的游戏性却被弃置不顾。后现代主义小说不但扩大了其互文本的范围和作用,而且还将其游戏性视为“狂欢”之源。 Parody was originally a parody of epic poetry, which contains both the game side and the intertextual side, but from the beginning of the Renaissance until the 19th century, it was treated as a means of inferior literature. Although modernist novels serve it As a “defamiliar” narrative art form, but its inherent gameplay has been discarded. Postmodernist novels not only expand the scope and function of their intertextuality, but also regard their gameplay as the source of “carnival.”