d****3
发帖数: 1 | 1 老将在网上写一些趣文，都要被五毛给山寨，而且五毛还山寨得极其恶俗。五毛不以为
耻，反以为荣，还满世界张贴他们那些恶俗的山寨品。五毛和土鳖国一样，都是盗窃狂
，臭不要脸！
标 题: 老将必读 - 对付五毛方法大全
老将们，请任选以下回应对付五毛，不用跟五毛多费话：
如果五毛吹牛：
回应：面对14亿加强版的阿Q，鲁迅不由得惊呼：“厉害了，我的贵！”
如果五毛破口大骂：
回应：我就喜欢看五毛们气急败坏但又无可奈何的样子！
如果五毛扯吃屎：
回应：五毛对屎真是情有独钟，是屎壳螂变的吧。
如果五毛攻击美国的污染和食品安全：
回应：考5分的学生又在嘲笑考95分的学生了：“大家都没有考100分嘛！”
如果五毛攻击美国的枪击：
回应：美国每年枪击他杀1万人，绝大部分都发生在黑人区。中国每年车祸死30万人，
污染死几百万人。
如果五毛攻击美国的人均寿命：
回应：美华平均寿命近90岁。
如果五毛骂汉奸：
回应：老将都是美国人，美国人怎么当汉奸？
如果五毛找工作：
回应：五毛非要赖在美国当钉子户，打死也不回国！
如果五毛询问绿卡：
回应：五毛画皮被绿卡揭开，五毛内心是对美国狂热的爱。
添加回应：偶的莎士比亚啊，你能写出这样的剧本吗？
如果五毛指责复读机模式：
回应：看，我发过这么多雄文！五毛发过什么雄文，不妨拿出来献献丑。算了吧，要五
毛写点什么像样些的东西，还不如直接要了五毛的命！
如果五毛怂了：
回应：横扫军版五毛如卷席，全无敌！
最后，如果五毛跟风写“小将必读”：
回应：五毛只会鹦鹉学舌，拾人牙慧，毫无创新能力，五毛的父母都是亲兄妹吧？
哈哈哈哈 | d****3
发帖数: 1 | | d****3
发帖数: 1 | | d****3
发帖数: 1 | 4 看，我发过这么多雄文！五毛发过什么雄文，不妨拿出来献献丑。算了吧，要五
毛写点什么像样些的东西，还不如直接要了五毛的命！
https://www.mitbbs.com/article_t/Military/53996525.html
发信人: smf (smf), 信区: Military
标 题: 65岁老棺材囊子liuhe，不但是个科盲还是个文盲
发信站: BBS 未名空间站 (Sat Aug 10 16:12:04 2019, 美东)
说小将剽窃，按照你的定义，不正是你个傻逼剽窃军港之夜在先。
你抡起一个大嘴巴最后落到你那张傻逼脸上。疼不疼啊。
无论西方还是东方文学史，滑稽模仿向来是重要文类，叫 Burlesque也好,叫parody也
好,还是叫 travesty，都是用戏谑方式模仿对方并解构对方文本。
你个傻逼懂不懂，除了会唱军港之夜，也多学点文化。 | s*f
发帖数: 1071 | 5 65岁老棺材囊子liuhe，不但是个科盲还是个文盲
说小将剽窃，按照你的定义，不正是你个傻逼剽窃军港之夜在先。
你抡起一个大嘴巴最后落到你那张傻逼脸上。疼不疼啊。
无论西方还是东方文学史，滑稽模仿向来是重要文类，叫 Burlesque也好,叫parody也
好,还是叫 travesty，都是用戏谑方式模仿对方并解构对方文本。唐吉坷德尤利西斯这
些西方名著都是模仿讽刺典范 你个傻逼懂不懂
你读得懂英语吗，给你布置个作业，拿本字典回家慢慢读读。
Burlesque has been succinctly defined as "an incongruous imitation"; that is
, it imitates the manner (the form and style) or else the subject matter of
a serious literary work or a literary genre, in verse or in prose, but makes
the imitation amusing by ar idiculous disparity between the manner and the
matter. The burlesque may be written for the sheer fun of it; usually,
however, it is a form of satire. The butt of the satiricr idiculem ay be the
particular work or the genre that is being imitated, or else the subject
matter to which the imitation is incongruously applied, or (often) both of
these together. "Burlesque," "parody," and "travesty" are sometimes applied
interchangeably; simply to equate these terms, however, is to surrender
useful critical distinctions. It is better to follow the critics who use "
burlesque" as the generic name and use the other terms to discriminate
species of burlesque; we must keep in mind, however, that a single instance
of burlesque may exploit a variety of techniques. The application of these
terms will be clearer if we make two preliminary distinctions: (1) In a
burlesque imitation, the form and style may be either lower or higher in
level and dignity than the subject to which it is incongruously applied. (
See the discussion of levels under style.) If the form and style are high
and dignified but the subject is low or trivial, we have "high burlesque";
if the subject is high in status and dignity but the style and manner of
treatment are low and undignified, we have "low burlesque." (2) A burlesque
may also be distinguished according to whether it imitates a general
literary type or genre, or else a particular work or author. Applying these
two distinctions, we get the following species of burlesque.
I Varieties of high burlesque: (1) A parody imitates the serious manner and
characteristic features of a particular literary work, or the distinctive
style of a particular author, or the typical stylistic and other features of
a serious literary genre, and deflates the original by applying the
imitation to a lowly or comically inappropriate subject. John Phillips' "The
Splendid Shilling" (1705) parodied the epic style of John Milton's Paradise
Lost (1667) by
BURLESQUE 27
exaggerating its high formality and applying it to the description of a
tattered poet composing in a drafty attic. Henry Fielding in Joseph Andrews
(1742) parodied Samuel Richardson's novel Pamela (1740-41) by putting a
hearty male hero in place of Richardson's sexually beleaguered heroine, and
later on Jane Austen poked good-natured fun at the genre of the gothic novel
in Northanger Abbey (1818). Here is Hartley Coleridge's parody of the first
stanza of William Wordsworth's "She Dwelt among the Untrodden Ways," which
he applies to Wordsworth himself: He lived amidst th' untrodden ways To
Rydal Lake that lead, A bard whom there were none to praise, And very few to
read. From the early nineteenth century to the present, parody has been the
favorite form of burlesque. Among the gifted parodists of the present
century have been Max Beerbohm in England (see his A Christmas Garland, 1912
) and Stella Gibbons (Cold Comfort Farm, 1936), and the American writers
James Thurber, Phyllis McGinley, and E. B. White. The novel Possession (1990
), by the English writer A. S. Byatt, exemplifies a serious literary form
which includes straight-faced parodies of Victorian poetry and prose, as
well as of academic scholarly writings. (2) A mock epic or mock-heroic poem
is distinguished as that type of parody which imitates, in a sustained way,
both the elaborate form and the ceremonious style of the epic genre, but
applies it to narrate at length a commonplace or trivial subject matter. In
a masterpiece of this type, The Rape of the Lock (1714), Alexander Pope
views through the grandiose epic perspective a quarrel between the belles
and elegants of his day over the theft of a lady's curl. The story includes
such elements of traditional epic protocol as supernatural machinery, a
voyage on board ship, a visit to the underworld, and a heroically scaled
battle between the sexes—although with metaphors, hatpins, and snuff for
weapons. The term mock-heroic is often applied to other dignified poetic
forms which are purposely mismatched to a lowly subject; for example, to
Thomas Gray's comic "Ode on the Death of a Favorite Cat" (1748); see under
bathos and anticlimax.
II Varieties of low burlesque: (1 ) The Hudibrastic poem takes its name from
Samuel Butler's Hudibras (1663), which satirized rigid Puritanism by
describing the adventures of a Puritan knight, Sir Hudibras. Instead of the
doughty deeds and dignified style of the traditional genre of the chivalric
romance, however, we find the knightly hero experiencing mundane and
humiliating misadventures which are described in doggerel verses and a
ludicrously colloquial idiom. (2) The travesty mocks a particular work by
treating its lofty subject in a grotesquely undignified manner and style. As
Boileau put it, describing
28 CANON OF LITERATURE
a travesty of Virgil's Aeneid, "Dido and Aeneas are made to speak like
fishwives and ruffians." The New Yorker once published a travesty of Ernest
Hemingway's novel Across the River and Into the Trees (1950) wit the title
Aaoss the Street and Into the Bar, and the film Young Frankenstein is a
travesty of Mary Shelley's novel Frankenstein. Another form of burlesque is
the lampoon: a short satirical work, or a passage in a longer work, which
describes the appearance and character of a particular person in a way that
makes that person ridiculous. It typically employs caricature, which in a
verbal description (as in graphic art) exaggerates or distorts, for comic
effect, a person's distinctive physical features or personality traits. John
Dryden's Absalom and Achitophel (1681) includes a famed twenty-five-line
lampoon of Zimri (Dryden's contemporary the Duke of Buckingham), which
begins: In thef irst rank of these did Zimri stand; A man so various, that
he seemed to be Not one, but all mankind's epitome: Stiff in opinions,
always in the wrong; Was everything by starts, and nothing long.... The
modern sense of "burlesque" as a theater form derives, historically, from
plays which mocked serious types of drama by an incongruous imitation. John
Gay's Beggar's Opera (1728)—which in turn became the model for the German
Threepenny Opera by Bertolt Brecht and Kurt Weill (1928)—was a high
burlesque of Italian opera, applying its dignified formulas to a company of
beggars and thieves; a number of the musical plays by Gilbert and Sullivan
in the Victorian era also burlesqued grand opera. George Kitchin, A Survey
of Burlesque and Parody in English (1931); Rich mond P. Bond, English
Burlesque Poetry, 1700-1750 (1932); Margaret A. Rose, Parody: Ancient,
Modern, and Post-Modem (1993). Anthologies: Walter Jerrold and R. M. Leonard
, eds., A Century of Parody and Imitation (1913); Robert P. Falk, ed., The
Antic Muse: American Writers in Parody (1955); Dwight MacDon ald, ed.,
Parodies: An Anthology (1960) | d****3
发帖数: 1 | 6 我全部账号上站次数加起来几百。五毛上站次数成千上万，而且极其熟悉军港之夜。就
这，还嘲笑老将的上站次数和熟悉
军港之夜。五毛都是近接产！ | d****3
发帖数: 1 | | d****3
发帖数: 1 | 8 五毛不仅偷，还死活搞不出像样的原创！要五毛搞个像样点的原创，还不如直接要了五
毛的命！ |
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