Пастиш

Potter R. 1995. Spectacular Vernacular: Hip-hop and the Politics of Postmodernism. Albany, NY: SUNY Press.

Proust M. 1954. Contre Sainte-Beuve. Paris: Gallimard. [Written 1908–1910, published posthumously.]

Proust M. 1989 [1927]. Le Temps retrouvé (Pléiade ed.). Paris: Gallimard.

Proust M. 1996. Time Regained / transl. by A. Mayor, T. Kilmarton; rev. by D. J. Enright. L.: Vintage.

Proust M. 2002 [1919]. Pastiches et mélanges. Paris: Gallimard.

Puppa P. 1997. Teorie e pratiche del metateatro // Parodia, Pastiche, Mimetismo / P. Mildonian (ed.). Rome: Bulzoni. P. 425–433.

Pye D. 1996. Genre and History: Fort Apache and The Man Who Shot Liberty Valance // The Movie Book of the Western / I. Cameron, D. Pye (eds). L.: Studio Vista. P. 111–122.

Randall M. 2001. Pragmatic Plagiarism: Authorship, Profit and Power. Toronto: University of Toronto Press.

Rattenbury K. 1990. Duke Ellington: Jazz Composer. New Haven: Yale University Press.

Raven S. D. 1966. Poetastery and Pastiche. Oxford: Blackwell.

Rentschler E. 2003. The Fascination of a Fake: The Hitler Diaries // Cultures of Forgery: Making Nations, Making Selves / J. Ryan, A. Thomas (eds). N. Y.: Routledge. P. 199–212.

Replogle C. 1969–1970. Not Parody, Not Burlesque: The Play Within the Play in Hamlet // Modern Philology. Vol. 67. No. 2. 150–159.

Rickman G. 1998. The Western under Erasure: Dead Man // The Western Reader / J. Kitses, G. Rickman (eds). N. Y.: Limelight Editions. P. 381–404.

Riffaterre M. 1980. La trace de l’intertexte // La Pensée CCXV. P. 4–18.

Rivière J. 1986 [1929]. Womanliness as a Masquerade // Formations of Fantasy / V. Burgin, J. Donald, C. Kaplan (eds). L.: Methuen. P. 35–44. [International Journal of Psychoanalysis. No. 10.]

Robertson P. 1996. Camping under Western Stars: Joan Crawford in Johnny Guitar // Guilty Pleasures: Feminist Camp from Mae West to Madonna. Durham, NC: Duke University Press. P. 85–114.

Rogin M. 1996. Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot. Berkeley; Los Angeles: University of California Press.

Rosar W. H. 2001. The Dies Irae in Citizen Kane: Musical Hermeneutics Applied to Film Music // Film Music: Critical Approaches / K. J. Donnelly (ed.). Edinburgh: Edinburgh University Press. P. 103–117.

Roscoe J., Hight C. 2001. Faking It: Mock-documentary and the Subversion of Factuality. Manchester: Manchester University Press.

Rose M. A. 1993. Parody: Ancient, Modern and Post-modern. Cambridge: Cambridge University Press.

Rose T. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, NH: Wesleyan University Press.

Rosenbaum J. 2000. Dead Man. L.: British Film Institute.

Rosenberg M. 1992. The Masks of Hamlet. Newark: University of Delaware Press. Cranbury, NJ: Associated University Presses.

Ross A. 1989. No Respect: Intellectuals and Popular Culture. N. Y.: Routledge.

Russett M. (n.d.). Percival Everett: The African-American Novelist under Erasure. Available online at: http://usconsulate-istanbul.org.tr/reppub/newamstud/mrussett.html.

Russett M. 2005. Race under Erasure: For Percival Everett, «a piece of fiction» // Callaloo. Vol. 28. No. 2. P. 358–368.

Ryan J. 1990. The Problem of Pastiche: Patrick Süskind’s Das Parfum // German Quarterly. Vol. 63. No. 3–4. P. 396–403.

Ryan J., Thomas A. (eds). 2003. Cultures of Forgery: Making Nations, Making Selves. N. Y.: Routledge.

Ryder G. A. 1993. Harlem Renaissance Ideals in the Music of Robert Nathaniel Dett // Black Music in the Harlem Renaissance / S. A. Floyd (ed.). Knoxville: University of Tennessee Press. P. 41–54.

Salt B. 1983. Film Style and Technology: History and Analysis. L.: Starword.

Sanders R. 1976. The American Popular Song // Next Year in Jerusalem: Jews in the Twentieth Century / D. Villiers (ed.). L.: Harrap. P. 197–219.

Sayce R. A. 1973. The Goncourt Pastiche in Le Temps retrouvé // Marcel Proust: A Critical Panorama / L. Price (ed.). Urbana: University of Illinois Press. P. 102–123.

Scharf A. 1974. Art and Photography (rev. ed.). Harmondsworth: Penguin.

Schiff D. 1997. Gershwin: Rhapsody in Blue. Cambridge: Cambridge University Press.

Schiff S. 1993 [1981]. Body Heat // They Went Thataway: Redefining Film Genres Jameson / T. Richard (ed.). San Francisco: Mercury House. P. 31–35. (From Boston Phoenix. 22 September 1981.)

Schmitz R. E. 1950. The Piano Works of Claude Debussy. N. Y.: Dover.

Schneider M. 1985. Voleurs de mots. Essai sur le plagiat, la psychanalyse et la pensée. Paris: Gallimard.