Pastiche emerges from the loss of individual style and must be distinguished from parody.

Evidence

The disappearance of the individual subject, along with its formal consequence, the increasing unavailability of the personal style, engender the well-nigh universal practice today of what may be called pastiche. This concept, which we owe to Thomas Mann (in Doktor Faustus), who owed it in turn to Adorno’s great work on the two paths of advanced musical experimentation (Schoenberg’s innovative planification and Stravinsky’s irrational eclecticism), is to be sharply distinguished from the more readily received idea of parody. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 74

Categorization

• DEFINE: Establishes the genealogy of ‘pastiche’ (Mann via Adorno) and flags the crucial parody/pastiche distinction the reader must explain.
• XREF: Recall that earlier chapter on parody’s dependence on a norm — connects to Jameson’s later contrast where parody has a secret norm and pastiche has none. — connects to: Pastiche, blank parody without satiric impulse, is the postmodern signature device. — Perry Anderson, The Origins of Postmodernity, 161; Parody performances are routinely mistaken for sincere commitment to what they mock