Using that template, I'll fill it with my own research related info and then develop a 500 word triangulation text..
Quite blatantly Jameson views the postmodern pastiche (or parody - dependant on whose side you are on) as being unoriginal and is entirely convinced that it is a shallow upstart, strongly obliged to high-modernism for its origin. “For with the collapse of the high-modernist ideology of style - what is as unique and unmistakable as your own fingerprints… the producers of culture have nowhere to turn but to the past: the imitation of dead styles, speech through all the masks and voices stored up in the imaginary museum of now global culture.” (1991, p.17). This mirrors this second significant trait which comes with post-modern parody which Jameson identifies as ‘The Death of Subject’. It refers to this death of individualism, suggesting that the search for the individual voice and style of the Modernists is not achieved in the present day, that there is literally nothing left to try out, and that artists must simply resign to mimicry of past styles in the form of pastiche. What postmodernism amounts to, Jameson believes, is something existing only in the present; undergoing such radical change, decay, and rebirth; destroying any traditions of the past.
This notion of a changed reality mindset in which this new culture has began to thrive links to a supporting concept by the highly profiled theorist Jean Baudrillard. Baudrillard (1983) concludes how postmodernism has encouraged us to reach a state of “hyperreality” in the world, which is defined as "the generation by models of a real without origin or reality” (Storey, 2012, p.193); This is a characteristic mode of postmodernity, within the hyperreal “the distinction between simulation and the ‘real’ implodes” it is a representation, a sign, without an original referent. Baudrillard suggesting how the world we live in has now been replaced by a copy world, where we seek simulated stimuli and nothing more, made up of the constant re-layering of material and empty ideologies.
These concepts do show how there are two places that Hutcheon and Jameson do, at least tentatively, concur in. It is the notion of mass culture and parody. Both believe in how with the growth of postmodernism, it is clear how it does depend on, and parallels the mass culture everyone practices and participates in, within the modern world. Although Jameson argues with all the consequences which he sees to derive from this, Hutcheon focuses on the positives and more expressive characteristics which have actually come from the postmodern mindset. She suggests how the postmodern admittedly does reflect on the past, to inspire and to create new, “The past as referent is not bracketed or effaced, as Jameson would like to believe: it is incorporated and modified, given new and different life and meaning. This is the lesson taught by postmodernist art today. In other words, even the most self-conscious and parodic of contemporary works do not try to escape, but indeed foreground, the historical, social and ideological contexts in which they have existed and continue to exist.” (1989, p.182) This provides strong reinforcement for her concept of not forgetting or completely removing the value of origin from what has came before the postmodern, and Hutcheon highlights how works are in no way trying to escape this, but reflect the context that they have developed from and within. So postmodern parody is apparently willing to embrace its so called un-originality, but it is not viewed in the same light, it has morals and justifications where necessary according to her side of the argument.
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