in satirical stories.
Lesson objectives: find out the relationship between humor and satire as means of expressing the author’s position; determine ways to create a satirical image using the example of the story “Chameleon”; consider the significance of dialogue, artistic detail, “speaking” surnames in revealing the characters of Ochumelov and Khryukin.
During the classes
I. Checking homework.
Listen to answers to homework questions.
II. Teacher's word.
It is necessary to remind students what is unique about Chekhov’s satire; show how a satirical image, a satirical work is created.
Satire does not affirm, but denies the phenomenon, emphasizes the inconsistency of the object of laughter, while humor is cheerful, joyful, sometimes ironic laughter, which captures the inconsistency of the phenomenon with generally accepted ideas about a specific event.
Humor is always personal and subjective, satire is always socially significant. The sphere of humor is a private person, the peculiarities of his behavior, habits. The sphere of satire is primarily phenomena of social life: In humor, the serious is hidden behind a joke, in satire, the joke exposes.
In the story “Chameleon” we see a different Chekhov: not a good-natured, cheerful person, but an ironic, mocking writer. The techniques he used remained the same, but the emphasis in conveying what was depicted was shifted: Chekhov’s irony was heard more clearly. The author does not express his assessment of what is happening, but with the help of artistic details he creates a satirical image of the participants in the scene that took place in the market square.
Chekhov does not distort the real proportions of reality, just as, for example, M. B. Saltykov-Shchedrin does not deliberately distort what is depicted. Saltykov-Shchedrin intricately combines the fantastic and the believable. In a fantasy situation we find the contours of real relationships present in the modern world. Saltykov-Shchedrin creates a grotesque image that combines the tragic and the comic. Chekhov shows typical relationships, real world, stories from the life of an ordinary person who is ready to overdo it in the manifestations of his virtues. Chekhov's satire consists in expressing an ironic attitude towards his heroes, in a clear demonstration of the moral distance between the author and his heroes.
III. Conversation.
How is comic effect created in a story?
With the help of what details does A.P. Chekhov create the image of a provincial town?
How are narration, description, and dialogue related in the story?
Give a description of Ochumelov and Khryukin.
Based on what details do we conclude about the satirical nature of these images?
What is the significance of their speech in creating the characteristics of characters?
What details help to understand the character of the characters?
What techniques are used to create a satirical image in Chekhov's story?
What is the fundamental difference between a satirical work and a humorous one?
Why is the story called "Chameleon"?
Federal Education Agency
public educational institution
higher professional education
Far Eastern State Humanitarian University
Faculty of Philology
Department of Russian Language
O. Slavkina, student 742 gr.
WAYS to create a comic effect in the stories of Arkady Bukhov
course work
specialty 031001 – philology
Khabarovsk, 2008
INTRODUCTION……………………………………………………………….3
§1. ARKADY BUKHOV IN LIFE AND WORK……………………………….5
- Arkady Bukhov – satirical writer………………………… ……………5
Techniques for creating a comic effect……………………………………9
2.1 Personification…………………………………………… …………………22
2.2 Hyperbole………………………………………………………………24
2.3 Phraseological pun……………………………………………………………….28
2.4 Mixing different styles of vocabulary……………………… ………………...30
CONCLUSION………………………………………………………………33
BIBLIOGRAPHICAL LIST………………………………………….34
- INTRODUCTION
As you know, the comic effect is created based on the play of meanings, as well as on the contrast: who speaks and what they say; who speaks and how they speak; who speaks and where speaks; what he says and how he says it, etc. Therefore, the comic can be created through many stylistic devices.
The work of Arkady Bukhov represents, in our opinion, very rich material for studying techniques for creating a comic effect.
Relevance And novelty of this work is that there have been no linguistic studies devoted to the study of stylistic devices in the stories of Arkady Bukhov until now. Nevertheless, the work of this writer widely illustrates the various ways of creating the comic.
Object Our research is about techniques for creating a comic effect in the stories of Arkady Bukhov. Item - studying the techniques used by Bukhov to create a comic effect in his works.
Thus, purpose Our work is to analyze the techniques that contribute to the creation of a comic effect in the stories of A. Bukhov.
The set goal involves us solving the following tasks:
- form an idea of A. Bukhov as a person and artist
find out by what means a comic effect can be created
identify and describe ways of creating a comic effect in Bukhov’s stories
determine the most common techniques for creating comic relief in the writer’s stories
We analyzed 98 stories by Arkady Bukhov, from which we selected stories that most clearly illustrate different ways of creating a comic effect.
The following were used in the work methods:
- continuous sampling method
method of analysis of linguistic units
quantitative method
descriptive method
Practical significance: the results of our research can be used in preparation for an exam in the subject “stylistics”, as well as in classes when studying expressive means of language and in Russian language lessons at school when studying the “stylistics” section.
Accepted in the work conditional abbreviation: PU – phraseological unit.
§1. ARKADY BUKHOV IN LIFE AND WORK
- Arkady Bukhov - satirical writer
“He was a strange man. He was stocky, of average height, always well-dressed in the standard way, with a white, plump, bun-shaped and motionless face, he came to the editorial office - literally, I’m not exaggerating - with a dozen stories, feuilletons, reviews, poems written in one night,” recalls He is the secretary of the magazine “Satyricon” Efim Zozulya.
His stories were always in the same style and almost always the main character in them was the image of the narrator-author.
Arkady Sergeevich Bukhov was born on January 26, 1989 in Ufa. The writer's father was a railway employee. Following his older brother Mikhail, Arkady entered the law faculty of Kazan University. In the first year of his studies, Bukhov was exiled to the Urals, to the Kochkar gold mines, for active participation in the student movement of 1907.
After returning from exile, Bukhov wrote satirical stories and feuilletons for the magazine “Dragonfly”, renamed in 1908 “Satyricon”.
In 1909, he published his first book, “Critical Strokes,” about the lyrical work of Alexander Blok and Mikhail Kuzmin.
In St. Petersburg, Bukhov enters the Faculty of Law, but leaves the 4th year for professional literary activity.
IN hard times political reaction and terror, the magazine "Satyricon" appears.
“At one of the regular editorial meetings, it was decided to turn Dragonfly from a humorous magazine into a satirical one, reflecting current events in social and political life in the country. They immediately came up with a different name for the magazine. It was suggested by Radakov. He remembered the famous ancient Roman novel “Satyricon” - a motley kaleidoscope of the nightmarish era of Nero, where the relief details of life are intricately mixed with grotesque images of a dissolute disgusting world (its author is considered to be Gaius Petronius the Arbiter).” . The magazine's writing team set itself the goal of correcting and purifying society through satire on contemporary morals.
Despite strict censorship, the satiricists continued to publish the magazine and instill in readers a taste for genuine and witty humor, exposing the vulgarity of bourgeois life.
For most satiricists, laughter was a way to hide from the horrors of life, the only way to survive in this dirty and difficult time. A striking example is Sasha Cherny’s poem “Oasis”:
When the soul is as dark as a tomb,
And life was reduced to a piece of bread,
You involuntarily raise your forehead
To the bright call of the tramp Phoebus, -
And laughter, magical alcohol,
In spite of earthly hell,
Ringing, pain rocks,
Like the waves of a dead naiad.
Sasha Cherny.
“Satyricon” actively opposed two negative trends in the development of satire of that time: the wretched malice of Black Hundred humor and the shameless mockery of the street press. The editors of the new magazine have set themselves the goal of cheering up the despondent Russian society with the help of “resistance to evil with laughter” or giving it “magic alcohol” to drink.”
At the beginning of the imperialist war, Bukhov was taken into the army, but was soon demobilized as “politically unreliable.”
In 1918, Arkady Averchenko closed the magazine due to the transfer of power into the hands of the people. In the same year, Bukhov moved with his wife to Minsk and then to Vilnius. A theater troupe is created there and the writer is offered to manage the repertoire. After a short existence, the troupe disbands in Grodno and Bukhov earns a living by giving private lessons.
Fleeing from the Belopol occupiers, the Bukhov family moves to Lithuanian territory. But hopes of taking refuge in Lithuania were not justified - it was also occupied by the Belopol legions and Bukhov was forced to move to Kaunas, where on October 26, 1920 the newspaper “Echo” was published and the writer became its employee. In fact, it was the press organ of Russian emigrants.
In 1925, Bukhov bought the newspaper and became its editor-in-chief.
The newspaper “chose to align itself with Moscow.” It became unsafe to stay abroad any longer - Bukhov’s family began to come under attack from anti-Soviet emigrant circles and local nationalists.
On October 3, 1927, the All-Russian Central Executive Committee of the USSR granted Arkady Bukhov's request to accept him as Soviet citizenship and return with his wife and daughter to his homeland.
Bukhov's creativity becomes even more socially purposeful; he begins to more actively fight against everything that was disgusting to his soul.
For a long time, the work of Arkady Bukhov was forgotten, and only recently modern readers began to turn again to the works of this wonderful satirist, finding in them humor sparkling with wit and optimism, which does not allow one to lose heart in difficult life situations. Thus, since 2005, the Eksmo publishing house has been publishing a series of books under the general title “Anthology of Satire and Humor,” which includes collections of stories by such wonderful humorists as N.A. Teffi, Mikhail Zoshchenko, A. Averchenko, Arkady Bukhov and many others.
Bukhov's stories are gaining great value today, making readers laugh to tears.
We are interested in what this comic effect is based on and by what means it is created.
- Techniques for creating a comic effect
Most often, it is impossible to sharply draw a line between techniques that create an artistic image in the same context. It is more appropriate to talk about the convergence of 1 techniques - in this case, one of the means used by the author will be the leading one, organizing the in this example.
Allegory (from the Greek allegoria- allegory) - “numerous detailed metaphor-riddle that performs an explanatory function.” “A term to designate an allegorical image based on the similarity of life phenomena: the connection between meaning and image is established by analogy or contiguity. Thus, in fables, certain persons or social phenomena are allegorically depicted under the guise of animals, i.e. animals replace humans and their relationships and actions correlate with “morality”, conclusions already from the field of human relations.” A very striking example of the use of allegory is presented in A. Bukhov’s story “Laziness”: “And it seems to him at this time that if some special, monstrously large a sticky sheet for flies in which all relatives and strangers would get stuck with your conversations, bustle and habit of getting into your soul - complete bliss would come..." Here people are allegorically depicted as annoying, annoying insects - flies, which reflects the desire of the main character to retire and take a break from the intrusion of anyone into his inner world.
Alogism– (from the Greek alogia – unreasonableness, madness) – “violation of logical connections in speech.<…>Common to the categories of A. and improbability is the concept of absurdity.”
Example: “Although the dialogues were beautiful, they often did not correspond to the development of the plot.
“There was that troubled time,” the hero of the play said passionately, “when young Russia, straining its strength in struggles, took courage in the genius of Peter...
The heroine, not allowing him to finish his sentence, objected confident and angry:
- We all learned little by little, something and somehow, so thanks to God, it’s no wonder we shine...
Argument ended only thanks to the intervention of a third person introduced into the play by the director to fill the empty space<…>, and this a third person gave a summary that reconciled everyone:
- Winter. The peasant, triumphant, renews the path on wood.” Here it is also appropriate to talk about the contamination of techniques - antiphrase is combined with alogism, since the words used “objected”, “quarrel”, “resume that reconciled everyone" in this context have opposite meanings. The comic effect here is also based on the fact that the dialogue of the heroes is built on the centon principle 2.
Anagram– (Greek ana – “re-”; gramma “letter”) – “sound repetition that serves to highlight thematically the key word. A monophonic Anagram is based on the repetition of one sound.<…>Polyphonic anagrams are usually less successful, since polyphony imposes significant restrictions on the choice of words, which in this case often occurs to the detriment of the meaning of the text."
Example: “Sleep, Chiris-Kavr... What's next for you?
“I forgot,” I whispered, “something like Bal-Tal…
– Talbal, added Petya. - Sleep."
Antithesis(from Greek antithesis - opposition ) – “a stylistic figure 3, built on the principle of contrast, a sharp opposition of concepts, positions, images, states, etc. Antithesis is based on a comparison of two opposite phenomena or characteristics inherent, as a rule, in different objects. A. differs from an oxymoron in that it is not characterized by the merging of opposing concepts together.”
Example: “Is this fairy tale?
- What is this - Research Article, whether? - I boiled." In this example, the comic effect is created due to the obvious contrast in the conversation between the heroes of two completely different genres - a fairy tale and a scientific article. The narrator, trying to satisfy the request of his beloved, begins to tell the tale he is inventing, wedging colloquial interjections and words into the narrative, but with obvious zeal he tries to do what is required of him. And that is why his indignation at his beloved’s dissatisfaction is so sincere.
Antiphrasis(from the Greek antiphrasis - opposite in meaning) - “the use of a word, as well as phrases and sentences, in a meaning opposite to the usual one, which is achieved with the help of context and special intonation (in oral speech).”
Example: “What? Leave? And you think that on a night like this I...
After half an hour fruitless struggle with inexhaustible kindness a sympathetic person, I had to stay overnight with Shvanin. At night, he carefully looked into the room assigned to me four times.” The hero talks about Shvanin’s kindness, but the reader fully understands from the context that this kindness turns into a difficult ordeal for the hero, it is obsessive in nature. In this example you can also see the oxymoron - “ fight kindness" Kindness in the universal human understanding is not something that needs to be fought against.
Literalization (realization) of metaphor- “a stylistic device that consists in the fact that a metaphorical expression is deliberately interpreted and used in a direct (literal, non-figurative) meaning.”
Example: “- Tell me blue fairy tale“, - Shura asked, resting her head on my shoulder, “tell me, dear.”
- Blue?.. You definitely need... blue? – I asked hesitantly, turning over in my mind everything that I could fit into this concept.
<…>you feel forced to deceive your beloved woman with stories about some devils, and even so that it's all blue..." . In the above example, the stable metaphorical expression “blue fairy tale” is understood by the hero literally, which indicates a strong difference in the worldviews of the two heroes.
Hyperbola(from the Greek hyperbole - exaggeration) - “a technique based on excessive exaggeration, intensification. A highly exaggerated image of any properties, signs of an object or process, or phenomenon to enhance the impression.”
Example: “All rooms, in proportion to the overall size of the house, are wide and spacious, so that for each person there is several cubic miles of air. Each spouse has a separate half of the house, connected by telephone, whose devices are so far from each other that it’s even awkward to call the phone home. <…>If, in a fit of despair, the husband wants to cause a scandal, he he will have to walk to his wife’s boudoir for so long that by half the way his mood begins to change, and he reaches the door of the boudoir already cheerful, cheerful and with an annoying dream of what to give to his wife.” This example presents an expanded hyperbole, where the size of the apartment is exaggerated not only by describing the duration of movement of residents and guests from one part of the house to another, but also by replacing a component in a stable combination: “cubic verst air." As you know, the volume of air can be measured in cubic centimeters, meters, but never in kilometers, much less versts. In addition, the word “verst” used gives even greater scale to the living space and the air contained in it, since a verst is more than a kilometer.
Gradation(from Latin gadatio - gradual increase< gradus – ступень, степень) – «стилистическая фигура, состоящая из ряда словесных компонентов (не менее трех): слов, словосочетаний, частей предложения, предложений, изобразительно-выразительных средств языка, расположенных в порядке их возрастающей, или (реже) убывающей семантической и/или эмоциональной значимости, которая порождает стилистический эффект» .
Example: “My dear,” she said quietly, kissing my drooping head, “ you're better now . You became more alien . Your soul becomes blue ". Thanks to the gradation technique used here, we understand how much the character of the hero is broken.
Zeugma- (from the Greek zeugma - “connection”) - “a semantic-syntactic technique of the comic, in which semantically heterogeneous words, very far from each other in meaning, are attached to a polysemantic word (usually a verb).
Example: "If this mistake of my friend and horse, That let them split my expenses in half: I don’t want to be responsible for other people’s mistakes.” The hero's friend is made responsible for his mistake next to an animal - a horse, which, naturally, cannot bear any responsibility. IN in this case It is also appropriate to talk about the personification of a horse, which is endowed with human qualities: the ability to make mistakes and be responsible for one’s actions.
Irony(from Greek - “pretense”) - “this is a combination of semantic polarities, contrasts, inconsistencies.” Irony is based on the “double actualization of context and directly opposite subtext.”
Example: “For people with a healthy body and strong nerves, who cannot be finished off with one blow, someone came up with a sure and invincible means and called it installment plan". In this example, the narrator, using irony, criticizes the existing installment payment system and its negative impact on people's lives.
Stationery– “words, set phrases, grammatical forms and constructions, the use of which in the literary language is assigned to formal business style, especially for its clerical-business (administrative-clerical substyle." Clericalisms are an integral part of any official business text, but when used in an artistic style they can create a comic effect based on their inappropriateness in such use.
Example: “So I could listen calmly while lying in bed, but since the conversation was about Ksenia Mikhailovna, this required greater scrutiny and diplomatic space behind the slightly open shutter." In this example we are talking about a child (the main character) who eavesdrops on a conversation between adults. The hero, using clerical cliches “more careful attention” and “diplomatic place” in his speech, is ironic about himself as a child and at his attempts to justify his behavior.
Metaphor– “a way of rethinking the meaning of a word based on similarity, by analogy.<…>The basis of metaphor is comparison. It is traditionally called an abbreviated comparison - without similarity predicates (similar, reminiscent, etc.) and comparative conjunctions (as, as if, as if, as if, exactly, etc.).” “An essential feature of a metaphor is the two-dimensionality of its content, ensured by the interaction (“game”) of the main and auxiliary subjects (that is, the meaning and internal form of the metaphorical sign). Such interaction is the key to the semantic usefulness of the metaphor."
Example: “Fate brought me into contact with stupid, everyday women, hanging heavy blunt millstones on a submissive male neck". In the above example, one can clearly see the spread of the phraseological combination “hang on the neck” as an extended metaphor.
Metonymy(from the Greek metonymia - renaming) - “a trope based on the transfer of meaning according to the principle of contiguity of concepts, i.e. causal or other objective connection between them." “The transfer of a name from one object to another on the basis of one of the real (spatial, temporal, etc.) connections between these objects is considered metonymic.”
Example: “I myself lay down on the floor on the latest issue of a monthly magazine and on scraps of a torn Maeterlinck". Maeterlinck is the name of the famous playwright of the Symbolist theater. In this example, the title was transferred on the basis of being assigned to the author of his works. It is clear that the writer himself could not lie there torn - these were his works.
« Personification(tracing paper from Latin persona – face, personality + facere – to do), Personification is a stylistic device with the help of which inanimate objects, natural phenomena, abstract concepts appear in a human image (anthropomorphism) or in the image of another living being.” Personification can be created on the basis of other stylistic devices: parallelism, comparison, metaphorical definition, rhetorical appeal to an inanimate addressee, allegory, replacement of a component of a phraseological unit (PU).
Example: “When he talked about them, it seemed as if he had spent his entire childhood in a racing stable, knows how quickly get along with any horse, even the most reserved one, and learn from it the racing secret of tomorrow". In this example, one can clearly see the personification created on the basis of the replacement of a component in the phraseological unity “it’s easy to get along with someone,” as well as the spread of a stable phrase that transforms into “ quickly get along with any, even the most reserved horse.”
Homonymy And Related phenomena“(from the Greek homonymia - same name) - the presence in a language of units that match in form (sound and/or spelling), but have different semantics (meaning) and are not associated associatively.
Example: “Well, come on, now.” one the horse will run...
- At all one? This one will probably come first...” Here the comic effect is based on the use of two homonyms: “one” – in the meaning of a pronoun and “one” – in the meaning of a numeral, which allows you to see the hero’s frustration and skeptical attitude - one horse simply cannot help but come first.
Colloquial vocabulary– “words, word forms and phrases inherent in common speech, i.e. everyday speech of different social strata standing outside the literary language or on its periphery."
Example: “Life is arranged in such a way that a lot of people worthy of respect spend their entire lives rubs near the houses being erected and not a single speck of dust falls on their heads...” From the context of the story, we understand that the given metaphorical description is associated with the experiences of feelings of love. The vernacular used emphasizes the author's annoyance at the injustice of the life choices of people who have found love.
Speech stamp(from Latin stampa - seal) - “once figurative words and expressions that have lost their brightness and expressiveness due to the high frequency of use. Their unjustified use is a speech defect that violates the communicative-pragmatic norm. Speech cliches, being words and figures of speech with erased semantics and faded emotional coloring, deprive speech of specificity, individuality, simplicity and are therefore assessed negatively.” Therefore, many writers use this technique to create deliberate artificiality in the speech of characters, its pathos and, as a result, to create a comic effect.
Example “Lieutenant Germinal,” said one of the battalion commanders, “do you love life?”
- Yes, I love life, - said the lieutenant, putting aside his armored sword, - but I'll give it away". Here the comic effect is based on the use of the pathos speech cliche “ I love life but I will give it away” – to ridicule “military fiction” writers with their excessive pomp of style and isolation from real military operations.
Retardation(Latin retardatio - slowdown) - “a stylistic device that consists in deliberately creating and maintaining tension in the text and delaying the climax and, accordingly, the denouement.”
Example: “We need to stand behind the wire fence,” thought Dementyev, but then he straightened up and began to think.
The projectile was flying.
Dementyev rushed down to the desk and wrote a telegram:
etc.................
UDK 82 - 343.4 BBK 83.014.4 Ts 59
I.V. Tsikusheva
Linguistic means of creating a comic effect in fairy tales
(Reviewed)
Annotation:
Linguistics are analyzed based on Russian and English fairy tales. stylistic devices ensuring the achievement of a comic effect. The typology of linguistic means of creating comedy is considered. The main levels and techniques for creating a comic effect, characteristic of the language of a fairy tale, are highlighted.
Keywords:
Linguistic means of comedy, onomatopoeia, spoonerism, metathesis, alliteration, alogism, hyperbole, pun, periphrasis, parody, author's occasionalisms.
The problem of the presence in the language of the system of means used solely for the purpose of creating a comic effect remains open. This is largely explained by the fact that a unified system has not been developed that would include all linguistic means of creating a comic effect (hereinafter referred to as YSC).
Since there is no single typology of JSC, let us turn to the classification of techniques for creating comedy in the works of some Russian and foreign scientists. Thus, V.V. Vinogradov believes that a pun, or playing with homonyms, direct and figurative meaning, is one of the main ways to create a comic effect. According to L.M. Vasiliev, the author's occasionalisms, created by the writer with the help of a witty combination of different words, are the most important linguistic stylistic techniques for creating a comic. M.A. Panina sees a specific means of satire and humor in hyperbole.
IN foreign research There is also no consensus regarding the most typical techniques for creating a comic effect. For example, D. Chiaro is the main comic device considers alogism, which is understood as a violation of compatibility at various language levels [cit. according to 4: 79]. D. Crystal presents a whole cascade of stylistic devices that create a comic effect: puns, syntactic homonymy, alogism, author's neologisms [cit. to 4:40].
We tried to classify the above-mentioned stylistic techniques for creating a comic effect, bringing them into a single system of JSC, in order to determine the general trends of their functioning in the texts of fairy tales.
First of all, it seems appropriate to highlight the levels of creating a comic effect: phonetic, lexical-semantic, stylistic
grammatical. At the phonetic level, the main JSCs in fairy tale texts include ludic (game) strategies based on playing out certain sound effects. A phonetic joke is unpretentious and creates a relaxed atmosphere, characterizing a free attitude to the form of speech and arousing aesthetic pleasure. The reasons for creating comedy through sound form lie both in the peculiarities of the psychophysiological mechanisms of perception of the sound flow of speech, and in the meanings that a person, as a subject of culture, attaches to sound signs. In order to create a comic effect in fairy tales, onomatopoeia is used
(onomatopoeia), spoonerism (phonetic rearrangement at the level of a combination of words), metathesis (phonetic rearrangement at the word level), alliteration (repetition of the same or homogeneous consonant sounds), cf.:
“Uncle Fyodor sang a song, and the tractor sang along with him. They did very well:
There is a birch tree in the field...
Tyr-tyr-tyr.
In the field curly...
Tyr-tyr-tyr.
Lyuli-lyuli...
Tyr-tyr-tyr.
In the above example, onomatopoeia, reproducing the sound of a running engine, forms a kind of refrain that is intertwined with the lines of a famous folk song, superimposed on them and creates a semantic duality, which is the basis of the comic effect.
Onomatopoeia is widely used in fairy tales by English authors:
So Tiger came closer, and he leaned over the back of Roo’s chair, and suddenly he put out his tongue, and took one large golollop.
In the above example, the lexical unit gulp is decomposed into three syllables go-lo-llop, which imitates the sound produced in the process of greedily swallowing.
Metathesis, spoonerism and alliteration are also widely used to create comic effect, cf.:
“Help, help!” cried Piglet, “a Heffalump, a Horrible Heffalump!.. Help, Help, a Herrible Hoffalump!.. Hoff, Hoff, a Hellible Horralump! Holl, Holl, a Hoffable Hellerump!” .
“Go to the banks of the great grey-green greasy Limpopo River...” .
Phonetic means of creating a comic effect acquire special meaning in fairy tales, where they perform the function of bringing the speech texture of fairy tales closer to the elements of children's speech, with the ingenuity and originality of children's language. Particularly striking examples of the so-called “reversals” and “nonsense” are observed in English fairy tales, since, according to S.Ya. Marshak, it is the British who are “the founders of the “poetry of nonsense”, lovers and masters of humor; not a single political speech or even sermon in England is complete without the spicy seasoning of a joke or pun.”
The greatest diversity of JSC is observed at the lexical-semantic level. Such stylistic figures as alogism, hyperbole, pun, periphrase, and parody have comic properties at this level.
Alogism, or the deliberate violation of logical connections in order to emphasize the internal inconsistency of a particular idea, is one of the main techniques used to create a comic effect, cf.:
“And I am also drawn to the sea. I really miss the oceans. I'm just afraid of water."
“Oh, mom! So I'm already dead. I’ll quickly run to the hospital!” .
The violation of logic is associated with the inconsistency of the formulations used (I'm drawn to the sea - I'm afraid of water) and the incompatibility of concepts (I died - I'll run away).
In English fairy tales, alogism is one of the most common ways of creating a comic situation, cf.:
“^nd the cows are almost cooing, and the turtle-doves are mooing.’’ .
“He had been staying with Christopher Robin for a few seconds...” .
“Once upon a time, a long time ago, about last Friday...” .
The comic effect of the above statements lies in the absurdity of the formulations used: cows “coo”, turtle doves “moo”; to stay with (to stay with someone for a long time) does not agree with the expression for a few seconds (for a few seconds); a long time ago (a long time ago) does not agree with about last Friday (approximately last Friday).
Alogism is widely used as a technique for creating a comic effect in fairy tales. First of all, this is facilitated by the very “fabulousness” of the plot, which allows for the presence of elements of the unreal, the incredible as the basis for the development of the plot. Besides,
“shifters” reflect the richness of children's imagination and bring the text of the fairy tale closer to its main reader - children.
In order to create a comic effect, hyperbole is also used, which is understood as a figurative expression containing an exorbitant exaggeration of the size, strength or significance of any object or phenomenon, cf.:
The cow Murka gave a lot of milk. So much that every day there are more and more. All the buckets of milk were standing. All banks. And there was even milk in the aquarium. The fish swam in it.
An expanded hyperbole, based on the concept of “many,” determines the speech expression of a given text (hyperbole is realized through the repetition of a lot - so much, more and more, all - all).
In English fairy tales, hyperbole is one of the leading symbols, cf.:
He ran through the ti-trees; he ran through the mulga; he ran through the long grass; he ran through the short grass; he ran through the Tropics of Capricorn and Cancer; he ran till his hind legs ached.
In this example, hyperbole is created through multiple repetitions (he ran -he ran), the use of an accumulative style (he ran through the grass.he ran through the long grass.he ran through the Tropics of Capricorn.) and alogism (tropics of Capricorn and Cancer , since they are in different hemispheres, cannot be crossed at the same time).
According to V.Ya. Proppu, a pun is “one of the types of witticisms. This is a joke that arises from the use of linguistic means itself." The collision of homonyms is always unexpected and provides great opportunities for playing with them and can be a means of creating a pun, or play on words, cf.:
“I want to clarify,” asks the professor, “how will it be in cat language: “Don’t come near me, I’ll scratch you”?
Matroskin answers:
It's not on the tongue, it's on the claws. .
In the above example, they play out different meanings the words “language” (system of verbal expression; human organ), cf. Also:
“The thing to do is as follows. First, Issue, a Reward. Then - ““Just a moment... What were you saying? You sneezed just as you were going to tell me.” “I didn’t sneeze.” “Yes, you did, Owl.”
The technique of periphrasis, which is interpreted as replacing the name of a person, object or phenomenon with a description of their essential features or an indication of their characteristic features, is another way of creating a comic effect, cf.:
“Jaguar had not finished the sentence before Slow-and-Solid quietly dived into the turbid Amazon... and came out on the bank where Stickly-Prickly was waiting for him.”
The comic effect is created through the use of periphrasis, including epithets that characterize distinctive features characters: Slow-and-Solid (Slow-and-Solid - about a turtle), Stickly-Prickly (Prickly Bully - about a hedgehog), cf. Also:
“My young friend, if you do not now, immediately and instantly, pull as hard as ever you can, it is my opinion that your acquaintance in the large-pattern leather ulster will jerk you into yonder limpid stream before you can say Jack Robinson ".
The comedy of the above statement is created through the use of the following paraphrases: our acquaintance in the large-pattern leather ulster - a friend in a coat of pressed leather (about the Crocodile), yonder limpid stream - a transparent stream (about the Limpopo River). The unexpected ending - before you can say Jack Robinson (“you won’t even have time to gasp”) - enhances the comic effect of this fragment, moving from a high stylistic tone to a colloquial-familiar one.
Parody, which is understood as imitation for comic purposes of an individual manner, style, direction, genre or stereotypes of speech, behavior, is widely used in the texts of modern English fairy tales, cf.:
He kept compiling the “Russian-cat” dictionary.
I don’t know Russian-feline, but I composed “Hunter-dog”. . Wed. Also:
“Owl lived at The Chest-nuts, an old-world residence of great charm.”
At the word-formation level, the comicality of the text is created with the help of the author's occasionalisms, derivative words, and ingot words (contamination). Mostly “joking words” are created according to productive word-formation types, cf.:
“...My life was difficult, full of hardships and expulsions.”
“He floats up, pops up, but he just doesn’t float up.”
Let us also compare examples from the works of English authors:
“And the cows are almost cooing, and the turtle-doves are mooing, which is why a Pooh ispoohing in the sun.”
As one of the means of creating a comic effect at the stylistic-grammatical level, we can name cases when the subject of the comic deviates from the grammatical norm. The most striking syntactic means of creating a comic effect is represented by incorrect word order. Other deliberate grammatical violations are used, for example, unacceptable in grammar in English the so-called “double negative”, cf.:
“If he never eats nothing he’ll never get bigger.”
In general, the language of a fairy tale includes a large arsenal of linguistic means
creating a comic effect. Further research in this area seems to us relevant and promising.
Notes:
1. Vinogradov V.V. Problems of Russian stylistics. M., 1981. 319 p.
2. Vasiliev L.M. Modern linguistic semantics. M., 1990. 176 p.
3. Panina M. A. Comic and linguistic means of its expression: Dis. . Ph.D.
Philol. Sci. M., 1996. 170 p.
4. Rodway A.E. English comedy. L., 1975. 511 p.
5. Linguistic encyclopedic dictionary / Ed. V.N. Yartseva. M., 1990.
6. Uspensky E. Uncle Fyodor, Dog and Cat. M., 2006. 124 p.
7. Milne A.A. The World of Winnie-the-Pooh. M., 1983. 445 p.
8. Kipling R. Just So Stories. M., 1979. 253 p.
9. Outleva F.A. Lexico-semantic features of translations by S.Ya. Marshak //
Bulletin of ASU. Maykop, 2008.
10. Propp V.Ya. Problems of comedy and laughter. M., 1976. 321 p.
Basic comic techniques
All the basic artistic means, all the basic techniques of the comic serve to create an “image” of phenomena that deviate from the norm, phenomena that give rise to the comic.
A brief description of the basic comic techniques most commonly used in various types creativity (satirical, humorous, farce-vaudeville), the further content of the first chapter of our thesis will be devoted.
The mentioned techniques can be divided into 5 large groups and, within their framework, more specific ones can be distinguished:
1. Modification and deformation of phenomena:
· Exaggeration - can affect appearance (face, figure), behavior (manner of speaking, moving), situation and character traits.;
ь Ordinary exaggeration.
ь Exaggeration as a means of caricature.
· Parody - imitation of the original with simultaneous exaggeration of its characteristic features, sometimes exaggerating them to the point of absurdity;
· Grotesque.
· Travesting - its purpose is to humiliate, vulgarize those phenomena that are considered worthy, deserving of respect or even admiration;
· Downplaying caricaturing is a deliberate simplification that distorts the essence of a phenomenon by emphasizing secondary and insignificant points while simultaneously neglecting essential features;
· Pace that deviates from normal.
Understatement, exaggeration, disruption of the sequence of irreversible phenomena - a list of various types of deformations used to evoke the perception of the comic.
2. Unexpected effects and striking comparisons.
· Surprise as a means of creating comedy
b Every plot move, every turn that the viewer or reader did not foresee, everything that happened contrary to his expectations and assumptions;
b Unexpected convergences and comparisons of phenomena that are different or even mutually exclusive (the similarity between a person and an object or between a person and an animal), going beyond ordinary comparisons;
ь Comparisons that reveal a striking coincidence and similarity between generally accepted views and everyday situations, on the one hand, and ridiculous and absurd situations and views, on the other.
b Revealing contrast by comparing different, often opposite (in terms of appearance, character, temperament, habits and views) human types;
ь Acuity based on the comparison of phenomena that are distant in nature or incommensurable. A thought that interprets the similarity between phenomena that are actually distant. For example: “Friendship is like tea: it’s good while it’s hot, strong and not over-sweetened.”
3. Disproportion in relationships and connections between phenomena.
· Anachronisms from the field of morals, views, language, way of thinking, etc. This is a mixture of features from different eras with the same goal - to create a comic effect.
4. Imaginary unification of absolutely heterogeneous phenomena.
· Grotesque, based on multiple transitions from one sphere to another; using contradictions, combining different styles and creative methods;
· Creating situations in which the hero’s behavior does not correspond to the circumstances, does not agree with them - in situations that are least suitable for this, the hero retains the appearance of a person for whom self-esteem and good manners are most important;
· Inconsistency appearance behavior, the nature of the activity performed or other psychophysical manifestation of individuality;
· Discrepancy between appearance and what lies behind it, between illusion and reality.
b Demonstration of the discrepancy between a person’s high opinion of his moral, social, intellectual significance and his actual value;
b Discrepancy between theory and practice, between stated views and actions that contradict them.
b Discrepancy between dreams and reality;
b A statement where the hidden essence serves as a negation of the literal meaning - in other words, an ironic statement. The essence of irony always lies in the fact that someone is assigned a trait that is absent, and thereby its absence is only emphasized.
Sarcasm Sarcasm (from the Greek Sarcazo - tearing meat) is an indignant mockery expressing high degree indignation. Sarcasm is characteristic of satire, in contrast to irony, which is associated with both humor and satire. Like irony, satire, biplanes, denunciation is based on the relationship between the planes of the implied and the expressed [Dictionary-Reference Book of Literature: 2000]. differs from irony only in being more caustic and gloomy, which takes it beyond the limits of the comic.
· Discrepancy between the usual purpose of an item and a new and surprising way to use it;
· Inconsistency between form and content.
We can talk about a discrepancy between form and content if the language the author uses to describe a particular situation clearly does not correspond to what is being described.
· Unnatural repetitions of phenomena as a comic method. Repetition can only produce a comic effect if it is surprising, unexpected or absurd. The intensity of the comic with this technique increases with repetition (of a phrase or situation).
5. The creation of phenomena that essentially or apparently deviate from the logical norm or praxeological norm.
Violation of praxeological norms
Performing unnecessary, useless work;
b Choosing the wrong means to achieve the goal;
b Complicating an apparently simple task;
ь Misunderstanding.
· Violation of logical norms.
b Error in inference and incorrect associations;
b Logical confusion and randomness of statements (lack of logical connection between sentences, unexpected insertions and turns of the topic, incorrect use of words, etc.);
b Absurdist dialogue, characterized by a lack of connection between the interlocutors’ remarks;
b Logical inversion, which consists in a polar displacement of situations and qualities of objects;
ь These are absurd statements at first glance.
This short list of the most important comic techniques can be continued. A more extensive and systematic description of the linguistic techniques with the help of which comic effects are created was created by Bystron in his monograph.
Basic functions of comic
B. Dzemidok in his monograph “On the Comic” defines social role comic, thereby revealing various functions comic. In particular, they highlighted such functions as
· Cognitive,
· Entertaining,
· Therapeutic.
The comic serves as a means to understand the world and assimilate ideas about it.
The greatest educational value is attributed, according to tradition, to humor, which presents the world in its true colors, refusing both the deformation of phenomena and attempts to restructure the world. “The position of a humorist is the position of a thinker, immersed in thoughts human nature and over the course of events. The comedian sees and does not hide from the reader the contrasts and disproportions of reality” Dzemidok B. About the comic. - M., 1974., P. 154.
Satire deforms the phenomena it depicts, resorting to increasing or distorting proportions, but in this way it emphasizes what usually goes unnoticed. Satire is intended to show the true essence of a phenomenon.
It should be noted that the cognitive essence of the comic deepens our knowledge about the world and people, teaches us to distinguish the content of a phenomenon from its form and warns against hasty assessments.
B. Dzemidok sees the essence of the entertainment function in the ability to cause laughter and lift the mood.
The therapeutic function lies in the fact that the comic can serve as a consolation in one’s own failures and disappointments. Ibid., p. 162.. Joke at oneself and self-irony can be a form of self-defense, not so much from external factors, but from oneself, despondency, pessimism, doubt in one’s own strengths and capabilities.
In our opinion, along with these functions, it is necessary to highlight the educational function of the comic. Thus, even the Romans noted the enormous educational potential of the comic: “Satire, laughing, corrects morals.” According to Lessing, “in all morality there is no means stronger and more effective than laughter” Lessing G. E. Selected works. - M., 1953, S. 533. .
All of these functions are characteristic of the comic in children's literature, but it should be especially noted that it is children who should be educated, taught, and mentored. Because this function especially important in children's literature.
Humorous comedy, a humorous perception of reality, while performing an educational function, does not yet mean condemnation of any phenomenon. It (comic) contains only elements of friendly, tolerant and gentle criticism, playing the role of reproach. Humor exerts its educational effect by denying vices and mistakes.
Techniques for creating a comic effect using the example of the novel by I. Ilf and E. Petrov “The Twelve Chairs”
Introduction
The subject of study of this work is vocabulary that helps create a comic effect. The comic is a rather complex phenomenon, “one of the most complex aesthetic categories.” That is why the theory of comic text has attracted the attention of researchers since antiquity.
This problem was dealt with by such researchers as E.G. Kolesnikova, A. Shcherbina, R.A. Budagov, E.A. Zemskaya. Their works were used in writing this work.
The material for the study was a novel by famous Soviet satirists I. Ilf and E. Petrov “Twelve Chairs”.
In 1927 collaboration The creative collaboration of I. Ilf and E. Petrov began on the novel “The Twelve Chairs”. The plot basis of the novel was suggested by Kataev, to whom the authors dedicated this work. In his memoirs about I. Ilf, E. Petrov subsequently wrote: “We quickly agreed that the plot with chairs should not be the basis of the novel, but only the reason, the reason for showing life.” The co-authors fully succeeded in this: their works became the brightest “encyclopedia Soviet life» late 1920s - early 1930s.
The novel was written in less than six months; in 1928 it was published in the magazine “30 days” and in the publishing house “Land and Factory”. In the book edition, the co-authors restored the banknotes that they were forced to make at the request of the magazine editor.
Goal of the work:more detailed acquaintance with this topic during the training process.
Task- to identify the peculiarities of the functioning of linguistic means that create a comic effect in the novel by I. Ilf and E. Petrov “The Twelve Chairs”.
1. Speech means of creating a comic effect in a novel
The comic is generated by human nature; it is inherent in the national spirit, it is in the blood of the people. Great masters learned it from the people, according to him oral creativity. Having polished its forms, they again returned it to the people. People have always highly valued witty people, masters of humor who skillfully use the weapon of satire. The comic art of true masters of laughter is a force that constantly calls for progress: “Comic art is truly revolutionary. Laughter has never served the forces of reaction and regression.”
“By “Comic” we mean both natural events, objects and the relationships arising between them, and certain type creativity, the essence of which comes down to the conscious construction of a certain system of phenomena or concepts, as well as a system of words with the aim of causing a comic effect.” There is a significant qualitative difference between ordinary laughter and comic laughter. Laughter expresses a person’s natural, physiological reaction, his subjective attitude to the impression received. Comics have a more general, objective content. It represents the highest level of laughter." In works devoid of genuine comedy, "the plot turns out to be simple, the images are insignificant, and truly satirical angry laughter is replaced by vulgar giggles."
The comic in speech is inextricably linked with its expressiveness, emotional and evaluative expressiveness, which allows the author to express his attitude towards the objects of reality and give them an appropriate assessment. “The essence of creating a comic effect is that words, in addition to the expressive shades inherent or potentially inherent in them, are given additional expression, comic, resulting from a contradiction caused by a purposeful deviation from the norm language.”
The realization of the comic in relation to any work is the meaning of the text. A comic text is based on a deviation from linguistic stereotypes; “the game when creating and interpreting a comic text is realized in unpredictability and conventionality of actions aimed at destroying stereotypes.”
The most typical for I. Ilf and E. Petrov are considered to be those based on the use of stylistic means. These are puns, figurative use of words, phraseological units, forcing synonyms and the formation of comic proper names, as well as the technique of mixing styles.
When creating puns, authors often use so-called open connecting structures. This method consists in the fact that words and phrases that are distant in meaning, expressing logically incompatible concepts, are combined as homogeneous, often referring to the same polysemantic word, but with different meanings:
“She brought with her the frosty breath of January and a French fashion magazine...”
The first part of the phrase implies a figurative, poetic meaning of the word, while the second refers to the direct one. The contrast between the meanings of the word causes a comic effect.
The main way to create a pun in the texts of Ilf and Petrov is the polysemy of the word, as, for example, in the following sentence, based on the collision of the literal and figurative meaning of the word: “ To tell the truth, White Russians are pretty gray people».
The words “white” and “gray” belong to the same semantic series in their basic meanings as designations of color, but they diverge in figurative meanings (“white” - “counter-revolutionary, acting against the Soviet regime” and “gray” - “unremarkable, mediocre.” Based on close basic meanings, the co-authors collide very distant additional, derivative meanings, resulting in a comic effect.
The technique of mixing styles (moving words and expressions from one style of speech to another) plays a very important role - i.e. placing elements of professional, scientific and technical, journalistic, official business, etc. speech in a stylistic environment alien to them. - a specific means of creating various shades of comic tone, emphasizing the individual comic picture of the world AND. Ilf and E. Petrov.
« The sun was blazing, and the blond seasons stood motionless in the shade of their umbrellas. At this time we clearly felt the presence on the airforeign body . This is true! Pavlidis ran up to us, waving his hat.».
In this example, a person is spoken of as if he were an inanimate object, which makes the co-authors feel a slight mockery of the person being described.
An ironic effect (more precisely, ridicule) can arise as a result of a “simple” replacement of a stylistically neutral word with an expressive colloquial, colloquial synonym or professional term, which in turn is an important component of the technique of mixing styles. For example:
« Ostap did not spoil his opponents with a variety of openings. On the remaining twenty-nine boards he performed the same operation: he moved the king's pawn from e2 to e4...».
The disdain felt in the actions of Ostap Bender opens up an ironic fragment of a comic picture in the novel by I. Ilf and E. Petrov.
The novel also uses vivid metaphors. They are created on the basis of well-known direct meanings of words, by comparing and contrasting concepts from distant semantic spheres. The comic effect arises from the surprise of comparable concepts:
“Spring was dying before everyone’s eyes.”
“She brought with her a herd of girls in sundresses”
“The sky was covered in small cloud dumplings...”
About the method of surprise
Ilf and Petrov are characterized by cases of metonymic transfer, the replacement of a person with the name of clothing, part of the body, or even occupation:
“...“Court and Life”, a hairy man, approached him. The secretary continued to read, deliberately not looking in the direction of “Court and Life” and making unnecessary notes in the editorial. “Court and Life” came from the other side of the table and said touchily...”
“In the check section a one-eyed man was sitting and reading a novel by Spielhagen... And the one-eyed man ran away. Ostap examined the premises of the chess section..."
This technique performs a revealing function in characterizing characters and describing individual negative phenomena.
Also, the authors deliberately expand the meaning of some nouns, comparing objects or phenomena according to a random similar feature, making it the main one. This serves for a comic rethinking of well-known names of objects, phenomena, and facts of life. For example, students who are the first to occupy a compartment on a train are called “firstborns.”
In addition to the generally accepted use of words in a figurative meaning, I. Ilf and E. Petrov encounter cases when, to name a character, they use words that were previously used in the characters’ speech as an “expressive characteristic.” A comic effect also occurs in cases where a figurative or very conventional expression of a character, used by him as an expressive characteristic, is included in the author’s narrative as a neutral name for a person:
“- Thieves live in your house No. 7! - the janitor yelled. - All sorts of bastards! Seven-father viper! Has a secondary education! I won't look at secondary education! Damn gangrene!!!
At this time, the seven-father viper with a secondary education was sitting on a can behind the trash can and was sad.”
The comic effect is created by the discrepancy between the objective nature of the author’s narrative and the hero’s words, which have a pronounced evaluative, expressive character or belong to a different style of speech. The discrepancy between the points of view on reality of the author and the hero, the difference in their manner of speech creates a clear contradiction between the context and the transferred words, contributing to their ironic perception:
« Ptiburdukov the second... reported that the patient does not need to follow a diet. You can eat everything. For example, soup, cutlets, compote... He does not recommend drinking, but for appetite it would be nice to introduce a glass of good port wine into the body... But the patient did not think of introducing into the body either compote, fish, cutlets, or other pickles».
Such linguistic means of creating a comic effect as the formation of proper names and the various use of phraseological units require special consideration. Based on them piece of art acquires not only a bright emotional coloring with memorable colorful characters, but also becomes popular thanks to the “catch phrases” rooted in everyday speech.
phraseological unit comic novel speech
2. Formation of comic proper names
One of the most important means of creating a revealing element in satirical works are proper names. The authors deliberately violate their property - not to express any meaning, only to name the object. The name is given certain meaning, and it becomes an expressive artistic means, its semantics participates in creating the image of the character and his speech characteristics. Semantic names and surnames are characteristic, first of all, of the language of satirical and humorous literature, because their semantics is more suitable for creating a comic effect than for expressing a serious symbolic meaning.
A.A. Shcherbina argues that the most striking surnames are those that contain only a hint of a psychological or social character trait of the character, and which are “characterized by the richness and wit of semantic associations.” It is this technique that is most often used in the works of I. Ilf and E. Petrov. Personal names in the novel “The Twelve Chairs” rarely contain direct denunciation or characterization of the hero. An example of this is the name of a hack writer Nikifor Lapis, formed from the verb “blurt”, that is, “to do hastily, somehow”, Ippolit Matveevich Vorobyaninov, referring to the name of a fussy, quarrelsome bird, useless in human understanding, and Varfolomeya Korobeinikov, the head of the archive, a former official in the office of the city government, who sells warrants for furniture and takes things as collateral.
In the novel there are often proper names created in contrast to the expressive qualities of the names included in them, one of which sounds pompous and can be perceived as foreign, and the other is common Russian: Leopold Grigorievich- pharmacist in a county town, Elena Bour- former prosecutor, Isidor YakovlevichAnd Pasha Emilievich- relatives of the caretaker of Starsobes. Name Pasha EmilievichThis contrast is most characteristically shown by the fact that throughout the entire episode in the novel he is never called by his full name "Paul". The colloquial form of the name in this context and in comparison with the patronymic gives an ironic description of the character, which reflects his low qualities and insignificance. It is worth dwelling in more detail on the name Absalom Vladimirovich Iznurenkov.It fits both categories of name formation at once: it is a contrast - a biblical name, not typical for the Soviet era, in combination with a common patronymic; The character's surname contains a hint of the hero's character, but this time it is a contrast to the behavior. Iznurenkov is restless, he cannot stay in one place for a long time and think about one thing for a long time. The combination of these qualities and the surname with the identification of its semantics creates a comic effect.
It is also worth noting that the comedic coloring of proper names can also lie in their sound or grammatical structure. This may include the surname widow Gritsatsueva.
In the novel there is also a compound surname created using an unusual combination of words: Simbievich-Sindievich,in which the consonance of the terms “symbiosis” and “syndicate” is played out.
Of no less interest is the full name of the main character - Ostap-Suleiman-Bertha-Maria Bender Bey. It is explained by the fact that the hero is the son of a Turkish citizen, and appears only twice in the novel. The comic effect in this case lies not in the unusual sound, but in the fact that it is worn by an ordinary swindler, and the very situation in which it was named:
“If yesterday the chess lovers had managed to drown us, all that would be left of us would be the inspection report of the corpses... And I will be buried, Kisa, magnificently, with an orchestra, with speeches, and on my monument it will be carved: “Here lies the famous heating engineer and fighter Ostap.” Suleiman-Bertha-Maria Bender Bey, whose father was a Turkish subject and died without leaving his son Ostap-Suleiman the slightest inheritance.”
The comic effect enhances the hint of the hero’s illegal activities, which he himself utters.
In the rest of the text the hero is called Ostap Bender, by last name or first name. As a result of the fact that most of the name consists of explosive consonants, it sounds sharp and abrupt, which corresponds to the image created by the authors and enhances the impression made by the character on the reader.
In addition to full proper names, derivative variants of them are also found in the novel. They are expressively colored and show an ironic attitude towards the named person. Ostap uses them, and it is his assessment that is shown in these statements:
"Don't know; what to call you. I'm tired of calling you Vorobyaninov, and Ippolit Matveevich is too sour. What was your name? Ipa?
This technique is used to belittle the hero; Ostap does not respect Ippolit Matveevich; for him, this is a man who alone, without his leadership, will disappear; the authority of the former leader of the nobility has long meant nothing. That is why such an abbreviation appears, emphasizing Vorobyaninov’s status and Ostap’s attitude towards him.
But in addition to ridicule of the companion, there is also self-irony.
“By God, I’ll go ahead and write: “Kisa and Osya were here.”
In this episode, Ostap, dissatisfied with his failures, puts himself on an equal footing with Ippolit Matveyevich; he is just as unable to find a better
way out of the current situation, although he still does not lose optimism.
An example expression author's attitude is Ellochka Shchukina. Throughout the entire episode, she is never called by her full name in the author’s text, and only from the speech of Ellochka’s husband can one learn her real name - Elena. This is primarily due to the nature of the character. Ellochka is a narrow-minded, limited woman who gets by with only thirty words. To create a more accurate image, a diminutive suffix is used, which gives the name in this context an ironic and dismissive connotation. The full form of the name, called by the husband, is intended to show Ellochka the seriousness of the circumstances, to tear her out of her little world:
“Ernest Pavlovich tied his things into a large bundle, wrapped his boots in newspaper and turned to the door...
Goodbye, Elena.
He expected that his wife, at least in this case, would refrain from the usual metallic words. Ellochka also felt the importance of the moment. She tensed and began to look for suitable words for separation. They were found quickly.
Will you take a taxi? Kr-beauty.”
Ellochka also addresses her husband with a transformed name:
“- Ernestulya! You're being rude!
In this case, this option is a speech characteristic of Ellochka, noted by the authors themselves in the list of words used by her:
"16. Ulya. (Affectionate ending of names. For example: Mishulya, Zinulya.)"
It is worth noting the nicknames used in the novel, which sometimes replace names for the characters. A nickname even more clearly indicates a character trait; it is associated with actions. An example here is Vorobyaninov, whose nickname by the end of the story practically displaces his real name. Despite the fact that the nickname " Kisa"he received as a child, and even now it perfectly characterizes Ippolit Matveevich. With it, the authors emphasize the spinelessness and pliability of the character, and in combination with the surname, which was mentioned earlier, naming the hero with the nickname “ Kisa"gives a stronger comic effect. And Ostap, just like from common name, forms derivatives from the nickname:
“Well,” said Ostap, “you, Kisochka, need to bye-bye.”
“Well, Kisulya, to what extent do you know German?”
This again shows the attitude towards Vorobyaninov, demonstrates his infantility and causes a comic effect, again not in form, but, as in the case of Ostap’s full name, belonging to an elderly man, and sounding from the mouth young man. It is important to note that the replacement of the name with a nickname also shows the gradual degradation of Ippolit Matveevich’s personality. Thus, throughout the entire novel, one can detachedly observe the “independent” life of the character.
The names of various magazines, institutions and brands also play a significant role in creating a comic effect. Their role is played by commonly used words denoting everyday concepts, small, insignificant objects and phenomena. In everyday use, they are neutral and do not carry an expressive coloring. When used as names, they acquire additional comic shades that arise due to the contradiction between the meaning of the word and its use, which claims to have semantic capacity. An example here would be a funeral home "Nymph", hair dye "Titanic", newspaper name "Machine"and hunting magazine "Gerasim and Mumu". Such names contain hidden irony.
. Phraseologisms as a means of creating a comic effect
Significant place V common system linguistic means in the works of I. Ilf and E. Petrov are occupied by phraseological units of the Russian language. The comic effect when using them is based on the unexpected destruction of phraseological units, the identification of their direct meanings, and the simultaneous perception of both free meaning and phraseologically related ones. Since phraseological units mainly have a generalized figurative meaning, which appeared on the basis of the direct meaning, comedy often arises with any correlation between the figurative meaning of a stable phrase and the direct meaning of its parts. The stylistic function of phraseological units in the speech of characters is the speech characteristics of the hero, the transmission of his attitude to the phenomena and facts of reality, in the author's - with the author's assessment of people, events, facts. Changed phraseological units serve to deepen the imagery of the text, expand its semantic and emotional load.
E.G. Kolesnikova identifies the following groups of phraseological units:
.Lexico-grammatical
.Phraseological
Stylistic
Grammar
.Some figurative means (metaphors, similes, periphrases)
Techniques for creating such phraseological units by I. Ilf and E. Petrov are: replacing a component with other words (synonyms, antonyms, and paronyms are used), updating phraseological units under the influence of context, combining several phraseological units in the immediate context.
E.G. Kolesnikova offers the following division of transformed phraseological units into groups:
.A change in the semantics of a phraseological unit is caused by the destruction of its lexico-grammatical structure (an external violation of the phraseological unit).
.The decomposition and renewal of its meaning occurs due to a certain organized context that does not affect the lexical and grammatical structure of the phraseological unit (internal violation of the phraseological unit).
In this work, it is considered appropriate to use this classification.
Lexico-grammatical changes in phraseological units occur with full or partial preservation of semantics. In this novel, individual author's techniques are quite widely used, for example, replacing one of the components of a phraseological unit. Often it is replaced not even by a synonym, but by another word thematic group:
« - For a candidate, they give two non-candidates...”
Here the well-known phraseology “For one beaten they give two unbeaten” is played out. Despite the fact that the original and replaced words are not included in the same thematic group, the phraseological unit has not lost its original meaning and has acquired additional expression.
It is believed that the innovation of I. Ilf and E. Petrov is the change of phraseological units with the help of paronomasia.
“...closer to the body, as Maupassant says. Information will be paid..."
Here the lexical component “business” is replaced by the paronym “body”. Despite the lack of semantic connection between paronyms, the proximity of the original and modified phraseological units remains in the context.
Another way of semantically changing phraseological units in the novel “The Twelve Chairs” is the metaphorization of its individual components. At the same time, the authors evoke the desired association in the reader by naming an object using a metaphor, without using its direct name. The phraseological unit “keep a tight rein” has undergone a similar transformation in the text of the novel. Due to grammatical transformation and truncation, only the stem “hedgehog gloves” remains from the original phraseological unit, which is used to metaphorically designate cactus spines:
“The cacti extended their iron fists towards him.”
Thus, the original meaning of the phraseological unit, “keep in strictness,” is lost. Here there is both a structural and semantic transformation of the phrase, which led to the creation of a memorable image.
Changing the structure of a phraseological unit is achieved by the authors using an additional component:
"The time we have is money we don't have"
The aphorism created by I. Ilf and E. Petrov is based on the English expression “time is money”, which translated into Russian means “time is money”, which was expanded with the help of defining sentences, and as a result received a brighter emotional and expressive coloring and additional meaning that successfully complements the primary meaning of the phraseological unit.
As an additional component, adjectives are used that specify the stable combination:
“Farewell, lovers of strong chess sensations...”
The original phraseological unit “Thrill seeker” was specified and acquired additional semantic and emotional load.
However, the external structure of a phraseological unit is not always violated during lexico-grammatical transformation. For example:
“They lived in the house as old women”
While maintaining the outer shell of a well-known phraseological unit, its semantic transformation occurs. This occurs due to the replacement of one of the components of a phraseological unit with a word from another thematic group. The new component is grammatically similar to the original one, which is why the external structure of the phrase is preserved when the semantics are destroyed. Due to this, the phraseological unit receives an ironic connotation.
The second group, changing the meaning of a phraseological unit using context, or internal change, includes the following examples:
Cases of semantic play on phraseological units or their individual parts. It is usually built on “inter-level phraseological homonymy,” that is, the collision of a non-free phraseological combination of words with a free combination of the same words or their synonyms:
“Shy Alexander Yakovlevich immediately, without delay, invited the fire inspector to dine with what God sent.
On this day, God sent Alexander Yakovlevich for lunch a bottle of bison, home-made mushrooms, minced herring, Ukrainian borscht with first-grade meat, chicken with rice and compote of dried apples.”
The comic effect in this passage is created by using phraseological units next to a free combination of the same words that make up the phraseological unit. The effect is enhanced by the specification used by the authors.
Identification of the direct meaning of a phraseological unit, reference to its original meaning also belongs to this group:
“Is it really that much? - Vorobyaninov asked joyfully.
Not less. Only you, dear comrade from Paris, spit on all this.
How to spit?!
“With saliva,” Ostap answered, “like they spat before the era of historical materialism.”.
The comic effect in this case is achieved by returning the phraseological unit to its direct meaning through specification ( - How to spit?! - Saliva). This example also uses a mixture of different styles ( how they spat before the era of historical materialism).
In addition, in the novel there is the use of phraseological units in an unusual context, with words that are not included in the circle of lexical compatibility of the phrase:
“The sun was quickly rolling down an inclined plane...”
“To roll down an inclined plane” means to descend morally or morally; the verbal environment of this phraseological unit usually includes animate nouns denoting persons. Such an expansion of the compatibility of a well-known phraseological unit is always individually authored.
Also, one of the components of a phraseological unit can be returned to its direct meaning:
“When the train cuts the switch, numerous teapots rattle on the shelves and chickens wrapped in newspaper bags, without legs, torn out by the roots by passengers, jump up and down…”
The phraseological unit “uproot” is usually used with words denoting abstract concepts. In this case, the verb “to pull out” with the help of context is returned to its original meaning, which achieves a semantic transformation of the phrase.
In addition to transformed phraseological units, the novel also uses unchanged phrases. But when placed in a certain context, they also acquire new emotionality and expression and create a comic effect.
“He still had a vague idea of what would follow after receiving the warrants, but he was sure that then everything would go like clockwork: “But you can’t spoil the porridge with butter.” Meanwhile, the porridge was brewing big..."
Also, to achieve a comic effect, a mixture of original and transformed phraseological units is used:
“Never,” Ippolit Matveevich suddenly began to ventriloquize, “Vorobyaninov never extended his hand...
So stretch your legs, you old fool! - shouted Ostap"
In this example, the comparison is based on the presence of homonymous components. The phraseology “walk with an outstretched hand” is transformed here, that is, to forgive alms. The authors adapt it to the model of the second phraseological unit - “stretch your legs.” Also, in the proposed context, the comic effect is achieved by colliding phraseological units belonging to different styles: one of them (“walk with outstretched hand”) refers to stylistically neutral vocabulary, and the second (“stretch out your legs”) - to reduced, this is a colloquial phraseological turnover This technique is also used to create a bright and individual speech style of the characters: Vorobyaninov is characterized by stilted speech, and Ostap is closer conversational style, with elements of colloquial vocabulary.
Conclusion
This paper examined the means of creating a comic effect in the novel “The Twelve Chairs”. Summarizing all of the above, we can draw the following conclusions:
The comic in speech is inextricably linked with its expressiveness, emotional and evaluative expressiveness, which allows the author to express his attitude towards the objects of reality and give them an appropriate assessment.
The most typical for I. Ilf and E. Petrov are considered to be those based on the use of stylistic means. These are puns, figurative use of words, forcing of synonyms and the formation of comic proper names.
One of the most important means of creating a revealing element in satirical works is proper names. They have a revealing function and participate in creating the character’s image.
The comic effect when using phraseological units is based on the unexpected destruction of phraseological units, the identification of their direct meanings, and the simultaneous perception of both free meaning and phraseologically related ones. This serves to give speech figurativeness and express an emotionally expressive assessment.
Bibliography
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