The work of Mikhail Zoshchenko is a unique phenomenon in Russian Soviet literature. The writer, in his own way, saw some of the characteristic processes of his contemporary reality, brought out under the blinding light of satire a gallery of characters who gave rise to the common concept of “Zoshchenov’s hero.” Being at the origins of Soviet satirical and humorous prose, he became the creator of an original comic novella, which continued the traditions of Gogol, Leskov, and early Chekhov in new historical conditions.

M. Zoshchenko's stories of the 20s are strikingly different from the works of others famous authors both his contemporaries and predecessors, and later ones. And the main difference is that unique, one might say, unique language, which the writer uses not for whim and not because in this way the works acquire the most absurd coloring characteristic of satire. Most critics spoke negatively about Zoshchenko’s work, and the broken language was largely the reason for this.

“They usually think,” he wrote in 1929, “that I distort the “beautiful Russian language”, that for the sake of laughter I take words in a meaning that is not given to them in life, that I deliberately write in broken language in order to make the most respectable audience laugh .

This is not true. I distort almost nothing. I write in the language that the street now speaks and thinks. I say temporary, because I really write in such a temporary and parodic way.”

The writer is trying to create the most comical character possible with the help of absurd, in our opinion, turns of phrase, words incorrectly pronounced and used in a completely inappropriate context, because the main figure of Zoshchenko’s work is a tradesman, poorly educated, dark, with petty, vulgar desires and a primitive philosophy of life .

One of characteristic features in Zoshchenko’s satire his heroes used foreign words, the meaning of which, of course, they, the heroes, only guessed due to their narrow outlook. So, for example, in the story “Victim of the Revolution,” the former countess was hysterical because of the loss of her gold watch, and often used the French expression comme ci comme ca, which translated means “so-so,” and it was completely inappropriate, which gave the dialogue a comical quality. and a ridiculous meaning:

• “Oh,” he says, “Efim, komsi-komsa, weren’t you the ones who stole my ladies’ watch, sprinkled with diamonds?”
• “What are you,” I say, “what are you, a former countess!” What, I say, do I need a lady’s watch if I’m a man! It’s funny, I say. - Sorry for the expression.

And she's crying.

No,” he says, “no other way than you stole it, komsi-komsa.”

Moreover, it is also important to note that the heroes of the works, even despite their more or less noble origin, combine jargon with affected manners. Zoshchenko thereby points to ignorance, which there is no hope of eradicating in this generation.

In Zoshchenko's verbal comic system, the narrator's language is superimposed on the system of someone else's language. The hero’s desire to become close to the era is to introduce into his speech new, often incomprehensible and even foreign words that are used incorrectly and inappropriately, as if introducing life unknown to the narrator into the story. Often, comparing Soviet with foreign leads to the inclusion of foreign words and even entire sentences in foreign languages. Particularly impressive in this regard is the alternation of Russian and foreign words and phrases with the same meaning, for example: “The German kicked his head, they say, bite-dritte, please take it away, what are we talking about, it’s a pity or something” (“Product Quality” , 1927). “Put on a new blues tunic” (“Victoria Kazimirovna”) Or the use of foreign words in the Russian context: “It’s either lorigan or rose” (“Quality of Products”, 1927). The use of words in an unusual meaning makes the reader laugh; the creation of one’s own, unusual for the reader, synonymous series serves as a means of creating comic effect. For example, reading the stories of M. Zoshchenko, we can analyze the following borrowing options:

The main reason is that there are too many foreign words in it [the Russian language]. Well, take French speech. Everything is good and clear. Keskese, mersi, comsi - all, please note, are purely French, natural, understandable words (M. Zoshchenko, “Monkey Language”).

Barbarisms denoting “who is this, thank you, so-so” are conveyed using the Russian alphabet. They differ in that they have a “foreign” appearance, which stands out sharply against the background of Russian vocabulary. These words are used in the text to give a comic effect to the story.

It was a very smart and intelligent conversation, but I, a person without higher education, understood their conversation with difficulty and flapped his ears (M. Zoshchenko, “Monkey Language”).

“Intelligent” barbarism, meaning “belonging to the intelligentsia, and also generally possessing great internal culture; characteristic of an intellectual” (Explanatory Dictionary of the Russian Language, ed. Ozhegov).

• - What, comrade, will this be a plenary meeting or what?
• “Plenary,” the neighbor answered casually.
• “Look,” the first one was surprised, “that’s why I’m looking, what is it?” As if it were plenary.
• “Yes, be calm,” the second one answered sternly. - Today it’s very plenary and the quorum has reached such a level - just hold on (M. Zoshchenko, “Monkey Language”).

The borrowed word “plenary”, which means “occurring with the participation of all members of a given organization, an elected body” (Explanatory Dictionary of the Russian Language, ed. Ozhegov). In this context, the phrase “ plenary session“conveys the comedy of the situation, as it makes it clear that the speakers have little idea of ​​the meaning of this word.

Exoticism “quorum”, meaning “official.” The number of participants in a meeting, meeting, sufficient to recognize its competence” (Explanatory Dictionary of the Russian Language, ed. Ozhegov), is conveyed using the Russian alphabet. Used in the text to express a comic effect. The main characters use the word “quorum” without thinking about its meaning and without observing lexical norms (such a quorum has been reached - just hold on)

• - ... But it’s somehow closer to me. Everything somehow, you know, comes out in them minimally to the essence of the day... Although I will say frankly, lately I have a fairly permanent attitude towards these meetings. So, you know, the industry is going from empty to empty.
• “That’s not always the case,” the first objected. - If, of course, you look at it from the point of view. To enter, so to speak, into the point of view and from the point of view, then yes - the industry specifically.
• “Specifically, in fact,” the second one sternly corrected (M. Zoshchenko, “Monkey Language”).

Barbarism “permanently”, meaning “continuous, constantly ongoing” (Ushakov’s Explanatory Dictionary of the Russian Language), is conveyed by means of the Russian alphabet. In the text it is used in a meaning that is unusual for it, as a result of which the meaning of the sentence is misinterpreted. In this context, the word “permanently” introduces a satirical tone to the narrative; the author demonstrates the degree of illiteracy of people who consider themselves “intelligentsia”.

Exoticism “industry”, meaning “the same as industry. Heavy industry. Light industry" (Explanatory Dictionary of the Russian Language, ed. Ozhegov), gives the text a satirical flavor. The characters in M. Zoshchenko's story use words foreign origin, entered the Russian language without understanding their real meaning. Inconsistency real value the words and the meaning to which it is used in the text create the comic effect of the story.

In the phrase “specifically actually” there is a stringing of meanings, since “actually” (from the English fact - reality, reality, essence) cannot be combined with the word “specifically”, which has a similar interpretation.

- ...Always, dear comrade. Especially if after the speeches the subsection is brewing minimally. Then there will be no discussion and shouting at a meeting (M. Zoshchenko, “Monkey Language”).

The borrowed word “discussion”, meaning “argument, discussion of something.” question at a meeting, in the press, in a conversation" (Explanatory Dictionary of the Russian Language, ed. Ozhegov), used in a sentence with lexical compatibility unusual for it, which characterizes interlocutors, heroes satirical story M. Zoshchenko, how few literate people are who do not think about the meaning and compatibility of borrowed words.

• - Who is this guy who came out there?
• -- This? Yes, this is the presidium. A very sharp man. And the speaker is the first. Always speaks sharply on the essence of the day (M. Zoshchenko “Monkey Language”).

Barbarism "presidium" has the meaning: 1. the governing body of an elected organization, public and scientific institution; 2. A group of people elected to conduct a meeting or conference (Explanatory Dictionary of the Russian Language, ed. Ozhegov). This word gives the story a comic tone by using it in a stylistic coloring that is unusual for it.

The word “orator”, which means “one who makes a speech, as well as a person who has the gift of eloquence”, does not combine with the word “first”, since this combinability does not correspond to the stylistic affiliation of the word “orator”.

Polta, they say, take him away.

Loktev, of course, immediately threw off the polta with the lady. And I, of course, stand in thought (M. Zoshchenko, “The Delights of Culture”).

The word "coat" denoting an element outerwear, belongs to the category of unchangeable nouns. Thus, the form of the word “polta” used in the story “The Delights of Culture” is an incorrect grammatical form, while creating the effect of a comical situation, demonstrating the degree of illiteracy of the speaker and his social status.

“I’d better go home,” he says. “I,” he says, “can’t have gentlemen walking next to me in their shirts.”<…>(M. Zoshchenko, “The Delights of Culture”).

The word "cavalier", borrowed from the Italian language, has one of the meanings of "a man who engages and entertains a lady in society." The word “cavalier” is stylistically inconsistent with the context, which leads to a violation of lexical integrity. This technique helps the author to reveal the comical situation in which the main characters find themselves, and also helps to show the social situation in the country at the beginning of the 20th century.

Some foreigners wear a monocle in their eyes for full endurance. They say, we won’t drop this piece of glass and we won’t blink, no matter what happens (M. Zoshchenko, “Foreigners”).

The word "monocle", which came into Russian from French, has the meaning of “optical round glass for one eye, inserted into the eye socket and used (in the bourgeois-noble circle) instead of glasses or pince-nez.” The author uses the name of this subject, knowing in advance that many of his readers may have no idea about it. Due to this ignorance, the comic effect is created.

So, I say, it happened at a banquet. There may be millionaires all around. Ford is sitting on a chair. And various others (M. Zoshchenko, “Weak container”).

The word “banquet,” borrowed from French, means “a ceremonial dinner party or dinner in honor of a person, person or event” (Dictionary of Foreign Words). The word in the text is used with an uncharacteristic compatibility (“banquet party”), emphasizing the speaker’s ignorance of the norms of the language, which introduces an element of comedy into the passage.

Koman? What's the matter? What are we talking about? “I’m sorry,” he says, “I don’t know how your throat is, but everything is fine in my throat.”

And he began to send airy smiles again. Then I leaned on blancmange. I ate a portion (M. Zoshchenko, “Weak container”).

The barbarism “koman”, meaning “what is it, what’s the matter,” is conveyed by means of the Russian alphabet. This word, used in the text, has a “foreign” appearance and stands out sharply against the background of Russian vocabulary. This word is used in the text to give a comic effect to the story.

Here we are standing at the station and see such a picture, in the spirit of Raphael (M. Zoshchenko, “Weak Container”)

The use of the artist's name in a setting that has nothing to do with the setting in which the action takes place and which does not relate to art gives the text a satirical sound.

But now it’s one citizen’s turn. He's so blond and wears glasses. He is not an intellectual, but shortsighted. Apparently he has trachoma in his eyes. So he put on glasses to make it easier to see him (M. Zoshchenko, “Weak Container”)

The word “trachoma” (med.) (from the Greek Trachфma, lit. Coarsening) is a chronic disease of the conjunctiva (connective membrane of the eye), in which grayish grains and follicles appear on it. The use of this word introduces stylistic disagreement, since the hero hardly knows exactly what this word defines. The use of a medical term in an everyday situation with some violation of its semantics helps the author to introduce an element of comedy into the story.

That’s true, I would have done it for you for triple, but,” he says, “get into my peak position - I need to share with this crocodile.”

Here I begin to understand all the mechanics (M. Zoshchenko, “Weak container”)

The word "intimate" means "close, friendly, intimate" ( Big dictionary foreign words) is firmly entrenched in the Russian language, but still not all native speakers can correctly determine its meaning. This fact can be attributed to the readers of M. Zoshchenko, who wrote mainly for simple, illiterate people.

The word "mechanics", according to Explanatory dictionary Russian language has the meaning of “hidden, complex structure, background, essence of something.” (colloquial)." The use of this word in the text makes it difficult to understand, but at the same time creates a comical effect, helping the reader to understand that the situation in society is not fair, but one must not lose the presence of mind and sense of humor.

Oh, sorry, sorry. I'm sorry. Now your container is strong, but it was weak. This always catches my eye. Sorry, sorry (M. Zoshchenko, “Weak container”).

He crosses out the inscription, and I go home, talking along the way about the complex mental organization of my fellow citizens, about the restructuring of characters, about cunning and about the reluctance with which my respected fellow citizens give up their established positions. Sorry, sorry (M. Zoshchenko, “Weak container”)

The barbarism "pardon" meaning "I'm sorry" is conveyed using the Russian alphabet. Borrowing is distinguished by the fact that it has a “foreign” appearance, which stands out sharply against the background of Russian vocabulary. This word, which characterizes a native speaker - an illiterate person who does not know the rules of using foreign words and their lexical and grammatical compatibility, is used in the text to give a comic effect to the narrative.

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.

Purpose of the work: more detailed acquaintance with this topic during the training process.

Task- 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”.

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” is meant both natural events, objects and the relationships that arise between them, and a certain type of 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 in order to evoke 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 giggling."

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 they refer to one polysemantic word, but its different meanings:

“She brought with her the frosty breath of January and a French fashion magazine...”

The first part of the phrase implies figurative, poetic meaning words, the second refers to the direct. 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 Soviet power” 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. - specific remedy creating various shades of comic tonality, 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.

Also used in the novel 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 inspected 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, 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».

The following require special consideration language means creating a comic effect, such as the formation of proper names and the various use of phraseological units. Based on them, a work of art not only acquires a bright emotional coloring with memorable, colorful characters, but also becomes popular thanks to “catch phrases” that have taken root in everyday speech.

phraseological unit comic novel speech

IN last decades Much attention is paid to people communicating with each other. Psychologists give a lot of advice to help overcome communication difficulties on the pages modern magazines articles appear on this topic. Some researchers distinguish casual communication as main characteristic dialogue skills. An anecdote is one of the elements of such communication.

E. E. Surova in her article “Po-that-da absurdity” says that “an anecdote is a kind of animating factor. It fills a pause, relieves tension and fatigue, and “defuses” the situation.” In her work, the researcher names the criteria under which a joke “took place”:

1. The anecdote must be appropriate.

2. The anecdote should include problems of everyday life.

3. The anecdote must be “naive”, that is, the experience of one particular person is comically compared with the experience of his opponent.

Until very recently, the school joke as a genre variety of oral folk art was not the object of research in philology, although studies of linguistic and speech techniques of formation humorous text very popular. Special works are devoted stylistic device paradox (G. Ya. Semyon, B. T. Taneyev) and linguistic aspects of the phenomenon of irony (O. P. Ermakova, S. A. Zolotareva, V. E. Zharov). The anecdote as a genre attracts the research attention of L. I. Grishaeva, A. D. Goloborodko, A. R. Gabdullina, V. N. Druzhinin and I. A. Savchenko, K. V. Dushenko, O. A. Chirkova, V. M. Ivanova, A. D. Shmeleva and EL. Shmeleva and others.

However, there are no works specifically devoted to the analysis of the creation of a comic effect in a school joke. All of the above determines the relevance of this work.

Before turning to the genre of anecdote, it is necessary to clarify the relationship between humor and comedy as aesthetic categories. Humor correlates with one of the most complex categories of aesthetics - the category of the comic, which covers a large group heterogeneous phenomena, varied in form and content.

Humor attracts so much interest due to its inclusion in the context of culture. Pleasure from humor, which in naive usage means “a kindly, mocking attitude towards something and the depiction of something as funny, comic form“has a psychological nature and at the same time eludes psychological explanations.

Humor has often been written about as a means of relief from a number of essential but sometimes burdensome human manifestations; it was understood as a means to escape from the yoke of reason, they saw in it an alternative to compassion, a means to overcome piety and fear, they saw in it the antithesis of shame. According to 3. Freud, wit helps to overcome barriers erected by logic and morality. In our work we will turn to the comic as a whole.

Let us turn to the history of the origin of the joke genre. During the twentieth century. Foreign studies presented different understandings of the term anecdote. In the Dictionary literary terms» it is written that anecdote is a short, often moralizing, story about famous people and serves to represent the hero of the joke as a representative of a certain social group or era. The joke was understood in approximately the same way in Russia. late XVIII- XIX centuries

The English joke, or the German Witz, also correlates with anecdote in the modern Russian understanding of the word. It should be noted that in the Russian tradition a joke is distinguished as speech genre and anecdote - as a folklore genre (this division is less typical for foreign studies). In the Encyclopedia of Simple Forms, the difference between joke and anecdote is defined as follows: anecdote is associated with a historical hero or precedent, joke is characterized by a fictitious situation.

The synonymous terms blason populaire and sl ethnicurs refer to ethnic stereotypes existing in a given cultural group that are well known to all members of that cultural group. cultural group, as well as texts in which these stereotypes are played out (for example, Poles in the minds of Americans are dirty, stupid, unscrupulous, and jokes are told about dirty, stupid Poles).

The term Shaggy Dog Story denotes a certain type of joke, close to the Russian type of absurd joke, which originally arose from a series of stories about animals (mainly dogs) - Shaggy dog ​​story: 1) literal translation - “story about poodles”, 2) “anecdote with an unexpected ending , often absurd."

In terms of the frequency of researchers turning to specific material, first place is shared between “Jewish jokes” and Russian “anti-Soviet” ones. A huge number of works are also devoted to the interpretation of jokes about representatives of different nationalities. The attention of researchers is also attracted by new cycles of jokes that have arisen on the basis of films, cartoons, television shows, etc.

The history of the study of anecdote in the 20th century began with the publication in 1905 of Freud's work “Wit and Its Relation to the Unconscious.” His theses became starting point for many interpretations of the joke. Freud's theory explains the existence and spread of jokes by the fact that they express a hidden meaning that the Super-Ego, which is an internal censor, does not allow a person to express directly. The reaction of laughter makes it easier for a person to express this hidden meaning. Therefore, an anecdote can act as a compensator, which allows you to protect yourself from negative emotions coming from the outside.

So, we will use the term “anecdote” in the following meaning:

Anecdote - very short story with funny, funny content and an unexpected sharp end.

A school joke is a genre type of joke that has the following distinctive features:

The setting is school;

Actors: teachers, parents, students, director - i.e. participants in the educational process.

Chapter 2. Linguistic means of creating a comic effect

There are different means of creating a comic effect in a school joke. Conventionally, we divided them into two groups: non-linguistic (18%) and linguistic (82%). Among the linguistic means of creating a comic effect in a school joke, one can distinguish phonetic, lexical, word-formation, morphological and syntactic. Let us characterize each subgroup.

2. 1. Phonetic means of creating a comic effect

The jokes of this group are characterized by the fact that humor is created through the play of sounds. For example:

English lesson in a village school. Teacher:

Ivanov - how do you say “door” in English?

IN in this case Russian word written in English letters, the student could not give a translation of the word.

In another joke, the action takes place in a Georgian school:

A test dictation test is planned in a Georgian school. - Remember children: belka, fork, torelka - spelled without soft sign; salt, beans, mezzanine - written with a soft sign!

In this case, the humor is that the teacher's accent and the correct spelling of words are opposites.

Thus, the first group included anecdotes related to the clash of different languages ​​in the minds of the teacher and student.

This group included 11 jokes, which is 7% of total number analyzed anecdotes.

2. 2. Lexical means creating a comic effect

This group is the largest. It included 85 jokes (57%). Humor is created by playing: a) with the direct and figurative meaning of the word. For example:

1. My friend Mudrik is a very bright personality! He has Blue eyes, red lips, red hair and a green sweater.

2. An amazing thing is an exam. He surprises some with questions, others with answers.

b) textual synonyms. For example:

There is a biology lesson in ninth grade. The teacher explains the structure of a monkey. Vovochka plays around and doesn’t listen. She calms him down and says: “Vovochka, look more carefully at me, otherwise you won’t have any idea about monkeys.” c) antonyms. For example:

1. A good half of Russian teachers write comments in their diaries, and the bad half also call their parents to school.

2. – What do you know about cultivated plants?

Cultivated plants absorb carbon dioxide and release oxygen, and the uncultured impudently use it.

d) phraseological units. For example:

The teacher explains division to the children. She wrote “2:2” on the board and asked:

Children, who knows what this means?

Draw! – Zhenya jumps up from the first desk.

2. 3. Word-formation means of creating a comic effect

Despite the fact that this group included only 3 (2%) anecdotes, we identified it separately. In this group, the student and the teacher analyze the composition of the word differently:

Dad, are there musical tanks?

No, where did you get it from?

The teacher said that in America cowboys ride muztanks.

Well, if only in America Their cowboys, how can I tell you, son? In general, they are strange

2. 4. Morphological means of creating a comic effect

This group includes jokes, the bulk of which are based on playing on: a) numerals:

1. In the school cafeteria.

I'm three second.

Would you like the root of minus two?

2. – I’ll give the one who goes to the board first a point more.

I'm coming! Give me three! b) pronouns:

Name two pronouns.

Who, me? c) degrees of comparison of adjectives:

Russian language lesson in Odessa school.

Today we are studying degrees of comparison of adjectives. To make it clear, I will immediately give examples. Let's take the word "good". Comparative degree- “best”, a superlative degree - “very good”, and a degree that cannot be compared with anything - “May I live like this!” Got it? Then, Monya, take the word “bad” and do the same with it!

Wonderful! Give me a superlative.

Very bad.

Fabulous! Well, and the last degree?

May V live like this!

The number of jokes in this group is 11 (7%).

2. 5. Syntactic means of creating a comic effect

This group includes jokes with missing words, which creates misunderstanding:

I speak Russian, English, French fluently and in other lessons too.

Also in this group phrases with subject-object relations are included:

For some reason, the phrase “The teacher failed the student in the exam” sounds completely ordinary, but “The student failed the teacher after the exam” causes a strong reaction.

Sometimes a comic effect is created by a special text, for example, depicting a teacher’s speech in a lesson:

A history teacher talks about the Battle of Thermopylae. A few days before the battle, the Persian king sent an envoy to the Greeks with a demand. stop talking, Petrov, they tell you! with the requirement to put. books, Shakhov, should lie on the table, and not open on it. demanding that he lay down his arms. The proud answer of the Greeks was the following. you, Karpov, move to the left so that I can see what kind of nonsense Korzhevsky is doing. Yes, the answer was: come and take it. When the Greeks were told that the number of Persians was so great that the sun was darkened by them, then the leader of the Greeks, Leonidas, said: Really, Kasatkin, if you play around, I’ll put you up against the wall. Leonidas said: so much the better, we will fight, a traitor by name. Sokolov, give me the rope here, this is not the place to play! Yes, Ephial showed the Persians the way through the mountains, and then cries of horror were heard among the Greeks. Who the hell is this throwing burnt pieces of paper?

The number of jokes in this group is 14 (9%).

Conclusion

So, we analyzed one of the genre varieties of jokes - a school joke - for creating a comic effect and came to the following conclusions:

1. The term “anecdote” was coined.

2. We described a genre variety of anecdote - a school anecdote.

3. The means of creating a comic effect were divided into two groups: non-linguistic (18%) and linguistic (82%).

4. Among the linguistic means of creating a comic effect in a school joke, phonetic, lexical, word-formation, morphological and syntactic ones were identified.

Basic comic techniques

All major artistic media, 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, highlight more specific ones:

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. It's a mixture of traits 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; use of contradictions, unification different styles and creative methods;

· Creating situations in which the hero’s behavior does not correspond to the circumstances, is not consistent with them - in situations that are least suitable for this, the hero retains the appearance of a person for whom self-esteem and self-esteem are most important good manners;

· 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 a high degree of 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 the most important techniques the comic 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 the social role of the comic, thereby identifying the various functions of the 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, how much 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.

You choose what you need and cut it down

Chapter 1.1. The concept and essence of the comic in literature

At the beginning of my work, I tried to find out what the essence of the comic in literature was.

In Dahl’s dictionary we read: “Comicism is funny, amusing, amusing in an event or in the relationships of people; humor, wit."

At the heart of the comic there is always some kind of incongruity, a violation of the correct proportions. This discrepancy may be

At the linguistic level (alogisms, absurdities, slips of the tongue, imitation of a speech impediment, accent, out of place sounding foreign or different style, for example, “scholarly” speech);

At the level of the plot situation (misunderstanding, one character is mistaken for another, misrecognition, erroneous actions);

At the character level (the contradiction between self-esteem and the impression made, between word and deed, between desired and actual, etc.).

Comic (from the Greek Komikos - cheerful, funny) - aesthetic category, denoting laughter directed at a specific, specific object. In the history of aesthetic thought, it was defined through opposition and contrast between the ugly and the beautiful (Aristotle), the insignificant and the sublime (I. Kant), the imaginary and the truly significant (Hegel), etc. The comic is one of the most complex and diverse categories of aesthetics. By “comic is meant both natural events, objects and the relationships that arise between them, and a certain type of creativity, the essence of which comes down to creating a comic effect.”

The most common signal of the comic and at the same time its result is laughter. But this is still not enough to distinguish the phenomena and experiences of the comic from a number of other phenomena. Not every laughter is a sign of the comic, and the comic is not always manifested through laughter.

Chapter 1.2. From the history of the study of “comic” in literature

The concepts of “comic” and “funny” are considered differently in literature. So, for G. Hegel and V.G. Belinsky's comic is only special case funny, its highest form.

Soviet esthetician Yu. Borev, the author of a number of works on the comic, based on the concepts of Hegel and Belinsky, believes that the comic is “the wonderful sister of the funny... this is laughter, socially colored, socially significant.” But it is difficult to consider such a formulation as exhaustive, since not all phenomena that cause the knowledge of the comic fit within its framework.

Therefore, B. Dzemidok, a theorist of the comic, introduces the concept of “elementary forms of the comic”, occupying some intermediate place between the actually comic and the funny.

Avner Zis believes that the comic is always funny, and the funny is not always comic.

A. Zis writes: “The comic is always funny. But what is funny is comical only when in it, as in any aesthetic phenomenon, through external form the meaning is expressed inner nature this or that phenomenon, which is assessed from the position of a certain aesthetic ideal.” Combining the funny with the comic reduces, in our opinion, artistic value works.

Unlike Borev and Zisya, for whom the comic is always funny, M. Kagan believes that the comic is not always funny. Satire, for example, which is one of the most important forms of comedy, is not always funny. “It does not evoke laughter, but indignation, contempt, anger.” Thus, there are different views on the relationship between the concepts of funny and comic. Differentiation of these concepts is hardly advisable. Undoubtedly, the existence of socially significant phenomena of the comic is “higher” and “nobler” than its other forms, but there are not sufficiently compelling reasons to consider this form of the comic as the only one, and reduce its other forms to the funny. This will add to the already existing chaos in comic terminology.

Chapter 1. 3. The main functions of the comic in literature

The comic performs certain functions in literature, the main of which are the following:

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 that of a thinker, immersed in reflection on human nature and the course of events. The comedian sees and does not hide from the reader the contrasts and disproportions of reality.”

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.

The essence of the entertainment function is the ability to cause laughter and lift the mood.

The therapeutic function is that the comic can serve as a consolation for one’s own failures and disappointments. 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.