Irony and sarcasm as speech-linguistic means of reflecting the moral and ethical values ​​of the British society: based on the works of contemporary British fiction Dyrin, Anton Igorevich. Irony and sarcasm in English humor Practical sarka

Tragic and comic. Humor, irony, satire, sarcasm, grotesque

Tragic - (from the Greek.tragodia - goat song< греч. tragos - козел и ode - песнь) - эстетическая категория, обозначающая принципиальную неразрешимость конфликта в художественном произведении, трагическое противостояние личности и мира влечет за собой гибель или тяжелейшие страдания героя, достойного глубокого сочувствия и уважения. Однако эта гибель вызывает не только отчаяние, но и просветление, очищение, катарсис, возвышает душу читателя. Трагическое может быть свойственно произведению любого жанра. Классическим примером трагического является монолог Гамлета:

To be or not to be, that is the question.
Is it worthy
Resign ourselves to the blows of fate
Or it is necessary to resist
And in mortal combat with a whole sea of ​​troubles
End them? Die. Forget it.

W. Shakespeare "Hamlet"

Comic - (from the Greek. Komikos - funny, cheerful) - an aesthetic category that reflects the contradictions of reality and contains their critical assessment. The comic is based on the contradiction, the discrepancy between the ugly and the beautiful, the insignificant and the sublime, the real and the ideal, etc. Types of the comic:,,,,.

Humor - the kind of comic: a way of manifestation of the comic in art, which consists in good-natured mockery; laughter, whose task is not to denounce, but to indicate or hint at shortcomings that are not in the nature of vices .:

He's from foggy Germany
I brought the fruits of scholarship:
Freedom dreams
The spirit is fiery and rather strange
Always a rave speech
And black curls up to the shoulders.

A.S. Pushkin "Eugene Onegin"

Irony - a kind of comic: ridicule containing a negative, condemning assessment of what is being criticized; subtle, hidden mockery. Not to be confused with irony as a means of expression. The comic effect is achieved by saying exactly the opposite of what is implied:

The Chief of Police was in some way a father and benefactor in the city. He was among the citizens exactly like a family member, and he visited the shops and the seating yard as if he were in his own storeroom.

N.V. Gogol "Dead Souls"

Satire - a kind of comic: a way of manifestation of the comic in art, which consists in destructive ridicule of phenomena that appear to the author to be vicious. Satire is the most acute form of denunciation of reality. If humor is the ridicule of the "private", then satire, as a rule, is the ridicule of the "general", exposure of social and moral vices and shortcomings:

But the Foolovites were also on their own. With great ingenuity, they opposed the energy of action with the energy of inaction.
- What you want to do with us! - said some, - he likes - cut into pieces; if you like - eat with porridge, but we do not agree!
- From us, brother, there is nothing to take! - said others, - we are not like the others who have overgrown with the body! us, brother, and nowhere to prick!
And they stubbornly knelt at the same time.

M.E. Saltykov-Shchedrin "The History of a City"

Sarcasm - a kind of comic: an evil, stinging mockery, a mockery containing a destructive assessment of a person, object or phenomenon, the highest degree of irony. The essence of irony lies in an allegory, a subtle hint, while sarcasm is characterized by an extreme degree of emotional openness, the pathos of denial, turning into indignation:

You will die, surrounded by care
Dear and beloved family
(Waiting for your death with impatience) ...

ON THE. Nekrasov

Grotesque - (from Italian grottesco - bizarre) - a kind of comic: the image of people, objects or phenomena that violates the boundaries of plausibility in a fantastically exaggerated, ugly comic form. The grotesque is based on the combination of the real and the unreal, the terrible and the funny, the tragic and the comic, the ugly and the beautiful. The grotesque is close to farce. It differs from other varieties of the comic (humor, irony, satire, etc.) in that the funny in it is not separated from the terrible, which allows the author to show the contradictions of life in a particular picture and create a witty satirical image:

Fury overcame him: with all his might he began to beat the old woman on the head, but with each blow of the ax, laughter and whispering from the bedroom were heard more and more loudly, and the old woman was swaying with laughter.

F.M. Dostoevsky "Crime and Punishment"

CHAPTER 1 THEORETICAL BASIS OF STUDYING IRONY AND SARKASM AS A MEANS OF REFLECTING MORAL AND ETHICAL

VALUES OF BRITISH SOCIETY.

1.1. Linguistic and cultural prerequisites for the study of irony and sarcasm

1.2. Value as a meaning-forming universal of human existence.

1.4. Subjective modality as a semantic basis for ironic and sarcastic statements.

1.4.1. The general concept of the category of modality.

1.4.2. The semantic content of subjective modality.

CONCLUSIONS ON THE FIRST CHAPTER.

CHAPTER 2 IRONY AND SARKAZM AS SOCIOLINGUISTIC

Introductory remarks and tasks of the chapter.

2.1. Linguocultural classification of cultural and communicative values.

2.2. Dominant features of British culture and their reflection in the communicative behavior of the British.

2.3. Anthropological characteristics of a communicative personality.

2.4. National communicative behavior of the British.

2.5. The pragmatic component of irony and sarcasm.

CONCLUSIONS ON THE SECOND CHAPTER.

CHAPTER 3 THEORETICAL APPROACHES TO THE STUDY OF IRONY AND

SARKAZM AS LINGUISTIC PHENOMENA.

Introductory remarks and tasks of the chapter.

3.1. The nature of the comic in laughter culture. Correlation of the concepts "humor satire", "satire - irony", "irony - humor", "irony - sarcasm".

3.2. The role of presupposition in the actualization and interpretation of ironic and sarcastic statements.

3.3. Irony and sarcasm as linguistic phenomena.

3.4. Linguistic parameters of the study of irony and sarcasm.

3.5. Implementation of irony and sarcasm at the lexical, syntactic and textual levels of the language.

3.5.1. Realization of ironic and sarcastic meaning at the lexical level.

3.5.2. Realization of ironic and sarcastic meaning at the syntactic level.

3.5.3. Textual level of realization of ironic and sarcastic meaning

CONCLUSIONS ON THE THIRD CHAPTER.

Recommended list of dissertations

  • Linguistic and cultural and psycholinguistic aspects of the perception of irony in a work of art 2008, Candidate of Philology Vorobyeva, Ksenia Aleksandrovna

  • Irony in political discourse 2003, Candidate of Philology Veselova, Natalia Vyacheslavovna

  • Means of expressing estimated values ​​in idiostyle M.E. Saltykov-Shchedrin 2008, Candidate of Philology Savvina, Yulia Vladimirovna

  • Means of Forming an Ironic Modality in Contemporary Publicistic Discourse: A Genre of Review 2005, Candidate of Philology Orlova, Galina Viktorovna

  • Linguistic means of expressing irony in English-language fiction (based on the material of English and American fiction of the late 19th-20th centuries) 1984, candidate of philological sciences Pokhodnya, Sofya Ivanovna

Dissertation introduction (part of the abstract) on the topic "Irony and sarcasm as speech-linguistic means of reflecting the moral and ethical values ​​of the British society: based on the works of modern British fiction"

This dissertation research belongs to a series of anthropocentric works in linguistics and is devoted to the linguocultural and sociolinguistic problem of studying irony and sarcasm as a means of reflecting the moral and ethical values ​​of British society.

The second half of the 20th century and the beginning of the 21st century were marked by the full recognition of the anthropocentric paradigm as a priority in all humanities: philosophy, linguistics, psychology, etc. One of the leading postulates of the science of language is the recognition of the need to include a person in the focus of scientific research. This dissertation research, which has an undoubted anthropocentric orientation, is directed to the problems of cultural linguistics and sociolinguistics, the focus of which is on the communicative behavior of a person. Thus, British communicative behavior is characterized, as a rule, by an ironic and sarcastic attitude towards the surrounding reality. Monographs and scientific works of foreign and domestic linguists, sociologists and culturologists: E. Benveniste, A. Vezhbitskaya, V. Humboldt, E. Sapir, B. Whorf, K. Vossler, M Heidegger, Yu.D. Apresyan, S.G. Vorkacheva, Yu.N. Karaulova, E.M. Vereshchagin, V.G. Kostomarova, D.S. Likhacheva, Yu.M. Lotman, A.A. Potebni and others.

Linguoculturological and sociolinguistic scientific works are devoted to the consideration of the speech-linguistic features of the transfer of extralinguistic knowledge of a person about a person and the world around him. Subjective knowledge gives ideas about the inner world of a person, about his communicative behavior, in which this world is reflected.

Communicative behavior, characterized by an ironic or sarcastic attitude of a particular person to the world around him, most fully reveals the personality traits of his character and provides information about speech and language "predilections" and preferences.

Note that for Lately a number of works devoted to the study of irony appeared [Bryukhanova, 2004; Limarev, 1997; Mukhina, 2006; Orlov, 2005; Palkevich, 2001; Sergienko 1995; Usmanov 1995; et al.], and a smaller number of works in which sarcasm is investigated to one degree or another [Volkova, 2005, etc.]. This is explained by the fact that sarcasm is more personified and individual, as it indicates a very high degree of criticality of the linguistic personality. Such criticality is based on the feeling of complete dissatisfaction and disappointment of a person in the world around him and in people. Sarcasm is a psychologically conditioned form of caustic and bilious irony. Taking into account the linguo-emotional aspect of the linguistic personality [Zhirova, 2012], it can be argued that almost any ironic statement can be close to the pole of sarcasm.

This dissertation research seems to be very relevant due to the fact that irony and sarcasm are widely represented in British linguistic culture, however, linguistic and extralinguistic knowledge about these speech-linguistic means has not been sufficiently studied in anthropologically oriented linguistics. So, the question of evaluative linguistic means, which include irony and sarcasm, acquires special significance and needs to be clarified. In this case, it is necessary to take into account the parameters of both linguistic and extralinguistic nature. This dissertation research also reveals itself to be very relevant due to insufficient study of certain aspects of the semantics of irony and sarcasm, which function as a means of transmitting subjective-evaluative modality.

Language is the most important constituent component of a person. The scientific interest of the work lies not only and not so much in expanding the theoretical-practical and practical-methodological base for studying the implementation of irony and sarcasm on different levels language, but mainly in the study of how irony and sarcasm constitute the moral and ethical values ​​of a certain linguistic community, in particular - the British society. In this regard, the scientific novelty of the research lies in the fact that for the first time value as a linguocultural concept is considered as the basis for the study of the linguistic mentality of the people. For the first time, irony and sarcasm are presented as a means of reflecting the moral and ethical values ​​of the British society. New is the linguocultural approach to the analysis of irony and sarcasm, which allows one to present the moral and ethical values ​​of the British linguistic community.

The object of the research is the speech-linguistic means of irony and sarcasm presented in the works of modern British fiction. The subject of the research is the peculiarities of the use of irony and sarcasm as a means of reflecting the moral and ethical values ​​of the British society.

The purpose of the work is dictated by scientific and social requirements and is defined as a systematic understanding of the linguocultural speech-language means of irony and sarcasm from the standpoint of revealing the moral and ethical values ​​of British society. The purpose of the work determines the formulation and solution of specific tasks:

1) consider the linguo-philosophical and linguocultural aspects of the category of value in language and speech, and also reveal the axiological essence of irony and sarcasm as a specificity of communicative behavior;

2) highlight and describe the semantic structure of an ironic / sarcastic statement;

3) analyze the anthropological characteristics of the communicative personality of the Briton and establish the specifics of his ironic and sarcastic communicative behavior;

4) describe the pragmatic component of irony and sarcasm;

5) consider the implementation of irony and sarcasm at the lexical, syntactic and textual levels of the language;

6) to present the features of perception and evaluation of a subjective-evaluative statement.

The formulated goals and objectives are based on methodological provisions: first, on the importance of irony and sarcasm in the communicative behavior of a Briton; secondly, about the level of perception and impact of an ironic or sarcastic statement, as well as the response to such statements; thirdly, about the moral and ethical value of an ironic or sarcastic statement in British society; fourthly, on the recognition that in a certain society, cultural differences are based on the preference of one cultural dominant over others.

The methodological basis of the work was the work of domestic and foreign scientists in the field of cultural linguistics (Y.D. Apresyan, A.D. Arutyunova, E.M. Vereshchagin, V.G. Kostomarov, S.G. Vorkachev, Yu.N. Karaulov, V.V. Krasnykh, D.S.Likhachev, Yu.M. Lotman, V.A.Maslova, AA Potebnya, Yu.S. Stepanov, V.N. Telia, E. Benveniste, I.A.Baudouin de Courtenay , A. Vezhbitskaya, V. Humboldt, E. Sapir, B. Wharf and others); sociolinguistics (V.A. Avrorin, L. B. Nikolsky, G. V. Stepanov, A. D. Schweitzer, R. T. Bell, S. M. Archer

1991], W. Bright, K. Burke, J.L. Firth, E.T. Hall, R. Kjolseth, B. Malinowski, K.L. Pike, etc.); linguistics (L.I.Borisova, N.G. Epifantseva, I.G. Zhirova, V.D. Ivshin, I.G. Koshevaya, E.L. Kuzmenko, AA Lebedeva, M.N. Levchenko, Yu.N. Marchuk, M. G. Mirianashvili, L. L. Nelyubin, A. Olyanich, V. V. Oshchepkova, L. K. Sviridova, E. V. Sidorov, L. A. Telegin, G. T. Khukhuni, E. G. Chalkova, S. Attardo, N. Chomsky, LR. Galperin, HP Grice and others).

The material for the study was the works of contemporary British fiction (D. Lodge, T. Sharpe), dictionaries and reference books, scientific texts and reviews of domestic and foreign linguists, sociologists, cultural scientists, psychologists, including those published on the global Internet. The analyzed illustrated material was about 3000 pages. They most clearly show the moral and ethical values ​​of the British society, represented by ironic and sarcastic statements.

The formulated goals and objectives are based on the methodological position on the dialectical relationship of language, cognition and culture, their mutual conditioning. It, in turn, led to the use of a complex technique for the selection and subsequent processing of material in accordance with the tasks of the study, which included a number of methods. The general methods used include: a) component analysis (when examining the content plan of significant linguistic units); b) textual and contextual analysis (revealing the deep semantic plan of linguistic units). The systematic and integrative approaches to language and culture were applied (study of the parameters of linguistic and extralinguistic linguistic units).

The theoretical significance of the research lies in the fact that, firstly, against the background of a general interest in cultural linguistics and sociolinguistics, the research contributes to the study of anthropologically oriented speech-language means; secondly, it supplements the information about irony and sarcasm existing in linguistic literature; thirdly, it expands knowledge about the communicative behavior of the British language personality.

The practical value of the work lies in the fact that its main provisions and conclusions can be used in the preparation and development of seminars and lectures, special courses in text theory, cultural linguistics, socioanthropology, sociolinguistics, communicative linguistics, pragmalinguistics, stylistics; when writing term papers, graduation qualification works and master's theses. In addition, the data obtained in the course of the study can be applied in practical exercises in the course verbal communication and the theory of intercultural communication.

Provisions for Defense:

1. Irony and sarcasm reflect cultural dominants and moral and ethical values ​​in the British linguistic community.

2. Irony and sarcasm are independent forms of a special kind of comic attitude to the surrounding reality. They are characterized by a high intellectual and status level of such an attitude towards the world around them.

3. Irony and sarcasm in structure artistic text carry an open and hidden (veiled) semantic load, which is different from any other kind of comic (joke, anecdote), since they allow a linguistic person to represent himself as authentically as possible through these speech-linguistic means.

4. Irony and sarcasm are represented by a wide range of lexical and stylistic means at all levels of the language, which undoubtedly increases the potential of text information and enhances the anthropocentric orientation of the text.

5. Irony and sarcasm reflect moral and ethical values ​​in the language, since their semantic basis is the subjective-evaluative modality, which shows the subjective attitude of a particular person to the world around him.

6. Irony and sarcasm reflect a certain worldview and worldview of a particular person. Irony and sarcasm in the British society are perceived positively and find the broadest possible embodiment in the everyday life of a Briton, which is recorded in the texts of modern fiction. This allows us to attribute them to a special form of mastering the surrounding reality by the British.

Approbation of work. The content of the dissertation work and the results of the research were discussed at the meetings of the Department of Indo-European and Oriental Languages ​​of the ILiMK MGOU: (2009 - 2012); reported at the scientific theoretical conferences of the Institute for Mathematics and Mathematics of the Moscow State University of Education, devoted to linguistic problems: "Translation and Cognitology in the XXI Century" (2010), "Linguistic Aspects of Intercultural Communication" (2010); were tested in the classroom with students in modern English in the framework of practical training in intercultural communication in the 4th year, as well as lectures and seminars in linguo-cognitology in the 5th year of the linguistic faculty of ILiMK MGOU.

The dissertation materials are reflected in 7 publications with a total volume of about 2 pp, including one article published in a publication recommended by the Higher Attestation Commission of the Russian Federation.

Terminology. Key terms of scientific work (value judgment, subjective-evaluative modality, value, value-semantic space, mental-lingual complex, communicative behavior, etc.) are explained in the relevant sections of the dissertation research.

The structure of the thesis. The dissertation consists of an introduction, introductory remarks and tasks in three chapters, three chapters, conclusions by chapters, conclusions, a list of scientific literature, dictionaries and reference books, a list of empirical research material.

Similar dissertations in the specialty "Theory of language", 02/10/19 cipher VAK

  • Means of representing irony in a literary text: on the material of the Russian and English languages 2006, candidate of philological sciences Mukhina, Yulia Nikolaevna

  • Linguo-pragmatic and rhetorical aspects of statements with a sarcastic meaning: on the material of modern German 2014, candidate of philological sciences Lezhnina, Anna Sergeevna

  • Semantics, structure and pragmatics of English humor 2000, doctor kulturol. Sci. Kulinich, Marina Aleksandrovna

  • Linguistic and extralinguistic in irony as a component of the writer's idiostyle: based on the works of W.M. Thackeray and C. Dickens 2010, candidate of philological sciences Petrova, Olga Gennadievna

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Conclusion of the thesis on the topic "Theory of language", Dyrin, Anton Igorevich

CONCLUSIONS ON THE THIRD CHAPTER

The main task of the third chapter is to consider the most significant linguo-stylistic features of such linguoculturological phenomena as irony and sarcasm. The linguistic approach to the study of irony and sarcasm has made it possible to explore the nature of the comic in the UK's laugh culture. The main findings for the chapter are as follows:

1. The comic in the culture of laughter is the property of the author's consciousness, reflecting the national and cultural specifics of the country. It is conditioned by social contradictions, its value lies in exposure and criticism. The character of a person is revealed in what he finds funny. Irony and sarcasm as elements of the comic are critical, analytical and intellectual in nature, but sarcasm is more effective in terms of pragmatic impact, since it is able to express stronger emotions of the addressee.

2. Irony and sarcasm as linguistic phenomena can be classified in many ways. So, in linguistics, the irony / sarcasm of the situation and the verbal irony / sarcasm are distinguished; open, hidden and personal; impersonal and self-irony; situational and associative.

3. Irony and sarcasm are realized in the text at the lexical level. Lexical models of their implementation are correlated with each other. Ironic or sarcastic meaning can be represented through a) the interaction of the dictionary and contextual meanings of the word; b) vocabulary fixed phraseological units; c) the implementation of two lexical and semantic variants of a polysemantic word.

4. Irony and sarcasm are realized in the text at the syntactic level. So, an ironic or sarcastic effect is explicated through transpositions: a negative form of a sentence in an affirmative, exclamatory sentences. The explicit tonality of the syntactic structure indicates a high degree of contextuality of an ironic or sarcastic statement.

5. The ironic or sarcastic meaning is realized at the textual level, which presupposes knowledge of the broadest possible context.

6. The contextual conditioning of irony and sarcasm increases from the lexical level to the textual one. Ironic and sarcastic statements are evaluative, for the interpretation of which the textual pressure position presupposes knowledge of the text. Press position underlies the formation of the communicative competencies of the addressee and the addressee.

CONCLUSION

This thesis presents an anthropocentric study of irony and sarcasm based on the material of contemporary British fiction. Irony and sarcasm play a special role in the communication behavior of the British. The work was carried out within the framework of a relatively new direction of linguistics - linguoculturology, taking into account the linguistic and sociolinguistic aspects of their research. The appeal to irony and sarcasm as a means of reflecting the moral and ethical values ​​of the British society indicates the need for a comprehensive and multifaceted consideration of the object under study.

The linguocultural approach seems to us to be very productive, since it involves an appeal to the communicative behavior of not only an individual, but also the nation as a whole.

Due to the low level of elaboration of this issue in modern linguistics and the exceptional difficulty in identifying the nature and role of irony and sarcasm, we have undertaken its multilateral consideration: linguocultural, sociolinguistic and linguistic. The issues of the status of irony and sarcasm in the science of language have been of interest to scholars and thinkers dealing with the problems of linguistics, philosophy, cultural studies and sociology for many centuries.

Our study of these linguistic phenomena has shown that they represent a wide field for the scientific development of new approaches to the object of research within the framework of cultural linguistics. Considerable material accumulated in stylistics and literary criticism in the field of the study of irony and sarcasm, as well as their "representation" in a literary text, seems to us to be a relatively small part of predicted knowledge. Expanding the area of ​​their linguistic research, we attempted to build an integral system of propositions indicating their special place (status) in the science of language. Irony and sarcasm as linguistic and cultural phenomena (elements of laughter culture), of course, reflect the moral and ethical values ​​of British society. These linguistic phenomena indicate the dominance of some of the communicative and cultural values ​​of the British. Of course, we took into account that scientific approaches, points of view, as well as factual material containing irony and sarcasm, could be scientifically, including linguistically, systematized and described.

The paper presents a system for describing such speech-linguistic phenomena as irony and sarcasm, which are of particular value for representatives of a certain ethnic group (in our case, the British) and corresponding to parallel systems of cultural studies and sociology. Thus, our study of irony and sarcasm showed that such an approach is potentially productive, since it is aimed at the depth of comprehension of the human essence, sometimes expressed in ironic or sarcastic behavior. The mechanisms for describing irony and sarcasm can be extrapolated to systems for describing similar and / or more extensive semantic structures, in particular, the linguistic picture of the comic presented in the laughter culture of any country.

The dissertation attempts to substantiate some possible ways representations of irony and sarcasm as a certain way of perception of the world. The anthropocentric orientations of the socio- and linguoculturological plan of irony and sarcasm are manifested very strongly in contemporary British fiction. So, at present, many British writers widely use these speech-linguistic means in their works.

V scientific work we connected the classical linguistic tradition (V.V. Vinogradov, I.R. New scientific linguistic ideas about a person "grow" out of traditional linguistics, which pays close attention to the literary text. Because of this, our research is based on the main provisions of classical linguistics.

Having undertaken a comprehensive description of the linguocultural phenomena of irony and sarcasm, we obtained the results, on the basis of which the linguocultural picture of their "representation" in the laughter culture of Great Britain is modeled. The analysis of irony and sarcasm in a literary text made it possible to describe them not only statically, but also in dynamics.

The main difficulty in describing irony and sarcasm as a means of reflecting the moral and ethical values ​​of British society is that the breadth and complexity of the explication of their representational means in language and speech is very great. So, sometimes irony and sarcasm can be revealed as a result of familiarization not with individual elements of the text, but with the full text of the novel.

The dissertation research revealed the pragmatic potential of these speech and language tools, which made it possible to fully represent the communicative functions of irony and sarcasm.

However, our research does not put an end to the study of this problem. In the process of working on the dissertation, new questions have emerged that require their resolution and further processing: a) consideration of the psycholinguistic role of irony and sarcasm in the formation of the worldview guidelines of a particular person; b) the study of irony and sarcasm in pragmalinguistics, psycholinguistics, etc. Thus, these and other problems constitute the prospect of their further research.

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1

The article is devoted to the techniques of the comic in journalism and critical work of the émigré writers of the “third wave” A. Genis and P. Weil. Fascinating and witty essays, essays, works written in the author's genres of a philological novel, a culturological alphabet, theological fantasy, natural-philosophical reports, entertaining culinary stories, are full of irony, ridicule of the everyday phenomena of Soviet-Russian and American reality. Writers from the Russian diaspora notice what escapes the ordinary gaze of the layman. An interesting, satirically played out, childishly direct manner of writing can be traced in the literary criticism of the authors. The book “Russian speech. Lessons in Fine Arts ”is a challenge to traditional and ossified literary criticism. A fresh look and techniques of the comic shape the thinking of a new reader, whose consciousness ironically easily accepts the classics of Russian literature.

"Third wave" of emigration

Russian abroad

journalism

1. Belokurova S. P. Dictionary of literary terms. - SPb .: Parity, 2006 .-- 320 p.

2. Weil P., Genis A. Native speech: Lessons of fine literature. - M: Nezavisimaya gazeta, 1999 .-- 272 p.

3. Weill P., Genis A. 60th. The world of the Soviet man. - M .: New literary review, 1996. - 368 p.

4. Genis A. Two: Investigations. - Moscow: Podkova, EKSMO, 2002 .-- 492 p.

5. Genis A. Raz: Culturology. - M .: Podkova, EKSMO, 2002 .-- 504 p.

6. Genis, A. Three: Personal. - M .: Podkova, EKSMO, 2002 .-- 456 p.

7. Genis A., Weil P. 60th. The world of the Soviet man. Ed. 2nd, rev. - M .: New literary review, 1998. - 368 p.

8. Glad John. Conversations in Exile - Russian Literary Abroad. - M. Book Chamber, 1991 .-- 319 p.

9. Sergeev V.K., Ivanov V.N. Modern Russian Diaspora: In 7 volumes. Vol. 4. Journalism. - M .: Silver threads, 2008 .-- 480 p.

Introduction

Laughter as a form of criticism - political, social, everyday - has been known and popular in Russian literature for a long time. "In Russian literature and literary criticism, irony in its own way and in different ways manifests itself in the humorous element of N. V. Gogol," mocking criticism "appears in the works of V. G. Belinsky, N. G. Chernyshevsky, M. E. Saltykov -Shchedrina, “avenger” and “comforter” for AI Herzen, acts as a parody for Kozma Prutkov, in the work of AA Blok, romantic irony clearly manifests itself. " ... However, irony and sarcasm as the main methods of journalism and literary criticism most clearly manifested themselves in the second half of the 20th century in the works of writers from the Russian diaspora. The creative duet of Russian writers Peter Weil and Alexander Genis was formed in exile in the United States. P. Weil and A. Genis are the authors of fascinating and witty essays, essays, a number of author's genres, such as natural-philosophical reporting, a cultural dictionary, theological fantasy and a philological novel. The most famous are their publicistic works, designed in the books "Russian cuisine in exile", "Americana", "60s: the world of the Soviet man."

In the 80s and 90s of the XX century, writers who emigrated abroad, in particular the United States, could afford incomparably more than their counterparts in Soviet and post-Soviet Russia. Freedom of self-expression was manifested, among other things, in the possibilities of using the techniques of humor and satire in works of fiction and journalism. P. Weil and A. Genis, whose literary and creative activity fell on this period, found their place in journalism, distinguished by a significant share of satirical material. For the author's humor of A. Genis and P. Weil, there are no forbidden genres, forbidden topics and forbidden stylistic devices. Irony and sarcasm as bright comic techniques have become the hallmark of the creative tandem of emigrant writers.

As gradations of comic devices, irony and sarcasm existed even in the era of ancient literature. The term itself « irony» has Greek roots and means mockery, pretense. Thus, the intentional use of a word or expression in a meaning opposite to the real one, with the deliberate purpose of open mockery, is emphasized. An ironic attitude implies kind laughter and some condescension, as well as hidden skepticism or ridicule.

The word "sarcasm" is also of Greek origin and literally means "to tear the meat". Such a literal reproduction of the genesis of a word makes it possible to delve into the deep meaning of a literary device. In fact, sarcasm is the highest degree of irony, a caustic, malicious mockery of the depicted phenomenon. As you can see, the degree of comic is changing. Sarcasm as a method and form of exposure is equally successfully used in fiction, journalism, journalism.

Philologists by education (A. Genis graduated from the Faculty of Philology of the University of Latvia, P. Veil - the editorial faculty of the Moscow Polygraphic Institute), the writers of the "third wave" of Russian emigration A. Genis and P. Veil, undoubtedly, formed their aesthetic, literary and journalistic taste for examples of satirical literature of famous writers of Russian and foreign satirical classics. The most prominent "satirists" in literature were D. Fonvizin, A. Griboyedov, M. Saltykov-Shchedrin, V. Mayakovsky. The own, new stage of satirical journalism and criticism of A. Genis and P. Weil is the result of a synthesis of the culture of humor of several literary traditions. The laughter in the journalism of these authors makes us pay attention to the smallest details, and this is both innocuous irony over the prose of Soviet life and emigre reality, and caustic criticism using sharp sarcastic techniques.

The book of historical journalism “60th. The World of Soviet Man ”is a work full of irony and satire in the narrative about the worldview, lifestyle and thoughts of Soviet citizens during the“ thaw ”period. An entire era with its inalienable signs and significant events: the first manned flight into space, romance, the dissident movement, Soviet leaders, banned cultural figures and writers, appear in the light form of feuilleton notes.

The titles of the chapters of the book “60th. The World of Soviet Man ”instantly tune the reader into a playful and ironic way. The headings are original and play with the language: “20 BC. e. Communism", « Shunliment of Utopia "," Jewelery of Utopia "," The Inverted Iceberg "," America, the Wrestler and the Clown. Leaders. " The authors proposed their own periodization of the Soviet era, somewhat similar to the periodization of the era of the dinosaurs. About the landmark CPSU Program for the USSR, which was adopted by the Plenum of the Central Committee in 1961, A. Genis and P. Weil write: “And everyone wanted to surpass America in meat, milk and progress per capita:“ Hold on, a cow from Iowa ! " ... The irony and sarcasm of the authors of the Russian diaspora act as methods of absurdization of certain objects and phenomena of life and focusing attention on significant historical events: “On January 1, a monetary reform came into effect, which increased the ruble 10 times. On April 12, Yuri Gagarin took off above all people in world history, circling the globe in an hour and a half, which also turned out to be a speed record. A feeling of new spatio-temporal relations was affirmed in the consciousness.

The ironic position of P. Weil and A. Genis serves as an indicator of the freedom of their own thinking and a catalyst for the development of readers' critical attitude to the past reality. Moderation of exaggeration is characteristic of the authors: “On July 30, 1961, when the country read the draft Program of the CPSU, the building of a communist society ended with this - that is, it was built by everyone for himself, to the extent of his understanding and needs. In any case, the country has somehow applied the Program for pressing needs. " Or: “Cosmonaut No. 1 Yuri Gagarin was prepared happy destiny... With his gift of a smile - wider than that of American presidents - he became an eternal symbol and received divine honors during his lifetime. "

Emigrant writers take the liberty of comparing seemingly incomparable things and incomparable personalities, for example, the General Secretary NS Khrushchev and the poet of the sixties E. Yevtushenko. "They were associates and co-authors - the poet-transformer Khrushchev and the poet-herald Yevtushenko," Weill and Genis write. Further, the lines of Yevtushenko are quoted: "The whole world is an ear of corn crunching on the teeth!" ... Many extracts from Soviet newspapers, official documents, speeches of top officials of the state, poetic lines of writers and poets of the sixties also serve as a means of creating a comic. Moreover, the satirical effect is created not by quotations per se, but by their collision, "montage", comparison. Sarcasm in the book “60s. The World of Soviet Man ”is often a caustic mockery, the starting point of which is indignation, indignation at the absurdities of Soviet civilization. Individual chapters of this book by A. Genis and P. Weil have a political connotation and are transformed into independent works - pamphlets.

The book “Native Speech. Lessons of Fine Arts ”is interesting because schoolchildren and language teachers have the opportunity to compare the points of view of recognized academic critics and our contemporaries - the writers of the Russian emigration of the“ third wave ”P. Weil and A. Genis. Written in New York in 1989, this collection of author's essays arrived in Moscow in 1991, a turning point for Russia. This is also why the book "Native Speech" was initially perceived as shocking, encroaching on the "sacred and unshakable." The author's humor and ease of presentation make the language of the book fascinating and enjoyable to read. "Native speech" by A. Genis and P. Weil is often called a collection of literary feuilletons, an "anti-textbook", thereby emphasizing an unconventional approach to reading literary classics. The emigre writers took it upon themselves to wittily and sometimes caustically joke at the classics. The irony and satire in Native Speech is not an attempt to belittle and ridicule, but rather a demonstration of brilliant philological erudition, a play on words that allows one to read and evaluate famous authors and famous works with an unblemished mind.

At the same time, A. Genis and P. Weil write about satire from the standpoint of critics. They consider the work of unsurpassed masters of literary feuilleton and pamphlet. “An unfunny satire is nonsense,” write P. Weil and A. Genis about Saltykov-Shchedrin. And further: “Fortunately, Shchedrin knew how to write funny. He instilled in Russian literature special types of humor, which were so useful to her in the era of Bulgakov, Ilf and Petrov, the Oberiuts. An experienced official, a former vice-governor, Shchedrin discovered endless possibilities of playing with officialdom. Introducing a hidden absurd twist into the loyal formula, he blew it up from within. Shchedrin's loyal hyperboles are funny in themselves - they don't even need context, let alone comment. The distance between absolute power and absolute humility is bridged within one phrase. Only after reading it to the end, the reader understands how he was fooled: "They knew that they were rebelling, but they could not help but kneel."

If traditionally irony and satire are clearly characteristic of certain journalistic genres of pamphlet and feuilleton, then in P. Weil and A. Genis these techniques are found in almost every work written in the author's genres of alphabet, philological novel, theological fantasy, miniatures. So, for example, in the publicistic work "Dovlatov and Surroundings", which A. Genis designated as a philological novel, but in fact written in a synthetic genre, including portrait sketches, memoirs, letters, satire and irony are the main author's techniques. In the chapter "The Metaphysics of Error" A. Genis recalls stories of different years, in which the main character is not only and not so much Dovlatov, but ridiculous typos in newspapers, books, television programs. "The grave of the unknown solat", "The Seed of Ulyanov", the "shit-in-chief" from the Soviet "Pravda" make the reader smile and make him think about the nature of laughter. “Laughter is our applause of a free accident that has managed to break through to success,” concludes A. Genis. Accident sometimes creates confusion, which is often the "salt" and outlet of everyday life. “A world without mistakes is a dangerous, like any utopia, totalitarian fantasy. By correcting, we are improving. Improving, we destroy, ”the author concludes. The main idea of ​​A. Genis can be formulated as follows: people, no matter how great and brilliant they are, have the right to make mistakes, which means they have a right to laugh. As an example, there are misprints by Gogol, Dostoevsky, Goethe. Without the funny, according to the author, the individual is fake, unnatural.

The authors' sarcasm and irony clearly manifests itself in the language. Figurative comparisons often create an ironic subtext: "Thinning, like chastity, American resorts are so conservative that they are the best way to judge the past." Unexpected comparisons baffle the reader and at the same time allow them to see new sides of the described object, phenomenon, person: “Carried away by analysis instead of its intended synthesis, the kitchen can reduce cooking to medicine, assuring that for a person, like for the periodic table, the main thing is chemical elements... It's not for nothing that every product in America is accompanied by such a detailed list of ingredients, as if it were a urine test, not ice cream. "

Thus, the publicistic work of A. Genis and P. Weil is characterized by emotional criticism of the phenomena of life, in particular, Soviet-Russian and emigre reality. At the verbal-reflective level, writers evaluate literary works of classical and modern literature, using the techniques of the comic. The use of puns, grotesques, unexpected comparisons allows you to quickly find contact with the reader, to achieve ease in book communication. Moreover, irony and satire appear among the authors of the Russian diaspora in the form intellectual game in a word, sometimes in a deliberate juxtaposition and collision of the logical and the illogical, the normal and the absurd. That is why in the journalism of A. Genis and P. Weil there is a lot of subjective assessment, which is hidden behind a deliberately light form of ironic and satirical techniques. As we could see, the range of depiction of the comic by A. Genis and P. Weil is quite wide: from harmless humor to caustic satire. Using the techniques of irony and satire, writers try on the roles of both whistleblowers and peacemakers.

Reviewers:

  • Zvyagina Marina Yurievna, Doctor of Philology, Associate Professor, Professor of the Department of Literature, Astrakhan State University, Astrakhan.
  • Zavyalova Elena Evgenievna, Doctor of Philology, Associate Professor, Professor of the Department of Literature, Astrakhan State University, Astrakhan.

Bibliographic reference

Baybatyrova N.M. SARKAZM AND IRONY IN PUBLICISM AND CRITICISM OF THE CREATIVE DUET OF A. GENIS AND P. WEIL // Modern problems of science and education. - 2012. - No. 5 .;
URL: http://science-education.ru/ru/article/view?id=6987 (date of access: 02/01/2020). We bring to your attention the journals published by the "Academy of Natural Sciences"

Comic- one of the main categories of aesthetics, which serves to assess those social phenomena, morals, customs, activities and behavior of people that fully or partially do not correspond, contradict the objective laws of social development and the aesthetic ideal of progressive social forces, and therefore cause condemnation in the form of ridicule. “There is laughter, mocking, sarcastic, laughter from despair, etc. The comic, on the contrary, is characterized by endless benevolence and confidence in its unconditional rise above its own contradiction, and not a sad and sad experience of it ”(G. Hegel). "Every contradiction is a source of the comic and the funny" ( V.G. Belinsky).

Satire- in translation: an overflowing dish, a hodgepodge. A kind of fiction that ridicules and castigates certain socially harmful phenomena of human life or vices. "In satire, reality as a kind of imperfection is opposed to the ideal, as the highest reality" (F. Schiller ". S. is characterized by the sharpness of exposure; how the genre developed in Roman literature." In order for satire to be really satire and achieve its goal, it is necessary - firstly, so that she would make her feel the ideal from which her creator is sent, and, secondly, so that she quite clearly understands the object against which her sting is directed ... "" Satire escorts everything that has become obsolete to the kingdom of shadows "(M. ( A.Z. Woolis).

Humor- a special kind of comic, which, unlike satire, gently ridicules the shortcomings and weaknesses of society, however, it is impossible to draw a sharp line between humor and satire, they often converge. YU. very common in everyday life and in art, often found in works of folklore: in a song, a ditty, a fairy tale. It is also a literary trend, which reflects the funny, comic in life. "Humor is laughter at harmless comic contradictions, combined with pity for people who display this comic" ( E.G. Rudneva). “In accordance with the etymology of the word, humor is deliberately“ wayward ”, personally conditioned, marked by the imprint of the“ strange ”mindset of the“ humorist ”himself ( L.E. Pinsky).

Irony - one of the tropes, a stylistic turn, in which the opposite of what is said about the subject is feigned. Example. The donkey is asked: Split, smart, are you delirious, head? Krylov "The Fox and the Donkey"“Irony as an artistic principle should be distinguished from irony as a stylistic means. In the latter case, the irony is contained in the speech of the characters or the author himself. Through such irony, a comic effect is created, since here what is said has a meaning directly opposite to what is said by the author "( D.L. Chavchanidze).

Sarcasm - angry and caustic mockery, the highest degree of irony, excluding ambiguous interpretation. Half-my lord, half-merchant, Half-sage, half-ignorant, Half-scoundrel, but there is hope That it will be complete at last. Pushkin (epigram on Vorontsov)"If the essence of irony is in allegory, in a subtle hint, in sarcasm, the main thing is the extreme degree of emotional attitude, the high pathos of denial, turning into indignation" ( A.S. Suleimanov).

Grotesque- "quirky", "intricate". A type of artistic imagery that generalizes life phenomena with the help of an excessive, bizarre sharpening of a particular topic. G. violates the boundaries of plausibility, gives the image a convention, a fantastic character, revealing to the limit the essence of phenomena. G. it is a combination of the real and the beyond, the tragic and the comic, the beautiful and the ugly. “Bringing the distant together, combining the mutually exclusive, violating the usual ideas, the grotesque in art is related to the paradox in logic. At first glance, the grotesque is only witty and amusing, but it conceals great opportunities ”(LE Pinsky). “The grotesque image characterizes the phenomenon in a state of its change, of an unfinished metamorphosis, in the stage of death and birth, growth and formation. The attitude to time, to becoming is a necessary constitutive (defining) feature of the grotesque image "( MM. Bakhti).

Sarcism ( Greekσαρκασμός, from σαρκάζω, literally "Rip [meat]") - one of the types satirical incrimination, stinging mockery, the highest degree irony, based not only on the heightened contrast of the implied and the expressed, but also on the immediate intentional exposure of the implied.

Sarcasm is a mockery that can open with a positive judgment, but in general it always contains a negative connotation and indicates a lack of a person, object or phenomenon, that is, of what is happening in relation to.

As well satire, sarcasm encompasses the struggle against hostile phenomena of reality through their ridicule. Ruthlessness, sharpness of exposure - distinctive feature sarcasm. Unlike irony, the highest degree of indignation, hatred, finds its expression in sarcasm. Sarcasm is never a characteristic technique of a humorist who, revealing the funny in reality, always depicts her with a certain amount of sympathy and sympathy.

In sarcasm, indignation is expressed quite openly. M. Yu. Lermontov about his generation: “we are rich, barely out of the cradle, in the mistakes of our fathers and their late minds ...”, and concludes his "Duma" caustic comparison of the attitude of future generations to him with "the bitter mockery of a deceived son over a squandered father."

Because of its direct emphasis, sarcasm is a form of incrimination equally inherent in journalism, controversy, oratory, fiction. That is why sarcasm is especially widely used in conditions of acute political struggle. Developed political life Greece and Rome spawned high specimens of sarcasm in Demosthenes, Cicero and Juvenal.

The creativity of the great fighters of the young bourgeoisie against feudalism was imbued with deep sarcasm. F. Rabelais, a humanist who fought against the constraint of consciousness with theology and scholastic science, directs the arrows of sarcasm against scholastic scientists, producing from the word "Sorbonne" mocking "sorbonates", "sorbonides", etc.

Sarcasms are extremely diverse J. Swift in his exposure of various aspects of social life in contemporary England.

Examples of sarcasms that have become aphorisms:

  • The capitalists are ready to sell us a rope on which we will hang them ( Vladimir Lenin)
  • If the patient really wants to live, doctors are powerless ( Faina Ranevskaya)
  • Only the Universe and human stupidity are endless, while I have doubts about the infinity of the first of them ( Albert Einstein)

Irony - pretense, expresses mockery, when irony is performed, the word acquires the opposite meaning in the context. # he loves you as much as his own



Ironia (from Old Greekεἰρωνεία - "pretense") - trope, in which the true meaning is hidden or contradicts (opposes) the explicit meaning. Irony creates the feeling that the subject of discussion is not what it seems.

By definition Aristotle, irony is "a statement containing a mockery of someone who really thinks so"

Irony is the use of words in a negative sense, the exact opposite of the literal one. Example: "Well, you are brave!", "Clever, clever ...". Here, positive statements have negative connotations.

Forms of irony

Direct irony is a way to belittle, give a negative or funny character to the described phenomenon.

Anti-irony is the opposite of direct irony and allows the object of anti-irony to be underestimated.

Self-irony is irony directed at one's own person. In self-irony and anti-irony, negative statements can imply the opposite (positive) connotation. Example: "Where can we, fools, drink tea?"

Socratova irony is a form of self-irony, constructed in such a way that an object, to which she turns, as if independently comes to logical logical conclusions and finds hidden meaning ironic statement, following the premises of "not knowing the truth" subject.

Ironic worldview- a state of mind that allows not to take common statements on faith and stereotypes, and not take the various "generally accepted values" too seriously.

Irony as a remedy comic presentation of material is a powerful tool for the formation of literary style, built on the opposition of the literal meaning of words and utterances to their true meaning ("The bullet turned out to be poisoned after falling into the poisonous body of the leader" - Georgy Alexandrov)