What are the means of creating a comic. Language tools and ways to create a comic effect. Disproportionate connections and relationships between phenomena
Artistic technique is a term used in modern literary studies as a synonym for the phrase "pictorial (expressive, artistic) means": compositional, rhythmic, stylistic or sound means that serves to concretize, emphasize one or another element of the narrative (character state, description, author's speech etc.). A technique is also understood as the principles of organizing the artistic structure of a work in the whole of a work as a whole: genre, plot, etc.
Pictorial means are methods and techniques for recreating reality in an artistic work, allowing one to present a visible, audible, tangible picture of it: tropes, stylistic figures, various forms of sound instrumentation of the text, rhythm, etc., that is, those elements of the work that help to create "sensory-object images (V. Kozhinov).
B. Dzemidok, in his work devoted to the theory of the comic, although he does not consider the means of the comic, devotes a special place to the study of its forms and methods. He notes five methods of creating the comic: modification and deformation of phenomena; unexpected effects; disparity in relations and between phenomena; an imaginary unification of absolutely different phenomena: the creation of phenomena that, in essence or in appearance, deviate from the logical or praxeological norm. These techniques are explained on the basis of the facts of world art. The generalized statements of the author about the techniques of comic in a somewhat refined form can be applied to the work of the masters of comic of various peoples. Another advantage of Jzemidoka's book is that, speaking of purely comic devices, he excludes comic means, considering them a topic for a separate study.
Perhaps a narrow and broad understanding of the term "means of the comic". Anything that contributes to the creation of a comic effect, in a broad sense, can be considered a means of comic. The means of the comic in a broad sense include a variety of objects and their details. However, speaking about the means of the comic, we mean first of all its linguistic means: epithet, metaphor, hyperbole, lithote, metonymy, comparison, etc.
The range of means of the comic is known: does this include all the significant units of the language? words, expressions, phrases, sentences and texts. The possibilities of each of these units in creating the comic are endless. For example, as a means of comic, we noted a linguistic unit, collectively referred to as "word". The role of the word in comic art is increasing significantly. Speaking about the poles of words as "means of the comic", we mean the functionally - stylistic poles of common words, archaisms and dialectisms, neologisms, terms and terminological words, professionalisms, borrowings and vulgarisms, jargon, the proper names of persons, objects and space, titles and titles. It is known that metaphors, metonymy, comparisons, artistic definitions (epithets) significantly expand the semantic possibilities of a word. In satirical art, polysemantic words, homonymy, synonymy, antonymy and comic play on words are widely used. Pronunciation of words with an ironic intonation creates an immense field for their semantic and comic variation. The comic effect is also produced by the linguistic playing of figurative expressions and aphorisms, paremias, phraseological units, etc.
It should be noted that in the language of prosaic works, the comic nature of homonyms, paraonyms, most often arises on the basis of puns, which have a serious impact on the comic expression of thought in dialogue. It should also be noted that puns in the language are not limited to the use of lexical homonyms, homoforms, homographs and paraonyms; puns have wide possibilities of expression, variety of forms. And yet, in the dialogues of humorous and satirical works, especially the poetic ones, these forms are more often than others used to create comic puns.
Known to be a pun? it's not just a play on words. The use of puns in artistic production is often associated with the advancement and development of an autopsy idea. The words of puns are rare among prominent artists, but they have great meaning. Too much puns can turn a work of art into a field for meaningless wordplay. VG Belinsky, speaking about Chatsky "... and therefore his wit so sharply, strongly and is expressed not in puns, but in sarcasms." ..., he meant just this feature. This thought is also connected with the fact that pun is not a means of expressing evil, harsh, angry satire; sarcasm can be the main means of such satire.
The pun is based on the meaning of the word, it is often associated with different interpretations, unexpected rethinking of the word. Sometimes the word is used in a completely different, occasional, meaning. This also includes a playful etymological analysis in accordance with the mindset of the hero.
In the language of prosa, the comic with the use of antonyms is not limited to criticism negative qualities inherent in individual individuals: it also serves to expose public opposition. Antonyms express the opposites of objective reality in the language of pose. However, in comic works, a general humorous or satirical background gives a comic tone and antonymic contradictions. At the same time, the groans that make up the contrast differ sharply, which enhances the comic effect. Sometimes comic contrasting contributes to the disclosure of the secret intentions of the hero, serves to expose his spiritual content.
Interesting examples of comic contrasts through the joint use of words that are in no way related, not related in any way. In general, the description in one row of completely incompatible, completely different and opposite objects and concepts is one of the main means of expressing the manner of surprise. These funds have long been used in world literature. For example, G. Heine wrote: "In general, the inhabitants of Göttingen are divided into students, professors, philistines and cattle, which four classes, however, do not differ strictly from each other." The satirical attitude is expressed here in the comparison of professors, students and philistines with cattle.
The techniques are also varied in nature. Of course, in artistic production, all the techniques of the comic are associated with language, since artistic production is created on the basis of linguistic material. However, not all techniques of the comic are in an equally active relationship with the lexical and grammatical means of the language. For example, situationally conditioned irony, contrast, comic exaggeration (hyperbole), belittling (litota), manners of misunderstanding, surprises are less dependent on the constituent elements of the language.
The remedy is specific, trick? general. One and the same tool can serve as an element of several techniques. For example, the comic effect of words can be used both in irony and in forms of deformation and other techniques. The means is material, concrete; the method is materially "elusive", it is abstract. The means of the comic are there: we see them, we read them, we pronounce them. But techniques are not derived from these means: they are of an indirect nature.
The power of comic production, the significance of humor and satire depend on the choice of means, their appropriate use, and their skillful introduction into the text. In cases where the work does not meet these requirements, the comic is faintly expressed, the satirical spirit? weak. This circumstance once again confirms the indissoluble unity of the means and techniques of the comic. Formation of comic character and conflict is impossible without comic means. The plot of a comic work is gradually loaded with comic means, which, along the general course of the plot, determine the development of comic techniques.
The language of satirical works in material terms does not differ from the language of non-satirical works: the linguistic means of the comic also consist of phonetic, lexical, phraseological and grammatical means. The linguistic means of the comic embrace all the means of expression, they are identical with the means used in lyric, epic and dramatic works, and do not differ from them in their material form. Phonetic, lexical, phraseological and grammatical means language are the material for any work. These tools are used by all writers. However, the main task of the comic master is the use of linguistic means in the comic plane; the master of satire, the creator of humor must be able to give the means used a satirical or humorous coloring, choose those units that have a comic quality in the language itself, color his work with comic intonation and comic speech means.
Praise and approval, combined with other words and in the presence of an ironic intonation, can acquire directly opposite meanings and turn into a means of satire.
Vulgar words and expressions constitute a special and significant category of words in the common language. Words expressing vulgar and crude meanings have ancient history in the language, for a long time they exist in a limited everyday environment and are passed on from generation to generation. Vulgarisms have a pronounced national colopitis, so they, as a rule, consist of words originally inherent in the language (in rare cases, they are borrowed from other languages). A certain part of vulgarisms (the so-called swear words) in everyday life express sharp and irreconcilable relations between various individuals. They often have a humorous and kind-hearted connotation.
Vulgarisms also penetrate into artistic works. And this is natural. Writers turn to vulgarisms for a comprehensive depiction of the character of the image, its position in public life and in everyday life, for a natural and real display of his relationship with others, reactions to various phenomena. Writers differ in the culture of using vulgar words and expressions in relation to vulgarisms in the language of artistic works. Some give a wide place to vulgarisms, while others adhere to the principle of the limited use of such words and expressions.
In the language of satire, vulgarisms are used mainly as a means of comic. But this does not apply equally to all vulgarisms found in satirical works. A number of swear words, swear words in the language of satire, without having comic shades, are associated with overall development plot and images. These words express the necessary concepts. However, in most cases, comic masters use vulgarisms in artistic production as comic means, paying special attention to their possibilities in creating a comic effect.
In satirical language, vulgarisms are mostly constituent element characters speech. Sometimes abusive and rude expressions are found in the author's speech. In the author's speech, vulgarisms are associated, as a rule, with a negative, satirical attitude towards the image.
Fictitious names, nicknames, titles of titles as a means of satirical typing provide invaluable assistance to writers who use them as the most significant means of typing. Satire masters, trying to stigmatize negative images, choose names that from the very beginning expose the base essence, low public "rating" of these characters. All this plays a significant role in creating a generalized image of the satirical type.
In artistic production, proper names perform not only a nominative-identification function: being associated with the subject of the work, genre, general composition and character of images, they carry a certain stylistic load, have stylistic coloring... The names and nicknames in the writer's stories play a significant role as a source of comic influence, they make the reader follow the development of events with a smile.
Thus, despite the frequent confusion of forms, techniques and means of the comic, two main forms of the comic are still distinguished: humor and satire. Among the techniques for creating comic content, there are: situationally conditioned irony, contrast, comic exaggeration (hyperbole), belittling (litota), a manner of misunderstanding, unexpectedness. And among the means of creating a comic, epithets, metaphors, comparisons, assimilations, oxymopon, synonymy, antonymy, curses, swearing, approval, praise, vulgarisms, professionalisms, "speaking" names and surnames, titles, etc. are identified.
There are many forms (types) of the comic, we list the main ones:Wit
- this is any creation of a comic, an "act of creation" of jokes, humor, satire. There is no comic without wit. Note: in order to be witty, you must have at least a mind. "First cleverness, then wit. " A witty person can express the essence of one well-marked phrase, so much so that there is nothing to add. There is no contempt in good wit, but there is a joke. Another peculiarity of wit is brevity. However, brevity is not yet sharp, a “sharp” unexpected thought is needed. True wit is human, destruction is alien to it, although often criticism can be quite caustic.
Here is Voltaire's definition: “A sharp mind is understood as one unexpected comparison, sometimes a subtle hint; sometimes it is an unauthorized play with a word, which is given in one sense, while it should be understood in another, it is an elegant connection between two unconventional ideas - a rare metaphor ... "
Humor
- this term has two meanings: first - the understanding of the comic, that is, the ability to see and show funny; the second is mild condescending criticism, oral or written. Humor, the focus of our research, is a very capacious concept. Humor combines light, harmless mockery and gaiety. Humor is a good-natured laugh, though not toothless. Under the guise of the funny, humor conceals a serious attitude towards the subject of laughter, which cannot be reduced only to the funny.
Note that humor has nothing to do with sarcasm and cunning, with malice and malice - these are the functions of satire, sarcasm, ridicule, and mockery. Humor is the grace of the mind, which is good. This is the relaxedness of the mind, the ease of association, the ability to see the unusual in the ordinary, this is what reflects the creative abilities of the mind. True humor presupposes the presence of high taste, a sense of beauty, a sense of proportion, observation and, of course, creativity. Therefore, a sense of humor is one of the most important Qualities of a Creative Personality (see Appendix).
Sense of humor - this is the ability to understand humor, perceive funny. This is a complex feeling: moral, aesthetic, intellectual, and emotional. Many consider this feeling to be innate. We can agree with this. It is quite rare, which is why it is prized as rare expensive stones or nuggets of gold and platinum. This is probably why humor is so hard to create. But, it should not be assumed that a sense of humor does not lend itself to education and development.
Joke - what is said or done not seriously, but for the sake of entertainment, amusement and fun.
Irony - this is a subtle hidden mockery, even a mockery, for example, over unfounded claims or when they talk about the desired as existing in reality.
Satire
- in comparison with irony and humor, this is an even more powerful means of denouncing and ridiculing serious vices and shortcomings. Satire denounces and castigates rudeness, dishonesty, bribery, theft, arbitrariness, corruption ...
"I love, where there is a chance, to pinch the vices" - the words of the famous satirist I.A. Krylova ":
Ilf and Petrov wrote: "If a strict citizen again declares that satire should not be funny, ask the prosecutor of the republic to bring the said citizen to criminal liability under the article punishing for bungling with burglary."
Satire uses hyperbole, grotesque, parody, allegory, caricature, satire, pamphlet, caricature, sarcasm. Satire may not be funny when, as they say, "not laughing." Satire can be oral (A. Raikin, M. Zhvanetsky, M. Zadornov), graphic (Goya, Daumier, Bidstrup), theatrical (Moliere, Gorin), literary (Juvenal, Aristophanes, Swift, Saltykov-Shchedrin, Prosper Merimee, E . Meek, I. Ilf and E. Petrov).
An example of oral satire.
Graphics can be satirical too. A good graphic satire, especially political satire, increases civic responsibility, social consciousness, reveals the political sympathies and antipathies of a huge audience of the reading public. It is noted that during periods of social upsurge, political satire (Windows ROSTA, Kukryniksy, Dolls) becomes widespread.
Regarding the lack of satire in the Western world, one witty man remarked: “In a world where cars strictly stop in front of a zebra, there is nowhere for a global satirist. Everything is in order there and there is nothing to laugh about. " Yes, it's boring to live there, gentlemen! Whether it's our case, you won't get bored of stupidity and theft, satire has a place to roam. However, not so long ago it was very dangerous.
They say that a proposal was discussed in the Duma: when calculating pensions for satirists, consider their life and retirement "a year as two", as in a war.
Sarcasm
(from Greek letters... - tearing meat) - this is a stinging, malicious, caustic mockery, evil irony over something base and vicious, a bilious remark. If humor ridicules usually minor offenses, then sarcasm and satire scourge serious atrocities, for example, the deep conviction of the oligarchs that the people are trash and exist solely to enrich them.
Once Pushkin was visiting the chief prosecutor. And in Pushkin's times, this position was very profitable. The prosecutor's wife pesters Pushkin and asks for an impromptu speech. Pushkin stroked the cat at that moment and said to him, for example: We, for example, treat Ostap Bender more humorously than sarcastically, for the reason that Ostap, although a swindler, he also robs not sinless people and the scale of his machinations is not so great, sarcasm "does not pull." But the plot of the painting by the artist Reshetnikov "Again a deuce" and "does not pull" satire, it is rather a sad joke.
Introduction ……………………………………………………………………… ... 3
1 Theoretical foundations of the study of the comic as an aesthetic category ………………………………………………………………… ...… ..5
1.1 General nature of the comic effect …………………………………… 6
1.2 Stylistic ways of expressing comic effect ………… ..11
1.2.1 Humor …………………………………………………………………… 11
1.2.2 Irony ………………………………………………………………… ..12
1.2.3 Satire ………………………………………………………………… ... 13
2 Comicism in modern English works ………… .. …………… .15
2.1 Plot level …………………………………………………… ....... 16
2.2 Character level …………………………………………………… ..19
2.3 Supply level …………………………………………………… .22
2.4 Phrase level ……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… .24
Conclusion …………………………………………………………… ............. 25
List of sources used ………………………………………… ... 26
Appendix A Ways of using comic effect by English-speaking authors of the XX century …………………………………………… .29
Appendix B Techniques for the use of comic by English-speaking authors of the 20th century ............................................. 30
Introduction
The comic has always been one of the subjects of stylistic research. But over time, the mentality and understanding of the comic effect changes. Its forms and means are changing, as well as the styles of the authors. Certain techniques and ways of expressing the comic are used, which makes the style and language unique and inimitable. However, one can find the most common expressions of comic effect by authors of the same century. Therefore, this work will analyze some literary sources and identify the main ways and techniques of expressing the comic effect used by modern authors in English stories.
purpose of work is to analyze the comic as a category expressed by linguistic means in modern English literature.
The goal was concretized in the following tasks:
Consider and clarify the concept of the comedy as a stylistic category,
Highlight different levels of text in which the effect of the comic is manifested,
Analyze the techniques and means of comic effect at different levels of the text.
Object of study constitutes a comic effect as a stylistic category.
The subject of research are the ways and techniques of expressing the comic effect in the literary text.
Materialforresearch served as stories by H. Munro “The Story-Teller”, H. Munro “The Mouse”, Owen Johnson “The Great Pancake Record”, James Thurber “Doc Marlowe”, Muriel Spark “You Should Have Seen The Mess”.
The course work consists of two parts: theoretical and research. In the introduction, the purpose and objectives of the study, the subject and object of study are indicated. The theoretical part examines the comic effect, its ways and techniques of expression. The research part analyzes the English works of the twentieth century. The appendix contains diagrams.
Theoretical foundations of the study of the comic as an aesthetic category
"Feeling is one of the forms of human consciousness, one of the forms of reflection of reality, expressing the subjective attitude of a person to the satisfaction or dissatisfaction of his human needs, to the correspondence or inconsistency of something with his ideas." Not all human needs are innate. Some of them are formed in the process of education and reflect not only the connection between man and nature, but also his connection with human society. "Aesthetic feelings" are the reason for the emergence of aesthetic categories. For example, in his book "On the sense of humor and wit" A. N. Luk gives a list of human feelings, in which, in addition to higher social feelings, he also includes a list of "aesthetic feelings":
a) Feeling the sublime
b) Feeling beautiful
c) Feeling tragic
d) Feeling comic.
These "aesthetic feelings" constitute four aesthetic categories: the category of the sublime, the category of the beautiful, the category of the tragic, and the category of the comic, which will be discussed in this work.
1.1 General nature of comic effect
According to the definition given in the dictionary of I. T. Frolov, “the comic is a category of aesthetics that expresses in the form of ridicule the historically conditioned (complete or partial) inconsistency of a given social phenomenon, the activities and behavior of people, their morals and customs, the objective course of things and the aesthetic ideal progressive social forces ”. Course work will be built on the basis of this definition of the comic, since it fully reflects the essence of the comic. The comic effect is of a social nature in its origin, essence and aesthetic function. Its origins are rooted in the objective contradictions of social life.
The comic can manifest itself in different ways: in the discrepancy between the new and the old, content and form, goals and means, actions and circumstances, the real essence of a person and his opinion of himself. A kind of comic is, for example, an attempt by the ugly, historically doomed, inhuman hypocritical to portray itself as beautiful, progressive and humane. In this case, the comic evokes angry laughter and satirical, negative attitudes. The senseless thirst for accumulation for the sake of accumulation is comical, since it contradicts the ideal of a comprehensively developed person.
The comic has various forms: satire, humor, etc. The concept of "comic" comes from the Greek "koikуs" - "funny", "funny" and from "komos" - a cheerful band of mummers at the village festival of Dionysus in Ancient Greece and passed into Russian with the meaning "funny". Since Aristotle, there is a huge amount of literature about the comic, its essence and origins; the difficulty of its exhaustive explanation is due, firstly, to its extraordinary dynamism, play ability, and secondly, to its universality (everything in the world can be considered both seriously and comically).
The general nature of the funny is easier to understand by referring through the etymology of the word to the playful, festively cheerful (often with the participation of mummers) amateur folk laughter, which is characteristic of all peoples, known from ancient times. This is laughter from the joyful carelessness of excess of strength and freedom of spirit, as opposed to the oppressive worries and needs of previous and forthcoming everyday life, and at the same time reviving laughter (in the middle of the century it was called "risus paschalis" - "Easter laughter" after long hardships and prohibitions of Great Lent ).
In terms of communicative content, the comic is universal and at the same time dual, because it can combine praise and reproach, praise and reproach at the same time. On the one hand, the comic is subjective in nature, and the choice of the comic object is determined by a set of value and behavioral stereotypes that make up the mentality of an individual and a nation at a certain stage of historical development. On the other hand, it is interesting that the discovery of the comic depends on collective intentionality. Thus, in order to achieve the effect of laughter, it is necessary that the participants in communication are "on the same communication wavelength", in other words, that there is at least empathy between them, due to certain points of contact, which can be the unity of the worldview on everyday, social , professional levels. This position is confirmed by the work of M. Aipt (Mahadev Apte) - a cultural scientist and anthropologist, who notes: “Laughter occurs when communicants feel comfortable with each other, when they are open and relaxed. And the stronger the bonds that bind a given communicative group, the more pronounced the effect is ”(How Stuff Works 2000: 18).
The anthropological significance of the funny is great, it is associated with both individual and group mentality. So, I.V. Goethe believed that in nothing the character of people is revealed so much as in what they find funny. This truth is equally applicable both to individual individuals and to entire societies and eras (what seems funny to one cultural and historical environment, starting with customs, rituals, forms of entertainment, etc., causes laughter in another, and vice versa ( Chernyshevsky 1949)).
In connection with the study of the theory of the comic in general aesthetic terms, mention should be made of A. Makaryan's book "On Satire", in which the author, contrary to its title, speaks more about the "comic". Indeed, the first part of the monograph is called "The Comic in Literature", the second - "The Comic". In the second part, the author, who has set himself the task of “investigating the main artistic means of satirical creativity,” examines such phenomena as “comic of words”, “figurative comic”, “logism and illogism”, “comic position”, “comic character”, “ the comic of circumstances ”,“ the comic of action ”. The author discusses two types of comic words: witty and comic words. However, wit is the subject of an entirely different field of study. As for comic words, according to Makaryan, they are associated with ignorance, cultural backwardness, nervousness, etc. Trying to define groups of comic words, he writes: "A deviation from the generally accepted use of the word: dialectisms, professionalisms, archaisms, neologisms, barbarisms, violation of semantic and grammatical connections - all this often gives the word a comic meaning." However, in specific cases, the author experiences difficulties in distinguishing between the means and methods of the comic. So, the author considers the main sources of verbal comedy to be the disorder of thoughts and their logical design, the scarcity of thought, ornateness, pretentiousness of speech, violation of the connection between remarks, comic increase or decrease in intonation, loss of a thread of thought during a conversation, words expressing contradictory concepts, repetitions, comic sounds and puns.
The comic effect of ordinary common words is primarily associated with the possibilities of their metaphorization and with polysemy. The comic is enhanced by individual words with their different linking, acquiring an additional comic coloring in the comic environment, with misunderstandings arising in the course of dialogues and mutual replicas of characters. Of course, the comic possibilities of words are also manifested in the author's language in the course of the narration, but the language of the characters has wider possibilities for achieving artistic goals.
The comic embraces satire and humor, which are equal forms of the comic.
In philological and aesthetic literature, the techniques and means of the comic are often confused and identified.
The means of the comic, along with the language, encompass other means of inducing laughter. The linguistic means of the comic are phonetic, lexical, phraseological and grammatical (morphological and syntactic) means.
Comic techniques are generated in various ways and are formed, first of all, by linguistic means.
Comic art is able to reveal the comic potential of not only common, emotional words, but also terms, terminological words and combinations. An important condition for the acquisition of comic lexical units is the comic environment, the unexpected connection of the word in the text with other words and expressions.
In prose, the possibilities of words in creating a comic effect, apart from ironic intonation, are as follows:
Study of re-etymologized formations functioning in the language of satirical and humorous works
Thesis >> Literature and Russian languageStarve produced from the last name english manufacturer ... folk "etymology modern authors. In satirical and humorous works(jokes ... bright stylistic funds are used for creation comic... Situation comic effect ...
Features of the translation of phraseological phrases from english language into Russian
Abstract >> Foreign languageArtistic product which ... modern English language there is a system of various derivational funds... what for creation comic effect needed an update ... the composition, in the functional stylistic (english PU refers to ...
A comprehensive description of youth slang as one of the subsystems modern Russian and english
Abstract >> Foreign languageVernacular - stylistic coloring. Therefore ... Now in modern English language fashionable ... works modern satirists and humorists serve for creation bright and imaginative funds... a general literary language for creation comic effect, - the change...
M.E. Saltykov-Shchedrin
The form: analysis of a literary episode
Objectives: repeat the techniques of the comic; improve the skill of analyzing the source and techniques of the comic in a literary text.
Exercise 1.
Review the main types and techniques of the comic.
Types of comic (funny)
Humor - a kind of comic: soft, sympathetic laughter, not denying the phenomenon in general, but recognizing its imperfections.
Irony- a kind of comic: a subtle, hidden mockery. The comic effect is achieved by saying exactly the opposite of what is implied.
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.
Sarcasm- a kind of comic: an evil, sarcastic mockery, a mockery containing a destructive assessment of a person, object or phenomenon. Sarcasm is characterized by an extreme degree of emotional openness, denial, turning into indignation.
Comic techniques
Absurd- a way of depicting reality, which is characterized by an emphasized violation of cause-and-effect relationships, the desire to demonstrate the absurdity and meaninglessness of human existence.
Hyperbola- excessive exaggeration of feelings, meaning, size, beauty, etc. of the described phenomenon. It can be both idealizing and derogatory.
Speaking name- a technique based on the use of the meaning of the name or associated associations to characterize the internal appearance of the hero.
Grotesque- a technique based on combining contrasting principles: real and unreal, terrible and funny, tragic and comic, ugly and beautiful.
Litotes- a trope opposite to hyperbole: artistic understatement of the magnitude, strength, meaning of a phenomenon or object.
Parody- humorous or satirical imitation of a literary work in order to make fun of it, ridicule.
Implementation of the metaphor- the literal embodiment of a metaphorical expression, as a result of which a new understanding of this expression arises, which sometimes has a humorous and even grotesque connotation.
Self-exposure- a technique based on the disclosure by the hero of his own vices, unseemly deeds. At the same time, the hero does not realize his own shortcomings, does not repent of them.
Fiction- a special type of imagery, which is characterized by: a high degree of convention, violation of the laws of reality, orientation to fiction
Task 2. Read the above episode. Answer the question in 5-10 sentences (the answer must contain an analysis of the episode).
Option 1. Surnames on A-I
Can Vasiliska Wartkin be called an ideal mayor? What satirical techniques are used to describe his reign?
Vasilisk Semenovich Borodavkin, who replaced Brigadier Ferdyshchenka, represented the complete opposite of his predecessor. As far as the latter was loose and loose, just as the former amazed with quickness and some unheard-of administrative causticity, which manifested itself with particular energy in questions concerning the eaten egg. Constantly buttoned up and with a cap and gloves at the ready, he was a type of mayor, whose legs were ready to run at any time to who knows where. In the daytime he, like a fly, flashed through the city, watching that the inhabitants had a cheerful and cheerful appearance; at night - extinguished fires, made false alarms and generally caught by surprise.
He shouted at all times, and shouted extraordinarily. "So much did he contain in himself a cry," the chronicler says on this occasion, "that many of the Foolovites were afraid for themselves and for their children forever." This is a remarkable testimony, and it finds confirmation in the fact that later the authorities were forced to give the Foolovites various privileges, precisely "to frighten them for their sake."
Option 2. Surnames on K-R
What features of the Foolovites manifested themselves in the strange “riot on their knees”? What satirical techniques are used in this episode?
By the way, he happened to hear that the Foolovites, by omission, had completely lagged behind the use of mustard, and therefore for the first time confined himself to declaring this use compulsory; as a punishment for disobedience, he added olive oil. And at the same time, he put in his heart: until then, do not put down weapons until at least one perplexed person remains in the city.
But the Foolovites were also on their minds. 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 stood on their knees.
Obviously, when these two energies meet, something very curious always comes out of it. There is no rebellion, but there is no real obedience either.
- I will break this energy! - said Wartkin, and slowly, without haste, pondered his plan.
And the Foolovites were on their knees and waited. They knew that they were rebelling, but they could not help but kneel. Lord! what did they not change their minds at this time! They think: now they will eat mustard - as if for the future they will not force any other abomination to eat; will not - no matter how shepov had to taste. It seemed that the knees in this case represent the middle path, which can pacify both sides.
Option 3. Surnames in C-Z
What explains Benevolensky's legislative activity? What satirical techniques are used to describe his reign?
As soon as Benevolensky began to issue the first law, it turned out that, as a simple mayor, he did not even have the right to issue his own laws.<…>Finally he broke down. One dark night, when not only the workers, but also the dogs were asleep, he stealthily went out into the street and scattered a multitude of leaflets on which the first law he had written for Foolov was written. And although he understood that this way of issuing laws is very reprehensible, but the long-held passion for legislation cried out so loudly about satisfaction that even the arguments of prudence were silenced in her voice.
The law was apparently written in a hurry, and therefore was distinguished by its extraordinary brevity. The next day, on their way to the market, the Foolovites picked up pieces of paper from the floor and read the following:
Law 1st
“Every man walks dangerously; But let the tax farmer bring gifts. "
Only. But the meaning of the law was clear, and the tax farmer came to the town governor the very next day. An explanation has occurred; the tax farmer argued that he had been ready before as far as possible; Benevolensky, however, objected that he could not remain in the same uncertain position; that such an expression as "a measure of possibility" says nothing to either the mind or the heart, and that only the law is clear. They stopped at three thousand rubles a year and decided to consider this figure legal, until, however, "the circumstances do not change the laws."
The type of "little man" in the works of F.M. Dostoevsky.
The form: note-taking
Purpose: to consolidate information about the cross-cutting types of heroes in Russian literature; to reveal the specifics of the image of the "little man" in the work of Dostoevsky
The task. Outline the article.
The literary type of the "little man" developed in Russian prose in the 1830s - 1840s. For its time, this type of hero was a kind of revolution in understanding and portraying a person in literary work... Indeed, the "little man" was not like exceptional romantic heroes with their complex spiritual worlds. A “little man” is, as a rule, a poor Petersburg official, a “cog” of a huge bureaucratic machine, an inconspicuous creature standing on one of the lower rungs of the social ladder. The character of such a person was unremarkable, he did not have any strong emotional movements, "ambitions".
The spiritual world of the "little man" is meager, of little interest. However, the authors of works about "little people" portrayed them from a humanistic standpoint, emphasizing that even such a pitiful, defenseless and powerless creature is worthy of respect and compassion. Sentimental pathos is inherent in many works about "little people". The appearance of the "little man" was the beginning of the democratization of literature. The classic images of “little people” were created by A.S. Pushkin (Samson Vyrin in The Station Keeper, Eugene in The Bronze Horseman) and N.V. Gogol (Bashmachkin in The Overcoat).
The development of the "little man" type was the literary type of "humiliated and insulted" man, which is most vividly represented in the works of Fyodor Dostoevsky ("The Humiliated and Insulted" is the title of Dostoevsky's novel). For the first time, the image of a "humiliated and insulted" person - Makar Devushkin - was created by Dostoevsky in the novel Poor People (1846). This hero, a poor St. Petersburg bureaucrat, outwardly resembled the numerous "little people" portrayed by the writers of the "natural school" of the 1840s. But, unlike his contemporaries, Dostoevsky did not confine himself to the social characteristics of Devushkin. He showed that his hero understands and acutely experiences his humiliating situation, cannot come to terms with him, although he is not capable of protest.
Victims real life the members of the Marmeladov family became in the novel "Crime and Punishment": the meek Sonya, who had to go to the panel to help the family; the hunted Katerina Ivanovna, who has "nowhere else to go"; weak-willed Marmeladov, who brought his wife to consumption, doomed his daughter to live "on the yellow ticket." But there was kindness and nobility in him: he offered his hand to the unfortunate woman with three children, for he could not look at such suffering, wishing to help her. And he lost his place in the service "through no fault of his own, but due to redundancy in the states." And he began to drink out of despair, tormented by his powerlessness and from the consciousness of guilt before his loved ones. Semyon Zakharych Marmeladov firmly stands on one point, which can be called the "idea of self-abasement": he gets beatings "not only not in pain, but also in pleasure", he teaches himself not to pay attention to anything, and he is already used to spending the night, wherever it is ... He himself denied himself the right to be a person. If the “idea of self-abasement” is associated with him, then with Katerina Ivanovna it is not even an idea, but a painful mania for self-assertion (Razumikhin defined it as “consolation”), but this does not help them: from the destruction of their personality they gradually come to physical death.
When F.M. Dostoevsky began work on Crime and Punishment, he planned someday to write a novel about rushing people whom the writer called "drunken", but such a novel was not written, and in the novel about Raskolnikov, one of those characters took a special place, which in literary criticism are referred to as the type of "little man" - Marmeladov - radically different from the hero of "Poor People" Makar Devushkin, although both of them, like Samson Vyrin, are at times also subject to the ailment of drunkenness. Researcher G.S. Pomerants thinks about the special hypostasis of the “little man”: “All the“ drunken ones ”do mean things and immediately repent of them; by impulses are noble, but without any steadfastness in good. They knock their heads against God, like a drunken Marmeladov on the steps of a staircase. Their great virtue is humility (Marmeladov delivers a sermon about this, which amazed Raskolnikov). But the humility of the "drunken" is inseparable from sin, from habit to their own weakness, from disbelief in themselves. The tragedy of moral weakness can be no less destructive than Raskolnikov's experiments.<...>
In the "drunken", more than in anyone else, the "fluidity" of Dostoevsky's hero, the blurring of moral boundaries - the breadth of which Arkady Dolgoruky speaks is striking ...: “I wondered a thousand times at this human ability ( and, it seems, the Russian person par excellence) cherish in his soul the highest ideal along with the greatest meanness, and everything is completely sincere. Is this widespread in a Russian person, which will lead him far, or just meanness - that is the question! "
And nevertheless, examining the reasons for the "tragedy of weakness" of his heroes, F.M. Dostoevsky is filled with great compassion for them. The writer condemned many of them for immorality and deafness to the suffering of others, but the main thing in F.M. Dostoevsky was his conviction that a person is not a powerless "pin" and not a "piano key", activated by an extraneous hand, he himself is responsible for his life. The writer never transferred the guilt from the person himself to the external "circumstances" of his life. As an artist, he saw his task to contribute to the "restoration of a lost person" crushed by "the oppression of circumstances, stagnation of centuries and social prejudices."
Similar information.
"The world survived because it laughed."
Techniques for creating a comic in a work of art.
The purpose of the lesson: mastering knowledge about the techniques of creating a comic in a literary work.
Tasks:
1) create conditions for students to assimilate knowledge about the techniques of creating a comic in a work of fiction;
2) study and consolidate new material using modern information technologies;
3) promote the development of logical thinking in children, creativity, oral monologue;
4) to form in children a linguistic flair, a sense of respect for the culture of their people.
Equipment: informational presentation, portrait of the writer, title and topic of the lesson, epigraph, handouts (text of the work of M. M. Zoshchenko "Product quality").
During the classes.
I . Organizing time.
Teacher.
Hello guys, sit down. I would like to start our lesson with a riddle.
Slide number 1.
Guess, please, which word in Nikolai Gogol's statement is replaced by a personal pronoun.
Oh, HE is a great thing!
A person is no longer afraid of anything,
like HIS ...
Afraid of HIM, refrain from
From which no strength kept him.
Slide number 2.
Why, in Gogol's opinion, is there a need for works that cause laughter in literature?
(They are needed to keep us from doing bad things so we don't look funny.)
Slide number 3.
Teacher. Today I invite you to a lesson whose title is "The world survived because it laughed"... Lesson topic - techniques for creating a comic in a work of art.
Our task today:
Try to laugh
(After all, laughing is not a sin).
Laughing, get to the bottom:
Why are we so funny?
II... Learning new material.
Teacher. A good joke is a serious matter.
Is it possible to learn humor? Or is it a natural gift?
Children's answers.
(Of course, you can learn to joke if you know some techniques and be able to use them in your speech.)
Let's get acquainted with these techniques.
Slide number 4. Transfer.
Teacher. So, the first trick you can use to joke is transference. In this case, a word is used where it should not be used - and it turns out funny.
Listen to the expression "He got dirty in the yard thoroughly."
What word is inappropriate in this statement? Why does it seem funny to us?
Children's answers.
Teacher's resume. Sure. Carefully means with great care. Is it possible to litter with great care?
Slide number 5. Paradox.
Teacher. The next technique is a paradox (connection of the incompatible). The writer-humorist M.M. Zhvanetsky will introduce us to him. He has such an expression "To be treated with us, you need to have iron health!" Why does this expression sound funny? What's in this phrase turned upside down?
Children's answers.
Teacher's resume. This is a paradox: in order to be treated, one must be healthy. Why then be treated?
So, maybe Zhvanetsky's phrase is meaningless? How do you understand it? (We have such lines in polyclinics that only a healthy person can withstand them.)
Teacher. Another trick is inconsistency.
Slide number 6. Inconsistency (illogicality, unexpectedness).
Gianni Rodari has a story like this.
One day Big Fish said to Little Fish:
Look: it's a hook! Don't touch him, don't grab him! If you grab you, they will pull you out of the water, fry in a hot frying pan and eat you!
Oh, what a horror! - exclaimed the little fish. - Thank you very much! But why did you care so much about me?
............................................................................................
What do you think Big Fish answered?
Children's answers.
Teacher. Gianni Rodari's story ends like this:
- Because I myself want to eat you! - explained the Big Fish.
Did you expect such an answer? - Of course not.
Surprise, inconsistency is another technique for creating a comic.
Teacher. Now imagine that someone invited you to write a solemn poem.
What would you dedicate it to, what events?
Slide number 7. Rise of the low.
What if you wrote a poem about the battle of the flies? About how two flies underwent but fox and what came of it! What would your poem be like? (Of course, the poem would have turned out funny, because you used the technique - the elevation of the low . ) The battle of the flies is an event that hardly deserves to be dedicated to a solemn poem.
Slide number 8. Decrease high.
Teacher. Before you is a favorite anecdote about Vovochka.
Mom wakes up her son:
- Little Johnny, get up, it's time to go to school!
- I'm not going to school! Again Sidorov will spit, Mukhina will sneak, Petrov will fight! Will not go!
What do you think your mom could answer from your real life?
Children's answers.
Probably, if my mother answered that, it would be correct ... but not funny.
Slide number 9.
Mom said:
- Little Johnny, you have to go: firstly, you are already 40 years old, and secondly, you are the director of the school!
Teacher. Very often the following technique is used in speech - word creation.
Slide number 10. Word creation.
Peter and Ivan are completely different. Peter is a loser, dropout, mediocrity and slob. But Ivan is a lucky man, a daughter-in-law, a gift and a ryakha.
(He used words that are not in Russian.)
Output. Slide number 11. Basic techniques for creating a comic.
So, we got acquainted with the main techniques of the comic: transference, paradox, inconsistency, elevation of the low, lowering of the high, and word-creation.
IV... Securing the material(on the example of the story of MM Zoshchenko "Product quality").
Teacher. Just knowing about certain techniques is not enough. You need to learn to see them in the work. Today we will get acquainted with the story of MM Zoshchenko "Product quality" and try to determine what is the secret of this funny writer.
Slide number 12. Portrait of the writer.
So attention.
Part 1 of this story is performed by the teacher.
Comprehension of what you read.
Teacher.
Who can you call the heroes of this story?
What significant event is taking place in the life of the Gusevs?
(Leaving, the tenant leaves them foreign things.)
Find phrases in the text that show the attitude to the things of the Gusev spouses? ("They were very proud", "they told enthusiastically", "things of amazing quality", "foreign products", made a detailed list of things "," walked with trousers in hands "," showed everyone "," it is impossible to be proud ")
And how does the author characterize these things in the story?
("A heap of foreign good", "a sweater almost not torn", "in a heap ... piled up ... at the washstand", "worn things ... held on a little")
Analyze: what vocabulary is used in one case, what - in another? Conclude: what are the techniques the author uses to make us laugh? What is funny about the hero's actions?
Rise low. "Almost not torn" - a paradox (unification of the incompatible).
Children's answers.
Teacher's resume. We laugh at the protagonist: he boasts of worn things that “held on a little”. The author emphasizes: there was nothing worthy of such an enthusiastic attitude in things, and alas, there was nothing in the lodger.
Part 2 of this story is performed by the teacher.
Comprehension of what you read.
Teacher.
What does it mean for a hero live culturally? What technique is the author using again?
(“To add physicality to oneself” is to “live culturally”; again, the technique of elevating a low one is used.)
What was the funniest moment in this part? Why?
(The powder turns out to be a German flea remedy.)
Did you expect this result? What is this trick?
(Surprise, inconsistency.)
Teacher.
So Gusev has been exposed. He praised the quality of the powder, which actually turned out to be not a powder, but a flea remedy.
What kind of behavior do we expect from Gusev in this situation?
(Embarrassment, embarrassment.)
As you listen to the last part of the story, pay attention to the character's behavior. Does it match our expectations?
Part 3 of this story is performed by the teacher.
Comprehension of what you read.
Teacher.
What is the behavior of our hero?
(He continues to admire the quality of foreign products. And therefore, he again makes the reader smile, because he behaves in a completely different way from the way it corresponded to conduct in the position in which he found himself.)
Do you want to be like Gusev? Why?
(So the classic is right: we don't want to be funny.)
IV... Generalization of the material.
Teacher. So, today in the lesson you got acquainted with the basic techniques of creating a comic. Please name them.
Transfer;
paradox;
inconsistency;
word creation;
elevation of the low;
decline high.
A sense of humor helps a person not only perceive the comic in literature, but also experience difficult life situations. I hope that the knowledge you gained in the lesson today will help you to remain cheerful people. And with a smile, it is more fun to study and live. Thank you for the lesson. Good luck to you!
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