The concept of “comic” comes from the Greek “koikуs” - “cheerful”, “funny” and from “komos” - a cheerful band of mummers at the rural festival of Dionysus in Ancient Greece and passed into the Russian language with the meaning “funny”.

We can give the following generalized scheme for creating the comic in fiction: objective laughter (funny) - means of the comic (linguistic means - phonetic, lexical, phraseological, grammatical means and non-linguistic means) - forms of the comic (humor, satire) - result - laughter (comic) (Borev 1957:74).

All means of creating a comic can be divided into several groups: phonetic means; lexical means (tropes and the use of vernaculars, borrowings, etc.); morphological means (incorrect use of case forms, gender, etc.); syntactic means (use of stylistic figures: parallelism, ellipsis, repetition, gradation, etc.)

Phonetic means include, for example, the use of spelling irregularities, which helps authors give a capacious portrait of the narrator or hero.

Stylistic figures include anaphora, epiphora, parallelism, antithesis, gradation, inversion, rhetorical questions and appeals, polyunion and non-union, silence, etc.

Syntactic means - default, rhetorical questions, gradation, parallelism and antithesis.

Lexical means include all tropes as figurative and expressive means, as well as puns, paradoxes, irony, alogisms and malapropisms.

These are epithets - “words that define an object or action and emphasize some characteristic property or quality in them.”

Comparisons are the comparison of two phenomena in order to explain one of them with the help of the other.

Metaphors are words or expressions that are used in a figurative meaning based on the similarity in some respect of two objects or phenomena.

To create comic effect hyperboles and litotes are often used - figurative expressions containing an exorbitant exaggeration (or understatement) of size, strength, meaning, etc.

Irony also refers to lexical means. Irony is “the use of a word or expression in the opposite sense to its literal meaning for the purpose of ridicule.”

Malapropisms - replacement of syllables and sounds that are similar in pronunciation

In addition, lexical means also include allegory, personification, periphrasis, etc. All of these means are paths.

However, only tropes do not completely determine the lexical means of creating comedy. This should also include the use of colloquial, special (professional), borrowed or dialect vocabulary.

We include as morphological means cases when the author deliberately incorrectly uses grammatical categories in order to create comedy.

Pun [fr. calembour] - a play on words based on deliberate or involuntary ambiguity generated by homonymy or similarity of sound and causing a comic effect.

Alogism (from a - negative prefix and Greek logismos - mind) -

1) denial of logical thinking as a means of achieving truth; irrationalism, mysticism, fideism oppose logic to intuition, faith or revelation, 2) in stylistics, a deliberate violation of logical connections in speech for the purpose of stylistic (including comic) effect.

Paradox - 1. A strange statement that diverges from generally accepted opinion, as well as an opinion that contradicts (sometimes only at first glance) common sense. Speak in paradoxes. 2. A phenomenon that seems incredible and unexpected, adj. paradoxical. ( Modern dictionary foreign words 1993)

The first attempts to classify wit go back to ancient times: they were made by Cicero and Quintilian. Cicero gave the first formal classification and divided all wit into two main types (Luke 1968:192).

1. The funny comes from the very content of the subject.

2. Verbal form of wit, which includes:

ambiguity, unexpected conclusions, puns, unusual interpretations of proper names, proverbs, allegory, metaphors, irony.

In connection with the study of the theory of the comic in a general aesthetic sense, mention should be made of A. Makaryan’s book “On Satire”, in which the author, contrary to its title, talks more about the “comic”. The author talks about two types of comic words: witty and comic words. It seems, however, that wit is an object of a completely different field of study. As for comic words, they, according to Makaryan, are associated with ignorance, cultural backwardness, nervousness, etc. Trying to define groups of comic words, he writes: “Departure 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” (Makaryan 1967:200).

However, in specific cases, the author experiences difficulties in distinguishing between the means and methods of the comic. Thus, the author considers the main sources of verbal comedy to be the disorder of thoughts and their logical design, poverty of thought, floridity, pretentiousness of speech, disruption of the connection between remarks, a comic increase or decrease in intonation, loss of the thread of thought during a conversation, words expressing contradictory concepts, repetitions, comedy sounds and puns.

The comic effect of ordinary common words is associated primarily with the possibilities of their metaphorization and polysemy. The comedy is enhanced by individual words when they are linked in different ways, acquiring an additional comic coloring in a comic environment, and with misunderstandings arising during dialogues and mutual remarks of the characters. Of course, the comic possibilities of words are also manifested in the author’s language during the narrative, but the language of the characters has greater potential for achieving artistic goals (Luk 1968:200).

Comic art is capable of revealing the comic potential of not only commonly used, emotional words, but also terms, terminological words and combinations. An important condition for the acquisition of comic coloring by lexical units is the comic environment, the unexpected connection of a word in the text with other words and expressions (Alexander, Richard 1997).

Introduction

The subject of study of this work is vocabulary that helps create a comic effect. The comic is a rather complex phenomenon, “one of the most complex aesthetic categories.” That is why the theory of comic text has attracted the attention of researchers since antiquity.

This problem was dealt with by such researchers as E.G. Kolesnikova, A. Shcherbina, R.A. Budagov, E.A. Zemskaya. Their works were used in writing this work.

The material for the study was the novel “The Twelve Chairs” by famous Soviet satirists I. Ilf and E. Petrov.

In 1927, the creative collaboration of I. Ilf and E. Petrov began with joint work on the novel “The Twelve Chairs”. Plot basis The novel was suggested by Kataev, to whom the authors dedicated this work. In his memoirs about I. Ilf, E. Petrov subsequently wrote: “We quickly agreed that the plot with chairs should not be the basis of the novel, but only the reason, the reason for showing life.” The co-authors fully succeeded in this: their works became the brightest “encyclopedia Soviet life» late 1920s - early 1930s.

The novel was written in less than six months; in 1928 it was published in the magazine “30 days” and in the publishing house “Land and Factory”. In the book edition, the co-authors restored the banknotes that they were forced to make at the request of the magazine editor.

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

Task- identify the peculiarities of the functioning of linguistic means that create a comic effect in the novel by I. Ilf and E. Petrov “The Twelve Chairs”.

Speech means of creating a comic effect in a novel

The comic is generated by human nature; it is inherent in the national spirit, it is in the blood of the people. Great masters learned it from the people, from their oral works. Having polished its forms, they again returned it to the people. People have always highly valued witty people, masters of humor who skillfully use the weapon of satire. The comic art of true masters of laughter is a force that constantly calls for progress: “Comic art is truly revolutionary. Laughter has never served the forces of reaction and regression.”

“By “Comic” we mean both natural events, objects and the relationships that arise between them, and a certain type of creativity, the essence of which comes down to the conscious construction of a certain system of phenomena or concepts, as well as a system of words in order to evoke a comic effect.” There is a significant qualitative difference between ordinary laughter and comic laughter. Laughter expresses a person’s natural, physiological reaction, his subjective attitude to the impression received. Comics have a more general, objective content. It represents the highest level of laughter." In works devoid of genuine comedy, "the plot turns out to be simple, the images are insignificant, and truly satirical angry laughter is replaced by vulgar giggles."

The comic in speech is inextricably linked with its expressiveness, emotional and evaluative expressiveness, which allows the author to express his attitude towards the objects of reality and give them an appropriate assessment. “The essence of creating a comic effect is that words, in addition to the expressive shades inherent or potentially inherent in them, are given additional expression, comic, resulting from a contradiction caused by a purposeful deviation from the norm language.”

The realization of the comic in relation to any work is the meaning of the text. A comic text is based on a deviation from linguistic stereotypes; “the game when creating and interpreting a comic text is realized in unpredictability and conventionality of actions aimed at destroying stereotypes.”

The most typical for I. Ilf and E. Petrov are considered to be those based on the use of stylistic means. These are puns, figurative use of words, phraseological units, forcing synonyms and the formation of comic proper names, as well as the technique of mixing styles.

When creating puns, authors often use so-called open connecting structures. This method consists in the fact that words and phrases that are distant in meaning, expressing logically incompatible concepts, are combined as homogeneous, often they refer to one polysemantic word, but its different meanings:

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

The first part of the phrase implies a figurative, poetic meaning of the word, while the second refers to the direct one. The contrast between the meanings of the word causes a comic effect.

The main way to create a pun in the texts of Ilf and Petrov is the polysemy of the word, as, for example, in the following sentence, based on the collision of the literal and figurative meaning of the word: “ To tell the truth, White Russians are quite gray people».

The words “white” and “gray” belong to the same semantic series in their basic meanings as designations of color, but they diverge in figurative meanings (“white” - “counter-revolutionary, acting against Soviet power" and "gray" - "unremarkable, mediocre." Based on close basic meanings, the co-authors collide very distant additional, derivative meanings, resulting in a comic effect.

The technique of mixing styles (moving words and expressions from one style of speech to another) plays a very important role - i.e. placing elements of professional, scientific and technical, journalistic, official business, etc. speech in a stylistic environment alien to them. - a specific means of creating various shades of comic tone, emphasizing the individual comic picture of the world AND. Ilf and E. Petrov.

« The sun was blazing, and the blond seasons stood motionless in the shade of their umbrellas. At this time we clearly felt the presence on the airforeign body . This is true! Pavlidis ran up to us, waving his hat.».

In this example, a person is described as inanimate object, thanks to which one can feel the co-authors’ slight mockery of the person being described.

An ironic effect (more precisely, ridicule) can arise as a result of a “simple” replacement of a stylistically neutral word with an expressive colloquial, colloquial synonym or professional term, which in turn is an important component of the technique of mixing styles. For example:

« Ostap did not spoil his opponents with a variety of openings. On the remaining twenty-nine boards he performed the same operation: he moved the king's pawn from e2 to e4...».

The disdain felt in the actions of Ostap Bender opens up an ironic fragment of a comic picture in the novel by I. Ilf and E. Petrov.

The novel also uses vivid metaphors. They are created on the basis of well-known direct meanings of words, by comparing and contrasting concepts from distant semantic spheres. The comic effect arises from the surprise of comparable concepts:

“Spring was dying before everyone’s eyes.”

“She brought with her a herd of girls in sundresses”

“The sky was covered in small cloud dumplings...”

About the method of surprise

Ilf and Petrov are characterized by cases of metonymic transfer, the replacement of a person with the name of clothing, part of the body, or even occupation:

“...“Court and Life”, a hairy man, approached him. The secretary continued to read, deliberately not looking in the direction of “Court and Life” and making unnecessary notes in the editorial. “Court and Life” came from the other side of the table and said touchily...”

“In the check section, a one-eyed man was sitting and reading a novel by Spielhagen... And the one-eyed man ran away. Ostap inspected the premises of the chess section..."

This technique performs a revealing function in characterizing characters and describing individual negative phenomena.

Also, the authors deliberately expand the meaning of some nouns, comparing objects or phenomena according to a random similar feature, making it the main one. This serves for a comic rethinking of well-known names of objects, phenomena, facts of life. For example, students who are the first to occupy a compartment on a train are called “firstborns.”

In addition to the generally accepted use of words in a figurative meaning, I. Ilf and E. Petrov encounter cases when, to name a character, they use words that were previously used in the characters’ speech as an “expressive characteristic.” A comic effect also occurs in cases where a figurative or very conventional expression of a character, used by him as an expressive characteristic, is included in the author’s narrative as a neutral name for a person:

« -Thieves live in your house No. 7! - the janitor yelled. - All sorts of bastards! Seven-father viper! Has a secondary education! I won't look at secondary education! Damn gangrene!!!

At this time, the seven-father viper with a secondary education was sitting on a can behind the trash can and was sad.”

The comic effect is created by the discrepancy between the objective nature of the author’s narrative and the hero’s words, which have a pronounced evaluative, expressive character or belong to a different style of speech. The discrepancy between the points of view on reality of the author and the hero, the difference in their manner of speech creates a clear contradiction between the context and the transferred words, contributing to their ironic perception:

« Ptiburdukov the second... reported that the patient does not need to follow a diet. You can eat everything. For example, soup, cutlets, compote... He does not recommend drinking, but for appetite it would be nice to introduce a glass of good port wine into the body... But the patient did not think of introducing into the body either compote, fish, cutlets, or other pickles».

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

phraseological unit comic novel speech

In principle, anyone can joke well. But only someone who knows how to use it in different forms and apply different techniques can be called a master of humor, because this allows you to be more flexible, adapt to any situation, competently insert a “crisp” word, getting right to the point and not bothering anyone at the same time. touching. Probably, it is for this reason that already in Ancient Greece the comic arose as a philosophical category, which denotes aesthetically and socially significant and culturally formalized funny. Then the problem of the comic was considered in detail by the philosopher Aristotle, and later by A. Schopenhauer, A. Bergson, Z. Freud, V. G. Belinsky, M. M. Bakhtin, V. Ya. Propp, Yu. B. Boryaev, A. A. Sychev, A.V. Dmitriev and other researchers.

The comic field includes grotesque, sarcasm, irony, humor, satire and other types. In addition, it can manifest itself in many genres and types of art, such as feuilletons, comedies, sketches, buffoonery, caricatures, ditties, etc. The comic is also expressed in puns, jokes, and anecdotes. It often appears on its own in all sorts of errors, slips, misprints, slips and misunderstandings.

Next, we will look at the main types of comics that are most often found in life and art, and also give examples for each type, and then we will talk about the most popular comic techniques that are easy to use in everyday life, and give exercises for practicing them.

• Joke
• Joke
• Irony
• Oxymoron
• Parody
• Satire
• Graphics
• Wit
• Sarcasm

First things first.

Joke

A joke is a short text or phrase with humorous content. It can take different forms, for example, a story, a question or an answer. Almost always a joke has an ending ( climax), ending the story and making it funny.

Joke

Anecdote is a small one funny story, characterized by an unexpected outcome. An anecdote can be a play on words, the meaning of terms and concepts, or some associations. In some cases, to understand a joke you need to have certain knowledge, for example, geographical, historical, literary, social, etc. , because jokes can relate to any area of ​​human life. It is also worth noting that the authors of jokes almost always remain unknown, and the narrators never claim authorship.

EXAMPLE:

A lion walks through the forest. Meets a giraffe:
- Hey, longneck! Who is the bravest in the forest?
- You, lion!
Lev smiled contentedly and moved on.
Sees a zebra:
- Hey, striped one! Who is the most beautiful in the forest?
- Of course you are, lion!
Leo, proud, moved on.
Sees an elephant:
- Hey, long-nosed! Who is the smartest in the forest?
The elephant takes the lion with its trunk, throws it over its back and throws it into the swamp. The lion climbs out, shakes off the mud and says:
- Well, why be so nervous? You could have just said, "I don't know."

Irony is the use of words in a negative sense, contrary to the literal one, as a result of which apparently positive statements acquire a negative connotation. Irony is also often called ridicule or even mockery. The meaning of irony is that missing features are attributed to an object or situation in order to highlight this absence. Irony allows you to give a negative or comical character to something or someone. In addition, anti-irony and self-irony are distinguished. In self-irony, a person laughs at himself, and in anti-irony, the negative message implies the opposite, i.e. positive connotation.

EXAMPLE (Irony): “Come here, literate” (in relation to an illiterate person)

EXAMPLE (Self-irony): “Well, here I showed myself in all my glory” (about inappropriate behavior in a tricky situation)

EXAMPLE (Anti-irony): “But we, fools, have no idea” (implying that “we” already understand everything)

Oxymoron

An oxymoron is also called “smart stupidity”, i.e. a combination of incompatible (opposite in meaning) words. In art it is often used to create a stylistic effect.

EXAMPLES: Living corpse, lying truth, joyful sadness, burning cold, etc.

Parody

A parody is the imitation of something known to create a funny effect. Behavior can be parodied famous people, acting, performance of musicians, habits, speech, facial expressions, gestures, etc. Parodies of music, painting, and literary works are common in art.

EXAMPLE: Arkady Raikin "Poet of the sixties "(parody of R. Rozhdestvensky)

Satire

Satire is a kind of comic pathos, a harsh denunciation and ridicule of negative phenomena in life, social and human vices. Sometimes satire isn't funny. Humor in satire is used to satirical work was not perceived as direct criticism or preaching of shortcomings. There are several types of satire: oral, theatrical, literary and graphic.

EXAMPLE (oral satire): concert "The whole truth about Russian dope » Mikhail Zadornov

EXAMPLE (theatrical satire): the play "Not everything is Maslenitsa for the cat "Based on the play by A. N. Ostrovsky (Theater "Satyricon" named after Arkady Raikin)

EXAMPLE (literary satire): the novel “The Master and Margarita” by M. Bulgakov, the story “The Nose” by N. Gogol, the novel “The Lord Golovlevs” by M. Saltykov-Shchedrin, the story “The Adventures of Huckleberry Finn” by M. Twain, the story-parable “Beastly” yard" by D. Orwell, etc.

EXAMPLE (graphic satire): Soviet magazine "Crocodile »

Sarcasm

Sarcasm refers to caustic, malicious and caustic ridicule, bile remarks, and evil irony over something vicious and base. As a rule, sarcasm (like satire) ridicules human vices and serious atrocities, especially those committed by officials, politicians and dignitaries.

EXAMPLE: “You’re fat, you should lose weight” (in relation to a skinny girl on a diet)

EXAMPLE: “Don’t ask what you can do for your homeland, they will remind you of it” (army wisdom)

EXAMPLE: " Our foreman connected space with time. He ordered us to dig from the fence until lunchtime.”(army wisdom)

EXAMPLE: “Demonstrators against police violence beaten by police” (article title)

Graphics

Graphics is special shape comic, different from its written and oral expression. The most common types of comic graphics are comics, cartoons and caricatures. Competent comic graphics, in particular political ones, are aimed at increasing social self-awareness and civic responsibility, identifying political sympathies and antipathies.

EXAMPLE (comic):

EXAMPLE (cartoon):

EXAMPLE (caricature):

And, summing up the conversation about types of comics, a few words about wit and humor.

Wit

Any work of the comic is called wit - the very act of creating humor, anecdote, jokes, satire, etc. There can be no comic without wit. We will talk about wit in detail in the next lesson, but for now we will only note that it allows a person to joke so that the essence is expressed in just one phrase, and so that there is nothing to add. Wit is distinguished by the presence of a joke, but the absence of contempt, and also by brevity. But brevity alone cannot achieve “sharpness,” because it is achieved through the use of unexpected thought.

EXAMPLE: “I decided to take care of myself. Quit smoking and drinking, went on a diet, gave up heavy food. And in two weeks I lost 14 days"(phrase of American actor Oscar Levant).

Humor

Humor can be understood in two meanings. The first is the very understanding of the comic, i.e. the ability to recognize and demonstrate what is funny. And the second is soft, condescending, written or oral criticism. Humor presupposes the presence of gaiety and harmless ridicule; it is not associated with anger and malice, such as sarcasm or satire. The mask of the funny in humor hides a serious attitude towards the object of laughter, which is not limited to just the funny. True humorists perceive humor as a grace of mind that brings goodness; reflection creativity intelligence. True humor is characterized by a sense of beauty, the ability to see the unusual in the ordinary, high taste, a sense of proportion, observation and creativity.

Based on this, a sense of humor should be perceived as the ability to understand humor and perceive the funny; as an emotional, intellectual, aesthetic and moral feeling. Because of its rarity, a subtle sense of humor is always worth its weight in gold, but it can and should be developed and nurtured.

The types of comics we have considered are quite enough to understand how broad and multifaceted this topic is. But in any case, this information is purely theoretical, because any form of funny is built on the use of a number of special techniques, and this is already practice. Therefore, the next point of our lesson will be comic techniques.

Basic comic techniques

Basic comic techniques are necessary in order to create so-called images of phenomena that generate the funny. Below we present the most common techniques used in comic art:

We offer you brief description each of them (each of the large groups has private receptions).

Change and deformation of phenomena

Change and deformation of phenomena are:

• Exaggeration is a technique that affects and increases features of behavior, appearance, character, situation
• Parody - imitation of the original object, exaggerating it characteristic features, sometimes to the point of absolute absurdity
• Grotesque is a method of generalizing and sharpening life relationships through a bizarre and contrasting combination of the real and the fantastic, plausible and illogical, funny, caricatured
• Travesting - vulgarization and humiliation of phenomena considered worthy and deserving of respect
• Caricaturing is a simplification that distorts the essence by emphasizing minor and minor points and neglecting essential features.

Unusual effects and juxtapositions

Unusual effects and comparisons include mainly surprise with the aim of creating a comic:

• Plot moves and turns that are not foreseen by the listener, reader or viewer, and occur contrary to his assumptions and expectations
• Unexpected comparisons or convergences of mutually exclusive or simply different phenomena that go beyond ordinary comparisons (for example, similarities between people and animals or people and objects)
• Comparisons demonstrating unexpected similarities and coincidences between generally accepted views and everyday situations with views and situations that are absurd and ridiculous
• Demonstration of contrast by comparing types of people opposite to each other (most often in terms of views, habits, temperament, character traits, etc.)
• Witticisms based on the comparison of incommensurable or distant phenomena

Disproportion in connections and relationships between phenomena

Disproportion in connections and relationships between phenomena in most cases is expressed in anachronisms (attribution of people, objects, phenomena or events to another time) from the field of way of thinking, language, morals, foundations or views.

Imaginary unification of heterogeneous phenomena

Under imaginary union heterogeneous phenomena are understood:

• Grotesque, based on multiple transitions from one area to another, and using contradictions, uniting different styles and creative methods
• Simulation of situations where the behavior of the characters runs counter to the circumstances
• Inconsistencies between behavior and appearance, character or any other psychophysiological manifestation of individuality
• Inconsistencies between appearance and nature, illusion and reality, theory and practice, reality and fantasy, conceit and true value
• Ironic statements in which the hidden meaning is a denial of the literal meaning
• Sarcasm as indignant mockery is a reflection of a high degree of indignation, characterized by gloom and causticity
• Inconsistencies between the usual purposes of objects and unusual uses
• Unnatural, absurd, unexpected or surprising repetitions of phenomena, situations, phrases, actions

Creation of phenomena deviating from the norm

The creation of phenomena deviating from the norm includes:

• Violation of rational, efficient, productive and effective norms
• Performing useless and unnecessary work (choosing tools that are inappropriate for the task, complicating simple tasks, violating logic, erroneous associations and conclusions, etc.)
• Chaotic statements and logical confusion (logical incoherence, unexpected turns and insertions, unusual use of words)
• Absurdist dialogues in which there is no connection between the participants’ remarks
• Logical inversions, where the qualities of objects and situations shift
• Statements that seem ridiculous at first glance

The list goes on, but we will limit ourselves to this. If you want to get acquainted with a more voluminous and systematized description of comic techniques, you can refer to the relevant sources, a small list of which we will provide at the end of the lesson.

Now we offer you some good exercises and recommendations with which you can learn to apply some comic techniques in your everyday life.

Exercises and recommendations for developing skills in using comic techniques

There are no special conditions for these exercises. All of them can be performed by you at will and in any order. But to achieve maximum results, we recommend that you practice daily in your free time or at a special time allotted for this.

"Funny story"

Make up a story about yourself and tell it to someone. This will allow you:

• Check how developed your sense of humor is
• Find out if you can make jokes on purpose
• Understand what mistakes you made when creating your story and storytelling
• Laugh at yourself with another person

"Associations"

Take any word and select five associations for it as quickly as possible. It is desirable that the associations be interesting, unusual and unexpected.

"Anti-associations"

"Ambiguity"

When you talk about something, think about how many meanings each word you use has. It is recommended to remember both the usual uses and figurative and slang meanings.

"Words starting with one letter"

Take one letter of the alphabet and make up a long, meaningful sentence with all words beginning with it. The exercise allows you to expand your vocabulary and make your thinking more flexible.

"Unusual Definition"

Take any common word and come up with an unusual definition for it that does not correspond to the meaning. You can come up with definitions based on similarity or consonance with other words.

"New Words"

Take some prefix or ending, such as “super-”, “-ness” or “anti-”, and come up with a new concept. Then give the concept a dictionary definition and make some meaningful sentences with it.

“What to do with the item?”

Take any absolutely common item(box, pencil, thread, etc.) and come up with 20 options for using it.

"Search for similarities"

Choose any two objects that have nothing in common (a bird and a stool, a glass and a telephone, etc.). Task: find 10-15 similarities between them.

"Identification"

Turn on a humorous TV show. While watching, identify the techniques and jokes used by comedians (comparison, anecdote, sarcasm, double meaning etc.).

"Journalist"

Imagine yourself as a journalist. Take any magazine or open photos on the Internet, and come up with funny captions for 10-15 of them. It is best if the descriptions reflect the theme, but diverge from the real picture.

"Replacement with synonyms"

Take any word and replace it with synonyms with a comic message (for example, “the driver is the luminary of the steering wheel and pedals,” “cat food is Vaska’s food,” etc.).

"Wordplay"

Take some word with several meanings and construct a sentence so that in the second part its entire meaning changes (for example: “Stirlitz shot blindly. The blind woman fell,” etc.).

"Failing Expectations"

Make up a sentence so that in the first part the expectation is formed, and in the second it is destroyed.

"Internal Contradiction"

Select several expressions containing internal contradictions (“sunglasses”, “blue carriage”, “money machine”, etc.), and make up several jokes based on them.

"Consonance"

Choose words that contain other words, but with different meanings, and make up several jokes with them (for example, “gentlemen of fortune - gentlemen AT THE DACHA”, “broom - and POMELO and HAMELO”, etc.)

"Learning words and sentences"

Find some word or stable expression (“authorities”, “bird’s milk”, “human rights”, etc.), and think carefully about the meaning. If there is interesting point, build a joke around it.

We also want to repeat once again that you need to practice as much as possible and as often as possible - this will allow you to learn how to use comic techniques competently and quickly. Considering that this largely depends on thinking, attention, creativity, the ability to find associations, think logically and make inferences, we, among other things, advise you to pay attention to ours and go through it.

And as an excellent addition, as we promised, we give you a list of useful literature, from where you can glean a lot of interesting and important information about the many subtleties of humor and the comic:

• Yu. Borev “Comic”
• Yu. Borev “About the comic”
• V. Vinogradov “Stylistics. Theory of poetic speech. Poetics"
• B. Dzemidok “On the comic”
• G. Kazimov “Theory of the comic. Problems of linguistic means and techniques"
• A. Luk “About a sense of humor and wit”
• E. Safonova “Forms, means and techniques for creating the comic in literature”

In the fourth lesson, as already mentioned, we will talk in more detail about wit and how to develop it, and also introduce some excellent related exercises. After completing the lesson, you will have all the tools to make anyone laugh, even if you were a complete bore before.

Test your knowledge

If you want to test your knowledge on the topic of this lesson, you can take a short test consisting of several questions. For each question, only 1 option can be correct. After you select one of the options, the system automatically moves on to the next question. The points you receive are affected by the correctness of your answers and the time spent on completion. Please note that the questions are different each time and the options are mixed.

Lexical and phraseological means of creating a comic effect in an individual style

I. Ilf and E. Petrov.

Introduction………………………………………………………………………………..….3

Chapter I. The problem of the writer’s individual style.

About the language of fiction. Principles of constructing verbal images……………………………………………………….5 Linguistic means and techniques for expressing the comic in artistic style……………………………………………………… …………………10 Features of the individual style of I. Ilf and E. Petrov ……………………………………………………………………………………...… 12

Chapter II. Lexical and phraseological means of creating a comic effect in the individual style of I. Ilf and E. Petrov.

2.1. Comic technique of transforming phraseological units……………………16

2.2. Semantic and structural-semantic transformations

phraseological units in the text……………………………………18

2.3. Semantic-syntactic technique of “modeling speech segments”………..23

2.4. Puns……………………………………………………………...….25

Chapter III. Comic tropes.

3.1. Comparisons……………………………………………………………...….27

3.2. Epithets……………………………………………………………...…31

3.3. Metaphors…………………………………………………………………………………34

3.4. Paraphrases…………………………………………………….…………..38

Conclusion…………………………………………………….………………...40

References…………….……………………………………………...43

Introduction

The comic has always been one of the subjects of literary research. But over time, our mentality and our understanding of the comic change. Not only the forms and means of the comic change, but also the styles of the authors. Each author uses certain techniques and ways of expressing the comic, which is why his style and language become unique and inimitable. The language of each author is special, so we decided to identify and analyze some linguistic techniques for expressing the comic, used in the individual style of I. Ilf and E. Petrov.

Insufficient attention is paid to the study of means of creating a comic effect in linguistics; the novel by I. Ilf and E. Petrov has not yet been subjected to such research.

All this allows us to talk about the novelty and relevance of this work.

The purpose of the study of the topic “Lexical and phraseological means of creating a comic effect in the individual style of I. Ilf and E. Petrov” is to highlight, describe, characterize various techniques of comic use of lexical and phraseological means in the novel-dilogy “The Twelve Chairs”, displaying their unique aesthetic function within the framework of a literary text.

All means used in artistic speech are intended to serve here an aesthetic function, the expression of a system of images, the poetic thought of the artist. Once in a work of art, a word takes on a “different” life: its semantic structure expands and is enriched with various figurative associations.

In connection with this goal, the following tasks were identified:

Select from a literary text words and combinations whose comic potential is associated with the possibilities of their metaphorization and polysemy. Reveal how the expansion of the semantic structure of a word occurs in literary text how biplane perception is created. Describe linguistic techniques whose comic effect is based on semantic biplane.

Features of the language of fiction.

The question of the language of fiction and its place in the system of functional styles is resolved ambiguously: some researchers (,) include a special artistic style in the system of functional styles, others (MM. Shansky,) believe that there is no reason for this. The following are given as arguments against distinguishing the style of fiction: 1) the language of fiction is not included in the concept of literary language; 2) it is multi-styled, open-ended, and does not have specific features that would be inherent in the language of fiction as a whole; 3) the language of fiction has a special, aesthetic function, which is expressed in a very specific use of linguistic means.

It seems to us that the opinion that “extending artistic speech beyond the limits of functional styles impoverishes our understanding of the functions of language is very legitimate. If you withdraw artistic speech from among the functional styles, but consider that literary language exists in many functions, and this cannot be denied, it turns out that the aesthetic function is not one of the functions of language. The use of language in the aesthetic sphere is one of highest achievements literary language, and from this neither the literary language ceases to be such when it gets into a work of art, nor the language of fiction ceases to be a manifestation of the literary language"1.

Indeed, artistic speech uses the linguistic means of all other styles, including those typical for them. However, in a work of art, these means appear in a modified function - aesthetic, and form a different system.

The artistic style as a whole differs from other functional styles in that if the latter, as a rule, are characterized by some general stylistic coloring, then in the artistic style there is a diverse range of stylistic colors and stylistic means used. However, this is not a “mixing of styles.” Since each medium in a work of art is motivated by content and stylistically, they are all united by a common aesthetic function inherent in them.

All those linguistic resources that are described by linguists are known to artistic speech. However, in each specific case, from the entire arsenal of linguistic and stylistic means, only one selected means is appropriate, the only necessary in a given context. And in the concept high quality artistic speech and its indispensable properties include the uniqueness and freshness of expression when creating an image, their bright individuality. wrote: “Coming into the sphere of stylistics of fiction, the material of the stylistics of language and the stylistics of speech undergoes a new redistribution and a new grouping in the verbal-aesthetic plane, acquiring a different life and being included in a different creative perspective”2.

Living speech, entering a work of art, is subject to a certain selection and processing, and most importantly, it is subject to an aesthetic function. In this regard, that feature of artistic speech, which I called the internal form, clearly emerges artistic word 3. It lies in the fact that the means of language, in particular lexical ones, and their meanings turn out to be the basis in a work of art, starting from which the artist creates a poetic word - a metaphor, entirely “turned” to the theme and idea of ​​a specific work of art. At the same time, the metaphorical meaning of a word can often be understood and determined only after reading the entire work of art, that is, it follows from the artistic whole. So, according to the words, the semantic meaning of the word bread, put in the title famous novel A. Tolstoy, does not mean the same as the generally known meaning of this word. But, relying on it and starting from it, this word acquires, in the context of the artistic whole, the ability to express one of the phenomena of the revolution and civil war presented in the novel.

I drew attention to such a property of an artistic word as the formation and definition of its meaning in a broad context even earlier. He also noted the systematic relationship of the word with other words of the artistic whole, in the expression of the so-called end-to-end poetic thought - an idea, an artistic image. This property of the poetic word was called combinatorial increments of meaning4.

The main goal of the literary and artistic style is to master the world according to the laws of beauty, satisfy the aesthetic needs of both the author of a work of art and the reader, and have an aesthetic impact on the reader with the help of artistic images.

In this regard, we can highlight the broadest property of artistic speech in general, called artistic-figurative speech concretization, which constitutes the most general basic feature of artistic speech. It also explains the nature of the influence of the poetic word on the reader.

A word (in a dictionary), as is known, expresses a concept. In the context of artistic speech, words express not just concepts and ideas, but artistic images. Concretization here has its own means and methods of expression (“translating” the word-concept into a word-artistic image). In the process of creativity, a writer uses the same words as anyone who speaks this language, but these words turn out in the context of his work to be an expression not of concepts and elementary ideas, but of artistic images. How does this happen? Obviously, the point here is in the special selection and organization of linguistic means.

The translation of the conceptual structure of a language into a figurative one occurs with the participation of units of all language levels. The writer strives to construct his speech in such a way that it contributes to the figurative concretization of words and excites the reader’s imagination.

The language of fiction, despite the stylistic heterogeneity, despite the fact that the author’s individuality is clearly manifested in it, still differs in a number of ways specific features, allowing one to distinguish artistic speech from any other style.

The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphoricality, imagery of linguistic units of almost all levels, the use of synonyms of all types, polysemy, and different stylistic layers of vocabulary is observed. The artistic style (compared to other functional styles) has its own laws of word perception. The meaning of a word is largely determined by the author’s target setting, genre and compositional features of the work of art of which this word is an element: firstly, it is in the context of this literary work can acquire artistic ambiguity not recorded in dictionaries; secondly, it retains its connection with the ideological and aesthetic system of this work and is assessed by us as beautiful or ugly, sublime or base, tragic or comic.