Means of achieving a comic effect in the satirical stories of M. Zoshchenko

In the humorous works of A.A. Chekhov, comicality is achieved with the help of linguistic means. Namely this portrait descriptions characters, proper names and colloquial vocabulary used in stories.

One main technique of the comic is undoubtedly "the discrepancy between appearance and reality", the demonstration of "the discrepancy between a person's high opinion of his moral, social, intellectual significance and his actual value." A no less ridiculous technique of humor is a mixture of heterogeneous and clearly incompatible features. Among the most important ways of creating the comic is the transfer of a phenomenon into a sphere unusual for it; Another no less common way is to transfer an object from the class in which it is enshrined in social sign usage to another class. The concentration of "unnecessary" comic details also produces a comic impression.

The source of the comic in Chekhov's works is the preoccupation of individuals with their own, individual interest, mode of behavior, train of thought, the absolutization of each of their own and the resulting discrepancies and collisions. ("Drama", "Lost", "Entrepreneur under the sofa").

humor in stories reveals the inferiority of life, emphasizing, exaggerating, hyperbolizing it, making it tangible, concrete in the works. Humorous element in A.P. Chekhov and O. Henry is one of the most attractive aspects of their work. The humor of O. Henry is rooted in the tradition of the comic story that existed among the first settlers of America. In O. Henry, humor is often associated with comic situations that underlie many plots. They help the writer to debunk certain negative phenomena of reality. Resorting to parody and paradox, O. Henry reveals the unnatural essence of such phenomena and their incompatibility with the normal practice of human behavior. The humor of O. Henry is unusually rich in shades, impetuous, whimsical, he keeps author's speech as if under a current, and does not allow the narrative to go along the predicted channel. It is impossible to separate irony and humor from O. Henry's narration - this is his “element, the natural environment of his talent. Far from always the situation of short stories is humorous; and yet no matter what emotional keys the author presses, the invariably ironic turn of his mind gives a very special shade to everything that happens.

A.P. Chekhov is one of the greatest humorists in Russia. "The wit of deep feeling" - this is Chekhov's definition, which the author himself liked, accurately reveals the depth of genuine humor in the poetics of the novel. Humor in his works begins to play a new role: it either enhances, sets off the tragic, or, conversely, “softens” the tragedy of the wise bright smile. The writers' humor is a view of the world, a vision of life, inseparable from irony, a tragic smile. Great is the charm of writers in the humor with which they usually describe events. This is rarely a bilious mockery: as a rule, their laughter is good-natured. Serious thoughts sometimes hide behind this laughter. Even when the authors' ridicule is serious, they keep the masks of the funny ones.

Humor in the stories of A.P. Chekhov.

Lexico-phraseological means of creating a comic effect in 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 Language tools and techniques of expressing the comic in art style……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………. ………………………...…12

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

2.1. Comic method of transforming a phraseological unit……………………16

2.2. Semantic and structural-semantic transformations

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

2.3. Semantic-syntactic technique of "sculpting speech segments"………..23

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

Chapter III. Comedy of 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 changes. Not only the forms and means of the comic are changing, but also the styles of the authors. Each author uses certain techniques and ways of expressing the comic, which makes his style and language unique and unrepeatable. The language of each author is special, so we decided to identify and analyze some language methods of expressing the comic used in the individual style of I. Ilf and E. Petrov.

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

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

The purpose of the study of the topic "Lexico-phraseological means of creating a comic effect in the individual style of I. Ilf and E. Petrov" is to identify, describe, characterize different methods of comic use of lexical and phraseological means in the novel-dilogue "The Twelve Chairs", displaying their peculiar aesthetic function within 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. Getting into a work of art, the word takes on a “different” life: its semantic structure expands, enriched with various figurative associations.

In connection with the goal, the following tasks were defined:

Select words and combinations from the literary text, the comic potential of which is associated with the possibilities of their metaphorization and ambiguity. To reveal how the semantic structure of a word expands in a literary text, how a two-dimensional perception is created. Describe language devices, the comic effect of which is based on semantic two-dimensionality.

Features of the language of fiction.

The question of the language of fiction and its place in the system functional styles is solved ambiguously: some researchers (,) include a special artistic style in the system of functional styles, others (, MM. Shansky,) believe that there are no grounds for this. The following are given as arguments against singling out the style of fiction: 1) the language of fiction is not included in the concept of literary language; 2) it is multi-styled, not closed, does not have specific signs 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 quite legitimate the opinion that “bringing artistic speech beyond the limits of functional styles impoverishes our understanding of the functions of the language. If we deduce artistic speech from among the functional styles, but consider that the literary language exists in a variety of functions, and this cannot be denied, then it turns out that the aesthetic function is not one of the functions of the language. The use of language in the aesthetic sphere is one of the highest achievements of the literary language, and because of this, neither the literary language ceases to be such when it enters a work of art, nor the language of fiction ceases to be a manifestation of the literary language.

Indeed, artistic speech uses the language means of all other styles, including those typical of them. However, in a work of art, these means act in a modified function - aesthetic, 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 "mixture of styles". Since each medium in a work of art is motivated by content and stylistically, they are all united together by a common, inherent aesthetic function.

All those linguistic resources that are described by linguists are known to artistic speech. However, in each specific case, out of the entire arsenal of linguistic and stylistic means, only one chosen means is appropriate, the only one necessary in this context. Moreover, the concept of high qualities of artistic speech and its indispensable properties includes the uniqueness and freshness of expression when creating an image, their bright individuality. wrote: “Getting into the sphere of the 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 and aesthetic plane, acquiring a different life and being included in a different creative perspective”2.

Living speech, getting into a work of art, is subjected 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 he 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 particular artwork. 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 meaning the word "bread", put in the title of the famous novel by A. Tolstoy, does not mean the same as the well-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 systemic relationship of the word with other words of the artistic whole, when expressing the so-called cross-cutting poetic thought - an idea, an artistic image. Such a property poetic word called combinatorial increments of meaning.

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

In this regard, it is possible to single out the broadest property of artistic speech as a whole, named as artistic - figurative speech concretization, which constitutes the most general basic feature of artistic speech. It also explains the nature of the impact of the poetic word on the reader.

The word (in the dictionary), as you know, expresses the concept. In the context of artistic speech, words express not just concepts, ideas, but artistic images. Concretization here has its own means and ways of expression (“translating” a word-concept into a word-artistic image). The writer in the process of creativity uses the same words as anyone who speaks this language, but these words in the context of his work turn out 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 the language into figurative 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 specific features that make it possible 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 metaphor, figurativeness of language units of almost all levels, the use of synonyms of all types, ambiguity, different stylistic layers of vocabulary. In the artistic style (compared to other functional styles) there are laws of perception of the word. The meaning of a word is largely determined by the author's goal setting, genre and compositional features of the work of art, of which this word is an element: firstly, in the context of a given literary work, it can acquire artistic ambiguity that is not recorded in dictionaries, and 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.

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

1 Theoretical justifications for the study of the comic as an aesthetic category…………………………………………………………………………..5

1.1 The general nature of comic effect………………………………………………………………………………………………………………………………………………………………………………

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 Comic in modern English works…………..…………….15

2.1 Story 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 20th century ……………………………………………….29

Appendix B Techniques for using comic 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, as well as the styles of the authors, change. Certain techniques and ways of expressing the comic are used, due to which the style and language become unique and unrepeatable. Nevertheless, one can find the most common features of the expression of comic effect by the authors of one century. Therefore, this work will analyze some literary sources and identify the main ways and means of expressing the comic effect used by modern authors in English stories.

Objective is to analyze the comic as a category expressed by linguistic means in modern English literature.

The goal was specified in the following tasks:

Consider and clarify the concept of comedy as a stylistic category,

Highlight the different levels of the text in which the comic effect is manifested,

Analyze the techniques and means of comic effect at various levels of the text.

Object of study constitutes comic effect as a stylistic category.

Subject of study are the ways and techniques of expressing the comic effect in a literary text.

materialforresearch the stories 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" were used.

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 deals with the comic effect, its ways and means of expression. The research part analyzes English works of the twentieth century. The appendix contains diagrams.

Theoretical justifications for 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 non-correspondence of something to his ideas.” Not all human needs are innate. Some of them are formed in the process of education and reflect not only the connection of man with nature, but also his connection with human society. "Aesthetic feelings" are the cause of the emergence of aesthetic categories. For example, in his book On the Sense of Humor and Wit, A. N. Luk lists human feelings, in which, in addition to higher social feelings, he also includes a list of "aesthetic feelings":

a) feeling elevated

b) Feeling beautiful

c) Feeling tragic

d) Sense of the comic.

These "aesthetic feelings" make up 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 considered in this work.

1.1 General nature of comic effect

According to the definition given in the dictionary by I. T. Frolov, “comic is a category of aesthetics that expresses in the form of ridicule the historically determined (full or partial) inconsistency of a given social phenomenon, the activities and behavior of people, their customs and customs with 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, as it fully reflects the essence of the comic. The comic effect in its origin, essence and aesthetic function is social character. 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 about himself. A form of the comic is, for example, an attempt by the ugly, the historically doomed, the inhuman, to hypocritically portray itself as beautiful, progressive, and humane. In this case, the comic causes angry laughter and the satirical, negative attitude. The senseless thirst for accumulation for the sake of accumulation is comical, since it is in conflict with the ideal of a comprehensively developed person.

The comic has various forms: satire, humor, etc. The concept of "comic" comes from the Greek "koikus" - "cheerful", "funny" and from "komos" - a cheerful gang of mummers at the rural festival of Dionysus in Ancient Greece and passed into Russian with the meaning "funny". Starting with 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, playfulness, 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 characteristic of all peoples. This is laughter from the joyful carelessness of excess strength and freedom of the spirit, as opposed to the oppressive worries and needs of previous and upcoming everyday life, and at the same time reviving laughter (in the middle of the century it was called "risus paschalis" - "Easter laughter" after long deprivations and prohibitions of Great Lent ).

In terms of communicative content, the comic is universal and at the same time dual, because it can simultaneously combine praise and reproach, praise and reproach. 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 the individual and the nation at a certain stage. 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 be “on the same communication wave”, in other words, that there should be 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 works of M. Eipta (Mahadev Apte), a culturologist and anthropologist, who notes: “Laughter arises when communicants feel comfortable with each other, when they are open and at ease. And the stronger the bonds that bind a given communicative group, the more pronounced the effect” (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 individuals and to entire societies and epochs (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, one should mention A. Makaryan's book "On Satire", in which the author, despite its title, talks more about the "comic". Indeed, the first part of the monograph is called "Comic in Literature", the second - "Comic". In the second part, the author, who set himself the task of "exploring the main artistic means of satirical creativity", considers such phenomena as "comic of words", "figurative comic", "logism and alogism", "comic of position", "comic of characters", " comic of circumstances”, “comic of action”. The author discusses two types of comic words: witty and comic word. 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: "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." 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, scarcity of thought, ornateness, pretentiousness of speech, disruption of the connection between remarks, a comic increase or decrease in intonation, loss of a thread of thought during a conversation, words expressing contradictory concepts, repetitions, comedy. sounds and puns.

The comic effect of ordinary commonly used words is associated primarily with the possibilities of their metaphorization and ambiguity. The comedy is enhanced by individual words when they are connected differently, they acquire additional comic coloring in a comic environment, with misunderstandings that arise in the course of dialogues and mutual replicas of characters. Of course, the comic possibilities of words are also manifested in the language of the author in the course of the story, but the language of the characters has more opportunities to achieve artistic goals.

The comic embraces satire and humor, which are equal forms of the comic.

in philology and aesthetic literature the techniques and means of the comic are often confused and identified.

The means of the comic, along with linguistic ones, also cover other means that cause laughter. The linguistic means of the comic are phonetic, lexical, phraseological and grammatical (morphological and syntactic) means.

The techniques of the comic are generated differently and are formed, first of all, by linguistic means.

Comic art is able to reveal the comic potential not only of common, emotional words, but also of 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 a text with other words and expressions.
In prose, the possibilities of words in creating a comic effect, apart from ironic intonation, are as follows: creation comic image. ...

Consideration this work through the prism of comic techniques is interesting and scientifically fruitful.

1) A comic effect is achieved through various techniques. Chief among them is a detailed presentation of the facts, designed to confirm the "high" qualities of the hero.

"A wonderful man Ivan Ivanovich!" exclaims Gogol. And - immediately after this he continues: “What a house he has in Mirgorod! Around it on all sides is a canopy on oak pillars, under the canopy there are benches everywhere. Ivan Ivanovich, when it gets too hot, will throw off both his bekesha and underwear, he himself will remain in one shirt and rest under a canopy and look at what is happening in the yard and in the street. What apple and pear trees he has right under his windows! Open only the window - so the branches break into the room. It's all in front of the house; and see what's in his garden! What is not there! Plums, cherries, sweet cherries, all sorts of vegetable gardens, sunflowers, cucumbers, melons, pods, even a threshing floor and a forge.

Instead of depicting the spiritual, moral qualities of Ivan Ivanovich, designed to confirm that he is indeed a wonderful person, a description is given of the real estate belonging to him.

"A wonderful man Ivan Ivanovich!" - the writer exclaims for the second time and "reinforces" his statement by the fact that his hero "loves melons very much."

Ivan Nikiforovich is characterized in a similar way: “Ivan Nikiforovich is also a very good person. His yard is near the yard of Ivan Ivanovich. They are such friends among themselves, which the world did not produce.

2) The next means of creating comic in the story are alogisms (the principle of the destruction of logic) in the speech of the narrator of the named story, they manifest themselves in violation of the logical basis of comparison: “Ivan Ivanovich is somewhat timid. Ivan Nikiforovich, on the contrary, has trousers in such wide folds ... ".

In creating a comic character, Gogol often uses both caricature and hyperbole. Hyperbole, unlike caricature, exaggerates not just one trait in the hero's character, but the entire comic character. So, with the help of hyperbole, Gogol's heroes turn out to be the "sum" of several human vices at once, like Ivan Ivanovich and Ivan Nikiforovich. “Using the technique of hyperbole, Gogol in the story ridicules not only the vulgarity, insignificance and banality of his heroes, but also the entire absurdity of the world in which they vegetate.”

Continuing the topic, it should be said that in the story of the ridiculous quarrel between two friends-neighbors, N.V. Gogol comes to the grotesque, the maximum comic exaggeration, which sometimes makes the characters implausible and paradoxical. But this does not happen with N.V. Gogol, because the writer is able to present any implausible fact as the most real and ordinary, thanks to his author's sense of proportion and tact in the use of comic means.

Hyperbole by N.V. Gogol is multifunctional. Sometimes N.V. Gogol uses hyperbole as if in jest, not for satirical purposes, but to enhance the comic character: “Ivan Nikiforovich, on the contrary, has trousers in such wide folds that if they were blown up, then they could put the whole yard with barns and buildings.

Another commonly used Gogol technique for creating a comic character is the choice of the character's profession. In the story, the writer draws representatives of the authorities in a satirical light, including the head of the city himself.

With merciless irony, the writer narrates about the “glorious” deeds of the mayor both during the recent war (“Ah, I’ll tell you how I climbed over the fence to one pretty German woman”), and in the days of governing the city entrusted to him. Both the appearance of the “wise guardian of order” and the nature of his activities become extremely clear from the moment he appeared with Ivan Ivanovich. “On the mayor’s uniform,” Gogol writes, “eight buttons were planted, the ninth, as it came off during the procession during the consecration of the temple two years ago, the tenth ones still cannot find, although the mayor’s daily reports given to him by quarter guards , always asks if the button is found.

The decisive role in the creation of the character is played by the name of the hero, which is the most important humorous and satirical means in Gogol's poetics. The similarity in the names of Ivan Ivanovich and Ivan Nikiforovich is a reflection of their identical insignificance, the difference in names serves as an impulse leading to their subsequent quarrel.

Gogol's language, "unprecedented, unheard of in its naturalness" (V.V. Sokolov) fully accommodates and reflects his unusual humor. Every word is saturated with irony; the speech of the characters themselves makes the audience laugh at them. One gets the impression that "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich" is one big joke, and, despite the undoubted existence of tragic notes, they are nevertheless dressed in a kind of humor inherent only to Gogol.

Literature

1. Yu. V. Mann "History of World Literature". - T. 6. - M., 1989. -S. 369-384;
2. Literary encyclopedic Dictionary. M., 1987;
3. Khrapchenko M.B. Nikolay Gogol. literary path. greatness of the writer. M., 1984;
4. Mashinsky S.I. Art world Gogol. M., 1971.

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

1 Theoretical justifications for the study of the comic as an aesthetic category…………………………………………………………………………..5

1.1 The general nature of comic effect………………………………………………………………………………………………………………………………………………………………………………

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 Comic in modern English works…………..…………….15

2.1 Story 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 20th century ……………………………………………….29

Appendix B Techniques for using comic 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, as well as the styles of the authors, change. Certain techniques and ways of expressing the comic are used, due to which the style and language become unique and unrepeatable. Nevertheless, one can find the most common features of the expression of comic effect by the authors of one century. Therefore, this work will analyze some literary sources and identify the main ways and means of expressing the comic effect used by modern authors in English stories.

Objective is to analyze the comic as a category expressed by linguistic means in modern English literature.

The goal was specified in the following tasks :

Consider and clarify the concept of comedy as a stylistic category,

Highlight the different levels of the text in which the comic effect is manifested,

Analyze the techniques and means of comic effect at various levels of the text.

Object of study constitutes comic effect as a stylistic category.

Subject of study are the ways and techniques of expressing the comic effect in a literary text.

material for research served as storiesH. 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".

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 deals with the comic effect, its ways and means of expression. The research part analyzes English works of the twentieth century. The appendix contains diagrams.

1 Theoretical justifications for 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 non-correspondence of something to his ideas.” Not all human needs are innate. Some of them are formed in the process of education and reflect not only the connection of man with nature, but also his connection with human society. "Aesthetic feelings" are the cause of the emergence of aesthetic categories. For example, in his book “On the Sense of Humor and Wit,” A. N. Luk lists human feelings, in which, in addition to higher social feelings, it also includes a list of "aesthetic feelings":

a) feeling elevated

b) Feeling beautiful

c) Feeling tragic

d) Sense of the comic.

These "aesthetic feelings" make up 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 considered in this work.

1.1 General nature of comic effect

According to the definition given in the dictionary by I. T. Frolov, “comic is a category of aesthetics that expresses in the form of ridicule the historically determined (full or partial) inconsistency of a given social phenomenon, the activities and behavior of people, their customs and customs with 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, as it fully reflects the essence of the comic. The comic effect in its origin, essence and aesthetic function is social in nature. 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 about himself. A form of the comic is, for example, an attempt by the ugly, the historically doomed, the inhuman, to hypocritically portray itself as beautiful, progressive, and humane. In this case, the comic causes angry laughter and a satirical, negative attitude. The senseless thirst for accumulation for the sake of accumulation is comical, since it is in conflict with the ideal of a comprehensively developed person.

The comic has various forms: satire, humor, etc. The concept of "comic" comes from the Greek "koikus" - "cheerful", "funny" and from "komos" - a cheerful gang of mummers at the rural festival of Dionysus in Ancient Greece and passed into the Russian language with the meaning "funny". Since Aristotle, there has been great amount literature about the comic, its essence and origins; the difficulty of its exhaustive explanation is due, firstly, to its extraordinary dynamism, playfulness, 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, known from ancient times, which is characteristic of all peoples. This is laughter from the joyful carelessness of excess strength and freedom of the spirit, as opposed to the oppressive worries and needs of previous and upcoming everyday life, and at the same time reviving laughter (in the middle of the century it was called "risus paschalis" - "Easter laughter" after long deprivations and prohibitions of Great Lent ).

In terms of communicative content, the comic is universal and at the same time dual, because it can simultaneously combine praise and reproach, praise and reproach. 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 be “on the same communication wave”, in other words, that there should be 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 works of M. Eipta (Mahadev Apte), a culturologist and anthropologist, who notes: “Laughter arises when communicants feel comfortable with each other, when they are open and at ease. And the stronger the bonds that bind a given communicative group, the more pronounced the effect” (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 individuals and to entire societies and epochs (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, one should mention A. Makaryan's book "On Satire", in which the author, despite its title, talks more about the "comic". Indeed, the first part of the monograph is called "Comic in Literature", the second - "Comic". In the second part, the author, who set himself the task of "exploring the main artistic means satirical creativity”, considers such phenomena as “comic of words”, “figurative comic”, “logism and alogism”, “comic of position”, “comic of characters”, “comic of circumstances”, “comic of action”. The author discusses two types of comic words: witty and comic word. 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: "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." 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, scarcity of thought, ornateness, pretentiousness of speech, disruption of the connection between remarks, a comic increase or decrease in intonation, loss of a thread of thought during a conversation, words expressing contradictory concepts, repetitions, comedy. sounds and puns.

The comic effect of ordinary commonly used words is associated primarily with the possibilities of their metaphorization and ambiguity. The comedy is enhanced by individual words when they are connected differently, they acquire additional comic coloring in a comic environment, with misunderstandings that arise in the course of dialogues and mutual replicas of characters. Of course, the comic possibilities of words are also manifested in the language of the author in the course of the story, but the language of the characters has more opportunities to achieve artistic goals.

The comic embraces satire and humor, which are equal forms of the comic.

In philological and aesthetic literature, techniques and means of the comic are often confused and identified.

The means of the comic, along with linguistic ones, also cover other means causing laughter. The linguistic means of the comic are phonetic, lexical, phraseological and grammatical (morphological and syntactic) means.

The techniques of the comic are generated differently and are formed, first of all, by linguistic means.

Comic art is able to reveal the comic potential not only of common, emotional words, but also of 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 a text with other words and expressions.
In prose, the possibilities of words in creating comic effect, apart from ironic intonation, are as follows:

a) the historical formation of the meaning of a certain part of lexical units in a comic quality;

b) unexpected polysemy, homonymy and synonymy of lexical units;

c) a change in the stylistic conditions for the use of words belonging to different spheres.

Phraseological units serve to express the comic in three cases:

a) accompanied by an ironic intonation;

b) historically formed in the language in a comic capacity;

c) with a successful combination with other words and expressions.

A significant role in the art of the comic is played by witticisms that are expressive and cause laughter.

The comic effect plays an important role in relation to culture as a whole. Modern sociological research shows that, on the one hand, it can act as an instrument for the destruction of traditions, on the other hand, it can preserve and support the existing system, which can be considered as a destructive and constructive function of the comic.

1.2 Stylistic ways of expressing comic effect

There are such types of comic effect as humor, satire, grotesque, irony, caricature, parody, etc. Such a selection of species comes from a mixture of forms and techniques of the comic. Grotesque, caricature, parody are included in the technique of hyperbole and in the aggregate constitute a method of deformation of phenomena, characters, and also serve both satire and humor to the same extent.

“Humor (English humour - moral mood, from Latin humour - liquid: according to the ancient doctrine of the ratio of four bodily fluids, which determines four temperaments, or character), a special kind of comic effect ; the relation of consciousness to the object, to individual phenomena and to the world as a whole, combining an outwardly comic interpretation with an inner seriousness. According to the etymology of the word, humor is obviously “wilful”, “subjective”, personally conditioned, marked by the imprint of the “strange” mentality of the “humorist” himself. In contrast to the actual comic interpretation, humor, reflecting, tunes in to a more thoughtful, serious attitude towards the subject of laughter, to comprehend its truth, despite funny oddities - in this humor is the opposite of ridiculing, destructive types of laughter.

On the whole, humor strives for a complex assessment, like life itself, free from the one-sidedness of generally accepted stereotypes. “At a deeper (serious) level, humor reveals the sublime behind the insignificant, the wisdom behind the insane, the true nature of things behind the wayward, and the sad behind the ridiculous.” Jean Paul, the first theoretician of humor, likens it to a bird that flies up to the sky with its tail up, never losing sight of the earth - an image that materializes both aspects of humor.

“Depending on the emotional tone and cultural level humor can be good-natured, cruel, friendly, rude, sad, touching, and the like. The “fluid” nature of humor reveals a “proteic” (Jean Paul) ability to take any form that meets the mood of any era, its historical “temper”, and is also expressed in the ability to combine with any other types of laughter: transitional varieties of ironic, witty, satirical, funny.

1.2.2 Irony

Irony is translated from the Greek "eironeia", literally - "pretense".

In various fields of knowledge, the comic effect is defined in different ways.

In stylistics - “an allegory expressing mockery or slyness, when a word or statement acquires a meaning in the context of speech that is opposite to the literal meaning or denies it, casting doubt on it.”

Irony is reproach and contradiction under the guise of approval and consent; a property is deliberately attributed to a phenomenon, which is not in it, but which should have been expected. Irony is usually referred to as paths, less often as stylistic figures. A hint of pretense, the “key” to irony is usually contained not in the expression itself, but in the context or intonation, and sometimes only in the situation of the utterance. Irony is one of the most important stylistic means of humor, satire, and the grotesque. When ironic mockery becomes evil, caustic mockery, it is called sarcasm.

By virtue of its intellectual conditioning and critical orientation, irony approaches satire; at the same time, a line is drawn between them, and irony is seen as a transitional form between satire and humor. According to this provision, the object of irony is mainly ignorance, while satire has a destructive character, creates intolerance towards the object of laughter, social injustice. "Irony is a means of imperturbable cold criticism".

1.2.3 Satire

Satire (lat. satira, from earlier satura - satura , literally - “mixture, all sorts of things”), a kind of comic; merciless, destroying rethinking of the object of the image (and criticism), which is resolved by laughter, frank or latent, "reduced"; a specific way of artistic reproduction of reality, revealing it as something perverted, inconsistent, internally untenable (substantive aspect) through comical, accusatory and ridiculing images (formal aspect).

Unlike direct denunciation, artistic satire is, as it were, two-plot: the comic development of events in the foreground is predetermined by some dramatic or tragic collisions in the "subtext", in the sphere of the implied. Satire itself is characterized by the negative coloring of both plots - visible and hidden, while humor perceives them in positive tones, irony is a combination of an external positive plot and an internal negative one.

“Satire is an essential means of social struggle; the actual perception of satire in this capacity is a variable, depending on historical, national and social circumstances. But the more popular and universal the ideal, in the name of which the satirist creates a denying laughter, the more "tenacious" satire, the higher its ability to revive. The aesthetic "super task" of satire is to excite and revive the memory of the beautiful (goodness, truth, beauty), offended by meanness, stupidity, vice.

Satire retained the features of lyricism, but lost its genre definition and turned into a similarity literary kind, defining the specifics of many genres: fables, epigrams, burlesque, pamphlet, feuilleton , satirical novel. In the last half century, satire has invaded science fiction (O. Huxley, A. Asimov, K. Vonnegut, and others).

2 Analyzing stories and highlighting levels of comic effect

On the examples of stories studied in term paper, it can be seen that the comic effect was widely used by the authors of the twentieth century at various levels. Therefore, the functioning of the methods and techniques for expressing the comic effect at various textual levels will be considered:

story level,

character level,

Offer level,

Phrase level.

Authors often use various means and techniques to create comic effect at the plot level. The predominant means are irony and satire, and the methods are metaphors, repetitions, introductory constructions and neoplasms.

The example of Owen Johnson's story "The Great Pancake Record" shows that even the title speaks of the frivolity of this "sports" record. It talks about how the boys from the college were glorified. Each of them had some hobbies for sports, but one day a new one came to them, who did not go in for any kind of sport. Johnny Smeed only liked to eat and sleep. When the students ran out of money for food, they agreed with the shop owner that if Johnny ate more than 39 pancakes, he would feed them for free. The record was to eat more than anyone in the history of the college.

Forty-nine pancakes! Then, and only then, did they realize what had happened. They cheered Smeed, they sang his praises, they cheered again.

"Hungry Smeed's broken the record!"".

The use of irony in this case underlines the "significance" of this record for the college.

Throughout the text, it is noticeable that newcomers were judged on their athletic achievements and physique, but when they learned that Johnny Smeed had never played sports, they immediately began to regard him as unworthy of their attention:

"A dead loss! ”, “Good for nothing…”.

"- You'll try for the college team?

In this case, the author wants to emphasize the superiority of students over beginners. In addition to using various means of the comic, the author often uses such comic techniques as repetition, metaphors and introductory constructions. For example:

"Six it is," said Hickey, adding a second figure. "Six and six are twelve."

The second six vanished as quickly as the first.

"Why, that boy is starving," said Conover opening his eyes.

"Sure, he is," said Hickey. "Not hasn" t had but thing for ten days."

"Six more," cried Macnooder.

"Six it is," said Nickey. "Six and twelve is eighteen".

The repetition of the number "six" emphasizes the experience and makes the story more emotional.

"You have undermined the effect of years of careful teaching".

This phrase does not seem funny if you do not know the plot of the story. Only after reading, it will become clear what exactly is meant by "carefulteaching". The use of irony, in this case, emphasizes that the children's aunt has in mind good fairy tales and does not pay attention to the behavior and character of her nephews. Children do not know how to behave in a public place, and it is important for their aunt that they are not told inappropriate stories that they enjoyed listening to.

“We walked home together. I admired his bloody nose. He said that my eye was like a poached egg, only black.”

At first glance, this phrase sounds even sadder than funny. But this conversation takes place between the boys who just got into a fight with each other. The use of exaggeration ("admired" - a word completely inappropriate for the style of the story as a whole, and too elevated for this situation and everyday dialogue between two children) and metaphor ("poachedegg" - the eye of one of the boys is compared to a poached egg, which is usually boiled without shells and it has a heterogeneous and puree-like appearance; apparently, the boy’s eye resembled this particular egg) help to understand their mood and already friendly feelings, and, in addition, to see their pride in themselves.

Equally interesting is a story written by Dorothy West called "TheRicher, ThePoorer", which describes the life of two sisters. The author deliberately emphasizes their lifestyle and their miserly attitude towards money:

"She never touched a penny of her money, though her child's mouth watered for ice cream and candy."

Here the author means that one of the sisters is such a greedy person that she does not want to satisfy even her strongest desires (she will not touch a penny, despite the fact that she is “drooling” from the sight of ice cream and sweets).

AT this story neoplasm technique is also used:

"A job in hand was worth two in the future."

In this case, the author transforms famous proverb"Abirdinhandisworthtwointhebush" so as to show greed and the desire to earn as much money as possible. The comic situation is that, while earning money, they did not spend it, but collected it in order to live beautifully and richly in the future, but, having lived to old age, they realized their stupidity.

Very often, writers achieve character-level comic effect through metaphor and exaggeration. At the character level, the main way to express the comic is satire, and the most commonly used techniques are paradox and metaphor.

The role of the comic at the character level in the work of James Thurber "Doc Marlowe" is very well visible.

“Doc Marlowe was a medicine-show man. He had been a lot of other things, too: a circus man, the proprietor of a concession at Coney Island, a saloonkeeper; but in his fifties he had traveled around with a tent-show troupe made up of a Mexican named Chickalilli, who threw knives, and a man called Professor Jones, who played the banjo."

It is rather difficult to imagine a healer who is engaged in circus activities and owns a pub. But throughout the story we see how highly valued his potions are. In addition, for comic effect, the author describes his beggarly existence:

"He was wery low in funds".

It can be assumed that the circus performer and the healer do not have money, but it is hard to imagine that the owner of the pub does not have them. Moreover, describing the healer and the owner of the pub in one person, the author wants to emphasize the comical situation in which the inhabitants of this locality. They did not have qualified doctors, so they were forced to seek help from a healer who did not have an impeccable reputation.

The DorothyWest story "The Richer, The Poorer" describes Lottie very well. She dreamed of growing up quickly and earning a lot of money, because as a child she had very few toys, she loved to ride a bicycle, which she had to borrow from friends for a while. Having matured, she got a job as a nanny, and when she faced the choice of working or studying, she went to work without hesitation. She never spent the money she earned, although her child asked for sweets. Having saved all her life, it was only in her old age that she realized how worthless her life was.

SuddenlyLottiewassixty.

With this sentence, the author emphasizes how busy Lottie was in earning money. Having set herself the goal of accumulating as much money as possible, she missed her childhood and youth, and only in her old age she realized that her life had already passed and she had no time for anything, because she was “suddenly” 60 years old.

"Her way of life was mean and miserly".

This sentence perfectly reflects her whole life. The author ironically emphasizes how "stingy" and "useless" Lottie's life was.

“He was thin and small, with a long, pointed nose and a wide mouth…

Smeed understood that the future was decided and that he would go to the grave as "Hungry" Smeed".

“He was “a dead loss”, good for nothing but to sleep a lot and to eat like a glutton with a hunger that could never be satisfied.”

The author describes a boy who felt that the most important years his life is college life. He wanted to leave a memory of himself for future students, but did not know how to achieve this, because apart from the "talent to eat" he could not distinguish himself in anything else.

The comic effect is also achieved by the fact that the author gives nicknames to all actors("Hickey", "OldTurkey", "Spider", "RedDog", "Butcher").

In MurielSpark's YouShouldHaveSeenTheMess, the author achieves comic effect at the character level by describing the boy's attitude towards disorder:

"One day, I was sent over to the Grammar School with a note for one of the teachers, and you should have seen the mess!" I am so glad that I did not go to the Grammar School, because of its mess…

After that I went the Grammar School more and more. I liked it and I did like the mess.”

Using satire and many comic techniques, modern English-speaking authors create comic images, making their works more lively and funny.

At the sentence level, the comic effect is very common among English-speaking authors of the 20th century. To express it, the authors use all the ways and means of conveying the comic effect in approximately equal proportions.

In Owen Johnson's short story "The Great Pancake Record" the author often uses irony:

"Afinefootballteamwe'll have".

This is an ironic exclamation, because at the beginning of the story the author writes about a boy who weighed only about 48 kilograms and never played football or baseball:

“He was “a dead loss”, good for nothing but…”.

You can well translate the following phrase as "Well, still":

"Yes, you are."

The author uses satire to show the superiority of students over beginners. This phrase was uttered in order to show that participation in the game in their team should be a great honor for all newcomers.

H. Munro's story "TheStory-Teller" uses introductory constructions and paradoxes.

“At any rate I kept them quiet for 10 minutes, which was more than you were able to do.”

“Thirty-two is a long way to go,” said Conover, looking apprehensively at the little David, “fourteen pancakes is an awful lot.”

David is the biblical hero who defeated Goliath, and Johnny Smeed simply broke the "record" of his predecessors.

After analyzing some stories of modern English-speaking authors, we can conclude that this level is used most rarely.

At the level of phrases, the prevailing devices are stereotypical phrases and introductory constructions. Authors often use humor. Satire at this level was used extremely rarely in the 20th century.

O. Johnson's short story "The GreatPancake Record" often contains comic phrases:

"Go down to the grave".

This phrase refers to the boy's nickname. The author uses an exaggeration because he wants to show that this nickname will not haunt him until his death, but for Johnny Smeed these are the most important years, as he thinks, and therefore he uses this phrase.

H. Munro's "The Mouse" describes the behavior of a teenager who has a mouse in his pants. He could not scream, as it happened on the train, a woman was sleeping in the same compartment with him, and he did not want to wake her up, and therefore he behaved very strangely. When the woman woke up, he explained to her the reason for this behavior. She asked if his pants were tight or wide, and when he replied that they were tight, she uttered the following phrase: "Strange ideas of comfort." The author uses a metaphor in this case, as it is doubtful that mice have any idea of ​​comfort at all.

Conclusion

In this course work, the comic effect was considered as an aesthetic category, theories of creating a comic, its means and techniques were also studied. In the research part, an analysis was made of the ways and techniques of expressing the comic effect on the examples of modern English-speaking authors.

The study showed that in their works, English-speaking authors of the twentieth century seek to create a comic effect with the help of different ways and methods of expression.

After analyzing the ways and means of expressing the comic effect at various textual levels, we can conclude that irony and humor are used approximately equally, although satire is the predominant way of expressing the comic. The least used techniques are convergences, allusions and parodies. The greatest preference is given to repetitions, neoplasms and introductory constructions.

Thus, we can sum up - the comic effect as a stylistic category manifests itself at various levels of the text and is the determining factor in text formation in humorous works.

List of sources used

1Aznaurova, E. S. Stylistic aspect of the nomination by the word as a unit of speech / E. S. Aznaurova // Language nomination (types of names). - M .: Publishing house of Enlightenment, 1977. - S.86-129.

2Aristotle. On the Art of Poetry / Aristotle. - M., 1957. - 129 p.

3Arnold, I.V. Stylistics of modern English / IV Arnold. - L .: Education, 1973. - 304 p.

4Akhmanova, O. S."Vertical context" as a philological problem / O. S. Akhmanova, I. V. Gyubbenet// - Questions of linguistics. - 1977. - No. 6. - S. 44-60.

5Bergson A. Collected works. V. 5 / A. Bergson. - St. Petersburg, 1914. - 684 p.

6Boldyreva, L. M. Stylistic potency of phraseological units in the field of humor, irony and satire / L. M. Boldyreva // Questions of the lexicology of Germanic languages. - M., 1979. - Issue. 139. - S. 48-62.

7Boreev, Yu. B. About the comic / Yu. B. Boreev. - M .: Publishing House of Art, 1957. - 232 p.

8Boreev, Yu. B. Comic / Yu. B. Boreev. - M., Art, 1970. - 239 p.

9Boreev, Yu. B. Comic and artistic means of its reflection / Yu. B. Boreev. –– M., 1958, p. 298-353.

10Bronsky, I. Yu. On the use of phraseological units of the English language to create a comic effect / I. Yu. Bronsky // Questions of philology and history of teaching foreign languages. - Stavropol, 1976. - S. 39-56.

11Verbitskaya, M. V. Literary parody as an object of philological research / M. V. Verbitskaya. – Tbilisi: publishing house of the Tbilisi University. - 1987. - 166 p.

12Galperin, I. R. Stylistics of the English language / I. R. Galperin. - M .: Higher. school, 1977. - 332 p.

13Hegel. Aesthetics. T. 2. / Hegel. - M., 1969. - 845 p.

14Guralnik, W. A. Laughter is a weapon of the strong / U. A. Guralnik. - M., 1961. - 48 p.

15Gubbenet, I. V. On the problem of understanding the literary and artistic text (on English material) / I. V. Gyubbenet. - M .: publishing house Mosk. un-ta., 1981. - 110 p.

16Dzemidok, B. N. About the comic / B. N. Dzemidok. - Kyiv, 1967. - 284p.

17Dmitrovsky, M. I. Weapon of laughter / M. I. Dmitrovsky. - Alma-Ata, 1968. - 144 p.

18Ershov, L. F. Satire and modernity / L. F. Ershov. - M., Sovremennik, 1978. - 271 p.

19Ivin, A. A. The art of thinking correctly / A. A. Ivin. – M.: Enlightenment, 1990. – 240 p.

20Imanaliev, K. K. On the skill of satire / K. K. Imanaliev // Sat. articles. Issue 1. - Frunze, 1960. - 130 p.

21Kiseleva, R. A. Stylistic functions of author's neologisms in modern English comic and satirical prose / R. A. Kiseleva // Uchenye zapiski Leningrad. ped. Institute of foreign lang.: Questions of theory English. and Russian languages. - Vologda, 1970. - T. 471. - S. 43-53.

22Krasikova, O. V. Introductory elements of a sentence as a stylistic and syntactic device in the works of Jerome K. Jerome / O. V. Krasikova // Specificity and evolution of functional styles. - Perm, 1979. - S. 136-144.

23Lazarus, M. O. Parables and legends / M. O. Lazarus. - M., 1953. - 63 p.

24Luk, A. N. On the sense of humor and wit / A.N. Luk. – M.: Izd-vo Iskusstvo, 1968. – 192 p.

25Makaryan, A. N. About satire / A. N. Makaryan; per. from Armenian. - M., Publishing house of the Soviet writer, 1967. - 381 p.

26Mikhlina, M. P. On some linguistic techniques for creating a comic effect / M. P. Mikhlina // Uchenye zapiski ped. in-ta. - Dushanbe, - 1962. - V.31. - Issue. 14. - P. 3-14.

27Morozov, A. A. Parody as a literary genre / A. A. Morozov // Russian Literature. - 1960. - No. 1. - P.48-78.

28Nikolaev, D. P. Laughter is a weapon of satire / D. P. Nikolaev. - M., Art, 1962. -224 p.

29Ozmitel, E. K. On satire and humor / E. K. Ozmitel. - L., 1973. - 191 p.

30Potebnya, A. A. From notes on the theory of literature / A. A. Potebnya. - Kharkov, 1905. - 583 p.

31Pokhodnya, S. I. Linguistic types and means of implementing irony / S. I. Pokhodnya. - Kyiv: Naukova Dumka, 1989. - 128 p.

32Propp, V. Ya. Problems of comedy and laughter / V. Ya. Propp. - St. Petersburg, 1997. - 284 p.

33Skrebnev, Yu. M. Stylistic functions of introductory elements in modern English. lang. : abstract. dis. / Yu. M. Skrebnev. - L., 1968, 32 p.

34Tremasova, G. G. Language means of expressing satirical meaning (English and American fiction, and journalism of the twentieth century) : author. dis. / G. G. Tremasova. - M., 1979. - 126 p.

35Frolov, I. T. Philosophical Dictionary / I. T. Frolov. - 4th ed. - M.: Politizdat Publishing House, 1981. - 445 p.

36Chernyshevsky, N. G. Sublime and comic. Full coll. op. T.2. / N. G. Chernyshevsky. - M., 1949. - 584 p.

37 Wikipedia. The free encyclopedia. – London, 1978

Annex A

(reference)

Ways of using comic effect by English-speaking authors of the twentieth century

Annex B

(reference)

Techniques for using the comic by English-speaking authors of the 20th century