Types and techniques of comic in the work. Basic aesthetic categories

In any artistic book there is a definite idea that is expressed with the help of linguistic funds. Fiction contains elements of comic, which reflect the situation of real or fictional life, in which there is always a small, but share of humor.

Humor can be expressed through different means, species and forms that produce a certain effect on the reader.

Comic works always attract the attention of the reader. Over time, the mentality of people becomes different, rather than was before, respectively, the understanding and perception of humor, comic effects change in a radically. Also, over time, the methods of transmitting the comic effect are changed, thereby making a language special, different from others.

Comic in literature is always due to the culture and language of the work. By virtue of this, one or another humorous reception can be incomprehensible, and sometimes it is able to even introduce the reader into some kind of delusion.

In addition to the foregoing, the era, together with characteristic sociocultural phenomena, can indeed determine the nature and degree of severity of the traditional and characteristic humor.

There are many species and forms that can also be classified differently. Humor in general, can be different, black and white. Younor can be inherent in both soft and ease and coarse forms.

Thus, it can be noted that a comic, rather complicated category that pays many interesting and diverse.

Determination of the concept of "comic"

The category "comic" is an object of study, starting with ancient times. Comic covers many parties of human existence and is determined in gelotological theory (Greek. Gelos - laughter) as a polymodal and polyfunctional phenomenon (Panina 1996)

Each author has its own "toolkit", and often the writer is not even thinking about what it uses. Takes to achieve a comic effect, in general, understandable. This is a discrepancy, and a sudden exposure, a misunderstanding ... to bear numbers. In the end, a classic cake, which traveled to the face of the character is also a comic reception.

Comic is a very difficult category, which has been studied by many science figures. Starting from Aristotle, who in his tract "poetics" called this phenomenon "some disgrace and mistake", thinkers of different eras defined comic in different ways. So, Francois Rabl in the prologue to the fourth book "Gargantua and Pantagruel" called him "deep and disadvantaged cheerfulness, which is all transient", Denis Didro argued that the comic should "enlighten the duties and raise the taste", and Nikolai Gavrilovich Chernyshevsky Considered this phenomenon through the prism of ugly: "Unpleasant in a comic disgrace; It's nice that we are so insightful that we comprehend that ugly - ugly. Laughing, we are becoming above it "(Chernyshevsky 1939-1953).

An interesting fact is that, Plato and Aristotle were determined comic and funny through ugly. Plato considered comic unworthy for free citizens of the ideal state, opposing funny serious.

In addition, humor is characterized as a kind of mock, good-natured laughter; The attitude to anything (to someone's shortcomings, weaknesses, to misadnesses, etc.) (Ushakov) is imbued with such a mood.

Types of comic

Comic will include such ways as humor, satire, grotesque, irony, caricature, parody, and the like. Thus, the types of comic directly depend on the combination of forms, techniques and means of comic. For example, hyperbole includes such funds as a grotesque, caricature, parody.

"Comic can manifest itself in most species and genres of art, but most of all it is characteristic of comedy genres, buffonads, mimes, filmcommunications, cabbage, farce, sketch, feuille, epigrams, parodies, couples, caricatures, cartoon. Comic can be expressed in the form of a joke, jokes, calabura, as well as emerging unconsciously - in reservations, the descriptions, various comic misunderstandings and errors. " Takes to achieve a comic effect, in general, understandable. This is a discrepancy, and a sudden exposure, a misunderstanding ... to bear numbers. In the end, a classic cake, which traveled to the face of the character is also a comic reception.

Nevertheless, the main types of comic include humor, irony, satire, sarcasm. Different dictionaries and scientists determine these concepts in different ways. Humor can be determined as the author's ability to create comical situations and commemorate the funny parties in them. Considering this concept more widely, under the concept of "humor" you can understand everything that can cause laughter and smile. Speaking of humor include black humor. Black humor can be determined like humor, with a clear tinge of cynicism. There are mockery over human problems and sorrows, diseases and illness, as well as violence and the likelihoods and troubles of people. Some refer the above terms (irony, satire, sarcasm) to the types of humor.

Speaking of irony, you can notice a distinctive feature of this tool. This acceptance is based on a hidden or obvious contradiction of facts and common sense. Also, Ironia can be determined as an appointment when words are used in the so-called negative sense, which is directly opposite to literal.

Regarding Satira, this technique can be described as a humiliating performance, factual impairment and phenomenon.

Sarcasm is called the highest degree of irony, when a stinging rush is allowed when some situation is extended or a fact with a bright pointer to the contrast, followed by the chief of implied.

It is very difficult to talk about the specific types of comic at the moment, since classifications in different sources are different, one tool can be attributed to the other. Nevertheless, I allocated in my opinion, the main types of comic, or rather the means forming this effect.

Comic

Comic

(from greek. - Cheerful, funny, from - Merry Vataga muddied on the village. The festival of Dionysus B. Dr. Greece), funny. Starting from Aristotle there is a huge lIT-PA. about K., its essence and source; The difficulty of its exhaustive explanation is due, first, universality K. (Everything in the world can be viewed "seriously" and "comically"), and secondly, his extraordinary dynamism, his "nature of the protea" (Jean Paul Richter), gaming ability to hide under any laper. K. often opposed the tragic (Aristotle, Schiller, Shelling), elevated (Jean Paul Richter), perfect (Mendelsson)whipping (Novalov)but well known tragicomic, high (i.e. exalted) and touching (especially in humor) Types of funny. Essence K. saw in the "ugly" (Plato), in "self-destruction ugly" (it. Aesthetic-hegelian K. Rosencranz), in resolving something important in "" (Kant)But most often determined formally, seeing it in inconsistency, inconsistency (between action and result, purpose and means, concept and object, and t. d.)as well as in surprise (Ch. Darwin); However, there is also K. "Compliance", and often impressive just K. "Expected expectation" (judgments of a recognized comedian, "jester", in his mouth are purely funny). Little satisfying the role of a univers. Formulas, different aesthetic. The concepts of K., however, quite a reason determined the creature of one or another variety K., and through her and

some line K. In general, t. "Proteist" K. and affects the relaxed transition to each other.

The general nature of K. is easier to catch, turning first - in the spirit of etymology of the word - to a well-known game from all the people with a game, festively cheerful, collectively amateur nar. laughter eg in carnival games. It is from joyful carelessness, an excess of strength and freedom of the Spirit - in opposition to the oppressive concerns and needs of the previous and upcoming everyday, everyday seriousness - and at the same time reborn. This lamb is applicable to one of the general definitions of K.: "Fantasy ... Cleaner, which is given complete" (Jean Paul Richter). By keeping laughter and ambivalent (double-digit - familiar combination in the tone of laughter of praise and renovation, bully and praise) - It is a syncretical laughter: both at the place of action - without the Ramp, separating in the theater K. from the real world of viewers and by execution - often merging in the veliable author, actor and viewer (eg, cf.vek. Jester, Dr.-Rus. Skomorokh).

In syncretic. laugh potentially or in its infirmary form laid mN. Types of C., separating then during the development of culture. This is primarily the humor opposed to the "Rules of the game", by the nature of the larger. In the irony, funny is hidden under the mask of seriousness, with a predominance will deny. (mocking) relationship to the subject; in humor - serious under the mask of funny, usually with a predominance of positive ("Laming") relations. Among all species, K. Humor is noted in principle, the world-made. The character and complexity of the tone in the assessment of life. In humor, "fantasy" operates for insignificant - great, for madness -, for funny - sad ("Invisible to the world of tears", according to Gogol). On the contrary, it will see. Laugh satire, the subject of which is valid, is distinguished by quite definite (negative, expanding) Tone assessment.

By meaning (level, depth K.) high species differ K. (the greatest in the literature - Don Quixote Cervantes, laughter over the highest in man) And just funny joking species (Kalambur I. t. P.); To funny K. Applicable by Aristotle: "... a mistake and disgrace, no one causing suffering and no one for anyone" ("On the art of poetry", M., 1957, from. 53) . For K., a sensually visual specific subject is usually important, on strikes the magnitude of the elements, on fan-tastich. Combinations (grotesque); But along with this wit (sharpness), growing from comparison, is also built on convergence of distant, more or less distracted concepts; wit - this is "playing" (K. Fisher), Komich. The effect at the same time as it may play the role of evidence. According to the nature of the emotions, accompanying K., and their cultural level distinguish between the contemptuous, loving, touching, cruel (caustic and "torping" or sarcastic), tragicomic, sophisticated, rough, healthy (natural), patient I. t. d. Very important is also the spiritual "comic": a conscious laughter, when he owns the process K., and, on the contrary, when they play impersonal externally circumstances, (putting in a "funny position") or the unconscious plays them as a simple tool, involuntarily "exposing" him ("K.", on Bergson).

An Aristotle noted that only a person laughs (in some of the higher species of animals, in human-like monkeys and dogs, there are infringement forms of silent laughter). Great anthropological. TO.; According to Goethe, no matter what people are found as in the fact that they find funny. The truth is equally applicable to departure Individuals, whole societies and epochs (What does not seem like an estimate of one cultural history. Wednesday, starting with customs, clothes, classes, rites, form of entertainment and t. n., causes laughter from and vice versa)as well as to nat. Character, as it is detected in art. The greatest objective source K. is, while maintaining the "gaming" character, human. Society, a change of exhausted social forms new. The old system of society is "... Only a comedian of such a world order, the actual heroes of which have already died ... The last phase of the world-historical form is it to about me d and I ... Why is such a course of history? It is necessary in order to have fun with your past " (Marx K., cm. Marx K. and Engels F., Op., t. 1, from. 418) . With full right, you can talk about the "Hercules work of laughter" (M.M.Bakhtin) In the history of culture to liberate human. Consciousness from any kind of "mounds" - false, imposed cults that have learned authorities and idols, about spiritual-therapeutic. The roles of K. in everyday life and in art. Unity. K. is a man (and human-like in beasts, birds and t. d.). K. so alien architecture, and dr. Arts are different in different extent. The most favorable for the universer. Nature K. Art. lIT-PA.where on K. is based on one of the main and most gaming drama - comedy.

Chernyshevsky N. G., Elevated and K., PSS., t. 2, M., 1949; Bergson A., laughter of n life and on stage, per. from franz., St. Petersburg, 1900; Sacketty L., aesthetics in publicly available presentation, t. 2, P., 1917, gL 12-13; Sretensky N. N., Historic. In the poetics K., Part 1, Rostov N / d., 1926; Bakhtin M. M., Creativity F. Rabl and nar. Culture of the Middle Ages and Renaissance, M., 1965; Pinsky L. E., Comedy and K. At Shakespeare, in kn.: Shakespeare Collection, M., 1967; B O P E in Yu. B., K., M., 1970; ? ? ? ? ? V. Ya., Commission problems and laughter, M., 1076; Ja N Polan, will prepare, the school of aesthetics, M., 1981; Llpps th., Komik Und Humor, Lpz., 19222; J u N G EG F. G, Uber Das Komische, FR./M., 1948 "; P L E S-Sner H., Lachen und Weinen, Bern, 2.

L. E. Pinsky.

Philosophical encyclopedic dictionary. - M.: Soviet Encyclopedia. GL Editorial: L. F. Ilyichev, P. N. Fedoseev, S. M. Kovalev, V. G. Panov. 1983 .

Comic

(from Greek. κομικός - funny) - aesthetic. , reflecting the inconsistency between imperfect, tested, defective content of phenomenon or subject and its form appropriate for the fullness and, between an important action and its imperfect result, a high purpose and a disheal. Detection and disclosure of this inconsistency generates comic. K. Always ridiculous - this is the feature of his perception. However, in contrast to the funny, K. has wide and societies. is associated with the statement put. aesthetic. Ideal. K. Arms already in the early stages of the development of society. In the statement of K. is already found in Homer, where it turns out to be associated primarily with the consciousness of the joy of being (for example, the "laugh of the gods" in "Iliad", etc.). In antiquity category K. also gets theoretical. understanding. Plato speaks about K. How about reproduction "... actions of people of the ugly bodies and ways of thoughts ..." (Legg. VII, 19, 816 D). Generalizing definition K. gives Aristotle in the "poetics". Comic, according to Aristotle, "some disgrace and error." Turning to the difference between the tragedy and comedy, it indicates that the tragedy seeks to portray people the best than existing, and the comedy is the worst. The definition of Aristotle contains important points: K. with societies. Contradictions, dialectics, which are manifested in comparison of them comedy and tragedy. At the same time, the interpretation of Aristotle K., as no one causing suffering, limits the social significance of K., because essentially excludes satirich out of it. Start. This one-sidedness becomes apparent in the subsequent period of the history of antih. Society, giving a whole Pleiad of the largest satyrikov - Aristophan, Marziala, Junala, Lukian, which was a reflection of deep social contradictions. Juvenal, for example, directly indicates that satyrika poems "dictates indignation." K. is the study and aesthetic. The teachings of the Ancient East. For example, in ind. aesthetic. Treatise "Natyashar" is investigated by the subject of K. and its forms, it is indicated that K. is generated by "... ridiculous clothes and decorations, barracks, shaviness, meaningless shortness, spectacle of deformities, declaration of deficiencies, etc." ("Nathasaster", VI, 48), laughter is given on six types: smile, smile, laughing, laughter, laughter, mad laughter (see Tames, VI, 52).

Much less attention to K. is given to aesthetic. middle ages, to mean. EXCLUSIVE CHRISTS. ideology with her pathos of humility, asceticism and suffering. Fathers of the Church declare laugh "the art of the devil", predict. Weakness, "The only one that Christ has never experienced" (see W. Clarke, The Ascetic Works of St. Basil, L., 1925, p. 180). Comedy, humor is declared in deception for entertainment (St. Augustine). A typical document of the era is an essay of it. The nuns Grotzvita Gandershaimskaya (10th century) "anti-terents", directed against the famous Rome. Comediography and preach-Mixing subordination of the feelings of Christ. debt.

However, K. is widely used in the statement of this time, especially in line with Nar. Creativity - in the statement of Vagatov, Buffs, Gistrius, does not receive, however, reflections in the dominant aesthetic. exercises. The most democracy. The genre of the era is farce, the elements of the K-ro penetrate even in the relig. Genres, eg. In Mysteria.

The Renaissance Epoch marks a new page in the history of K. Liberation from the shackles of feudalism and religion, which brings with him faith in endless work. The possibilities of personality, wealth, versatility and beauty of real life are the factors defining the principles of realistic. The case of the epochs - form a new look at K. in Middle Ages, K. turns out to be one of the center. categories. Theoretics of the early Renaissance in Italy (Daniello, Chinzio, Scaliger) followed by the newly open Aristotle, interpretating him on his way - between K. and the tragic they associate with the social affiliation of the heroes depicted; We defend the purity of the genres and in this act as predecessors of classicism. However, in general, the revival is characteristic of deep realistic. Look at K. and materialist. His nature. K. is considered an inalienable quality of the most objective reality. It binds to both critical, and with life-affirming, imbued with hedonistic. Motibs, attitude to life. For Rabl K. - "Deep and disruptive cheerfulness, which is all the frequent powerful" (prologue to the 4th century. "Gargantua and Pantagruel"). Another feature of aesthetics of revival is to establish the organic. Relationships K. with dramatic and tragic. "... The nature of topics are beautiful for us, that the extremes are hourly," said Lope de Vega in the "new manual for the composition of the comedy" (Cyt. On the book: Reader on the history of the Western European Theater, t. 1, 1953, p. 323). This "spontaneous dialectic", Kraya, is unusually brightly manifested in the tragedies of Shakespeare, in the Don Quixote of Cervantes, in the plays of Lope de Vega, reflects the depth of the penetration of the artists of revival in contradictions and becomes the most important conquest of realism at all.

In the 17th century Classic looks appear on C. Proclaiming its OSN. The principle of antiquity, classicists take from it primarily what corresponds to their own their own. Ideals. The position of Aristotle about the difference of K. and the tragic translates them into the social plan and canonize; Dialectics of categories is replaced by the establishment of their strict hierarchy. The brightest representative of the aesthetics of classicism Baual ch. The genre of the claim was considered the tragedy, the subject of the fate of the "great people" are the subject of "great people", while K. is the lower estates and. The mixture of these elements, on Baual, is unacceptable - "despondency and tears is a funny eternal enemy. With him the tone will incompatible ..." ("Poetic", M., 1957, p. 94). The boundaries between genres turn out to be equally unshakable as the estate partitions inside the absolutist monarchy. Dr. The theoretical of Classicism Battya claims: "... the comedy is a burgher action that makes us laugh" ("The initial rules of the literature", vol. 3, M., 1807, p. 177).

Pafos Interpretation K. Enlighteners (Didro, Lessing, Scheftberry, Heatheron) consists in overcoming the limited and regulativity of classic looks. Historic. The meaning of their aesthetics is to expand the sphere K., in the approval of its societies. values. The comedy should "enlighten the duties and educate" (Didro), "to correct what is not included in the competence of the law" (lescing).

Didro, developing a new genres system ("conversations about the" side son "," about dramatic poetry "), spoke against metaphysic. Separation of the comedy and tragedy, pointing to the numerous. gradations and shades lying between these extreme forms. In contrast to the classicists, the enlighteners of equality permeates all aspects of the understanding of them by K. All estates are the same in their attitude to K. and the tragic; Accepts to all of the people, and the viewer must see in the work of itself (Didro), ridiculous just the desire to stand out among others (lescing). Revolution was clearly identified here. The meaning of the aesthetics of enlighteners receiving his practical. The embodiment in the works of Didro himself, Boualersche, and others.

A somewhat different nature acquires K. in the aesthetics of Cant and Schiller in the light of the most characteristic opposition of the world of the aesthetic world of reality. Considering K., Kant sees the cause of laughter in the "sudden resolution of contradiction in nothing" (see "Criticity of judgment", SPb, 1898, p. 210), emphasizing that this permission is not in "... any positive opposite That subject we was waiting - for it always and often can even be sad - but it is in nothing "(ibid, p. 211), he believes that K. is associated with the removal of contradiction, elevation over it. At the same time, Kant recognizes the strength of societies. The effects of laughter. Schiller indicates important morals. The appointment of comedy, K-paradium is designed to serve the moral improvement of a person. The contradiction between reality and ideal is a source of satire (see Cathed. Op.; T. 6, M., 1957, p. 413-14). In the sameness, in the very understanding of the Schiller, the essence of the impact of comic in its own way influences the areas of aesthetic and practical: comedy is connected, in Schiller, with a contemplative, carefree state, in a rum "... We do not feel neither active nor passive. .. "where we" do not concern no, does not associate any "(there, p. 68).

Romanticism with his exacerbate interest in person draws special on the subjective side K., sometimes absoluting it. Close romance Jean Paul (Richter) wrote that K. "... never lies in the object, and always in the subject" (Cyt. On the book: Food A., excerpts from the compositions of the Great Philosophers, M., 1895, with . 417). Schelling defines K. Between the "endless necessity" and "endless freedom." Iensky Romantics are developing the theory of irony, K-paradium becomes ch. Creation. The principle of their claim.

The whole of the most important ideas K. is contained in the aesthetics of Hegel. This applies primarily to its definition K. as a contradiction between the form and content, the essence and its individual manifestation (see Op., Vol. 14, M., 1958, p. 368, 385). Hegel justified the society.-Historic. Approach to K., putting forward the position of tragic. And Komich. Phase historic. process. However, Hegel's teachings about K. turns to be related to his idealist. System: Forms and content acts as a contradiction of material and spiritual (in K., in contrast to the sublime, receives an advantage over spiritual); Shift tragic. And Komich. The "state of the world" is explained by the development of ABS. Spirit. The idea of \u200b\u200b"reconciliation with reality" affects the interpretation of Gegel humor, to-ry, in his opinion, expresses "joyfulness in humility of fate ..." (see Op., Vol. 12, M., 1938, p. 162), And in sight on Satira: Recognizing her legitimacy in the past, Hegel pessimistically appreciates her opportunities in modern times, where "universal intelligence" receives its embodiment in reality.

So. Contribution to aesthetics K. make Rus. revolution. Democrats. Chernyshevsky determined K. as "... an internal emptiness and insignificance, covered by appearance, having a claim for and the real value ..." (full. Cons. Op., Vol. 2, 1949, p. 31), his true area - "Man, Human, Human Life ..." (ibid, p. 186). Indicating the narrowness of the point of view of Hegel, he opposes K. not, and a wider category. Expressing criticism. To its object, K. "... awakens a sense of self-esteem ..." (ibid., p. 191) and serves as an important means of formation of societies. Self-consciousness. Belinsky called the comedy "... Color of civilization, the fruit of the developed public" (full. Cons. Op., Vol. 8, 1955, p. 90), laughter - "mediator in the case of the differences of truth from lies." "Comedy," he said, "requires a deep, sharp look at the basics of public morality, and moreover, it is necessary that they have been who watching them with humoristically," (there, p. 68). Herzen saw in a laugh "... One of the strongest tools against everything that was taught and still kept, knows what important ruins, interfere with growing fresh life and frightening the weak" ("A. I. Herzen on Art", 1954, p. 223).

Characteristic for revolution. Democrats special attention to criticism. Functions K. is explained by the close relationship of their aesthetic. Views growing from the experience of Critic. Realism, with social conditions, with a crisis of societies. relations in Russia 19 century. And tasks will free. Movement. The ratio of K. with Dr. Aesthetic. Categories, and above all, dramatic and tragic, considered a revolution. Democrats dialectically. However, stopping before historic. materialism, they could not fully reveal societies. The contradictions that generate K., and comprehend the historic. dialectics of their development. So, for example, Chernyshevsky affects the elements of anthropologism in understanding them "ugly" as the foundation of K.

Sovr. Bourges. aesthetic. About K., despite the external theoretical. Mottar, develops, ultimately, in line with several. OSN. trends. One of them has a starting point for the formal definition of a comic cat. Positivists, for example. Spencer, it acquires the character of attempts to reduce K. to physiological. The basis, considering it as "muscular actions that contribute to the weakening of nervous excitement" ("laughter, tears, grace," St. Petersburg, 1898, p. 5). Mostly in psychological. Aspect considers the comic T. Lips ("Comerism and Humor" - "Komik und Humor", 1898), K-ry binds it with a person's ability to resist with life contradictions. Dr. It goes back to conservative romanticism, continuing the line of the subject-wist understanding of K. Frankly subjectivism penetrated comic Bergson, K-paradium is organically connected with his teaching on intuition and the denial of the diet. knowledge. Continuing the idea of \u200b\u200bKant on the disinterest of aesthetic. , Bergson claims that for the perception of K. It is necessary to "move aside" and be "indifferent viewer" (see Cathed. Op., Vol. 5, St. Petersburg, 1914, p. 98). K., on Bergson, "... turns to pure mind" (ibid.). However, art. Perhaps only with someone wearing mystical. The nature of intuition is only she is capable of "... put us with the most reality face to face" (ibid, p. 182). Bergson's theory is imbued with the denial of any know. The values \u200b\u200bof K. in the subjectivistic plan of the position of Kant about K. Develop E. Steiger, N. Gartmani Dr. in the individual consciousness sees the source K. and Freud, for which it is one of the ways to compensate for constant dissatisfaction of a person with life. Common for the Osn. Directions of the Sovk. Bourges. Aesthetics are trends to the abandonment of the objective criterion K.

Truly scientific The methodology of approach to K. gives Marxist-Leninskaya, Kraya, based on dialectic materialist. Understanding history, reveals his deep societies. Nature and binds to K. from the revolution. running history. K. is generated by the movement of historical. Process, contradictions of its development. If the death of a new, historically promising is the subject of tragic, then societies. , K-Rho loses its historic. The excuse, but claims to him, seeks to seem not to be the fact that it is in reality becomes the object K. "History," Marx writes, "it acts thoroughly and passes through the phases, when it takes a outdated form of life in the grave. Last phase is worldwide - Historical form is her to about me d and I ... Why such is the course of history? It is necessary for mankind in the e-l about parting with its past "(Marx K. and Engels F., Op., 2ness., Vol. 1, p. 418). The logic of history determines the logic of the transition of the categorical categories, dramatic in K., the transition, the K-ry Engels called the "Irony of History". So, K. always carries a specific historic. and class character. Helping to part with the past, causing a critical, condemning attitude towards what is ridiculous, K., at the same time, always carries a sense of historical. optimism, life-affirming start. It does not boil down to a simple denial, and will imbuildly put. aesthetic. An ideal expressing the historian. Superiority, from the standpoint of a fourth, the artist judges the phenomenon of life, although the ways of its embodiment varies depending on the genre; In satire, for example, it may not be at all to receive its immediate incarnation. The ratio of critical and asserting began in various forms K. Various. These forms themselves are extremely diverse. The extreme points of this very wide and rich transitions of the K. range are found in satire and humor. In satire manifests itself with a special acute social and societies. laughter; It concentrates critic., implanting the beginning. This is evidenced by the work of its classics (Rabl, Swift, Voltaire, Gogol, Saltykov-Shchedrin) and satirical works of owls. Iska Va (V. Mayakovsky, I. Ilf and E. Petrov, Kukryniks, etc.).

Art. Principles Satirich. Images are often associated with taking pains, grotesque or eccentrics, in K-Roy, according to Lenin, there is a "satirical or skeptical attitude to the generally accepted, there is a desire to twist it inside out, a little bit to distort, show the usual" ("Lenin about culture and art" , 1956, p. 516). On another Pole K. is humor, to-ryom, unlike satire, is peculiar to the approval. Engels binds a sense of humor with self-confidence, move forward, optimist. A look in the future (see C. Marx and F. Engels, Op., vol. 27, 1935, p. 434). Hence the immediate expression of the cheerfulness, feelings of sympathy and sympathy, humor will penetrate. In practice, Satirich's claim. and humorous. It is very often interpenetable and not in the "pure form", but in various kinds of combinations with each other and with other shades K., reflecting the complexity and versatility of the most depicted reality.

In socialist. Society acquires a special role as education. The factor in the fight against the old, as well as the comedic lawsuit, which, according to Gorky, is to approve the joy of this movement forward, - not only deny, but also to build.

LIT: K. Marx and F. Engels on art, t. 1-2, μ, 1957 (see Subsection Decree.); Chernyshevsky N. G., elevated and comic, full. Cathedral cit., vol. 2, M., 1949; Lunacharsky A.V., about a laugh, "Literary critic", 1935, KN. four; Sretensky H. H., Historical Introduction to the Poets of Comic, Part 1, Rostov Don, 1926; Literary theory of German romanticism. Documents are ed. N. Ya. Berkovsky, [L., 1934]; Belletsky α., Juvenal [join. Art. ], In the book: Juvenal, [M. - L.], 1937; BopEv Yu. B., O Comic, M., 1957; ELSEBERG I., Questions of the theory of satire, M., 1957; Chernyavsky M. H., the theory of funny in the treatise of Cicero "On Speaker", in Sat.: Cicero, [M. ], 1959; Losev A. F., Homer, M., 1960, p. 311-31; Pinsky L., Realism of the Renaissance, M., 1961; Spencer, tears, laughter and grace, St. Petersburg, 1898; Bergson α., Laughter, in his book: Camp. cit., vol. 5, St. Petersburg, 1914; Sacketty L., aesthetics in publicly available presentation, vol. 2, P., 1917, ch. 12, 13; Verl M., general literary studies, per. with him., M., 1957; Hutcheson F., Reflections Upon Laughter and Remarks Upon The Table of the Bees ,, Glasgow, 1758; Ζeising α., Ästhetische Forschungen, FR./M., 1855; Müller J., Das Wesen Des Humors, Münch., 1895; Uberhorst K., Das Komische, BD 1-2, LPZ., 1896-1900; Lützeler H., Philosophie des Humors, "Z. dtsch. GeisteSwiss.", 1939, 2; Janentzky Ch., Über Tragik, Komik Und Humor, at Sat.: Jahrbuch Des Freien Deutschen Hochstifts. 1936-40, FR./M. ,; Ritter J., Über das Lachen, "Blätter Dtsch. Philos.", 1940, 14; Rommel O., Die Wissenschaftlichen Bemühungen Um Die Analyse des Komischen, "Dtsch. Vierteljahresschrift Für Literaturwiss. Und GeistesGeschichte", 1943, jg. 21; Radermacher L., Weinen Und Lachen, W., 1947; Jünger F., Über Das Komische, Z. ,; Aubouin ε., Les Genres du Risible, Marseille, 1948; Krause K., Humor Der Antike, Bonn ,; Plessner H., Lachen und Weinen, Bern ,; Hirsch W., Das Wessen des Komischen, Amst.-Stuttg.,.

A. Ka

Philosophical encyclopedia. In 5 tons - M.: Soviet Encyclopedia. Edited by F. V. Konstantinova. 1960-1970 .

Comic

Comic (from Greek. Κωμικός - funny) - aesthetics category, characterizing funny, insignificant, ridiculous or ugly sides of reality and mental life. In the history of aesthetic thought, there are a wide variety of comic definitions that proceed from opposition to tragic, elevated, serious, perfect, touching, normal or from its object or the state of the subject (experience, emotions from a heteric laughter to a light smile). Types of comic (wit, humor, irony, grotesque, mock) are also highlighted, as well as comic genres in art (comedy, satire, burlesque, joke, epigram, parody, parody, caricature) and artificial techniques (exaggeration, urgency, word game Dual meaning, iconic funny gestures, situations, positions). In addition, every kind and genre of art provides their special means to express the comic and achieving the appropriate effect, laughter or smile, sometimes just pleasure, approval. The mechanism of comic action is a game with meaning. All variety of comic definitions caused by the variety of type types, its strategies, rules differing depending on both social and cultural media at different times and among different nations. But in every culture there is a sphere of higher values, which themselves cannot be a comic basis, but under certain conditions can be lowered to the comic area (the teaching of M. M. Bakhtin about the carnival laugh, when the performers of social roles are changing in places).

Plato and Aristotle were determined comic and funny through. Plato considered comic unworthy for free citizens of the ideal state, opposing funny serious.

Funny there is a concrete comic. Comic - this is how the formula is funny. Aesthetic theory as part of philosophy considers "common-term", publicly available, funny. These are typical cases of funny, they are presented primarily in a particular social life. And in a more stable, refined form - in art. Aesthetic understanding of the comedy and comic deployed Aristotle: "Comedy, as mentioned, is (people) the worst, although not in all their meanness: after all, there is only a part of the ugly. In fact, it is funny there is some mistake and deformity, but painless and harmless: so that it is not far (to go for an example), the estimated mask is something ugly and distorted, but without pain "(" poetics ", 1448 c).

The pleasure of comic was often associated with the dissipation of one or another illusion and with deliverance from visibility. More Buddha, having received enlightenment, penetration world as Maya, laughed. This one is decisive in the interpretation of the comic at T. Gobbs, Kant, Lipps, N. G. Chernyshevsky, which differ in visibility interpretation - whether it is an insignificant, outstanding for high, low - for the sublime, deprived of value - for valuable, - For a living creature. 3. Freud saw the essence of comic, and in particular wit, in a hint of a forbidden sexual topic.

The comic is excreted by Kant from the presentation game: "Music and reason to laughter are two types of games with aesthetic ideas or with the views of the mind, through which in the end, nothing thinks and which can only be able to delight anyone and nevertheless "(Kant I. Op., Vol. 5. M., 1966, p. 351). It defines laughter as the effect from suddenly turning intense expectations into nothing when it does not find the cause voltage. On this property of comic, destroy the objects of visibility is built by its interpretation of social function - ridicule. Hegel connects comic with the case: subjectivity, bloated to the level of substantial purposes, the accident or inconsistency of the objectives taken by the subject seriously, "the use of an external case, due to the diverse and amazing intricacies of which there are situations where targets and circumstances are formed by comic contrasts, and lead to as much as Comic resolution "(Hegel. Aesthetics. M., 1971, vol. 3, p. 581). Hegel believed that one or another genre in art meets the definite moment of history; For example, Satira is the product decomposition of the ideal. Therefore, she arises in Rome.

Russian thinkers tied comic with social criticism. So, N. G. Chernyshevsky determines the comic through ugly: "unpleasant in comic disgrace; It's nice that we are so insightful that we comprehend that ugly - ugly. Laughing, we become higher than him "(Chernyshevsky N. G. Full. Coll. Op. M., 1949, vol. 2, p. 191). V. G. Belinsky considered the task of comedy exposing the social lies, the formation of public morality. A. I. Herzen saw in the comedy weapon of the struggle against old, who unzipped forms of public life.

The art meets a large set of comic technician, shades of the experience of comic intensity and in quality (from a serene smile caused by the perception of pleasant, to laughter, based on various negative feelings, - laughter and overcome, laughter and arrogance, pride, laughter and tears, laughter And, contempt). The technique of comic includes: disproportion, exaggeration, doubling, turning the meaning, deceived expectation, etc.

Classic comic types include humor, wit, irony. Humor, as it were, eliminates serious, expressing in the innumerable laughter, a friendly smile. For humor, not a world in his spoilness, but condescension. Wit, assuming high intelligence and personality, seeks to detect non-obvious communication, hidden ratios, disrupt the schemes and stereotypes of thinking. According to Voltera, "... This is an art or to connect two far away concepts, or, on the contrary, to divide the concepts that seek the jigs on, to oppose them to each other; Sometimes this ability to express his thought is only half, allowing you to guess "(Voltaire. Aesthetics. M., 1974, p. 242). The wit is to instantly turn the meaning, which is delivered or the game itself with the meaning, the art of this game, or, most often, the most form of an unexpected semantic difference. The irony consists not in the open turning point, but in the preservation of duality, when explicit sense is opposite to the hidden, but still accessible perceived. Antique irony, irony of Socrates, is a way to bring the interlocutor to a contradiction with himself, bringing it from the state of "false knowledge." The purpose of romantic ironymic freedom. Schlegel called the Irony of "the most free of all liberty", which contains, and encourages "the feeling of an intractable contradiction between the unconditional and due, between the inability and the need for an exhaustive completeness of the statement" (Schlegel F. Aesthetics, criticism in 2t, t. 1. M. , 1983, p. 287). An ideal form comic is. According to K. Yung, Grotesque is borders, the decay of the subject forms in art, which is characteristic of the 20 V.

Lit.: Plato. Cit., T. 3. M., 1972; Aristotle. Cit., T. 4. M., 1984; Kaum. Cit., T. 5. M., 1966; Hegel. Aesthetics, t. 3. M., 1971; Solger. Erwin. M., 1978; Flegging F. Aesthetics, philosophy, criticism. M., 1983; Chernyshevsky IG elevated and comic. - full. Cathedral cit., t. 2. M., 1949; Bergson A. Laugh in life and on stage. - Coll. Op., t. 5. SPb., 1914: Bakhtin M. M. Creativity V. Rabl and People's Culture of the Middle Ages and Renaissance. M., 1965; Propp V. Ya. Commission problems and laughter. M., 1976: Jean Paul. Aesthetics preparatory school. M., 1981; Lyubimova T. B. Comic, its species and genres. M., 1990; Lipps th. Komik Und Humor. Lpz., 1922; Jünger F. G. Über Das Komische. FR./M., 1948.

T. B. Lyubimova

New philosophical encyclopedia: 4 tt. M.: Thought. - (Greek Komikos Cheerful, Funny, from Komos Merry Vataga Out-in-law on the rural festival of Dionysus in ancient Greece), aesthetics category, meaning funny. Goes back to gaming folk laughter, for example in carnival games. In the course of development ... ... Modern encyclopedia

- (Greek. Komikos is cheerful funny, from Komos Merry Vataga mounted on the rural festival of Dionysus in Dr. Greece), aesthetics category, meaning funny. Goes back to gaming, collectively amateur laughter, eg. in carnival games. In the course ... ... Big Encyclopedic Dictionary

Comic, detection, fixation by the artist of inconsistencies (inconsistencies, contradictions) in the phenomena of the surrounding reality, their incompleteness or, on the contrary, their excessiveness, atrophy or hypertrophy. The basis of K. as specific. Clearness Hope ... ... Lermontov encyclopedia

comic - (in psychology) (from kchmikus cheerful, funny) prompting to laughter, due to the deliberate inconsistency between the existing and due. Laughter as emotional (see emotions) The reaction of an individual on the impact of comic incentives allows in a symbolic ... ... Big psychological encyclopedia

Comic - (Greek Komikos Cheerful, Funny, from Komos Merry Vataga Out-in-law on the rural festival of Dionysus in ancient Greece), aesthetics category, meaning funny. Goes back to gaming folk laughter, for example in carnival games. In the course of development ... ... Illustrated Encyclopedic Dictionary

- (from other Greek. κωμῳδία, lat. Comoedia) Philosophical category, denoting culturally designed, socially and aesthetically meaningful funny. In aesthetics, comic is considered a logical correlator of tragic ... Wikipedia

- (from Greek. Koikós is funny, funny, from Komos Merry Vataga, on the rural festival of Dionysus in ancient Greece) funny. Starting with Aristotle, there is a huge literature about K., its essence and source; Exceptional difficulty ... ... Great Soviet Encyclopedia

- (Greek. Kōmikos cheerful, funny, from Kōmos. Merry Vataga muddied at the rural festival of Dionysus in ancient Greece), aesthetics category, meaning funny. Goes back to gaming, collectively amateur laughter, for example in carnival games. ... ... encyclopedic Dictionary

Comic - Aesthetic category, denoting all that is the opposite of serious and tragic in life and art and that generates a characteristic psychological response in the form of a smile, laughter, laughter. The basis of comic ... ... Aesthetics. Encyclopedic dictionary More details

The scientifically informed theory of K. in the monuments of antique literature that had reached us. The second part of the Aristotelian "poetics", which, obviously, was devoted to the comedy, was not preserved. In the works of Cicero and Quintilian there is a classification of childbirth K. and intended. For speakers, recommendations on their use. Based on the available data on K., including those contained by Plato and Aristotle, it is possible to conclude: according to the views of the ancients, the comicness is ugly, ugly, if it does not cause sufferings to anyone and no one for anyone "(Aristotle). Genuine suffering and death alien to K. p ??? The called K. is an expression equally to the pleasure and disgust, joy and indignation: ridicuing K.L., a person enjoys and discharge.

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Comic

from Greek. Ko - MikoS - cheerful, funny), funny, causing laughter, fun. Throughout the history of mankind embodied in different kinds and forms. The most rough form of comic - farce, a brief scene, which was usually shown in the plagans at the fairs. Laugh in Farca causes drops of people, fights, etc. Farcovy techniques have been preserved up to the era of the cinema - they built the comic of films Ch. Chaplin. Higher forms of comic - humor and satire. Their difference between each other is that in humor, as a rule, a positive attitude towards the subject prevails (for example, the humoristic image of England in the story of J. K. Jerome "Three in the boat, not counting the dog"). Satira, on the contrary, is denied, it is aimed at negative features of the ridiculous (eg, a satirical image of Russia in the "Revior" and "Dead Souls" N. V. Gogol). Comic can be hidden under a serious mask - such a reception is called irony (for example, the poem "moral person" N. A. Nekrasova).

Receptions that create comic, diverse. They can be divided into two groups. The first - techniques based on the inconsistency between the expected and real. So, the comic of farce is created due to unexpected falls, mistakes, absurdities. Comic can be based on grotesque - exaggeration of any one feature (for example, exaggerated tartuf's chandeliness in the Moliere Comedy of the same name), on an alogombism (eg, a duct with stuffed head in the "Stories of one city" M. E. Saltykov-Shchedrin) . These methods of creating comic are used not only in the literature, but also in other art types - for example, in painting (cartoon, caricatures), in music ("solo on a typewriter" - a nonconformity, the main party is not performed on a musical instrument). Another group of techniques that create comic, rapprochement of distant concepts. Such techniques include puns (rapprochement, based on the similar sound of words, like, for example, in comic poems D. D. Minaeva: "The rhyme area is my element, / and always write poems I, / even to the Finnish rocks Burym / I appeal With Kalambar "), wit, based on the comparison of two objects (for example, in the" Auditor "N. V. Gogol:" The warden for the awrying institution of strawberries - a perfect pig in Ermolka ").

The most ancient, rollery forms of comic - gaming. People get the freedom to laugh. It is necessary to all, since they, no matter how themselves, performing some role in the game. The beginning of this is associated with the Greek Dionysian festivals (Ko-Mos, from which the word Ko-MikoS, - Vataga Ovatay), where the laughter caused disguise people to grotesque, ugly masks and their actions - not on their own behalf, but on behalf of characters who they are playing. This tradition was continued in European medieval carnivals. The world on the carnival as it turned into his own opposite - no longer operated laws and establishments, it was possible to laugh at the church, superior, etc. Outside the carnival, this right kept jesters at the royal courts - only they could tell the truth about the king and his rule, masking it Under the joke.

M.E. Saltykova-Shchedrin

The form:analysis of the episode of artistic text

Objectives: repeat comic techniques; Improve the skill analysis of the source and comic techniques in the artistic text.

Exercise 1.

Repeat the main types and techniques of comic.

Types of comic (funny)

Humor -the view of the comic: a soft, sympathy laughter, not denying the phenomenon as a whole, but recognizing its imperfections.

Irony - Comic view: Thin, hidden mockery. The comic effect is achieved by means of what the opposite referred to the opposite.

Satire - The form of comic: a method of manifestation of comic in art, which consists in destroying rimplement of phenomena, which are represented by the author of vicious.

Sarcasm - The form of comic: evil, stinging mockery, ished, containing a destroyer assessment of the face, subject or phenomenon. For sarcasm, the extreme degree of emotional openness, denial, turning into indignation, is characterized.

Comic techniques

Absurd - The image of the image of reality for which an underlined violation of causal relationships is characterized, the desire to demonstrate the absurdity and the meaninglessness of human existence.

Hyperbola - Excessive exaggeration of feelings, values, size, beauty, etc. described in the phenomenon. It can be both idealizing and derogatory.

Speaking name - Reception based on the use of the value of the name or associated associations to characterize the inside of the hero.

Grotesque - Reception based on combining contrasting began: real and unreal, terrible and funny, tragic and comic, ugly and beautiful.

Litotes - Trop, opposite hyperbola: artistic accuracy of the magnitude, strength, phenomenon values \u200b\u200bor subject.

Parody - humorous or satirical imitation of the literary work for the purpose of it, ridicule.

Implementation of metaphor - The literal embodiment of the metaphorical expression, as a result of which a new understanding of this expression arises, which sometimes has a humorous and even grotesque shade.

Self-disclosure- Reception based on the disclosure of the hero of their own defects, non-resident actions. The hero at the same time is not aware of their own flaws, not in them.

Fiction - A special type of imagery for which is characteristic of: a high degree of convention, violation of the laws of reality, installation for fiction

Task 2.Read the displayed episode. Answer the question in 5-10 sentences (the answer must necessarily comprise an episode analysis).

Option 1. Surnames on a-and

Is it possible to call Vasilisk Borodavkin to call the perfect township. What satirical techniques are used to describe its board?

Vasilisk Semenovich Barodavkin, who replaced the Brigadier Fddyshchenka, represented the perfect opposite to his forearm. As far as the latter was dissolved and loosen, the first was the first to be frowning and somehow unheard of administrative sacrifices, which was manifested with special energy in matters relating to the embodied egg. Constantly fastened on all buttons and having a capped cap and gloves at the ready, he was the type of a hearthranger, whose legs are ready to run unknown to any time. In the afternoon, he, like a fly, flashed around the city, watching the ordinary people had a cheerful and cheerful look; At night - the fires were tushed, made fake alarms and generally found surprise.

He shouted at all time, and shouted unusually. "He had a cry in himself," says the chronicler on this occasion, - that, from these many silly and for themselves, and for themselves they were afraid for children. " Certificate is a wonderful and finding a confirmation that later the bosses were forced to give silly benefits, it was "afraid of them for".

Option 2. Surnames on Kr

What features of the fools manifested themselves in the strange "Bunte on the knees"? What satirical techniques are used in the given episode?

Immediately by the way, he brought that the fools, for omission, were completely behind the use of mustard, and therefore for the first time he was limited to the one who declared this use of mandatory; In the punishment, for healing, I added another olive oil. And at the same time put in his heart: Dotola is not putting weapons, the city will remain at least one perplexed.

But the fools were also on their mind. The energy of the action they with the Big Freation opposed the energy of inaction.

- What do you like with us do! - said alone, - Khosh - cut into pieces; Khosh - with the porridge eat, and we disagree!

- With us, brother, whatever you take! - Others spoke, - we are not the fact that others who have covered the body! Us, brother, and cross it yourself!

And stubbornly stood on the knees.

Obviously, when these two energies are found, then something very curious is always happening. There is no rebellion, but no submission of the real.

- I break this energy! - said Barodavkin and slowly, without atoil, pondered his plan.

And the silly stood on the knees and waited. They knew that they were rebellious, but did not stand on the knees. Lord! What they did not change his mind at this time! Think: they will now eat mustard, - as if for the future, one more ability to eat is not forced; Will not become - as if Shelepov did not have to taste. It seemed that the knees in this case represent the middle way, which can be understood and the other part.

Option 3. Surnames on the C-I

What is explained by the lawmaking activities of Benevolensky? What satirical techniques are used to describe its board?

Barely Benevolensky began to publish the first law, as it turned out that he, as a simple landlord, does not even have the right to publish their own laws.<…> Finally he could not stand. On one dark night, when not only the boatmen, but the dogs slept, he came out to suffocate the street and scattered the leaflets on which the first, composed by him for silly, was written in many. And although he understood that this path of republication of laws is very reprehensible, but a long-held passion for legislation so loudly asleep about satisfaction that even prudence arguments were smelled.

The law was apparently written by the tricks, and therefore was distinguished by an extraordinarious brevity. The next day, going to the bazaar, the silly raised the paper from the floor and read the following:

Law 1st

"Anyone man is dangerous; The deposit will bring gifts. "

Only. But the meaning of the law was clear, and the otkupeker appeared on the other day to the Grador. An explanation occurred; The otkupeker argued that he was first ready as far as possible; Benevolensky objected that he cannot remain in the previous undefined position; What is an expression, as a "measure of the possibility," says nothing to mind or he heart, and that only the law is clear. They stopped at three thousand rubles a year and decided to consider this figure by law, until then, however, until the circumstances of the changes do not do. "

Independent work number 9.

Type of "Little Man" in the work of F.M.Dostoevsky.

The form:abstract

Purpose:consolidate information about the cross-cutting types of heroes in Russian literature; identify the specifics of the image of a "little man" in the work of Dostoevsky

The task. Make an abstract article.

The literary type of "little man" was formed in the Russian prose of the 1830s - 1840s. For its time, this type of hero was a kind of revolution in understanding and image of a person in a literary work. In fact, the "little man" was not similar to exceptional romantic heroes with their complex spiritual world. "Little Man" is, as a rule, a poor Petersburg official, "codkin" of a huge bureaucratic car, the creature is imperceptible, standing at one of the lower steps of the social staircase. The nature of such a person was inconspicuous, it did not have any strong mental movements, "ambitions".

The spiritual world of a "little man" is so interesting. However, the authors of the works of "small people" portrayed them from humanistic positions, stressing that even such a pathetic, defenseless and powerless creature is worthy of respect and compassion. Many works of "small people" are inherent in sentimental pathos. The appearance of a "little man" became the beginning of democratization of literature. Classical images of "Littleness" were created by A.S. Pushkin (Samson Vyrin in the "Station County", Eugene in the "Copper Horseman") and N.V.Gogolam (Bashmachkin in "Sintel").

The development of the type of "little man" was the literary type of "humiliated and offended" man, which is brighter in the works of F.M.Dostoevsky ("humiliated and offended" - the name of the novel Dostoevsky). For the first time, the image of a "humiliated and offended" man - Makara Girl - Created by Dostoevsky in the novel "Poor People" (1846). This hero, a poor Petersburg official, was externally similar to numerous "little people", depicted by the writers of "Natural School" of the 1840s. But, unlike its contemporaries, Dostoevsky did not limit himself to the social characteristic of a girl. He showed that his hero understands and is sharply experiencing his humiliating position, cannot accept him, although it is not capable of protest.

The victims of real life became the novel "Crime and Punishment" Members of the Marmaladov family: meek Sonya, who had to go into the panel to help the family; The drunk Katerina Ivanovna, which "there is no place to go more"; Bevel of marmalands, brought to his wife to Chakhotka, who ordered daughter to live "on the yellow ticket". But he had a kindness and nobility: he was an unfortunate woman with three children "his hand suggested, for he could not look at such suffering," wanting to help her. And the place in the service lost "not in its fault, but to reduce the states." And he began to drink from despair, tormented from his impotence and from the consciousness of guilt in front of loved ones. Semen Zakharych Marmaladov firmly stands at one point, which can be called "the idea of \u200b\u200bself-esteem": he and beatings "not only not in pain, but also in pleasure," he teaches himself to not pay attention, and he has already accustomed to spend the night, where you have ... He himself refused himself in the right to be a person. If it is connected with "the idea of \u200b\u200bself-seizure", then with Katerina Ivanovna - not even an idea, but a painful mania of self-affirmation (Raumichin defined it as "myself"), but it does not help them: they gradually come to the physical death.

When F.M. Dostoevsky began work on the "crime and punishment", he planned to ever write a novel about the swollen people, whom the writer called "drunk", but such a novel was not written, and in the novel about Raskolnikov his own, a special place was taken by one of those characters, Which in literary studies refer to the type of "little man", - marmalands, - a Makara girl's "poor people" radically different from the hero, although both of them, like Samson Vyrin, are also subject to disgugence of drunkenness. Researcher GS Oranges think about the special hypostasis of a "little man": "All" drunk "makes the lowest possible and immediately repent of them; Gust noble, but without any resistance in good. They knock on the god head, like a drunken marmalade about the steps of the stairs. Their great virtue - humility (marmalands pronounces the sermon, striking Skolnikov). But humility of "drunk" is inseparable from sin, from the habit of their own weakness, from disbelief. The tragedy of moral weakness may be no less destructive than Skolnikovsky experiments.<...>

In "Drunk" more than in whom, it is kushed into the eyes of the "fluidity" of the Hero of Dostoevsky, the blurring of moral boundaries, is the latitude that Arkady Dolgoruki says ...: "I am a thousand times the person's ability ( And, it seems, the Russian person is most advantageous) to cherish in the soul of its highest ideal next to the greatest meanness, and everything is completely sincere. Whether it is special in a Russian man who will behave far away, or simply meanness - this is a question! ".

Nevertheless, exploring the reasons for the "tragedy of weakness" of their heroes, F.M. Dostoevsky is filled with great compassion for them. Many of them writer condemned for immorality and deafness to someone else's suffering, but the main thing in the worldview of F.M. Dostoevsky was his conviction that a person is not an impotent "pin" and not the "piano key", driven by an extraneous hand, he himself is responsible for his life. The writer has never tolerated the guilt from the person himself to the external "circumstances" of his life. As an artist, he saw his task to promote the "restoration of the deceased person", crushed "the oppression of the circumstances, stagnation of centuries and public prejudices."

Similar information.

Theory of literature

Types of comic

Humor (from the English. Humour is a quirky, temper; lat. Humor - moisture) - a variety of comic, image life in a unlocked-good-natured, joking tone. Unlike satire, which is noted by a negative pathos, humor does not deny the depicted, but exposes ridiculous only to its sides. Humor is inherent in many genres of Ukrainian folklore (jokes, sayings, chastushki, songs, etc.). Masters of humor - I. Kotlyarevsky, M. Gogol, L. Glebov, S. Rudansky, Ostap Cherry, S. Oleinik, P. Eye and others.

Irony (from gr. EІGOPEIA - mockery, pretense) - one of the varieties of comic, hidden mockery or stylistic reception, when the person or phenomenon is preferably approved or condemned to achieve the opposite effect. Sign of irony -, double meaning, and true is not directly expressed, but the opposite.

This is the truth you say, sir! All bosnogium and hungry - drunkards, loyards, thieves and people are not suitable for anything ...

(A. Bobenko)

Satire (from lat. Satura is a mixture) - 1) The type of lyrical poetry in the ancient literature and literature of classicism, verse, which rises certain negative phenomena. 2) the works of different genres in which negative public phenomena is exposed in acute form. Satira condemns the old, historically doomed, shows his inner worthlessness and expresses new needs of social development. Therefore, it has always been a mighty weapon of political struggle. Outstanding Satyricis Writers of Different times F. Rabl, M. Cervantes, J. Swift, Voltaire, Gaine, Saltykov-Shchedrin, M. Gogol, V. Mayakovsky and others. In Ukrainian literature - T. Shevchenko, I. Kotlyarevsky, I. Franco, Ostap Cherry, S. Oleinik, etc.

Incretion (from. Lat. Invehi - rushing, attack) - Type of satire, common in the literature and oratory art in the era of antiquity, sharp accusatory ridiculation of a certain person or group of persons. Outstanding masters inventive in the ancient times were archives, Katull, Marzial, and others. As the original genre of the Incutive entered the latest literature. Significant place occupies in the work of T. Shevchenko, I. Frank and other Ukrainian writers.

Sarcasm (from gr. Sarkasmos - Torzania) is an evil and caustic irony, frank manifestation of hatred and contempt for depicted phenomena or persons. A vivid example of sarcasm - Poem T. Shevchenko "Caucasus", in which the core of the power of the property.

By the law of the apostle you love your brother! SUPLOVOV, HIZERATERS, Cursed by the Lord!

Grotesque (from Fr. Grotesque - Funny, Unusual; IT. Grotta - Grotto, Cave) - The type of artistic imagery, which is based on the extreme measure of the conventionality in reproducing life when the reality depicted appears an incredible, abnormal, strange. For Grotesque, the intentional caricature distortion of the forms and the essence of objects, a combination of real and fantastic, tragic and comic, normal and absurd. As a means of artistic generalization, the grotesque reveals the alogyrism of vital phenomena, and therefore, is widely used in satirical works. The term comes from bizarre drawings found by Rafael (XVI Art.) In underground Roman grottoes. Grotesque samples in the literature - "Gargantua and Pantagryel" F. Rabl, "Nose" M. Gogol, "History of one city" M. Saltykov-Shchedrin, Poem "Sleep" T. Shevchenko, "Dr. Universitysser" I. Frank, etc.

Burlesk (from IT. Burla is a joke) - a humorous alteration of a certain work, which is characterized by the inconsistency of the content of the form: "High", the heroic-patriotic content is transmitted by low, sometimes vulgarized style, and vice versa - mild, "low" - high, elevated heroic . A bright sample is the poem I. Kotlyarevsky "Eniida", which was the processing of the epic epic poem of the Roman poet Vergil. The main plot of the original is preserved, but in the images of the gods, Greeks and Trojans are recreated typical Ukrainian characters. Similar works are known from the ancient times. Broncell elements are present in Ukrainian ritual games and songs. Significant distribution received Burlesk in the XVII-XVIII centuries. In the works of seminarists and wandering devices, in school drama and Vertepe. Church theme dominates them, often * humor is combined with satire. From those times a lot of anonymous and copyright works came. Burlesque funds used in their creativity T. Shevchenko (the poem "Sleep"), with Rudansky, P. Kulish, L. Glebov, etc.

Buffonada (from IT. Buffonáta - junning, comic face) - view of humor in theatrical performances based on grotesque techniques of a coarse comiability. He originates from the People's Theater (Italian Comedy Masks, Russian Theater of Skomorokhov, Ukrainian Intermedia, etc.). Buffonade elements are found in the Pieces of V. Shakespeare, P. Calderon, and. B. Moliere, M. Gogol, Kvitka-Istorenko, M. Kropyvnitsky. As an independent genre exists in circus performances, sometimes used by playwrights ("Pharaohs" by A. Kolomyan).