Pub Date : 2022-06-27DOI: 10.14746/strp.2022.47.1.10
Daria Khrushcheva
The information policy of the official Russian and pro-Russian online media regarding the so-called Ukrainian crisis contributes to the formation of the image of a new “ideological enemy” in public consciousness. With the help of traditional techniques of political propaganda, persistent clichés, and vivid visual images, modern Russian cartoonists influence the emotional perception of the situation by the public and perpetuate new myths about Ukraine. This article examines how the formation and dissemination of the image of the “enemy” occurs through its representation in the genre of modern political caricature. Caricatures reflecting the attitude of Russian artists to the political and economic situation in the neighboring country, to the bilateral conflict, as well as to attempts to resolve it by influential world political actors are analyzed using examples of specific authors and the plots of their caricatures.
{"title":"Карикатура и пропаганда: образ современной Украины в изображении пророссийских СМИ (2014–2018)","authors":"Daria Khrushcheva","doi":"10.14746/strp.2022.47.1.10","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.10","url":null,"abstract":"The information policy of the official Russian and pro-Russian online media regarding the so-called Ukrainian crisis contributes to the formation of the image of a new “ideological enemy” in public consciousness. With the help of traditional techniques of political propaganda, persistent clichés, and vivid visual images, modern Russian cartoonists influence the emotional perception of the situation by the public and perpetuate new myths about Ukraine. This article examines how the formation and dissemination of the image of the “enemy” occurs through its representation in the genre of modern political caricature. Caricatures reflecting the attitude of Russian artists to the political and economic situation in the neighboring country, to the bilateral conflict, as well as to attempts to resolve it by influential world political actors are analyzed using examples of specific authors and the plots of their caricatures.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48500531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-27DOI: 10.14746/strp.2022.47.1.15
Anna Weigl
This article considers the sphere of linguistic humour, specifically the linguistic structure of the so-called ‘chernomyrdinki’. Chernomyrdinki are written fixations of spontaneous oral statements by Viktor S. Chernomyrdin, a Soviet and post-Soviet statesman (1938–2010), which have become aphorisms. Chernomyrdinki are regularly reproduced and have not lost their popularity. Chernomyrdinki are, for the most part, Chernomyrdin’s spontaneous reactions to typical questions from journalists. The task of this study is to show that the not fully conscious, spontaneous statements by V. Chernomyrdin and the speech of Mikhail Zoshchenko’s heroes, deliberately constructed by the author in the course of the creative process, have much in common in their techniques of the comic and are at times identical. This study is based on the classification of “humour” in the speech of the heroes of M. Zoshchenko, developed by Mikhail Kreps.
本文探讨了语言幽默的领域，特别是所谓的“chernomyrdinki”的语言结构。切尔诺梅尔丁基(Chernomyrdinki)是前苏联和后苏联政治家维克托·s·切尔诺梅尔金(Viktor S. Chernomyrdin, 1938-2010)自发的口头陈述的书面固定，这些陈述已成为格言。Chernomyrdinki经常被复制，并没有失去它们的受欢迎程度。在很大程度上，Chernomyrdinki是Chernomyrdin对记者的典型问题的自发反应。这项研究的任务是表明，切尔诺梅尔金的不完全有意识的、自发的陈述和米哈伊尔·佐先科的英雄的演讲，作者在创作过程中故意构建，在他们的喜剧技巧上有很多共同之处，有时是相同的。本研究基于米哈伊尔·克雷普斯(Mikhail Kreps)提出的《佐夫琴科先生》中英雄讲话中的“幽默”分类。
{"title":"Черномырдинки и техника комического у Михаила Зощенко","authors":"Anna Weigl","doi":"10.14746/strp.2022.47.1.15","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.15","url":null,"abstract":"This article considers the sphere of linguistic humour, specifically the linguistic structure of the so-called ‘chernomyrdinki’. Chernomyrdinki are written fixations of spontaneous oral statements by Viktor S. Chernomyrdin, a Soviet and post-Soviet statesman (1938–2010), which have become aphorisms. Chernomyrdinki are regularly reproduced and have not lost their popularity. Chernomyrdinki are, for the most part, Chernomyrdin’s spontaneous reactions to typical questions from journalists. The task of this study is to show that the not fully conscious, spontaneous statements by V. Chernomyrdin and the speech of Mikhail Zoshchenko’s heroes, deliberately constructed by the author in the course of the creative process, have much in common in their techniques of the comic and are at times identical. This study is based on the classification of “humour” in the speech of the heroes of M. Zoshchenko, developed by Mikhail Kreps.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43843558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-26DOI: 10.14746/strp.2022.47.1.4
Agnieszka Juchniewicz
The aim of this paper is, first of all, to discuss the linguistic sphere in Oleg Bogayev’s comedy works. We would like to pay special attention to the way the characters express themselves. The way Bogayev’s characters create reality is deeply rooted in the spirit of postmodernism, which is reflected primarily in the playwright’s bold experimentation with words, especially in the area of constructed replicas. Language saturated with humour and comical elements can be found in the plays Maria’s field (2004) and Notes of a prosecutor in love (2019). In each of these works, the mode of expression is shaped slightly differently, primarily because of the relationship between the word and the reality presented. They have been constructed according to different genre patterns. The comical and humorous character is most clearly manifested in the former at the linguistic level, while in the latter it is conditioned by the situation. On the one hand, there is humour in Bogayev’s works that can be described as good-natured and comical, directed at human existence and social problems, both as perceived by the author and the characters. On the other hand, there is satirical humour that destabilises the image of the presented world, shattering stereotypes and fixed beliefs. Humour often lurks the tragedy and absurdity of the human world, with all its weaknesses and problems.
{"title":"Komiczno-humorystyczny charakter wypowiedzi w dramatach Olega Bogajewa","authors":"Agnieszka Juchniewicz","doi":"10.14746/strp.2022.47.1.4","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.4","url":null,"abstract":"The aim of this paper is, first of all, to discuss the linguistic sphere in Oleg Bogayev’s comedy works. We would like to pay special attention to the way the characters express themselves. The way Bogayev’s characters create reality is deeply rooted in the spirit of postmodernism, which is reflected primarily in the playwright’s bold experimentation with words, especially in the area of constructed replicas. Language saturated with humour and comical elements can be found in the plays Maria’s field (2004) and Notes of a prosecutor in love (2019). In each of these works, the mode of expression is shaped slightly differently, primarily because of the relationship between the word and the reality presented. They have been constructed according to different genre patterns. The comical and humorous character is most clearly manifested in the former at the linguistic level, while in the latter it is conditioned by the situation. On the one hand, there is humour in Bogayev’s works that can be described as good-natured and comical, directed at human existence and social problems, both as perceived by the author and the characters. On the other hand, there is satirical humour that destabilises the image of the presented world, shattering stereotypes and fixed beliefs. Humour often lurks the tragedy and absurdity of the human world, with all its weaknesses and problems.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47146862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-26DOI: 10.14746/strp.2022.47.1.3
Nicolas Dreyer
This essay aims at analysing and illustrating a segment of the post-Soviet short fiction of the contemporary Russian writer Vladimir Tuchkov. It specifically discusses his collection of veryshort stories And he earned many dollars…: New Russian fairy-tales. These short stories exemplify many characteristics of Tuchkov’s oeuvre more generally. The discussion analyses the satirical contents of these miniature fictions, which the author places in the tradition of the Russian classics and of Russian folklore, within the theoretical context of parody, pastiche, intertextuality, and folklore. Tuchkov’s short narratives create a de-familiarised, quasi-mythological space where pre-modern, Soviet, and post-Soviet times converge. This results in the critical, satirical foregrounding of certain continuities in Russian culture, society, and mentality throughout the centuries despite the enormous political and social change, which it has experienced, as much as constituting, like Russia’s traditional fables, a critical and satirical engagement with contemporary social reality in Russia. The contribution examines the specific intertextuality with a satirical folkloristic genre as a literary expression, which reverberates with a post-Soviet readership, given its inherent concern with social structures. It is suggested that the employment of these concepts and literary forms in this combination serves to reinforce their overall effect of creating a hyperbolised, satirical representation of social reality.
{"title":"Vladimir Tuchkov’s intertextual transgression: Folklore, parody, and social criticism","authors":"Nicolas Dreyer","doi":"10.14746/strp.2022.47.1.3","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.3","url":null,"abstract":"This essay aims at analysing and illustrating a segment of the post-Soviet short fiction of the contemporary Russian writer Vladimir Tuchkov. It specifically discusses his collection of veryshort stories And he earned many dollars…: New Russian fairy-tales. These short stories exemplify many characteristics of Tuchkov’s oeuvre more generally. The discussion analyses the satirical contents of these miniature fictions, which the author places in the tradition of the Russian classics and of Russian folklore, within the theoretical context of parody, pastiche, intertextuality, and folklore. Tuchkov’s short narratives create a de-familiarised, quasi-mythological space where pre-modern, Soviet, and post-Soviet times converge. This results in the critical, satirical foregrounding of certain continuities in Russian culture, society, and mentality throughout the centuries despite the enormous political and social change, which it has experienced, as much as constituting, like Russia’s traditional fables, a critical and satirical engagement with contemporary social reality in Russia. The contribution examines the specific intertextuality with a satirical folkloristic genre as a literary expression, which reverberates with a post-Soviet readership, given its inherent concern with social structures. It is suggested that the employment of these concepts and literary forms in this combination serves to reinforce their overall effect of creating a hyperbolised, satirical representation of social reality.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48777399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-26DOI: 10.14746/strp.2022.47.1.1
Elisa Kriza, Michael Düring, Beata Waligórska-Olejniczak
In April 1994 an international workshop was held in Tel Aviv and Jerusalem on "Images of Knowledge, Two-Tier Thinking, and Higher Education."These themes stand as a clear marker for their author. They signal his scholarship and bear witness to his continuing quest for knowledge that refuses to be confined within academic boundaries. The workshop was intended to bring together scholars and friends of Yehuda Elkana in order to celebrate a committed intellectual, a historian of science with wide-ranging interests, an excellent teacher, and a genuine humanist. Let me also mention that Yehuda was the initiator of SiC and one of its editors for many years. His personal and political life as well as his work can perhaps best be summarized by the notion of epic theater that he discovered in Benjamin and Brecht: "It can happen this way, but it can also happen quite a different way." It stands for shunning the seemingly inevitable course of history and for refusing to believe in the One and only One — whether this is One Eternal Truth, buttressed by seemingly unchangeable metamathematical concepts like proof; or the inevitable development of One Science — namely, our science — regardless of what other cultures have produced; or the ways in which we think our history — namely, in terms of epochs, paradigms, and other grand narratives; or the still widespread context-free search for universals and universalistic theories. The gate has thus been pushed wide open to place into their cultural context and into the historical flux of development all our guiding concepts and the knowledge with which we seek to obtain a better grasp of the world around us. But at the same time there is an irrefutable and courageously steadfast element of realism in the notion of epic theater as the mirror of our experience in the way we live our history. The courage lies in accepting what cannot be changed, while knowing and actively searching to change it. Yehuda Elkana's ability to straddle the two sides of what many take to be intolerable contradictions has led him to articulate the notion of "two-tier thinking." Realism and relativism, he maintains, are not mutually exclusive; they are held simultaneously by most of us on most issues. We select a framework relativistically in full consciousness of the fact that we cannot prove the correctness of the choice and realize that we could have made a different choice. Yet once our choice is made, we relate to the selected framework, we think of it, realistically. This refusal to choose between realism and relativism and the claim that we adopt both views is characteristic of Yehuda's way of thinking. The two papers in this volume that address the issue directly, those by Gideon Freudenthal and Adi Ophir, reach their verdict independently of each other: both claim that two-tier thinking is not
{"title":"Introduction","authors":"Elisa Kriza, Michael Düring, Beata Waligórska-Olejniczak","doi":"10.14746/strp.2022.47.1.1","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.1","url":null,"abstract":"In April 1994 an international workshop was held in Tel Aviv and Jerusalem on \"Images of Knowledge, Two-Tier Thinking, and Higher Education.\"These themes stand as a clear marker for their author. They signal his scholarship and bear witness to his continuing quest for knowledge that refuses to be confined within academic boundaries. The workshop was intended to bring together scholars and friends of Yehuda Elkana in order to celebrate a committed intellectual, a historian of science with wide-ranging interests, an excellent teacher, and a genuine humanist. Let me also mention that Yehuda was the initiator of SiC and one of its editors for many years. His personal and political life as well as his work can perhaps best be summarized by the notion of epic theater that he discovered in Benjamin and Brecht: \"It can happen this way, but it can also happen quite a different way.\" It stands for shunning the seemingly inevitable course of history and for refusing to believe in the One and only One — whether this is One Eternal Truth, buttressed by seemingly unchangeable metamathematical concepts like proof; or the inevitable development of One Science — namely, our science — regardless of what other cultures have produced; or the ways in which we think our history — namely, in terms of epochs, paradigms, and other grand narratives; or the still widespread context-free search for universals and universalistic theories. The gate has thus been pushed wide open to place into their cultural context and into the historical flux of development all our guiding concepts and the knowledge with which we seek to obtain a better grasp of the world around us. But at the same time there is an irrefutable and courageously steadfast element of realism in the notion of epic theater as the mirror of our experience in the way we live our history. The courage lies in accepting what cannot be changed, while knowing and actively searching to change it. Yehuda Elkana's ability to straddle the two sides of what many take to be intolerable contradictions has led him to articulate the notion of \"two-tier thinking.\" Realism and relativism, he maintains, are not mutually exclusive; they are held simultaneously by most of us on most issues. We select a framework relativistically in full consciousness of the fact that we cannot prove the correctness of the choice and realize that we could have made a different choice. Yet once our choice is made, we relate to the selected framework, we think of it, realistically. This refusal to choose between realism and relativism and the claim that we adopt both views is characteristic of Yehuda's way of thinking. The two papers in this volume that address the issue directly, those by Gideon Freudenthal and Adi Ophir, reach their verdict independently of each other: both claim that two-tier thinking is not","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47278946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-26DOI: 10.14746/strp.2022.47.1.5
Natalia Maliutina
The article considers comic humour as an emotional and semantic component of the statements in two comedies written by Nadezhda Ptushkina: Paying ahead and Come and takeaway, which can be attributed to popular mass literature. Distinguishing between the manifestations of situational and semantic comedy and humour the article shows how the humorous tone of the character’s remarks changes the overall genre tone of the comedy. Due to the idea of how much the personality does not fit into the narrow framework of the stereotypical perception of the situation of the husband’s withdrawal from the family, the article notes the dramatic and tragic modality of the statements in the plays. At the same time, in all situations and in all manifestations of the relationship between the characters, we feel the author’s view. The author is distinguished by the ability to understand and accept a different opinion to optimistically see the possibility of preserving the family and identity of each person in the process of collisions with other opinions. Despite the author’s rejection the play retains a belief in a certain general harmony of the human soul, which is especially vividly perceived thanks to allusions to Chekhov’s plays. Techniques contribute to the removal of the author’s view and the positions of the characters: dialogue of the deaf, distancing the author’s view and the character’s position, wordplay. All these techniques contribute to overcoming the farcical nature of the conflict and its dramatization.
{"title":"Юмористический тон как маркер авторского взгляда в комедиях Надежды Птушкиной","authors":"Natalia Maliutina","doi":"10.14746/strp.2022.47.1.5","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.5","url":null,"abstract":"The article considers comic humour as an emotional and semantic component of the statements in two comedies written by Nadezhda Ptushkina: Paying ahead and Come and takeaway, which can be attributed to popular mass literature. Distinguishing between the manifestations of situational and semantic comedy and humour the article shows how the humorous tone of the character’s remarks changes the overall genre tone of the comedy. Due to the idea of how much the personality does not fit into the narrow framework of the stereotypical perception of the situation of the husband’s withdrawal from the family, the article notes the dramatic and tragic modality of the statements in the plays. At the same time, in all situations and in all manifestations of the relationship between the characters, we feel the author’s view. The author is distinguished by the ability to understand and accept a different opinion to optimistically see the possibility of preserving the family and identity of each person in the process of collisions with other opinions. Despite the author’s rejection the play retains a belief in a certain general harmony of the human soul, which is especially vividly perceived thanks to allusions to Chekhov’s plays. Techniques contribute to the removal of the author’s view and the positions of the characters: dialogue of the deaf, distancing the author’s view and the character’s position, wordplay. All these techniques contribute to overcoming the farcical nature of the conflict and its dramatization.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45175048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-26DOI: 10.14746/strp.2022.47.1.8
I. Voloshchuk
The paper deals with the specifics of outsiders’ laughter in the book Unknown letters (Неизвестные письма/Unbekannte Briefe, Russian 2014, German 2017) by a Russian-German writer Oleg Yuryev. In particular, it analyzes how Russian cultural and historical traumas of the 20th century were reinterpreted in the book from the perspective of an ironical outsider. In doing so, it focuses on a fictional letter by the writer Leonid Dobychin, which is contextualized with fictional letters of Jakob Michael Reinhold Lenz and Ivan Pryzhov, representing previous historical and cultural periods. Yuryev’s ironic reflections on the Russian historical reality and literary scene of the 20th century manifest themselves at different levels, from the positioning of outsiders’ laughter in relation to the official and marginal hierarchies of the literary canon to the postmodernist play with the traditions of literary classics. In addition, the paper addresses the inter- and/or transcultural aspect of outsiders’ laughter in Yuryev’s book.
{"title":"„…читая в ногу души прекрасные порывы”: смех аутсайдера и русский ХХ век в Неизвестных письмах Олега Юрьева","authors":"I. Voloshchuk","doi":"10.14746/strp.2022.47.1.8","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.8","url":null,"abstract":"The paper deals with the specifics of outsiders’ laughter in the book Unknown letters (Неизвестные письма/Unbekannte Briefe, Russian 2014, German 2017) by a Russian-German writer Oleg Yuryev. In particular, it analyzes how Russian cultural and historical traumas of the 20th century were reinterpreted in the book from the perspective of an ironical outsider. In doing so, it focuses on a fictional letter by the writer Leonid Dobychin, which is contextualized with fictional letters of Jakob Michael Reinhold Lenz and Ivan Pryzhov, representing previous historical and cultural periods. Yuryev’s ironic reflections on the Russian historical reality and literary scene of the 20th century manifest themselves at different levels, from the positioning of outsiders’ laughter in relation to the official and marginal hierarchies of the literary canon to the postmodernist play with the traditions of literary classics. In addition, the paper addresses the inter- and/or transcultural aspect of outsiders’ laughter in Yuryev’s book.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48341168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-26DOI: 10.14746/strp.2022.47.1.6
Mirosława Michalska-Suchanek
Jewish humour with a rich repertoire of forms is an integral part of Jewish culture. The article summarises the typical features of Jewish humour and presents an outline of its history from its beginning at the turn of the 19th to the 20th century in the countries of Central and Eastern Europe, through the times of immigrants to Palestine, from the first Aliyah (1882–1903), until the establishment of the state of Israel in 1948, to the humour of modern Israel. The humour of Anna Fein – one of the important representatives of Russian-Israeli literature – is situated at the intersection of traditional Jewish humour, Israeli humour, and the mentality of a repatriate (the writer left Russia for Israel during the so-called Great Aliyah), creating an interesting Russian-Israeli version of Jewish humour. Fein’s humour fits in with the exemplary tone of archetypal Jewish humour. At the same time, referring not to the emotions, but to the recipient’s intellect, together with the assumption that humour must have pragmatic values, understood as the implementation of a utilitarian function, it brings the recipient closer to the postulates of Henri Bergson’s theory of laughter.
{"title":"Proza Anny Fein. Rosyjsko-izraelska odsłona humoru żydowskiego","authors":"Mirosława Michalska-Suchanek","doi":"10.14746/strp.2022.47.1.6","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.6","url":null,"abstract":"Jewish humour with a rich repertoire of forms is an integral part of Jewish culture. The article summarises the typical features of Jewish humour and presents an outline of its history from its beginning at the turn of the 19th to the 20th century in the countries of Central and Eastern Europe, through the times of immigrants to Palestine, from the first Aliyah (1882–1903), until the establishment of the state of Israel in 1948, to the humour of modern Israel. The humour of Anna Fein – one of the important representatives of Russian-Israeli literature – is situated at the intersection of traditional Jewish humour, Israeli humour, and the mentality of a repatriate (the writer left Russia for Israel during the so-called Great Aliyah), creating an interesting Russian-Israeli version of Jewish humour. Fein’s humour fits in with the exemplary tone of archetypal Jewish humour. At the same time, referring not to the emotions, but to the recipient’s intellect, together with the assumption that humour must have pragmatic values, understood as the implementation of a utilitarian function, it brings the recipient closer to the postulates of Henri Bergson’s theory of laughter.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48943313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-26DOI: 10.14746/strp.2022.47.1.7
Sergey Troitskiy
The article is an attempt to answer the question whether there is a cultural specificity of humour not in form and content, but in the context of pragmatics. Discussing humour from the point of view of its orientation to the addressee, we can distinguish three main options described by the Russian philosopher V. S. Solovyov in connection with humour, these are relations to the highest, to the equal, and to the lowest. Considering that such a simplified scheme exhausts all possible vectors of constructing a message according to the method of interpretation of the addressee (as higher, as lower, as equal), such a seemingly simple classification, however, determines not only the narrative position, but also the content and form of the message, as well as sets other restrictions. The scheme of relations (vectors) rooted in culture and reproduced by it determines not only how a humorous message is constructed, but also in many respects the readiness of the addressee for an adequate reaction in the form of laughter, and whether the author of the humorous message expects this reaction. Thus, one of the tasks of the article is an attempt to explain the specifics of the (unsuccessful) humorous interaction between the carriers of subjects and objects of power. Russian culture is the focus of the article, which is based on Russian sources.
{"title":"„Русский” юмор в контексте направлений юмористической коммуникации: причины гелотофобии как социального явления","authors":"Sergey Troitskiy","doi":"10.14746/strp.2022.47.1.7","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.7","url":null,"abstract":"The article is an attempt to answer the question whether there is a cultural specificity of humour not in form and content, but in the context of pragmatics. Discussing humour from the point of view of its orientation to the addressee, we can distinguish three main options described by the Russian philosopher V. S. Solovyov in connection with humour, these are relations to the highest, to the equal, and to the lowest. Considering that such a simplified scheme exhausts all possible vectors of constructing a message according to the method of interpretation of the addressee (as higher, as lower, as equal), such a seemingly simple classification, however, determines not only the narrative position, but also the content and form of the message, as well as sets other restrictions. The scheme of relations (vectors) rooted in culture and reproduced by it determines not only how a humorous message is constructed, but also in many respects the readiness of the addressee for an adequate reaction in the form of laughter, and whether the author of the humorous message expects this reaction. Thus, one of the tasks of the article is an attempt to explain the specifics of the (unsuccessful) humorous interaction between the carriers of subjects and objects of power. Russian culture is the focus of the article, which is based on Russian sources.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46109372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-26DOI: 10.14746/strp.2022.47.1.9
K. Vorontsova
In 2018, the story of the unsuccessful poisoning of the Skripals by Russian special services shocked the world, and the further appearance of “Petrov” and “Boshirov” in an interview with Margarita Simonyan with completely implausible explanations led to the emergence of many memes and humorous works. The satirical play by Viktor Shenderovich To see Salisbury (2019) can be considered as one of the most significant reactions created by Russian-speaking society to the lies of the state. It is successfully performed abroad and, of course, has no chance of being staged in Russia. The author asks the question: what if everything that Petrov and Boshirov told in a scripted interview on the air of on Russia Today is true, and they are not unsuccessful spies, but a couple of gay lovers who are interested in Gothic cathedrals and the Charter of Liberties? Reflections on their own blurry unstable identity led the characters to an existential crisis in the spirit of the Theatre of the Absurd. This paper analyses how the absurdity of reality in the play serves to create a comic effect. Shenderovich grounds his satire based on direct citation of the precedent text of the interview, known a priori to every Russian-speaking recipient, on the intertexts of the Russian linguistic culture, fills the gaps of perception with paradoxes, and answers the questions asked by the audience after the RT broadcast (Why do the passport numbers differ by one digit? Why do the characters know Simonyan’s personal phone number? etc.).
2018年，俄罗斯特勤局毒杀斯克里帕尔一家的事件震惊了世界，“彼得罗夫”和“博希罗夫”在接受玛格丽塔·西蒙扬采访时以完全难以置信的解释进一步出现，导致了许多模因和幽默作品的出现。维克托·申德罗维奇（Viktor Shenderovich）的讽刺剧《看索尔兹伯里》（To see Salisbury，2019）可以被认为是俄语社会对国家谎言做出的最重大反应之一。它在国外成功上演，当然，没有机会在俄罗斯上演。作者提出了一个问题：如果彼得罗夫和博希罗夫在《今日俄罗斯》播出的一次照本宣科的采访中所说的一切都是真的，他们不是不成功的间谍，而是对哥特式大教堂和《自由宪章》感兴趣的一对同性恋恋人，会怎么样？对自身模糊而不稳定的身份的反思导致角色陷入了荒诞剧院精神的生存危机。本文分析了剧中荒诞的现实是如何创造喜剧效果的。申德罗维奇的讽刺基于对采访先例文本的直接引用，这是每个讲俄语的接受者都知道的，基于俄罗斯语言文化的互文，用悖论填补了感知的空白，并回答了观众在RT广播后提出的问题（为什么护照号码相差一位数？为什么角色知道Simonyan的个人电话号码？等等）。
{"title":"Абсурдизация действительности в сатирической пьесе Увидеть Солсбери Виктора Шендеровича","authors":"K. Vorontsova","doi":"10.14746/strp.2022.47.1.9","DOIUrl":"https://doi.org/10.14746/strp.2022.47.1.9","url":null,"abstract":"In 2018, the story of the unsuccessful poisoning of the Skripals by Russian special services shocked the world, and the further appearance of “Petrov” and “Boshirov” in an interview with Margarita Simonyan with completely implausible explanations led to the emergence of many memes and humorous works. The satirical play by Viktor Shenderovich To see Salisbury (2019) can be considered as one of the most significant reactions created by Russian-speaking society to the lies of the state. It is successfully performed abroad and, of course, has no chance of being staged in Russia. The author asks the question: what if everything that Petrov and Boshirov told in a scripted interview on the air of on Russia Today is true, and they are not unsuccessful spies, but a couple of gay lovers who are interested in Gothic cathedrals and the Charter of Liberties? Reflections on their own blurry unstable identity led the characters to an existential crisis in the spirit of the Theatre of the Absurd. This paper analyses how the absurdity of reality in the play serves to create a comic effect. Shenderovich grounds his satire based on direct citation of the precedent text of the interview, known a priori to every Russian-speaking recipient, on the intertexts of the Russian linguistic culture, fills the gaps of perception with paradoxes, and answers the questions asked by the audience after the RT broadcast (Why do the passport numbers differ by one digit? Why do the characters know Simonyan’s personal phone number? etc.).","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48209142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：