幽默叙事内涵特色的类型学

Anzhela Heretsun
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摘要

在幽默理论的基础上,特别是在叔本华的“不协调”、霍布斯的“优越论”和弗洛伊德的“解放”等概念上,阐述了文学文本幽默叙事的具体标志。强调了接受性反应对国家标准的俏皮话的重要性,这会产生幽默的悲情。此外,每个文学世纪都有自己的漫画创作细节。20世纪,在时代变革的背景下,主要诉诸于讽刺。分析了J.Hašek(1883–1923)、G.von Rezzori(1914–1998)和F.Iskander(1929–2016)的文本。从类型上讲,它们是由“bokeh效应”(背景模糊)结合在一起的,在这里,作为主要问题背景的历史事件显得“模糊”。在J.Hašek未完成的小说《好士兵Švejk的命运冒险》中,人物行为的不合逻辑性出现在战争的荒谬背景下。起初,所有描述事件的零碎性扭曲了Švejk的形象,强调他是一个“绝对的白痴”,而英雄假装的白痴讽刺地扭曲了现实。以类似的方式,另一位准奥地利人G.von Rezzori的作品《去年的雪》也创造了幽默的叙事。故事的根茎结构和叙事,被儿童的意识所同化,创造了一种接受的喜剧效果(以及Švejk的准童年)。对于儿童叙事来说,一个人的经历,而不是历史事件,成为中心。在F.Iskander关于Chik童年的故事中,一种类似的、有点幼稚的现实平衡创造了情景喜剧。叙述者也是一个孩子,但作者保留了儿童叙事的标准(肯定生活的幽默悲情、天真的观点、理想化、童年时代不变)。不同作家作品中固有的幽默特征在叙事点上有着内在的契合。它们在创造幽默叙事的过程中呈现出喜剧手段在类型学上的不协调。
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Typology of the Connotative Peculiarities of the Humorous Narrative
Specific markers of the humorous narrative of the literary text are articulated on the basis of the theory of humor, in particular, on such concepts as “incongruity” by A. Schopenhauer, the theory of superiority by T. Hobbes, and “liberation” by Z. Freud. The importance of a receptive reaction to the national criteria of a witticism, which produces humorous pathos, is emphasized. Besides, each literary century has its own specifics of creating the comic. The 20th century, against the background of epochal changes, primarily appeals to irony. The texts of J. Hašek (1883–1923), G. von Rezzori (1914–1998) and F. Iskander (1929–2016) are analyzed. Typologically, they are brought together by the “bokeh effect” (blurring of the background), here it is the historical events that are the background to the main problem that appear “blurred”. In J. Hašek’s unfinished novel “The Fateful Adventures of the Good Soldier Švejk” the illogic of the characters actions appears against the background of the absurdity of war. The fragmentary nature of all depicted events at first deforms the image of Švejk, emphasizing that he is an “absolute idiot”, the pretended idiocy of the hero ironically distorts reality. In a similar way, a humorous narrative is created in the work “Last Year’s Snow” by another quasi-Austrian − G. von Rezzori. The rhizomatic structure of the story together with the narrative, assimilated to a child’s consciousness, creates a comic effect of reception (as well as the quasi-childhood of Švejk). For a children’s narrative, one’s own experiences, rather than historical events, become central. A similar somewhat infantile leveling of reality creates situational comedy in F. Iskander’s stories about the Chik’s childhood. The narrator is also a child, but the author preserves the criteria of a children’s narrative (life-affirming humorous pathos, naive point of view, idealization, unchanged chronotope of childhood). Features of humor inherent in the works of quite different writers connotatively coincide in narrative points. They present the typological incongruence of comic means in creating a humorous narrative.
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