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    Wyświetlanie 1-6 z 6
    Tytuł:
    „Вторая” жизнь советских комедий в интернет-мемах периода пандемии
    The “second” life of Soviet comedies in internet memes during the pandemic
    Autorzy:
    Wilk, Gabriela
    Powiązania:
    https://bibliotekanauki.pl/articles/2224186.pdf
    Data publikacji:
    2022-06-27
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    internet meme
    intertextuality
    humour
    Soviet comedy
    coronavirus
    Opis:
    Nowadays, it is hard to imagine internet culture without memes. To achieve a humorous effect, meme creators use various means, displaying unprecedented creativity. They often draw inspiration from cult Soviet comedies by Leonid Gaidai, Georgiy Daneliya, Vladimir Menshov, Eldar Ryazanov, Aleksandr Sery and other famous directors. This article is devoted to the analysis of iintertextual connections in Russian internet memes related to the current COVID-19 pandemic. The intertextual references can be in the form of a frame from a Soviet comedy, a movie catchphrase, or both at the same time. Catchphrases can be used in the analysed internet memes in their original version, or they can undergo various modifications, such as the replacement of some components and/or the extension of phrase composition. The fact of making use of a specific movie scene or catchphrase by meme creators proves that Soviet comedy is still deeply rooted in Russian culture. Soviet comedies begin to “live a new life” in internet memes.
    Źródło:
    Studia Rossica Posnaniensia; 2022, 47, 1; 243-260
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Юмористический тон как маркер авторского взгляда в комедиях Надежды Птушкиной
    Humorous tone as a marker of the author’s view in Nadezhda Ptushkina’s comedies
    Autorzy:
    Maliutina, Natalia
    Powiązania:
    https://bibliotekanauki.pl/articles/2224469.pdf
    Data publikacji:
    2022-06-26
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    comedy
    farce
    humour
    comic
    tone
    author of the play
    Opis:
    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 take away, 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.
    Źródło:
    Studia Rossica Posnaniensia; 2022, 47, 1; 59-73
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Жизнь, зависшая в цитатах. О комедии Олега Богаева „Как я съела мужа”
    A Life Trapped in Quotation. On Oleg Bogaev’s Comedy “How I Ate My Husband”
    Autorzy:
    Graf, Alexander
    Powiązania:
    https://bibliotekanauki.pl/articles/22446774.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    New Drama
    Russian literature
    Oleg Bogaev
    Comedy
    Social critics
    Opis:
    Citationality and intertextual combining of the new ‘New Drama’ form a central device of contemporary dramatic arts. In his comedy How I Ate My Husband (2009) Bogaev takes citationality to extremes and lucidly demonstrates that not only the dramatis personae but also the playwright himself, the director, and the audience are subjected to the torrent of models and pretexts largely determining the action. The whole life has frozen as if it was one big quotation running through the canvas of the dramatic text on all levels and linking the fictional life within the play to real life, combining traditional concepts of theatre with the ideas of new drama. There is no place for coincidence, it turns out that all is one persistent recurrence.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 173-183
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    О интерсемиотической передаче комического в аудиодескрипции к советским кинокомедиям
    On the intersemiotic transposition of comedic devices in audio description in Soviet film comedies
    Autorzy:
    Mocarz-Kleindienst, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/2224216.pdf
    Data publikacji:
    2022-06-27
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    audio description
    Soviet film comedies
    intersemiotic transposition
    comedy of situation
    comic character
    Opis:
    Audio description (AD) is an additional soundtrack in a film containing concise, verbal information about what is happening on the screen. The language of the AD should be appropriate to the genre of the film lexically and stylistically. This means that the language of AD in film comedies should contain some verbal ‘signals’ of the comic as an aesthetic category. The author of the presented research has attempted to analyse lexical and stylistic means of conveying situational comic and character comic as the two main types of comic, apart from the verbal one expressed directly in the characters’ speech. The material for the research included the following Soviet film comedies: We are from jazz (directed by K. Shakhnazarov, 1983), Autumn marathon (directed by G. Daneliya, 1979), and The twelve chairs (directed by L. Gaidai, 1971). The analysis proved that the verbal track of the AD reflects the most important peripeteia of the characters, and together with them the features of the characters (appearance, character traits), the manner of their behaviour. The set of llinguistic and stylistic means is determined by the type of the comedy.
    Źródło:
    Studia Rossica Posnaniensia; 2022, 47, 1; 173-185
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Сюжет Мертвых душ H.B. Гоголя как барочная метафора
    The plot of „Dead Souls” by M.W. Gogol as a baroque metaphore
    Autorzy:
    Ivanickij, Aleksander
    Powiązania:
    https://bibliotekanauki.pl/articles/481092.pdf
    Data publikacji:
    2013-12-01
    Wydawca:
    Uniwersytet Warmińsko-Mazurski w Olsztynie
    Tematy:
    baroque symbolism of the story
    the lost personality trait
    the man’s transformation in the soulless flesh
    Dante’s Divine Comedy
    Gogol’s Dead Souls
    Opis:
    A number of the Gogol’s works, he wrote in 1840-s (The Final of "Auditor”, Selectedfragments from the correspondence with friends) show a clear connection with the Polish andUkrainian Baroque tradition of the metaphorical convergence of social and spiritual world. Itallows us to suppose the same symbolism in the first part of his poem Dead Souls (1842). Deadserfs that are sold by the landowners to Chichikov as nominally living, can be understood as personality trait of this people that they had lost little by little. It clarifies the sense of the vices that must be showed in the first part of the poem. This is mental stinginess and mental waste, that show themselves by turns in four first figures of the landowners (Manilov, Korobochka, Nozdrev andSobakevich) and flows together in the last figure of Plushkin.
    Źródło:
    Acta Polono-Ruthenica; 2013, 1, XVIII; 47-55
    1427-549X
    Pojawia się w:
    Acta Polono-Ruthenica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Креатив или примитив? Анализ текстов публичных выступлений в жанре cтендап с точки зрения теории языковой игры
    Creative or Primitive? Analysis of the Texts of Public Speeches of the Stand-up Genre from the Point of View of the Theory of Language Game
    Autorzy:
    Васильева, Оксана
    Powiązania:
    https://bibliotekanauki.pl/articles/22858179.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    языковая игра
    лингвистический креатив
    стендап-комедия
    структура
    сетап
    панчлайн
    лексика
    комичное
    лексические единицы
    прецедентные феномены
    словообразовательные конструкции
    language game
    linguistic creativity
    stand-up comedy
    structure
    setup
    punchline
    vocabulary
    comical
    lexical units
    precedent phenomena
    word-formation constructions
    Opis:
    Статья посвящена изучению особенностей реализации языковой игры в современных медийных продуктах. Объектом исследования послужили тексты жанра стендап-комедии. Выступления в жанре стендап понимаются как сольное юмористическое выступление перед живой аудиторией. В репертуар стенадап-комиков входят авторские монологи, короткие шутки, импровизации с залом. Цель настоящей статьи заключается в определении речевых приемов в публичных выступлениях и анализе их с точки зрения теории языковой игры. Рассматриваются понятия языковой игры, комичного выступления, вербальной креативности. Основным методом исследования является описательный, в рамках которого применены приемы наблюдения, обобщения, классификации данных. В статье проанализированы языковые примеры комедийных текстов с точки зрения реализации языковой игры на различных уровнях языка: фонетическом, словообразовательном, лексическом, синтаксическом. В ходе анализа авторских монологов резидентов стендап-шоу определена структура, в соответствии с которой строится шутка; выявлены приемы языковой игры, которые преимущественно применяют стендап-комики. Наблюдения позволили вычленить и отрицательные черты (ненормативная лексика, слова-паразиты, бессодержательные фразы), затрудняющие восприятие языковой игры. В статье делается вывод о роли публичных выступлений жанра стендап-комедии в воспитании эстетической категории, реализуемой в остроумной и легкой речи. Перспективой исследования является анализ выступлений женской стендап-комедии и выявление влияния гендерной принадлежности на язык комедийных текстов.
    This article studies the features of language game implementation in the modern media products. The object of the study is stand-up comedy texts. Stand-up performance is a solo, humorous performance in front of an audience. The repertoire of stand-up comedians includes author’s monologues, short jokes, and improvisation with the audience. These performances are based on a language game element implemented in a certain structure. The purpose of this article is to identify stand-up genre speech techniques in public performances and analyse them from the language game theory viewpoint. The language game, comical, and verbal creativity concepts are considered in the article. The main methods of research are descriptive, observation, generalization, data classification methods. The linguistic examples of comedy texts are analysed from the language game implementation viewpoint at various language levels: phonetic, word-formation, lexical, syntactic. The public performances analysis makes it possible to determine the structure according to which jokes are developed; the techniques of language game which are widely used by stand-up comedians. This analysis allows some negative features to be determined (profanity, parasitic words, meaningless phrases), which can worsen the language game understanding. The article draws attention to the role of stand-up comedy genre public performances in the learning of comic aesthetic category realized in witty and fluent speech. The perspective of the study is to analyse the performances of female stand-up comedy and identify the influence of gender on the language of comedy texts.
    Źródło:
    Acta Universitatis Lodziensis. Folia Linguistica Rossica; 2022, 21; 155-164
    1731-8025
    2353-9623
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Linguistica Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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