Temat: comic. - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: „…читая в ногу души прекрасные порывы”: смех аутсайдера и русский ХХ век в Неизвестных письмах Олега Юрьева
„…reading apace with the soul’s beautiful impulses”: Outsiders’ laughter and the Russian twentieth century in Oleg Yuryev’s Unknown letters
Autorzy:: Voloshchuk, Ievgeniia
Powiązania:: https://bibliotekanauki.pl/articles/2224210.pdf
Data publikacji:: 2022-06-26
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: intercultural literature
outsider
postmodernism
literary canon
comic
Yuryev
Opis:: 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.
Źródło:: Studia Rossica Posnaniensia; 2022, 47, 1; 111-128
0081-6884
Pojawia się w:: Studia Rossica Posnaniensia
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Интерсемиотический и прагмасемантический анализ цикла мемов „Дворец для Путина”
Intersemiotic and pragmasemantic analysis of the “Palace for Putin” meme cycle
Autorzy:: Sładkiewicz, Żanna
Powiązania:: https://bibliotekanauki.pl/articles/2224185.pdf
Data publikacji:: 2022-06-27
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: political
internet meme
twitter
multimodal text
comic
Opis:: The article is devoted to the analysis of the pragmatics and semiotics in the productive comic genre of digital communication – the political meme. The empirical material consists of actual internet heterogeneous texts, created after the publication of Alexei Navalny’s film “Palace for Putin”. The comic content is viewed as a way of defusing the public tension of the sanctioned protest, an instrument for interpreting and discussing current social reality, as well as a method of demonizing a political subject “them”. The research assumes multimodality of the media environment and its products. It considers verbal, iconic and metagraphic ways of realizing the pragmatic intentions of the participants in the communication process. The author examines the initial situation (proto situation) that caused a communicative reaction of the internet users in the form of memes, analyzes the essence of a political meme as a heterogeneous text. The article describes the structural organization of memes, the syntactic and semantic relations of the verbal and iconic parts, as well as the use of intertextuality to concisely and expressively transmit new meanings.
Źródło:: Studia Rossica Posnaniensia; 2022, 47, 1; 187-206
0081-6884
Pojawia się w:: Studia Rossica Posnaniensia
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

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

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Skocz do pozycji: 4.

Tytuł:: Черномырдинки и техника комического у Михаила Зощенко
Chernomyrdinki and techniques of the comic by Mikhail Zoshchenko
Autorzy:: Weigl, Anna
Powiązania:: https://bibliotekanauki.pl/articles/2224187.pdf
Data publikacji:: 2022-06-27
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Chernomyrdinki
Zoshchenko
humour
techniques of the comic
linguistic logic
Opis:: 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.
Źródło:: Studia Rossica Posnaniensia; 2022, 47, 1; 229-242
0081-6884
Pojawia się w:: Studia Rossica Posnaniensia
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: Забавная история из жизни животных как речевой жанр интернет-коммуникации
Autorzy:: Хорохордина, Ольга
Zheng, Xiaotang
Powiązania:: https://bibliotekanauki.pl/articles/2057444.pdf
Data publikacji:: 2021-09-30
Wydawca:: Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:: speech genre
Internet communication
written speech
oral speech
comic category
Opis:: The authors of the article analyze selected texts of Internet communication, identify the speech genre of a funny story from the life of animals, identify its typological parameters in accordance with a concept developed by Mikhail Bakhtin, show the stylistic originality of the ironically written and spoken presentation of the plot, compare the specified genre of Internet communication with the related non-media genre of funny stories, and demonstrate the similarities and differences between the compared genres. The authors note that the genre of a funny story from the life of animals reveals its belonging to the Internet communication environment with such properties as the attractiveness of the emotiogenic situation underlying its plot, hypertextual connection within the frame of entertainment sites, forums, and channels of the source text with other narrative texts of the same genre as well as with reactive replicas-comments, where an abbreviated version of this genre is implemented and from whose totality a polylogue is formed as a reflection of the interactivity of Internet communication. The authors state the kinship of the compared genres and pay attention to the prospects of studying the specifics of Internet genres against the background of their non-media counterparts. The research material consists of 40 Internet texts.
Źródło:: Acta Polono-Ruthenica; 2021, 3, XXVI; 119-130
1427-549X
Pojawia się w:: Acta Polono-Ruthenica
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

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

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Skocz do pozycji: 7.

Tytuł:: «Вечные темы» в юмористических рассказах Аркадия Аверченко
Eternal themes in humorous short stories of Arkady Averchenko
Autorzy:: Polakowska, Ewa
Powiązania:: https://bibliotekanauki.pl/articles/915928.pdf
Data publikacji:: 2018-12-20
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Arkady Averchenko
humourist writer
comic genre
humour
laugh
humourist
humoresque
joke
buffoonery
hyperbole
Opis:: The paper describes the early period of Averchenko’s work. His stories were based on hilarious topics, humour and caricatures. The writer used all this means of expression very freely, easily, with a gentle tact and power of conviction, and what is even more important, with humour and wittily. During this period, he chose topics focused on a common big city life, stories of ordinary people, “new” trends in art, always up-to-date topic of man and woman, as well as relations between fathers and their children. Showing the portrait of a common citizen, the satirists laughed at defects of the contemporary world. This is how the particular humour Averchenko’s manifested.
Źródło:: Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2018, 8; 107-114
2391-470X
Pojawia się w:: Kultury Wschodniosłowiańskie – Oblicza i Dialog
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

Tytuł:: Речевой комизм одностиший Владимира Вишневского
Linguistic comedy in one-line poems by Vladimir Vishnevskii
Autorzy:: Iakovleva, Olga
Powiązania:: https://bibliotekanauki.pl/articles/29519398.pdf
Data publikacji:: 2021
Wydawca:: Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:: one-line poems
V. Vishnevskii
language game
comic effect
одностишие
В. Вишневский
языковая игра
комический эффект
Opis:: Linguistic comedy is a special case of the implementation of a language game. The aim of the paper is to identify the most frequent, periodic realized linguistic ways of creating a comic effect in V. Vishnevskii’s one-line poems. The study is based on such methods as: the descriptive method, the dictionary definition analysis method and the component analysis method. The results of the research reveal that among the ways of creating the discussed effect used in V. Vishnevskii’s one-line-poems, the following are distinguished: polysemy, antonymy, metonymy, violation of lexical connectivity of words, the author’s neologisms, ellipse, transformation of precedent texts, verbal-graphic representation, and combination of lexical units referring to various aspects of their use, characterized by different functional and expressive connotations.
Źródło:: Studia Wschodniosłowiańskie; 2021, 21; 155-167
1642-557X
Pojawia się w:: Studia Wschodniosłowiańskie
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 9.

Tytuł:: Языковая игра в педагогической речи: лингвоэкологический аспект
Language game in the pedagogical speech: linguoecological aspect
Autorzy:: Иванян, Елена
Powiązania:: https://bibliotekanauki.pl/articles/665500.pdf
Data publikacji:: 2017
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: языковая игра
типы языковой игры
педагогическая речь
лингвоэкология
лингвистическая экология
комическое
ирония
антифразис
language game
language game types
pedagogical speech
linguoecology
linguistic ecology
comic
irony
antiphrasis
Opis:: The article provides an overview of the concept of language game. The linguistic language game in the speech of the teacher was studied with the help of a three-year sociolinguistic experiment with the use of dictaphone records, the method of included observation and questioning, which covered about 1,700 informers. The author examined the language game in the speech of the teacher from the position of linguoecology, developed the criteria for determining the linguoecological / non-linguistic nature of the result of the language game. In the article, all the level types of language games are consistently characterized, considering the sign of the linguoecological / non-linguoecological character of the evaluative statements of the teacher. It is shown that the language game is an effective way to create an atmosphere of creativity and cooperation in the class. It is determined that among the comic techniques the most linguoecological is antiphrasis. It is revealed that many methods of language play violate the linguoecological nature of speech, if the game vector is aimed at discrediting the learner, the statement is permeated with self-abasement or contains invectives «softened» by the language game method.
В статье представлен обзор понятия языковой игры. Лингвистическая языковая игра в речи педагога исследована при помощи трехлетнего социолингвистического эксперимента с применением диктофонных записей, метода включенного наблюдения и анкетирования, охватившего около 1.700 информаторов. Автор рассмотрел языковую игру в речи педагога с позиции лингвоэкологии, разработал критерии определения лингвоэкологичности / нелингвоэкологичности результата языковой игры. В статье последовательно характеризуются все уровневые типы языковой игры с учетом признака лингвоэкологичности / нелингвоэкологичности оценочных высказываний педагога. Показано, что языковая игра является эффективным способом создания атмосферы творчества и сотрудничества на занятии. Определено, что среди приемов комического наиболее лингвоэкологичным является антифразис. Выявлено, что многие приемы языковой игры нарушают лингвоэкологичность речи, если вектор игры нацелен на дискредитацию обучающегося, высказывание проникнуто самоуничижением или содержит инвективы, «смягченные» приемом языковой игры.
Źródło:: Acta Universitatis Lodziensis. Folia Linguistica Rossica; 2017, 14; 73-80
1731-8025
2353-9623
Pojawia się w:: Acta Universitatis Lodziensis. Folia Linguistica Rossica
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 10.

Tytuł:: МУЗЫКАЛЬНО-ТЕАТРАЛЬНАЯ ЖИЗНЬ ПАРИЖА И РАННИЕ ОПЕРЫ Ф. ГАЛЕВИ (20-е годы ХІХ века)
MUSICAL AND THEATRICAL LIFE OF PARIS AND EARLY OPERAS OF F. HALÉVY (THE 20-IES OF THE 19TH CENTURY)
Autorzy:: Энская, Елена
Powiązania:: https://bibliotekanauki.pl/articles/566570.pdf
Data publikacji:: 2017
Wydawca:: Akademia Pomorska w Słupsku
Tematy:: французская опера
творчество Ф. Галеви
комическая опера
оперный театр
театральный репертуар
French opera
works of F. Halévy
comic opera
opera house
theatrical reper-toire
Opis:: The article gives a broad overview of the repertoire of opera theatres of Paris during the twenties of the 19th century, analyzes some of the processes of the opera genre renewal. The creative connections of F. Halévy with the representatives of the theatre world, who played at an early stage a decisive role in the creative destiny of the composer (J. Rossini, J. Pixerecourt, G. Saint-Georges, M. Schlesinger) are revealed. The information on the history and fate of the first operas of F. Halévy Two pavilions, Pygmalion, Herostrat, Craftsman is provided. The composition, the principles of musical characteristics of the characters, the peculiarities of the musical language of Two pavilions and Craftsman are analyzed. The connection of the early works of Halévy with the socio-political life of the country, the general thrust of the development of musical culture of France and new trends that have emerged in the twenties (the development of the genre of lyrical comedy about the lives of ordinary people, the opera about the representatives of different professions, an ap-peal to the provincial cultures) is established.
Źródło:: Ars inter Culturas; 2016, 5; 75-90
2083-1226
Pojawia się w:: Ars inter Culturas
Dostawca treści:: Biblioteka Nauki

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