• Lingua Humanitatis
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• v.6
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• pp.321-357
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• 2004

In this article the structure of modern Russian humor is analyzed on the basis of some theories: bi-sociation theory (Koestler 1964), semantic script theory of verbal humor, using the concept of semantic presupposition, pragmatic felicity condition (Searle 1969; Levinson 1983) and grammatical rules (Chomsky 1965). Up to now the listed former theories were not examined and less analyzed by the semantic structure in the study of the structure of Russian humor(HcaeBa 1969; 3 $a_{OPHOB}$ 1991; 1992). Kreps (1981), who analyzed the works of Zoschenko, presented 21 types of humor, using the term 'humoreme'(Kpenc 1981, 36-37). These types are the list of the available means of humor that work not in the base of semantic criteria, but in the base of means of literary rhetoric. Kreps presented types of humor means, such as contradiction, antonymic substitution, macaronic speech and correlation of humoremes in the various types of humor. Apart from Kreps, Manakov (MaHaKOB 1986, 61-79) also studied these problems. He also set the system of the basic types of humor. Manakov introduced the linguistic means of humor of some Russian writers: Gogol, Tchechov. The means that Manakov showed with detailed examples, are trope, epithet, comic comparison, comic metaphor, comic periphrasis, euphemism, pun, zeugma, comic toponym, comic onomatopoeia, mania of foreign vocabulary, folk etymology, dialect etc. But these studies don't explain why these means make the works humorous. An, B.p tried to answer this question (안병팔 1997 a; b). An B.p. explains contexts of humor through the Release theory, the Superiority theory and the Incongruity theory. An, B.p. explained the process of deviation from the grammatical norms through morpho-syntactic and lexical means. But in these studies the humor was not analyzed by the semantic criteria. In order to linguistically evaluate various means of humor formation, it is necessary to elicit its deep structure, which makes it possible to research the formation and interpretation of humor. For this purpose this article, being based on the Incongruity theory, defined the structure of humor as negation of presupposition. Of course the former traditional studies also well shared the concept of 'contradiction' and 'contrast' of humor structure, but they didn't explain the structure by semantic differential features. This study, analyzing the works of' Zadornov, M., tried to note that through the negation of semantic presupposition the structure of contradiction is formed with semantic differential features on the semantic, syntactic or lexical dimensions.

• Cross-Cultural Studies
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• v.38
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• pp.215-243
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• 2015

This paper looks at the literary mood of southwestern Russia in the late Russian Empire, while examining the writers of this area and their literary tendencies. Southwestern literature was formed in the late Russian Empire, and prospered centering around Odessa. Because of the uniformity in the Soviet culture, however, it could not stay alive but disappeared in the history of Russian literature. Odessa, the center of southwestern literature was a multiracial region unlike other Russian cities. A unique culture was created, therefore, combining the western European culture and local ethnicity. Jews in Odessa could enter into the Russian society and assimilate naturally. They could utilize their talents as a strength to enrich the Russian culture without giving up their cultural heritage. For example, in lingual aspects, using Yiddish was not against the Russian culture. In addition, it contributed to interesting new coinages and led to efforts among writers to minimize the gap between the two languages. Many Jewish writers showed special interest not only in Yiddish but also in French, German and other languages. Therefore, they took the lead in translating and introducing west classics. As evident in the way Yiddish language was formed, mixing their language with other languages enabled jews to soak their way into other cultures naturally. Their yearning for the Russian and western European cultures, combined with their unique sense of humor, led to generic twists and problematic experiments. From another point of view, it is also unusual that southwestern literature diversified locational settings and heroic characters in literary works. European style heros, appearance of multiracial people, pain or waggery experienced by Jews in their assimilation process, thrilling revenge to unfair violence of Russians, and espiegle swindlers are the new domains that southwestern literature pioneered. In summary, southwestern literature was formed in a heterogeneous cultural climate, which was entirely different from the Russian Empire. In this regard, it was in deviation from the Russian literary tradition. From the Soviet point of view, it existed as a heresy which was against the Russian Empire.