home · Initiation · Irony and sarcasm as speech-language means of reflecting the moral and ethical values ​​of British society: based on the works of modern British fiction Dyrin, Anton Igorevich. Irony and sarcasm in English humor Recommended sp

Irony and sarcasm as speech-language means of reflecting the moral and ethical values ​​of British society: based on the works of modern British fiction Dyrin, Anton Igorevich. Irony and sarcasm in English humor Recommended sp

CHAPTER 1 THEORETICAL BACKGROUND OF THE RESEARCH OF IRONY AND SARCASM AS A MEANS OF REFLECTING MORAL AND ETHICAL

VALUES OF BRITISH SOCIETY.

1.1. Linguocultural prerequisites for the study of irony and sarcasm

1.2. Value as a meaning-forming universal of human existence.

1.4. Subjective modality as the semantic basis of ironic and sarcastic statements.

1.4.1. General concept of the category of modality.

1.4.2. Semantic content of subjective modality.

CONCLUSIONS ON THE FIRST CHAPTER.

CHAPTER 2 IRONY AND SARCASM AS SOCIOLINGUISTIC

Introductory remarks and objectives of the chapter.

2.1. Linguocultural classification of cultural and communicative values.

2.2. Dominant features of British culture and their reflection in the communicative behavior of the British.

2.3. Anthropological characteristics of a communicative personality.

2.4. National communicative behavior of the British.

2.5. The pragmatic component of irony and sarcasm.

CONCLUSIONS ON CHAPTER TWO.

CHAPTER 3 THEORETICAL APPROACHES TO THE STUDY OF IRONY AND

SARCASM AS A LINGUISTIC PHENOMENA.

Introductory remarks and objectives of the chapter.

3.1. The nature of the comic in laughter culture. The relationship between the concepts “humor satire”, “satire - irony”, “irony - humor”, “irony - sarcasm”.

3.2. The role of presupposition in the actualization and interpretation of ironic and sarcastic statements.

3.3. Irony and sarcasm as linguistic phenomena.

3.4. Linguistic parameters for the study of irony and sarcasm.

3.5. Implementation of irony and sarcasm at the lexical, syntactic and text levels of language.

3.5.1. Realization of ironic and sarcastic meaning at the lexical level.

3.5.2. Realization of ironic and sarcastic meaning at the syntactic level.

3.5.3. Text level of implementation of ironic and sarcastic meaning

CONCLUSIONS ON THE THIRD CHAPTER.

Recommended list of dissertations

  • Linguocultural and psycholinguistic aspects of the perception of irony in a work of art 2008, candidate of philological sciences Vorobyova, Ksenia Aleksandrovna

  • Irony in political discourse 2003, Candidate of Philological Sciences Veselova, Natalya Vyacheslavovna

  • Means of expressing evaluative values ​​in the idiostyle of M.E. Saltykova-Shchedrin 2008, Candidate of Philological Sciences Savvina, Yulia Vladimirovna

  • Means of forming ironic modality in modern journalistic discourse: The genre of review 2005, Candidate of Philological Sciences Orlova, Galina Viktorovna

  • Linguistic means of expressing irony in English-language fiction (based on the material of English and American fiction of the late 19th-20th centuries) 1984, Candidate of Philological Sciences Pokhodnya, Sofya Ivanovna

Introduction of the dissertation (part of the abstract) on the topic “Irony and sarcasm as speech-language means of reflecting the moral and ethical values ​​of British society: based on works of modern British fiction”

This dissertation research belongs to a series of works with an anthropocentric focus in linguistics and is devoted to the linguocultural and sociolinguistic problem of studying irony and sarcasm as a means of reflecting the moral and ethical values ​​of British society.

The second half of the 20th and the beginning of the 21st centuries were marked by the full recognition of the anthropocentric paradigm as a priority in all humanities: philosophy, linguistics, psychology, etc. One of the leading postulates of the science of language is the recognition of the need to include humans in the focus of scientific research. This dissertation research, which has an undoubted anthropocentric orientation, is addressed to the problems of linguoculturology and sociolinguistics, the focus of which is human communicative behavior. Thus, British communicative behavior is characterized, as a rule, by an ironic and sarcastic attitude towards the surrounding reality. The most significant anthropologically oriented linguocultural and sociolinguistic works include monographs and scientific writings by foreign and domestic linguists, sociologists and cultural scientists: E. Benveniste, A. Vezhbitskaya, V. Humboldt, E. Sapir, B. Whorf, K. Vossler, M Heidegger, Yu.D. Apresyan, S.G. Vorkacheva, Yu.N. Karaulova, E.M. Vereshchagina, V.G. Kostomarova, D.S. Likhacheva, Yu.M. Lotman, A.A. Potebnya and others.

Linguocultural and sociolinguistic scientific works are devoted to the consideration of speech and language features of the transmission of extralinguistic human knowledge about a person and the world around him. Subjective knowledge gives ideas about the inner world of a person, about his communicative behavior, in which this world is reflected.

Communicative behavior, characterized by an ironic or sarcastic attitude of a particular person to the world around him, most fully reveals the personal traits of his character and provides information about speech-language “predilections” and preferences.

Note that recently a number of works have appeared devoted to the study of irony [Bryukhanova, 2004; Limareva, 1997; Mukhina, 2006; Orlov, 2005; Palkevich, 2001; Sergienko 1995; Usmanova 1995; etc.], and a smaller number of works in which sarcasm is explored to one degree or another [Volkova, 2005, etc.]. This is explained by the fact that sarcasm is more personalized and individual, as it indicates a very high degree of criticality of the linguistic personality. The basis of such criticality is a person’s feeling of complete dissatisfaction and disappointment in the world and people around him. Sarcasm is a psychologically conditioned form of caustic and bilious irony. Taking into account the linguo-emotional aspect of the linguistic personality [Zhirova, 2012], it can be argued that almost any ironic statement can be close to the pole of sarcasm.

This dissertation research seems very relevant due to the fact that irony and sarcasm are widely represented in British linguistic culture, but linguistic and extralinguistic knowledge about these speech-language means has not been sufficiently studied in anthropologically oriented linguistics. Thus, the question of evaluative linguistic means, which include irony and sarcasm, acquires special significance and needs to be clarified. In this case, it is necessary to take into account parameters of both linguistic and extralinguistic nature. This dissertation research also finds itself very relevant due to the insufficient knowledge of certain aspects of the semantics of irony and sarcasm, which function as means of conveying subjective evaluative modality.

Language is the most important constitutive component of a person. The scientific interest of the work lies not only and not so much in expanding the theoretical, practical and practical-methodological basis for studying the implementation of irony and sarcasm at various levels of language, but, mainly, in the study of how irony and sarcasm constitute the moral and ethical values ​​of a certain linguistic community , in particular - British society. In this regard, the scientific novelty of the study lies in the fact that for the first time value as a linguocultural concept is considered as the basis for studying the linguistic mentality of the people. For the first time, irony and sarcasm are presented as means of reflecting the moral and ethical values ​​of British society. What is new is the linguocultural approach to the analysis of irony and sarcasm, which allows us to present the moral and ethical values ​​of the British linguistic community.

The object of the study is the speech-language means of irony and sarcasm presented in works of modern British fiction. The subject of the study is the peculiarities of the use of irony and sarcasm as means of reflecting the moral and ethical values ​​of British society.

The purpose of the work is dictated by scientific and social requirements and is defined as a systematic understanding of the linguocultural speech and language means of irony and sarcasm from the position of revealing the moral and ethical values ​​of British society. The purpose of the work determines the formulation and solution of specific tasks:

1) consider the linguo-philosophical and linguo-cultural aspects of the category of value in language and speech, as well as reveal the axiological essence of irony and sarcasm as a specific feature of communicative behavior;

2) highlight and describe the semantic structure of an ironic / sarcastic statement;

3) analyze the anthropological characteristics of the British communicative personality and establish the specifics of his ironic and sarcastic communicative behavior;

4) describe the pragmatic component of irony and sarcasm;

5) consider the implementation of irony and sarcasm at the lexical, syntactic and text levels of language;

6) present the features of perception and evaluation of a subjective evaluative statement.

The formulated goals and objectives are based on methodological provisions: firstly, on the importance of irony and sarcasm in the communicative behavior of the British; secondly, about the level of perception and impact of an ironic or sarcastic statement, as well as response to such statements; thirdly, about the moral and ethical value of an ironic or sarcastic statement in British society; fourthly, the recognition that in a certain society cultural differences are based on the preference of one cultural dominant over others.

The methodological basis of the work was the works of domestic and foreign scientists in the field of linguoculturology (Yu.D. Apresyan, A.D. Arutyunova, E.M. Vereshchagin, V.G. Kostomarov, S.G. Vorkachev, Yu.N. Karaulov, V.V. Krasnykh, D.S. Lotman, V.A. Potebnya, V.N. Telia, I.A. , A. Vezhbitskaya, V. Humboldt, E. Sapir, B. Whorf, etc.); sociolinguistics (V.A. Avrorin, L.B. Nikolsky, G.V. Stepanov, A.D. Schweitzer, R.T. Bell, S.M. Archer

1991], W. Bright, K. Burke, J.L. Firth, E.T. Hall, R. Kjolseth, B. Malinowski, K.L. Pike, etc.); linguistics (L.I. Borisova, N.G. Epifantseva, I.G. Zhirova, V.D. Ivshin, I.G. Koshevaya, E.L. Kuzmenko, A.A. Lebedeva, M.N. Levchenko, Yu.N Marchuk, M.G. Mirianashvili, A.B. Olyanich, L.K. Sviridova, L.A. G. Chalkova, S. Attardo, N. Chomsky, L.R. Galperin, H.P. Grice and others).

The material for the study was works of modern British fiction (D. Lodge, T. Sharpe), dictionaries and reference books, scientific texts and reviews of domestic and foreign linguists, sociologists, cultural experts, psychologists, including those published on the global Internet. The volume of analyzed illustrated material was about 3000 pages. They most clearly show the moral and ethical values ​​of British society, represented by ironic and sarcastic statements.

The formulated goals and objectives are based on the methodological position about the dialectical relationship of language, cognition and culture, their mutual conditionality. This, in turn, led to the use of a complex methodology that included a number of methods for the selection and subsequent processing of material in accordance with the objectives of the study. The general methods used include: a) component analysis (when studying the content plan of significant language units); b) textual and contextual analysis (identification of the deep semantic plan of linguistic units). Systematic and integrative approaches to language and culture were used (studying the parameters of linguistic units of a linguistic and extralinguistic nature).

The theoretical significance of the study lies in the fact that, firstly, against the background of general interest in linguoculturology and sociolinguistics, the study contributes to the study of anthropologically oriented speech-language means; secondly, it complements the information about irony and sarcasm existing in the linguistic literature; thirdly, it expands knowledge about the communicative behavior of the British linguistic personality.

The practical value of the work lies in the fact that its main provisions and conclusions can be used in the preparation and development of seminars and lectures, special courses on text theory, linguoculturology, socioanthropology, sociolinguistics, communicative linguistics, pragmalinguistics, stylistics; when writing coursework, final qualification papers and master's theses. In addition, the data obtained during the study can be used in practical classes in the course of speech communication and the theory of intercultural communication.

Provisions for defense:

1. Irony and sarcasm reflect cultural dominants and moral and ethical values ​​in the British linguistic community.

2. Irony and sarcasm are independent forms of a special type of comic attitude towards the surrounding reality. They are characterized by a high intellectual and status level of this attitude towards the world around them.

3. Irony and sarcasm in the structure of a literary text carry an open and hidden (veiled) semantic load, different from any other type of comic (jokes, anecdote), since they allow the linguistic personality to present himself as reliably as possible through these speech-language means.

4. Irony and sarcasm are represented by a wide range of lexical and stylistic means at all levels of language, which undoubtedly increases the potential of textual information and enhances the anthropocentric orientation of the text.

5. Irony and sarcasm reflect moral and ethical values ​​in language, since their semantic basis is a subjective-evaluative modality, which shows the subjective attitude of a particular person to the world around him.

6. Irony and sarcasm reflect a certain worldview and worldview of a particular person. Irony and sarcasm in British society are perceived positively and find the widest possible embodiment in the everyday life of the British, which is recorded in the texts of modern fiction. This allows us to classify them as a special form of mastery of the surrounding reality by the British.

Approbation of work. The content of the dissertation work and the results of the research were discussed at meetings of the Department of Indo-European and Oriental Languages ​​of the Institute of Literary Literature and Mathematics of Moscow State University: (2009 - 2012); presented at scientific theoretical conferences of the Institute of Literary and Mathematical Culture of Moscow State University, dedicated to linguistic problems: “Translation and cognitive science in the 21st century” (2010), “Linguistic aspects of intercultural communication” (2010); tested in classes with students in modern English as part of practical classes on intercultural communication in the 4th year, as well as lectures and seminars on linguocognitology in the 5th year of the linguistic faculty of ILiMK MGOU.

The dissertation materials are reflected in 7 publications with a total volume of about 2 pp, including one article published in a publication recommended by the Higher Attestation Commission of the Russian Federation.

Terminology. Key terms of scientific work (value judgment, subjective-evaluative modality, value, value-semantic space, mental-lingual complex, communicative behavior, etc.) are explained in the relevant sections of the dissertation research.

Structure of the dissertation. The dissertation consists of an introduction, introductory remarks and tasks for three chapters, three chapters, conclusions for the chapters, a conclusion, a list of scientific literature, dictionaries and reference books, a list of empirical research material.

Similar dissertations in the specialty "Language Theory", 02/10/19 code VAK

  • Means of representing irony in a literary text: based on the material of Russian and English languages 2006, Candidate of Philological Sciences Mukhina, Yulia Nikolaevna

  • Linguopragmatic and rhetorical aspects of statements with a sarcastic meaning: based on the material of the modern German language 2014, Candidate of Philological Sciences Lezhnina, Anna Sergeevna

  • Semantics, structure and pragmatics of English humor 2000, Doctor of Culture. Sciences Kulinich, Marina Aleksandrovna

  • Linguistic and extralinguistic in irony as a component of the writer’s idiostyle: based on the works of U.M. Thackeray and Charles Dickens 2010, Candidate of Philological Sciences Petrova, Olga Gennadievna

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Conclusion of the dissertation on the topic “Theory of Language”, Dyrin, Anton Igorevich

CONCLUSIONS ON CHAPTER THREE

The main objective of the third chapter is to consider the most significant linguostylistic features of such linguocultural phenomena as irony and sarcasm. A linguistic approach to the study of irony and sarcasm made it possible to explore the nature of the comic in the laughter culture of Great Britain. The main conclusions from the chapter are as follows:

1. The comic in the culture of laughter is the property of the author’s consciousness, reflecting the national and cultural specifics of the country. It is caused by social contradictions, its value lies in exposure and criticism. A person's character is revealed in what he finds funny. Irony and sarcasm, as elements of the comic, are critical, analytical and intellectual in nature, but in terms of pragmatic impact, sarcasm is more effective, since it is able to express stronger emotions of the addressee.

2. Irony and sarcasm as linguistic phenomena can be classified according to many parameters. Thus, in linguistics, situational irony/sarcasm and verbal irony/sarcasm are distinguished; open, hidden and personal; impersonal and self-irony; situational and associative.

3. Irony and sarcasm are implemented in the text at the lexical level. Lexical models of their implementation are correlated with each other. An ironic or sarcastic meaning can be represented through a) the interaction of the dictionary and contextual meanings of a word; b) dictionary fixed phraseological units; c) implementation of two lexical-semantic variants of a polysemantic word.

4. Irony and sarcasm are implemented in the text at the syntactic level. Thus, an ironic or sarcastic effect is explicated through transpositions: a negative form of a sentence into an affirmative one, exclamatory sentences. The explicit tone of the syntactic structure indicates a high degree of contextualization of an ironic or sarcastic statement.

5. Ironic or sarcastic meaning is realized at the text level, which presupposes knowledge of the widest possible context.

6. The contextual conditionality of irony and sarcasm increases from the lexical level to the textual level. Ironic and sarcastic statements are evaluative, for the interpretation of which the textual press position presupposes knowledge of the text. Pressuposition underlies the formation of communicative competencies of the addressee and addressee.

CONCLUSION

The dissertation presents an anthropocentric study of irony and sarcasm based on works of contemporary British fiction. Irony and sarcasm play a special role in the communicative behavior of the British. The work was carried out within the framework of a relatively new area of ​​linguistics - linguocultural studies, taking into account the linguistic and sociolinguistic aspects of their research. Turning to irony and sarcasm as a means of reflecting the moral and ethical values ​​of British society indicates the need for a comprehensive and multidimensional consideration of the object under study.

The linguoculturological approach seems to us to be very productive, since it involves addressing the communicative behavior of not only an individual, but also the nation as a whole.

Due to the little development of this issue in modern linguistics and the exceptional complexity in identifying the nature and role of irony and sarcasm, we have undertaken a multifaceted examination of it: linguoculturological, sociolinguistic and linguistic. Questions of the status of irony and sarcasm in the science of language have been of interest to scientific thinkers dealing with problems of linguistics, philosophy, cultural studies and sociology for many centuries.

Our study of these speech-language phenomena showed that they represent a wide field for the scientific development of new approaches to the object of research within the framework of linguoculturology. The significant material accumulated in stylistics and literary criticism in the field of studying irony and sarcasm, as well as their “representation” in a literary text, seems to us to be a relatively small part of the predicted knowledge. Expanding the scope of their linguistic research, we have made an attempt to build a holistic system of provisions indicating their special place (status) in the science of language. Irony and sarcasm as linguistic and cultural phenomena (elements of laughter culture) certainly reflect the moral and ethical values ​​of British society. These speech-language phenomena indicate the dominance of certain communicative and cultural values ​​of the British. Of course, we took into account that scientific approaches, points of view, as well as factual material containing irony and sarcasm, could be scientifically, including linguistically, systematized and described.

The work presents a system for describing such speech-language phenomena as irony and sarcasm, which are of particular value for representatives of a certain ethnic group (in our case, British) and correspond to parallel systems of cultural studies and sociology. Thus, our study of irony and sarcasm showed that this approach is potentially productive, since it is aimed at the depth of comprehension of human essence, sometimes expressed in ironic or sarcastic behavior. The mechanisms for describing irony and sarcasm can be extrapolated to systems for describing similar and/or more extensive semantic structures, in particular the linguistic picture of the comic, presented in the laughter culture of any country.

The dissertation attempts to substantiate some possible ways of representing irony and sarcasm as a certain way of perceiving the world. Anthropocentric orientations of the socio- and linguistic-cultural plane of irony and sarcasm are manifested very significantly in modern British fiction. Thus, at present, many British writers widely use these speech-language means in their works.

In our scientific work, we connected the classical linguistic tradition (V.V. Vinogradov, I.R. Galperin, etc.), in which the moral and ethical factor of irony and sarcasm was implicitly present, with modern research in linguistic, primarily linguocultural, science of person. New scientific linguistic ideas about man “grow” from traditional linguistics, which pays close attention to literary text. Because of this, our research is based on the basic principles of classical linguistics.

Having undertaken a comprehensive description of the linguocultural phenomena of irony and sarcasm, we obtained results on the basis of which the linguoculturological picture of their “representation” in the laughter culture of Great Britain is modeled. The analysis of irony and sarcasm in a literary text made it possible to describe them not only statically, but also dynamically.

The main difficulty in describing irony and sarcasm as means of reflecting the moral and ethical values ​​of British society is that the breadth and complexity of explicating their representative means in language and speech is very great. Thus, sometimes irony and sarcasm can be identified as a result of familiarization not with individual elements of the text, but with the full text of the novel.

The dissertation research revealed the pragmatic potential of these speech-language means, which made it possible to fully present the communicative functions of irony and sarcasm.

However, our research does not put an end to the study of this problem. In the process of working on the dissertation, new questions emerged that required resolution and further processing: a) consideration of the psycholinguistic role of irony and sarcasm in the formation of ideological guidelines of a particular person; b) study of irony and sarcasm in pragmalinguistics, psycholinguistics, etc. Thus, these and other problems constitute the prospect of further research.

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293. List of linguistic research material

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302. Sharpe T. Wilt in Nowhere. London: Arrow Books, 2005. 278 p.

Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Comic- one of the main categories of aesthetics, which serves to evaluate those social phenomena, morals, customs, activities and behavior of people that completely or partially do not correspond, contradict the objective laws of social development and the aesthetic ideal of progressive social forces, and therefore cause condemnation in the form of ridicule. “There is mocking laughter, sarcastic laughter, laughter out of despair, etc. The comic, on the contrary, is characterized by infinite benevolence and confidence in its unconditional rise above its own contradiction, and not by a sad and sad experience of it” (G. Hegel). “Every contradiction is a source of the comic and funny” ( V.G. Belinsky).

Satire– translated: an overfilled dish, a jumble. A type of fiction that ridicules and castigates certain socially harmful phenomena in life or human vices. “In satire, reality, as a kind of imperfection, is opposed to the ideal, as the highest reality” (F. Schiller.” S. is characterized by sharpness of exposure; as a genre, it developed in Roman literature. “In order for satire to be truly satire and achieve its goal, it is necessary, in -firstly, so that she makes one feel the ideal from which her creator sets out, and, secondly, so that she is quite clearly aware of the object against which her sting is directed...” “Satire escorts everything that has become obsolete into the kingdom of shadows” (M.E. Saltykov-Shchedrin). “Satire models its appearance, creating an image of a high degree of conventionality, which is achieved by “directed distortion” of the real contours of the phenomenon through exaggeration, sharpening, hyperbolization, and grotesquery” ( A.Z. Vulis).

Humor- a special type of comic, which, unlike satire, gently ridicules the shortcomings and weaknesses of society, however, a sharp line cannot be drawn between humor and satire; they often converge. YU. very common in everyday life and in art, often found in works of folklore: in songs, ditties, fairy tales. This is also a literary movement that reflects the funny and comic in life. “Humor is laughter at harmless comic contradictions, combined with pity for people who display this comicality” ( E.G. Rudneva). “In accordance with the etymology of the word, humor is deliberately “wilful”, personally determined, marked by the imprint of the “strange” state of mind of the “humorist” himself ( L.E. Pinsky).

Irony – one of the tropes, a stylistic turn in which the opposite of what is said about the subject is pretended to be stated. Example. They ask the donkey: Are you crazy, smart one? Krylov "The Fox and the Donkey"“Irony as an artistic principle should be distinguished from irony as a stylistic device. In the latter case, irony is contained in the speech of the characters or the author himself. Through such irony a comic effect is created, since what is said here has a meaning that is directly opposite to what is said by the author" ( D.L.Chavchanidze).

Sarcasm – evil and caustic mockery, the highest degree of irony, excluding ambiguous interpretation. Half my lord, half merchant, Half sage, half ignorant, Half scoundrel, but there is hope that he will finally become complete. Pushkin (epigram on gr. Vorontsov)“If the essence of irony is in allegory, in subtle hints, in sarcasm, the main thing is the extreme degree of emotional attitude, the high pathos of denial, turning into indignation” ( A.S. Suleymanov).

Grotesque- “bizarre”, “intricate”. A type of artistic imagery that generalizes life phenomena with the help of an excessive, bizarre emphasis on a particular topic. G. violates the boundaries of plausibility, gives the image a conventionality, a fantastic character, exposing to the limit the essence of phenomena. G. it is a combination of the real and the transcendental, the tragic and the comic, the beautiful and the ugly. “By bringing the distant together, combining the mutually exclusive, violating conventional ideas, the grotesque in art is akin to paradox in logic. At first glance, the grotesque is only witty and funny, but it is fraught with great possibilities” (L.E. Pinsky). “The grotesque image characterizes a phenomenon in a state of change, of incomplete metamorphosis, in the stage of death and birth, growth and formation. The attitude towards time, towards becoming is a necessary constitutive (defining) feature of the grotesque image" ( MM. Bakhti).

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays

Dyrin, Anton Igorevich. Irony and sarcasm as speech and language means of reflecting the moral and ethical values ​​of British society: based on works of modern British fiction: dissertation... candidate of philological sciences: 02/10/19 / Anton Igorevich Dyrin; [Place of protection: Moscow. state region University].- Moscow, 2012.- 151 p.: ill. RSL OD, 61 12-10/1324

Introduction

CHAPTER 1 Theoretical justification for the study of irony and sarcasm as a means of reflecting the moral and ethical values ​​of British society 13

Chapter 13 Introductory Notes and Objectives

1.1. Linguocultural prerequisites for the study of irony and sarcasm 16

1.2. Value as a meaning-forming universal of human existence 22

1.4. Subjective modality as a semantic basis of ironic and sarcastic statements 31

1.4.1. General concept of the category of modality 31

1.4.2. Semantic content of subjective modality 35

Conclusions on the first chapter 39

Chapter 2 Irony and sarcasm as sociolinguistic phenomena 42

Introductory Notes and Objectives for Chapter 42

2.1. Linguocultural classification of cultural and communicative values ​​43

2.2. Dominant features of British culture and their reflection in the communicative behavior of the British 47

2.3. Anthropological characteristics of a communicative personality 53

2.4. National communicative behavior of the British 57

2.5. The pragmatic component of irony and sarcasm 66

Conclusions on the second chapter 70

Chapter 3 Theoretical approaches to the study of irony and sarcasm as linguistic phenomena 72

Introductory Notes and Objectives for Chapter 73

3.1. The nature of the comic in laughter culture. The relationship between the concepts “humor - satire”, “satire - irony”, “irony - humor”, “irony - sarcasm” 74

3.2. The role of presupposition in the actualization and interpretation of ironic and sarcastic statements 83

3.3. Irony and sarcasm as linguistic phenomena 86

3.4. Linguistic parameters for the study of irony and sarcasm 92

3.5. Implementation of irony and sarcasm at the lexical, syntactic and text levels of language 96

3.5.1. Realization of ironic and sarcastic meaning at the lexical level 97

3.5.2. Realization of ironic and sarcastic meaning at the syntactic level 102

3.5.3. Text level of implementation of ironic and sarcastic meaning 115

Conclusions on the third chapter 124

Conclusion 127

List of scientific literature

Value as a meaning-forming universal of human existence

The first chapter of the dissertation is devoted to the theoretical justification of the linguoculturological approach to the study of irony and sarcasm as speech and language means of reflecting the moral and ethical values ​​of British society in language.

One of the most important landmarks in the intercultural space is language. Currently, the “internationalist” language is English, the “homeland” of which is Great Britain. Features of national culture, psychology and mentality are reflected in the English language. “British” English is filled with a special comic attitude, reflecting the mocking (ironic) or somewhat caustic (sarcastic) attitude of the British towards the surrounding reality. Emotionality and verbosity inherent in “southern” languages; clarity and consistency of “northern” languages; the directness, intemperance and aggressiveness that characterize the Russian language are compensated in British English by a special, veiled form of expressing one’s attitude towards the surrounding reality.

Irony and sarcasm as linguistic phenomena are present in all European languages, but, as a rule, they are of a personal nature, most often condemned in society. Subtle, barely perceptible ridicule (irony), and even more so an offensive, caustic remark (sarcasm) are perceived either disapprovingly or extremely negatively. Only in British society are these speech-language phenomena considered as important positive moral and ethical values ​​of society. This is explained, firstly, by the predominance of some communicative and cultural dominants over others in a certain society (in British culture, this is distance and emphasized

politeness), secondly, the British respect for intelligence and criticism; thirdly, a feeling of superiority of moral and ethical British values ​​over the values ​​of other nations (linguistic national xenophobia).

Irony and sarcasm in British linguistic culture require the mandatory inclusion of moral and ethical critical assessment in the semantics of these concepts, as well as a certain element of rationalism. The rationalism of irony and sarcasm is a manifestation of the British ability to practically solve problems, reflects their verbal “talents”, and emphasizes unconditional social and linguistic competence. Thus, irony and sarcasm are the result of the highly organized intellectual work of the mental-lingual complex of a linguistic personality, in our case a British person. Irony and sarcasm are one of the most important elements of personalized, nationally determined communication in the British language community. They represent an important part of the nation's laughter culture.

In this section of the dissertation research, we attempt to prove that irony and sarcasm are fundamental concepts in reflecting moral and ethical values ​​in the British linguistic community. For our work, such aspects of irony and sarcasm are important as philosophical-aesthetic, cultural, psychological and, as an additional accompaniment, literary.

The theoretical foundations of this study become obvious against the background of the ontology of scientific linguistic research on irony and sarcasm of previous years (listed in chronological order) [Limareva, 1997; Palkevich, 2001; Mukhina, 2006, etc.]. Let us note, however, that at the present stage of development of linguistics, irony and sarcasm can no longer be considered in a narrow sense (stylistic, literary and aesthetic approaches) and require a comprehensive approach to the study of their semantics (linguocultural and sociolinguistic approaches).

Thus, irony was studied: a) as a stylistic interpretation of the trope [Kolenko, 2004; Lapteva, 1996; Ledeneva, 1983; Salikhova, 1976; Chernets, 2001;]; b) within the framework of the conceptual category of the text [Orlov, 2005] and its psycholinguistic perception [Vorobyova, 2008]; c) as an integral component of the comic category [Limareva, 1997; Palkevich, 2001; Sergienko, 1995; Usmanova, 1995;]; d) at the lexical-semantic level [Mukhina, 2006]; e) in the theory of speech communication [Okhrimovich, 2004]; f) as a cognitive structure [Bryukhanova, 2004]; g) in the writer’s idiostyle [Petrova, 2010], etc.

Let us note that fewer works are devoted to sarcasm [Volkova, 2005, etc.], in our opinion, this is due to the following factors: 1) sarcasm is a psychologically conditioned form of evil and caustic irony; 2) sarcasm is more personalized and individual, as it indicates a very high degree of criticality of the linguistic personality. It is based on a person’s feeling of deep dissatisfaction and disappointment in the world and people around him.

Semantic content of subjective modality

The unabating interest in the problems of cultural linguistic anthropology, as well as the cultural boom of the last decades of the 20th and early 21st centuries, served as an impetus for the formation of an independent linguistic direction - linguoculturology. Thus, linguoculturology is a science that arose at the intersection of linguistics and cultural studies. She explores the reflection in language of various manifestations of the culture of a people, ethnic group, as well as the influence of language on culture. The interdisciplinarity of linguoculturology is expressed in the active involvement of a variety of information about the interaction of language, thinking and consciousness from related fields of science: socioanthropology, linguophilosophy, sociolinguistics, cognitive linguistics, psycholinguistics, etc.

The promise of the linguoculturological approach to the description of linguistic phenomena (including irony and sarcasm) lies in the fact that it integrates linguistic, usually communicative and cognitive-discursive, and non-linguistic aspects, primarily cultural, psychological and sociological, which actualize the human factor in language.

The idea of ​​anthropocentricity of language and speech should now be considered generally accepted, since for many linguistic and speech constructions, ideas about a person are a natural starting point. Various studies on this issue have been covered in the works of domestic and foreign scientists: Yu.D. Apresyan, A.D. Arutyunova, S.G. Vorkacheva, Yu.N. Karaulova, V.V. Krasnykh, D.S. Likhacheva, Yu.M. Lotman, V.A. Maslova, Yu.S. Stepanova, E. Benveniste and others. Thus, E. Benveniste emphasized that “in the world there is only a person with a language, a person speaking with another person, and language, thus, necessarily belongs to the very definition of a person” [Benveniste, 1993, p. . 293].

In accordance with the anthropocentric paradigm, a person experiences the world through awareness of himself, his theoretical (scientific, analytical) and subject (everyday and professional) activities. The linguistic mentality of the people, linguistic categories and concepts are formed and organized by culture. “All linguistics is permeated with cultural and historical content, because its subject is language, which is a condition, basis and product of culture” [Maslova, 2007, p. 26]. Obviously, all information about the world around us and about the person in it is contained in linguistic material. Irony and sarcasm provide extremely important information about the mentality of British society, about the norms of communicative behavior developed over many centuries of historical development and formation of the British nation, about the laughter culture of Great Britain.

A person receives most of the information about the world around him through the auditory (vocal) transmission channel. Information can be presented in the form of certain images and associations that arise in a linguistic personality when processing it. According to the fair remark of J. Lakoff and M. Johnson, a person lives more in the world of metaphorical concepts, created by him for his spiritual, intellectual and physical needs, than in the world of things and objects [Lakoff, Johnson, 1990]. In human consciousness, it is metaphorical concepts that organize the surrounding reality perceived by a person. The world of these concepts is fixed in the system of a work of art, where irony and sarcasm, as P. Werth rightly noted, are close to a metaphor, showing phenomena from the most unexpected angle. Thus, irony and sarcasm include metaphorical concepts of two or more planes of signification, while one plane is superficial (open), and the other is deep (veiled), requiring a certain creative search:

Right? Percy. That's why I strained every nerve to get here. Look at the bottom of the list. There are never many zees (Italicized by me. - A. D.).

The semantic diversity, multidimensionality of irony and sarcasm, combined with the external capacity and brevity of their forms, is of significant interest for linguocultural research:

Excuse me, I see Bushy waving urgently. I expect the potato crisps to have run out, or some such crisis (obvious exaggeration).

We believe that, along with literary, stylistic, poetic, psycholinguistic research, further study of irony and sarcasm should be carried out based on linguocultural and sociolinguistic knowledge, which is more consistent with the principles of the modern scientific paradigm. It is the linguocultural and sociolinguistic approaches within the framework of the dominant anthropocentric paradigm that can provide the broadest and most comprehensive analysis of irony and sarcasm, as well as identify a new functional-semantic meaning that reflects the formation of the specifics of the national (in our case, British) worldview.

All practical activities of a person and his behavior are determined by the moral ideas prevailing in society. Consequently, morality is the basis of a person’s worldview. Irony and sarcasm are speech-language means of reflecting the subjective-evaluative, critical development of reality by an individual. Such an understanding of these speech-language means allows us to expand their semantic boundaries and establish a connection with the categories of moral and ethical values ​​of British society.

Anthropological characteristics of a communicative personality

Thus, the quintessence of the concepts of territoriality and privacy in the light of the cultural individualistic tradition forms the communicative dominant of distance as the most important value orientation. Privacy settings presuppose the priority and independent control of personal interests, the independence and self-sufficiency of the individual, his independence from others and the inadmissibility of third-party interference in his personal life. As E. Hall notes, representatives of the cultural individualistic tradition perceive space as property, linearly: from personal to general. There is a strict demarcation and stability of proxemic zones that determine the norms of communicative behavior: intimate (implies the possibility of physical contact in communication with the closest people or relatives); personal (contacts with colleagues, friends, relatives); social (formal/informal meetings, cultural and social events); public (official events, lectures, presentations, etc.).

Thus, in British culture, relatively low interpersonal contact is revealed, which is based on a focus on pragmatic attitudes: maintaining a distance in communication and ensuring personal autonomy (privacy). In British culture, it is customary to avoid physical contact. The predominantly ritual nature of such contact is possible, for example, with a handshake. Violation of proxemic zones and personal autonomy (privacy) leads to wariness and a feeling of awkwardness, and in some cases can be regarded as an act of aggression. Irony and sarcasm are very effective ways of reflecting emotional pressure/verbal attack, which not only do not violate the norms of communicative behavior, but, on the contrary, increase the effectiveness of interpersonal communication. It is not customary to look closely into the eyes of a stranger, but if this happened, a representative of a cultural individualistic tradition will smile and slightly nod his head in recognition of an accidental invasion of someone else's territory and a nonverbal request not to regard this as a deliberate or aggressive action.

In British culture, the dominant concepts are freedom and independence. The Longman Dictionary of Contemporary English defines freedom as the state of being free and allowed to do what you want without being controlled or restricted by anyone. According to the fair remark of A. Wierzbicka, the concept of freedom for the British is associated with the concept of personal space, personal freedom and the expression “leave me alone.” This demonstrates the British desire for external independence as a cultural value orientation. Thus, relationships in the social sphere should be considered taking into account horizontal and vertical distance. Horizontal distance manifests itself in the sphere of personal communication in the form of emotional independence and formal politeness, superficial friendly communication. Evidence of the latter is presented in the research of A. Wierzbicka in the field of analysis of relevant values ​​using the example of devaluation of the meaning of the word friend, which emphasizes the tendency towards formal rapprochement to achieve, first of all, personal interest. The concept of friendship in individualistic British society has principles based on a rational, from the point of view of pragmatic utility, approach to relationships, which is a sign of high horizontal distance.

Vertical distance involves an analysis of people’s attitude to power: the degree of their freedom / lack of freedom in society. The British, in their pursuit of democratization and universal equality, actively promote the idea of ​​equal distribution of power. For them, attention to and respect for the rights of national minorities and subcultures, adherence to political correctness, and smoothing out gender characteristics are extremely important. British culture has retained a tendency to recognize the elite as a culturally dominant group but lacking political and economic power. Thus, British culture is characterized by adherence to the rules of communicative behavior in society, which presupposes formal equality in asymmetrical interpersonal interaction: a free manner of communication (it is acceptable to argue with the teacher, it is necessary to have a friendly conversation (small talk) with both management and service personnel) . Within the framework of such interpersonal communication, it is possible and necessary to use irony and sarcasm as speech-language means of programming the actions and moods of the interlocutor. Here is an example of a classic verbal rebuff: “We have always been good friends, Arthur, have we not? Ever since I reviewed the forth volume of your Collected Papers in the New York Review of Books.” "Yes, Siegfried, it was a nice review. And nice talking to you."

In order to identify temporal distance, one should turn to the British perception of time and its reflection in the organization of interpersonal communication. Let's consider the most rationalistic approach, reflecting the perception of time as a structure. Thus, cultures are divided into polychronic and monochrome. For a polychronic culture, it is possible to simultaneously perform several actions with multidirectional attention. For a monochronic culture, unidirectional attention and sequence of actions are preferable. The British, being representatives of a monochronic culture, perceive time linearly, through the prism of personality and pragmatic utility, which, of course, indicates a rational approach to time.

The role of presupposition in the actualization and interpretation of ironic and sarcastic statements

M.D. Kuznets, Yu.M. Skrebnev define irony as the use of words, phrases and sentences in a sense opposite to that directly expressed in them, with the aim of introducing a critically evaluative characteristic of the subject [Kuznets, Skrebneva, 1990, 35-36]. L.I. Timofeev and S.V. Turaev conclude that irony is “a negative assessment of an object or phenomenon through its ridicule. The comic effect is achieved by the fact that the true meaning of the event is disguised. With irony, we express the exact opposite of what is meant" [Timofeev, Turaev, 1978, p. 55]. A similar opinion regarding the ironic meaning as a hidden negative assessment is shared by S. Attardo. He notes the duality of an ironic statement, which carries both literal and indirect meanings. The relationship between these two meanings gives rise to hidden denial. I. Zalecki, highlighting evaluative markers in an ironic statement, comes to the conclusion that irony is a value judgment. He believes that “evaluative opposition is the main component of the ironic use of language,” and calls extralinguistic forms of behavior that can signal an ironic meaning “facultative signals of irony.”

I.V. Arnold defines irony as “the expression of ridicule by the use of a word in a meaning exactly opposite to its basic meaning and with exactly the opposite connotations, a feigned praise which in reality implies censure. The opposite of connotations consists in a change in the evaluative component from positive to negative, affectionate emotion to mockery, in the use of words with a poetic coloring in relation to trivial and vulgar objects in order to show their insignificance" [Arnold, 1990, p. 86].

H.P. Grice emphasizes the presence of an evaluative modality in irony: “I cannot express myself ironically unless what I am saying reflects hostile or derogatory opinions or feelings such as indignation and contempt.”

SI. Pokhodnya determines the creation of ironic meaning by the author’s desire to express his attitude to reality in an indirect, indirect way, the desire to hide the real modality of the statement. “Ironic meaning is the meaning of such a sentence, statement, text as a whole, in which the subjective-evaluative modality of a negative nature is contained in the subtext and is in a relationship of contradiction, opposition with the superficially expressed content, which, in turn, is created by the discrepancy between traditional and situational meanings linguistic units" [Pokhodnya, 1989, p. 59]. The term “ironic meaning” is proposed by her instead of the terms “irony-effect” and “irony-stylistic device”.

Thus, some researchers consider irony (hence sarcasm) as a stylistic device, a special kind of trope, and also as a type of comic (in literary criticism). However, more and more researchers are faced with the inevitability of expanding the semantic boundaries of irony and sarcasm, at least to a value judgment, with their inherent subjective-evaluative modality.

In literary criticism, such types of irony are distinguished as: tragic, comic, practical, verbal, rhetorical, irony of fate, dramatic irony. A distinction is made between the author's irony of Aristotle, J. Moliere, T. Hardy, and M. Proust. In turn, dramatic irony is divided into staged irony, self-deprecating irony, diatribe and sarcasm. They especially highlight ideological irony, romantic irony, and historical irony.

Irony as a life position and as a dialectical tool of philosophical reasoning acquires special significance in the 18th-19th centuries. The new understanding of irony emerging at this time is at the same time an expansion and transfer of the rhetorical discourse of irony to life and history, including the experience of Socratic irony [FES 1983, Electronic resource].

Romantic irony in the understanding of the romantics themselves (F. Schlegel) “serves for a genius, for a free spirit, as a means to rise above all the conventions of life, to perceive the relativity of all values, to constantly rise above oneself and above one’s own activities, not to bind oneself to any law, to any norm , freely soar above life, perceiving it as an object for your creative play. Thus, romantic irony is presented as one of the manifestations of the romantic concept of the world, which asserts only an unstable balance behind real being” [Cit. from: LE, 1929-1939, Electronic resource].

K. Marx and F. Engels gave a deep interpretation of irony in relation to the real dialectics of the development of human society. Thus, analyzing the experience of the bourgeois revolution, Engels notes: “People who boasted of having made a revolution were always convinced the next day that they did not know what they were doing - that the revolution they made was not at all similar to the one they wanted to make. This is what F. Hegel called the irony of history, the irony that few historical figures have avoided” [Cit. according to FES 1983, Electronic resource].

The use of humor, irony, and sarcasm is considered an effective means.

These artistic techniques are mandatory psychological elements of public speaking. These means enhance the polemical tone of speech, its emotional impact on listeners, help defuse a tense situation, create a certain mood when discussing sensitive issues, and help polemicists succeed in an argument.

In V. Shukshin’s story “Cut,” the mentioned techniques were often used by Gleb Kapustin, a “well-read and malicious” man who loved to argue with eminent fellow countrymen. Here, for example, is how he discusses with the Zhuravlevs, candidates of sciences, who came to visit their mother:

-Fine. Second question: how do you personally feel about the problem of shamanism in certain areas of the North?

The candidates laughed. Gleb waited patiently for the candidates to laugh it off.

- You can, of course, pretend that there is no such problem. I will also be happy to laugh with you... - Gleb smiled ironically... - But this will not make the problem as such cease to exist. Right?..

“Yes, there is no such problem,” the candidate snapped from the shoulder.

Now Gleb laughed. And he concluded:

Well, no, no trial! “A woman with a cart is easier for a horse,” Gleb added. - There’s no problem, but these... - Gleb showed something intricate with his hands, - they’re dancing, ringing bells... Yes? But if you wish... - Gleb repeated: - If you wish, it’s as if they don’t exist. Because if... Okay! One more question…

An ironic or humorous remark can confuse an opponent, put him in a difficult position, and sometimes even destroy a carefully constructed proof, although this remark in itself is not always directly related to the subject of the dispute. Therefore, there is no need to get lost. It's best to act naturally. If it’s funny, you can laugh with everyone, and then be sure to return to discussing the essence of the problem.

« Argument to the man»

Sometimes, instead of discussing the merits of a particular position, they begin to evaluate the merits and demerits of the person who put it forward. This technique in polemics is called “argument to a person” (lat. adihorinaen). It has a strong psychological effect.

“Argument to man” as a polemical device should be used in combination with other reliable and reasonable arguments. As an independent proof, it is considered a logical error, consisting in replacing the thesis itself with references to the personal qualities of the one who put it forward.

A type of “argument to a person” is the technique , which is called “appeal to the public” The purpose of the technique is to influence the feelings of listeners, their opinions, interests, to persuade the audience to side with the speaker.


What a strong influence “argument to a person” and “appeal to the public” sometimes have on those present, and what unexpected results their use can lead to, A.P. shows with subtle humor. Chekhov in the story “A Case from Judicial Practice.” The district court heard the case of Sidor Shelmetsov, who was accused of burglary, fraud and living on someone else's passport. The prosecutor was given the opportunity to prove the defendant's guilt. The defense was presented by an experienced lawyer who, omitting the facts, increasingly emphasized psychology.

We are people, gentlemen of the jury, and we will judge as human beings! - the defender said casually. - Before appearing before
you, this man suffered six months of pre-trial detention. For six months, the wife was deprived of her beloved husband, the children’s eyes did not dry from tears at the thought that their dear father was not around them! Oh, if you would look at these children! They are hungry because there is no one to feed them, they cry because they are deeply unhappy... Look! They stretch out their little hands to you, asking you to return their father to them!

And... the nerves of the N... public began to dance! Sobs were heard, someone was already carried out of the hall, the defender continued to say:

To know his soul means to know a special, separate world, full of movements. I studied this world... While studying it, I admit, I studied man for the first time. I understood the man... Every movement of his soul speaks for the fact that in my client I have the honor of seeing an ideal person....

Now all the members of the court reached into their pockets for their handkerchiefs. And even “the prosecutor, this stone, this most insensitive of organisms, shifted restlessly in his chair, blushed and began to look under the table. Tears sparkled through his glasses.

- Look at his eyes! ...Can these meek, gentle eyes really look indifferently at the crime? Oh no! They, these eyes, are crying! Beneath those Kalmyk cheekbones are subtle nerves! Beneath this rough, ugly breast there beats far from
criminal heart! And you people dare to say that he is guilty?

The defendant himself could not stand it. The time has come for him to cry. He blinked his eyes, cried and moved calmly.

Guilty! - he spoke...

The defendant confessed to everything. He was convicted.

« Reduction to the absurd »

A common method of refutation is “reducing to absurdity”, “reduction to absurdity” (lat. reductio ad absurdum). Heinrich Heine writes in his poem “Dispute”:

Selecting arguments

And logical links

And referring to scientists,

The weight of which is beyond doubt
Everyone wants ad absurdum

Quote the words of another.

The essence of this technique is to show the falsity of a thesis or argument, since the consequences arising from it contradict reality.

He brilliantly used this technique in one of his speeches at the trial of F.N. Plevako, a wonderful Russian lawyer who had an amazing gift of speech.

« To Plevako, - wrote A.F. Horses, - through the outer appearance of the defender, a tribune spoke, for whom the matter was only an excuse and who was hampered by the fence of a specific case, which constrained the flapping of his wings with all their inherent force».

The passionate and excited voice of F.N. Plevako captivated and captivated listeners and remained in their memory for a long time. According to the memoirs of V.V. Veresaev, he spoke in defense of an old woman who stole a tin teapot worth 50 kopecks. In his indictment speech, the prosecutor noted that the theft was insignificant, that the poor old woman was driven to commit the crime by bitter need, that the defendant did not evoke indignation, but only pity. But despite this, he emphasized, the old woman should be convicted, because she encroached on property, and property is sacred, all civic amenities rest on property, and if people are allowed to encroach on it, the country will perish. After Nero, defender Plevako spoke. He said this:

“Russia had to endure many troubles and trials during its more than thousand-year existence. The Pechenegs tormented her, the Polovtsians, the Tatars, the Poles. Twelve tongues fell upon her and Moscow was taken. Russia endured everything, overcame everything, and only grew stronger and stronger from the trials. But now, now... the old woman stole an old teapot worth fifty kopecks. Russia, of course, cannot stand this; it will perish irrevocably.».

And the court acquitted the old woman.