In the sphere of artistic culture, irony performs its own artistic functions. One of the essential features of irony used in fiction is its penetration into the artistic method, where it has important row-forming functions. One of the first to discover this feature was Pivovev V.M.

In artistic creativity, the subjective ideas, feelings and moods of the artist are objectified, accompanied by a kind of psychological alienation, a sense of the author's distance in relation to the completed work, as was typical for the romantics. The objectified idea begins an independent life, independent of the author, determined by the logic of the hero's character, by the truth of life. We know the testimony of A. S. Pushkin about the “unexpected” act of Tatyana for him. In the attitude of the artist to the hero, feelings of admiration for his offspring and irony are mixed. S.A. Stoykov notes that “the hero broke away from the author, from the spokesman of his feelings he turned into the object of his ridicule, he became a phenomenon of objective reality that needs to be studied and described in order to overcome it.”

V. Mayakovsky, with his keen sense of falseness, aversion to pretense, false pathos, irony was needed to “calcine everything that exists in fire, burn it from all sides, so that everything false, all slag and garbage, all false decorativeness of objects burnt”, therefore, his irony "does not kill ... the inner plus, but, as it were, disinfects the image, frees it from the sentimental crust."

Magnificent irony often lies in epigraphs. The well-known medievalist historian M. I. Steblin-Kamensky used the following quote from A. P. Chekhov in his book about the “Myth”: “From the notes of an old dog: “People do not eat slops and bones that cooks throw away. Fools!

Irony plays an important role in art criticism. Irony was actively used by Russian critics, who sought to educate the artistic tastes of the public in the light of the value systems that they adhered to.

1.3. Irony as a stylistic device

Irony is a stylistic device through which an interaction of two types of lexical meanings appears in any word: subject-logical and contextual, based on the relationship of opposites (contradiction). For stylistic irony, a wide context is sometimes needed. The term "irony", as a stylistic device, should not be confused with the common word "irony", denoting a mocking expression.

Irony is sometimes used to create more subtle, subtle shades of modality, that is, to reveal the author's attitude to the facts of reality. In this case, irony does not so straightforwardly realize the relation of the contextual meaning of the word to the subject-logical one. Forms of irony:

Direct irony is a way to belittle, give a negative or funny character to the described phenomenon.

Socratic irony is a form of self-irony, constructed in such a way that the object to which it is addressed, as if on its own, comes to natural logical conclusions and finds the hidden meaning of the ironic statement, following the premises of the “not knowing the truth” subject.

An ironic worldview is a state of mind that allows one not to take common statements and stereotypes on faith, and not to take various generally recognized values ​​too seriously. We also find an excellent interpretation of irony as a stylistic device and irony as an ideological and emotional assessment in the linguistic dictionary . The corresponding dictionary entry reads: "1) irony stylistic means expressing mockery or slyness. Allegory, in which, in the context of speech, the statement acquires the opposite meaning; 2) irony - a kind of comic (attire with humor and satire), an ideological and emotional assessment, the prototype of which is stylistic irony . The first dictionary interpretation describes a stylistic device referred to in other sources as antiphrasis, antonomasia. Such an interpretation has a tradition, at the origins of which are the theoretical arguments of ancient authors about "imaginary praise" and "imaginary humiliation", about "deception of simple-minded fools. It must be said that the extensive practice of the ironic in literature is not reduced to a case of simple "speaking inside out".

Examples of pure antiphrasis are rather rare in it. Antiphrasis has long been a means of verbal comedy, trivial jokes such as "It is unlikely that anyone will be flattered by such a beauty", "A piece the size of a cow's toe", "Your trotter can barely move its legs." The second dictionary interpretation in LES characterizes irony as a kind of comic. It cannot be called exhaustive, but it is good because it tries to combine antiphrasis with later varieties of the ironic. The way to a unified definition of the essence of various phenomena associated with irony is not such a distant prospect of modern aesthetics. In this manual, we will adhere to the idea of ​​the essential relationship of these phenomena.

2.1 Irony as a stylistic device in the work of Jasper Forde

In stylistics, irony is a trope in which the true meaning is hidden or contradicts (opposed) to the explicit meaning. Irony creates the feeling that the subject matter is not what it seems. In other words, this is a clearly feigned image of a negative phenomenon in a positive way, so that by bringing to the point of absurdity the very possibility of a positive assessment to ridicule and discredit this phenomenon, to draw attention to its shortcoming, which in the ironic image is replaced by a corresponding dignity.

Depicting a negative phenomenon in a positive way, irony thus contrasts what should be with what is, ridicules the given from the point of view of what should be. In this function, irony is its resemblance to humor, which, like I., also reveals the shortcomings of various phenomena, comparing two planes - given and due. Like irony and in humor, the basis, the signal for comparing two plans - given and due - is the frankly, emphatically demonstrated pretense of the speaker, as if warning that his words cannot be taken seriously. However, if irony pretends to portray the due as given, then humor, on the contrary, pretends to portray the given as due. Both in irony and in humor, two attitudes of the author to the depicted are given: one is feigned, the other is genuine, and in irony and humor, intonation is opposed to the literal meaning of the statement, but in irony, intonation carries a genuine discrediting attitude, in humor - a feigned respectful attitude. relation. Distinguishable theoretically, irony and humor often merge into each other and become indistinguishably intertwined in artistic practice, which is facilitated not only by the presence of common elements, commonality of functions, but also by the general intellectualistic nature of these two methods of artistic discrediting: playing with semantic contrasts, opposing logically opposite concepts require clarity of thought in the process of its creation and appeal to it in the process of reader's perception.

Leading to the discrediting of the phenomenon, i.e., expressing the act of evaluation, humor only prompts this evaluation with the help of a grouping of facts, makes the facts speak for themselves, while irony expresses an evaluation, conveys the attitude of the speaker in intonation.

Since irony considers phenomena from the point of view of what is due, and the idea of ​​\u200b\u200bwhat is due is not a constant value, but grows out of social conditions, expresses class consciousness, then a number of words and expressions may lose or acquire an ironic meaning when moving to a different social environment, to a different ideological context.

Irony not only emphasizes shortcomings, that is, it serves the purpose of discrediting, but also has the ability to ridicule, expose unfounded claims, giving ironic meaning to these claims themselves, as if forcing the ridiculed phenomenon to be ironic over itself.

It is natural, therefore, that from ancient times to the present day, irony has predominantly performed a polemical function, serving as one of the favorite means in the struggle on the ideological front.

As a rule, the original author's literature, replete with wordplay, idiomatic expressions, fresh metaphors, is incredibly difficult to translate. Not always translators, even the most experienced, manage to convey the original style of the writer. Perhaps, Jasper Fforde is one of the hard-to-translate masters of the word. First, it owes its origin to this. Everyone knows a special English humor based on paraphrasing, puns, sharp irony and word play. Secondly, the writer had a big task to clothe several literary realities into a single whole and weave them organically into the real world. The most striking stylistic detail of the Thursday Next series is undoubtedly the speaking names.

So surnames speak of suitable or inappropriate properties of potential life partners. Or:

The name is Schitt," he replied. "Jack Schitt .

There is a bad character of the anti-hero.

The main character of the literary cycle is a veteran Crimean War, 36-year-old Thursday Nonetote very often uses ironic puns in her statements, often in dialogues with other characters. Thus, the author lifts the veil over her personality, which is hardened by years of service in the army and prefers directness and skeptical puns.

1. `True and baseless evil is as rare as the purest good--and we all know how rare that is...

2. `- Did he…ah… come back?

`- Most of him. He left a leg behind.

3. `If you expect me to believe that a lawyer wrote A Midsummer Nights Dream, I must be dafter than I look.

4. `Ordinary adults dont like children to speak of things that are denied them by their own gray minds.

5. `Cash is always the decision factor in such matters of moral politics; nothing ever gets done unless motivated by commerce or greed .

6 ` The industrial age had only just begun; the planet had reached its Best Before date .

8.`The youthful stationmaster wore a Blue Spot on his uniform and remonstrated with the driver that the train was a minute late, and that he would have to file a report. The driver retorted that since there could be no material differene between a train that arrived at a station and a station that arrived at a train, it was equally the staionmasters fault. The stationmaster replied that he could not be blamed, because he had no control over the speed of the station; to which the engine driver replied that the stationmaster could control its placement, and that if it were only a thousand yards closer to Vermillion, the problem would be solved.

To this the stationmaster replied that if the driver didnt accept the lateness as his fault, he would move the station a thousand yards farther from Vermillion and make him not just late, but demeritably overdue? .

9. `Dont move, said Sprockett.Mimes dont generally attack unless they are threatened .

English humor often brings things to the point of absurdity, bordering on insanity:

1. `To espresso or to latte, that is the question...whether tis tastier on the palate to choose white mocha over plain...or to take a cup to go. Or a mug to stay, or extra cream, or have nothing, and by opposing the endless choice, end ones heartache... .

2. Mr. Pewter led them through to a library, filled with thousands of

antiquarian books.

`Impressive, eh?

Very, said Jack. How did you amass all these?

Well, said Pewter, You know the person who always borrows books and never gives them back?

Im that person`.

3.Ill-fitting grammar are like ill-fitting shoes. You can get used to it for a bit, but then one day your toes fall off and you cant walk to the bathroom .

4. `Have you ever wondered how nostalgia isn't what it used to be? .

Thus, it is clearly seen that the stylistic devices described above help the author in the best possible way to create images of the heroes of the story and reflect their bright colors. personal qualities, which is important for understanding the true nature of their nature.

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Irony (Greek eironeia, lit. - pretense) is a category of philosophy and aesthetics, denoting a statement or an image of art that has a hidden meaning, the opposite of that which is directly expressed or expressed. Unlike satire...

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Compositional and stylistic features of Jasper Fforde's novels

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The stylistic device of comparison in the novel by J. Fowles "The Collector"

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LEXICAL-PHRASE-L0GIC STYLISTIC MEANS

A. STYLISTIC USAGE OF DIFFERENT TYPES OF LEXICAL MEANINGS.

1. STYLISTIC TECHNIQUES BASED ON THE INTERACTION OF VOCABULAR AND CONTEXTUAL SUBJECT-LOGICAL MEANINGS

Irony is a stylistic device through which an interaction of two types of lexical meanings appears in any word: subject-logical and contextual, based on the relationship of opposites (contradiction). Thus, these two meanings are actually mutually exclusive. 1 For example, It must be delightful to find oneself in a foreign country without a penny in one's pocket. The word delightful, as can be seen from the context, has a meaning opposite to the main subject-logical meaning The stylistic effect is created by the fact that the main subject-logical meaning of the word delightful is not destroyed by the contextual meaning, but coexists with it, clearly showing contradictory relations.
For stylistic irony sometimes a broader context is needed. Thus, for example, in The Pickwick Papers, Dickens, for the first time introducing Mr. Jingle to the reader, gives his speech characteristics as follows:
"Never mind," said the stranger, cutting the address very short, "said enough - no more; smart chap that cabman - handled his fives well; but if I "d been your friend in the green jemmy - damn me - punch his head - "cod I would - pig" s whisper - pieman too, - no gammon."
The following is the author's speech:
"This coherent speech was interrupted by the entrance of the Rochester coachman, to announce that ..."
The word coherent, by which Dickens characterizes Mr. Jingle's manner of speaking, is ironic.
1 The term "irony", as a stylistic device, should not be confused with the common word "irony", denoting a mocking expression.

Irony should not be confused with humor. As you know, humor is a quality of action or speech that necessarily arouses a sense of humor. Humor is a phenomenon psychological nature. Irony does not necessarily cause laughter. In the sentence "How clever it is", where the intonation of the whole sentence gives the word clever - the reverse meaning - stupid does not evoke a sense of funny. On the contrary, a feeling of irritation, discontent, regret, etc. can be expressed here.
Humor can use irony as one of its devices, in which case irony will naturally cause laughter.
The funny is usually the result of an unjustified expectation, some collision of the positive and the negative. In this sense, irony as a language device has much in common with humor. The use of contextual meanings that are the opposite of the main subject-logical ones is also a kind of collision of positive and negative, and this collision is always unexpected. That is why most often irony evokes a sense of humor. Thus, the main function of irony (although, as mentioned above, not exclusive) is to evoke a humorous attitude towards the reported facts and phenomena.
Irony is sometimes used to create more subtle, subtle shades of modality, that is, to reveal the author's attitude to the facts of reality. In this case, irony does not so straightforwardly realize the relation of the contextual meaning of the word to the subject-logical one.
So, in the following lines from Byron's "Verro" the word like is used either in the main subject-logical meaning, or in the contextual (ironic) one. It is only in the last line that the irony is fully revealed.
XLVII.
I like a parliamentary debate, Particularly when "tis not too late.
XLVIII.
I like the taxes, when they "re not too many; I like a seacoal fire, when not too dear;
I like a beef steak, too, as well as any;
Have no objection to a pot of beer; I like the weather, when it's not rainy,
That is, I like two months of every year. And so God save the Regent, Church, and King! Which means that I like everything and everything.

Introduction………………………………………………………………………….2

Chapter 1. Irony as an artistic device and stylistic effect

1.1 Definition of irony as linguistic phenomenon……………..……….…....5

1.2 The evolution of irony in various aesthetic systems……………..... 7

2.1 Features of the poetic language of Dmitry Vodennikov in the context of the modern literary process…………………………….………..10

2.3 Linguistic means of creating irony in the poetic text of Dmitry Vodennikov…………………………………………………………………….…...27

Conclusion…………………………………………………………………..........34 References…………………………… ……………………..………..….36

Introduction

The problem of irony is without a doubt the most profound and seductive of all problems.

T.Mann

Russian poetry of the frontierXX- XXIcenturies is a complex and largely contradictory cultural and linguistic phenomenon that requires deep scientific understanding. There are many reasons why this most interesting phenomenon is not given due attention: here there is a relatively small time gap between the creation of a text and its research, and the ambiguity of defining the boundaries of poetry in the modern cultural situation, and simply the little-known and unpopularity of the most complex and interesting texts, the analysis of which requires deep involvement of the researcher in the context of not only modern poetry, but also modern culture in general. At present, the only fundamental large-scale study of the poetry of the endXX-beginning XXIcentury is the work of Alexander Zhitenev "Poetry of neomodernism" . However, although we do not currently have a large number of large scientific works, it cannot be said that poetry is now in a completely “airless” space and is not comprehended by anyone at all: over the past ten years, one can trace a whole paradigm of literary-critical and scientific articles by such prominent researchers as D. Bak, M. Aizenberg, D. Kuzmin , I. Kukulin, D. Davydov, L. Vyazmitinova and others. We will rely on the work of some of them in our study.

One of the main figurative and expressive means used both in modern fiction and journalistic texts, as well as in oral speech, is irony. Irony is an integral part of thinking modern man. In its evolution, irony went through several stages: from ancient times (Socratic irony, tragic irony) through the fundamentally non-ironic baroque and classicism to romanticism, did not have much importance in realism, but was reborn in the era of decadence into negative and nihilistic irony, and finally came to its modern - post-modern - state. Its meaning and direction in these aesthetic systems was different. However, even within the same system, irony can be used for a variety of, sometimes even opposite purposes. In order to trace these goals and understand the author's intention more clearly, we apply the analysis of linguistic means of creating irony. In this way,relevance of our study is due to a change in the goals and conditions for the use of language units expressing irony in a modern poetic text compared to traditional ones.

object Our study is the poetry of the post-conceptualist Dmitry Vodennikov, one of the most famous contemporary authors of the “forty-year-olds” generation.Subject studies are linguistic units expressing irony in his poetic text.

Scientific novelty of our research lies in the fact that in this work we are making an attempt to conduct a linguistic analysis of language units that contribute to the expression of irony in modern non-ironic poetry. In the course of linguistic analysis, we will consider and classify the logical-synactic and stylistic means of expressing irony, ironic metaphor, antithesis, hyperbole, etc. In our work, we use the followingmethods research: descriptive method, method of analysis of dictionary definitions, contextual analysis.Practical significance of the work done lies in the fact that its materials and results can be used in further studies of the language analysis of the texts of the poet Vodennikov in particular and modern poetry in general.

Target work - the study of irony in the work of Dmitry Vodennikov, understanding its role in the individual author's picture of the world and the study of the means of its creation. For what purposes does this poet use irony, what is this irony aimed at, and by what linguistic means does he achieve this? Our study is an attempt to answer these questions.

Chapter 1.

Irony as an artistic technique and stylistic effect

1.1. Definition of irony as a linguistic phenomenon

Irony is a complex and diverse linguistic phenomenon.

In style irony - trope (sometimes it is referred to as stylistic figures). This is an allegory that expresses “mocking or slyness, when a word or statement acquires a meaning in the context of speech that is opposite to the literal meaning or denies it, casting doubt” . In other dictionaries ("The Explanatory Dictionary of the Living Great Russian Language" by V. Dahl, " explanatory dictionary Russian language, ed. D.N. Ushakova, “Dictionary of modern Russian literary language"1956," Dictionary linguistic terms» O.S. Akhmanova) also invariably distinguish two aspects of irony:opposite (or significant inconsistency) of the meaning of the ironic statement with its literal meaning andmockery as the goal of irony.

In aesthetics irony - “a kind of comic, ideological and emotional assessment, the elementary model or prototype of which is the structural-expressive principle of speech, stylistic irony. An ironic attitude suggests superiority or condescension, skepticism or mockery, deliberately hidden,but defining the style of a work of art or the organization of the figurative system (characters, plot, the whole work)" .

ResearcherM.E. Lazareva calls irony a part of the comic paradigm, which differs from its other phenomena (wit, humor, parody, paradox, sarcasm, satire and grotesque) “by the presence of opposition of the content plan to the expression plan, the presence pragmatic purpose and depth of social tension " .

The highest degree ironically calledsarcasm - "a judgment containing a caustic, caustic mockery of the depicted" . Sarcastic statements are more emotional (a negative assessment is more clearly visible, sarcasm, in contrast to irony, “does not tend to have a “calm” attitude towards the subject of the image or “play” with it) ), more openly than ironic (irony is much more allegorical).

Similar to irony is such a kind of comic ashumor (“the relation of consciousness to the object, combining an outwardly comic interpretation with an inner seriousness” ). However, “in irony, the funny is hidden under the mask of seriousness,<…>in humor, the serious is under the guise of the funny" . In irony, a negative (or mocking) attitude to the subject prevails, in humor - a positive (condescending approval).

An interesting interpretation of irony as a path is offered by N.A. Sirma. The researcher views it askind of metaphor , along withmetonymy andsynecdoche. Irony, metonymy and synecdoche differ according to the methods of reduction or integration. According to the researcher, “... irony expresses a metatropological meaning, since it unfolds in the field of awareness of the error (or incorrectness) of judgment, thinking, analysis. Irony is dialectical in essence, it is used consciously, on the one hand, for the sake of self-negation, on the other hand, for the sake of expressing a priori that arose during reflection. .

1.2. The evolution of irony in different aesthetic systems

Obviously, the study of irony as a category of language (a path in work of art or an element of oral speech) is possible only in combination with the study of it as a category of consciousness, because irony is a kind of comic, realizing a special worldview. However, hermeaning, purpose and direction in different historical eras have changed depending on political, social, cultural and other factors.In certain cultural and historical contexts, irony became not only a situational, momentary whim of the ironist (the subject of irony), but a conscious principle of attitude towards reality or its individual phenomena.

The history of ironyphilosophical category begins with ancient times and is associated with the name of Socrates. So-calledSocratic irony “consists in the denial of both real, objective truth and the subjective idea of ​​the latter; according to this kind of irony, the only truth is a self-sufficient negation, as evidenced, in particular, by the famous saying of the philosopher: “I only know that I know nothing” ... " . Found in the ancient theatertragic irony (“irony of fate”, “objective irony”), where fate plays the role of an ironist (rock, higher power), in the role of the object of irony - the heroes who do not suspect that their death is predetermined by their own actions.

Irony is alien to the literature of the Middle Ages, as well as to classicism and baroque, as oriented towards obedience to canons and standards based on an unconditional system of values.

romantic irony - one of the fundamental philosophical principles of German romanticism. Irony was conceivable as a universal tool for fulfilling the main aspiration of the Romantics - the achievement of freedom, it is "infinite", with its help everything is constantly questioned and denied, everything - both in the real world and in the spiritual life of the individual. “Irony, as a principle of attitude to the world, predetermined in the work of the Romantics and the compositional and artistic game of opposites: the real and the fantastic, the sublime and the prosaic, the reasonable and the illogical” .

Romantic irony undergoes a transformation with the onset of the crisis of romantic consciousness and the transition from early to late romanticism; irony becomes bitter at first (“the author equally sneers at both objective evil and his own impotence to resist it” ), then gloomy (“doubt inthe reality of ideals, their existence in general" ).

In realism XIXin. attitude is less subjective than under romanticism, and irony does not play a significant role, is not a fundamental principle. “Here irony often merged withsatire - which romantic irony did not at all assume, turned intosarcasm , becoming a means of exposing and denouncing the social structure or certain aspects of life" .

In the era of decadence, some symbolists appear "negative », « nihilistic "irony, as Alexander Blok writes in his article "Irony":"We see people obsessedcorruptinglaughter, in which they drown, like in vodka, their joy and their despair, themselves and their loved ones, their creativity, their life and, finally, their death. .

In the literature of the first halfXXcentury, irony takes on new forms, in particular, it is used as a method of removing the author from the events and characters described. This becomes one of the basic principles in epic realistic works (for example, in T. Mann, who “emphasized that irony is necessary for epic art as a view from the height of freedom, peace and objectivity, not associated with any moralizing» ).

Irony plays a special role in postmodern culture. Like the romanticpostmodern irony is a way of relating to the world. The Dictionary of Words, Terms and Concepts of Postmodernism states the following:

"Irony (from the Greek “pretense”) - This concept captures a special way of relating to life and culture as a subtle hidden mockery, an easy, frivolous perception of everything. The figure of irony is semantically ambivalent: on the one hand, it is a mockery and, in this respect, a profanation of a certain reality based on doubt about its truth or even suggesting the untruth of this reality, on the other hand, irony is, as it were, a test of this reality for strength, leaving hope on its possibility - or in the belief of the contrary - is based on the regret of its absence. “The answer of postmodernism to modernism is the recognition of the past: since it cannot be destroyed, because then we reach complete silence, it must be revised – ironically, without naivety” (W. Eco). This irony is also caused by the fact that a person is aware of his failure in terms of knowing the essence of the world and his own essence and develops an appropriate superficial perception of the world. Everything is ridiculed - a person, a thing, history, politics, etc. The symbol of postmodern irony is the quotation marks, which set the multi-layered depth of reading the text. All this sets the boundless freedom of language games in the field of cultural meanings in postmodernity. However, the true depth of postmodern irony is revealed at the level of its self-irony: the parodist “parodies himself in an act of parody” (I. Hassan)” .

Chapter 2

2.1. Features of the poetic text of Dmitry Vodennikov in the context of the modern literary process

In Russian poetry in the first half of the 1990s, two of the most striking trends can be traced: metarealism (metamorphorism) and conceptualism.

By definition D. Kuzmin,metarealists – « poets for whom the basis of poetic worldview is a thing, an object of the surrounding world, the metaphysical content of this thing, a metaphysically rich dialogue that things lead among themselves and in which a person should be included on an equal footing” .

Representatives of this direction include Olga Sedakov, Ivan Zhdanov, Alexei Parshchikov, Vladimir Aristov, Elena Schwartz, Faina Grimberg.

In the spotlightconceptualists – « the problem of the total lack of freedom of human expression, its inevitable inauthenticity, inauthenticity, predetermination by a set of discursive practices" .

The brightest representatives of conceptualism are Dmitry Prigov, Lev Rubinstein, Vsevolod Nekrasov.

Mikhail Epstein in his article "Postmodern in Russian Literature" callsmetarealism “a new form of unconditionality, discovered on the other side of the metaphor, not preceding it, but absorbing its figurative meaning” , conceptualism - "a new form of convention, discovered on the other side of the myth, decomposing all integrity as false and inorganic" .

Approximately in the mid-1990s, a new direction appeared, called and interpreted by different critics in different ways. Lyudmila Vyazmitinova calls it "neo-modernism", Danila Davydov and Ilya Kukulin - "neo-sentimentalism", Dmitry Kuzmin - "post-conceptualism" (in this work we will adhere to this term).post-conceptualism partly inherits the poetics of conceptualism and metarealism, partly argues with both. The main task of post-conceptualism is the implementation of an authentic lyrical utterance under the conditions of the conceptualist axiom that such a utterance is impossible. The possibility of such a statement has been repeatedly discussed in modern literary criticism (for example, Mikhail Aizenberg’s article “The Possibility of Statement” ). Each of the poets belonging to this trend solves this problem (D. Kuzmin refers Dmitry Vodennikov, Dmitry Sokolov, Kirill Medvedev and Danila Davydov to them), in his own way. However, their poetics and common features appearing regularly:

1. Extreme blurring, non-marking of the language and figurative range, “since only a complete draw can be appropriated” :

please, dear, dear,
the only, mortal, living,
of all, of us,
any death, any
but not yours.

(D. Vodennikov "Immortal love - simple love")

2. The presence of "zones of opaque meaning" . This technique consists in the fact that the author names names, places and events in the poem that have personal emotional significance for him, but does not explain to the reader what exactly they mean (“a lyrical statement cannot convey a feeling, but can signal it" ) :

I so wanted to be
you drove a car:
Kalsina asked about this,
and even asked Lvovsky -
not because money is a pity
(although, of course, very sorry),
but because there is no power.

I don't blame any of them.

(D. Vodennikov "All 1997")

3. Declaring the identity of the personality of the author and the lyrical hero, "the "I" of the author, fragmented in conditions of supportlessness, is trying to assemble itself as a kind of autonomous integrity, having developed a personal myth that reflects the realities of the world" , the creation by the author of a “myth about himself” as an integral character, inseparable from his work, “a person who writes poetry” (as defined by Ilya Kukulin):

Hello, one will say. - I'm the only one in this country
defending poetry from humiliation,
finally ready to subscribe to what I was reproached for:
- Yes, it's not poetry,
this is my liveso-and-so-year-old voice,
who promised the woman I loved to make her immortal,
and not able to make her even a little bit happy...

(D. Vodennikov, "Draft")

"If a person personally responsible for his poems , to him, of course, canadvise to drink soothing herbs and watch more TV, but this will not change anything.
<…>
I don't even want anyone to read and understand poetry.
Because ittootakes you beyond your personal irresponsibility. And very few people can bear it.
I just want you to know that meaningless words are good because they are easy to disown. And any personal responsibility is funny and looks stupid. Therefore, the poet is so now - strong and defenseless - at the same time.
Because he is one of the few who in our time is personally responsible for his words. Like a bandit, like a mediocre businessman, like a soldier caught innot im untied slaughter"

(D. Vodennikov, essay "On Poetry")

4. Irony endowed with a new (in comparison with the conceptualist paradigm) function. In the texts of the conceptualists, irony was more a way of feeling the world than a feature of poetics; not in all texts it was localized in separate words, but often characteristic of the entire lyrical statement -everyone lyrical sayings. Irony was a tool for ridicule, debunking certain myths. In the conditions of post-conceptualism, irony, often turning into self-irony and "then giving way to seriousness unusual for postmodernism" , becomes a means of protecting the author's ideals and, first of all, his lyrical "I". As Lyudmila Vyazmitinova writes, “centronicity, irony, intertextuality - all this, in the conditions of qualitatively new possibilities for the interaction of consciousness and language, serves the purpose of collecting one’s “I” from postmodern diversity into a simultaneously integral and open structure” . Thus, what served as a means of blurring the boundaries of personality becomes a way of creating and asserting it:

I am so imperfect
the language is so imperfect
the world is so imperfect
and most importantly, the people living in it are so lazy and ungrateful,
that, of course, no direct statement is possible

Only it - THERE IS .

(D. Vodennikov. Epigraph to the cycle "The New Big Russian Style")

The phenomenon of irony can be schematically indicated by the formulas> o, where s- subject of ironyo- an object. The object is subjected to analysis, rethinking and ridicule by the subject. Such relationships are presented in artistic text when the author sneers at some phenomenon (situation, statement, other person, language, reality in general), as if they “elevate” the author above what is being described,

Self-irony, as a type of irony, is built according to the same patterns> o, however, in this case, both the subject and the object of irony are one person (it turns out,s= o, but this is impossible!). The author "rise" above himself, becomes not equal to himself,not self-identical . It "splits", as a result of which the author-object and the author-subject appear.

In a situation of self-irony, the “author-subject” puts himself above the “author-object”. Why is such a bifurcation needed in general, and why does Dmitry Vodennikov use it in particular? The answer to this question should be sought not only in his lyrics, but also in the current cultural situation as a whole.

An ironic attitude to the world is a property of the consciousness of modern man. Postmodern experience of culture (including literature and in particular poetry)XX- start XXIvv cannot be ignored; in fact, the state of culture puts the poet in a tough choice: either he submits to the general ironic mood, or, rethinking, overcomes it. In our opinion, the use of self-irony along with irony is one of the methods of such overcoming.

When the "author-subject" ironically over the phenomenon-object (and the "phenomenon" in the conditions of postmodernism becomes the whole the world), he distances himself from it, and also distances himself from his reader, who is also ridiculed. When the author sneers both at the phenomenon and at himself, he equates himself as a subject with the phenomenon as a subject. The distance between the author-subject and the reader disappears, because both of them are in the same situation, under the ironic gaze of the “author-object”. Under such conditions, confidential intonation becomes possible:

However,
since the role of a person with a difficult male destiny I still claim
then all that remains for me is to come forward,
lean towards people (closer than others) and say:
- My dears, poor, kind, half-dead ...
We are all a little dead, we are all immortal and deceitful.
So try to live - if possible - joyfully,
please be happy and don't be afraid
(except for humiliation, decrepitude and dog death,
but also thistoo do not be afraid).

("Draft")

Putting himself on the same level with the reader, the “author-object” under the close skeptical gaze of the “author-subject” can again speak to the reader in simple terms about the most important things.

The poem "Draft", quoted above, is one of the most revealing illustrations of our thesis.

The poem begins with an alleged auto-epigraph (a characteristic device for Vodennikov's lyrics):

because poems don't grow up like decent children,
but sprout at night, between the legs,
and are only born once in a century
fool poet, father poet, flower poet

There is a feeling that the author continues some of his thoughts, which he began to express even before the beginning of the poem. As if before starting to write the text, he had a dialogue with the reader, a polemical conversation - and in the middle of it he suddenly switched from oral speech to written, from a prose phrase to a poetic fragment. The absence of the actual beginning of the poem is also "a step towards the reader."

Already in the above passage there is both irony and self-irony. The irony lies in the reduction of images: the traditionally “exalted” poet-prophet to the “fool-poet” (although he is born “once in a century”) and the poems - the children of this prophet to “sprout between the legs at night”. The poet is not a prophet. Poems are not his children. More precisely, children, but children of a fool (a rare fool born "once in a century"). And the life of both the poet and his poems is vegetative (unconscious). Self-irony is that the author is aware of all this and fully refers to himself. And also in the fact that he understands that in fact no one asks him about anything, and that exactly how (“from what kind of rubbish” - according to Akhmatova) poems “grow” is not interesting to anyone except himself.

Thus, in this passage, we see irony at two levels: at the level of construction of the phrase (the ironic comparison “poems do not grow up like decent children”) and at the level of the author’s perception of the structure of the world as a whole (poet - plant ).

The next fragment of the text is also perceived as a continuation of the conversation with the reader - moreover, elements of colloquial speech appear ("yes, that's it"), and due to ironic clarifications ("but in no other way", "finally") the reader has the effect that it is present when delivering an impromptu, unprepared speech:

Yes, that's right (and nothing else)
gone spat with all my protracted spring,
and came - finally - my long-awaited maturity.

We observe how the "author-object" comments on the speech of the "author-subject" as events unfold; such ironic clarifications in Vodennikov, as a rule, are enclosed in brackets or highlighted with a dash: “Yes, that's it (and not in any other way)”, “it came - finally - my long-awaited maturity”, “and therefore I don’t I’ll snatch the winner’s wand from you / (and which one of me is the winner now?)”, “Please be happy and don’t be afraid of anything / (except humiliation, decrepitude and dog death, / but don’t be afraid of that either)”. In the latter case, we observe a whole internal dispute between the “author-subject” and the “author-object”, which can be translated into the language of prose approximately as follows:

The ideological victory of the "author-subject" over the "author-object" in this case also serves as a way of approaching the reader. It is the victory of the one who is “lower”, the “poet-fool”, the “poet-flower”, the very one over whom everyone is ironic (“poor asshole” from the poem “Immortal love is simple love” ) - over the one who is “higher” and “smarter” than him, allows him to “come forward / lean towards people (closer than others)”. Vodennikov is “closer than others” to the reader because he is not afraid to be like them and admit it (“we are all a little dead, we are all immortal and deceitful”). Vodennikov is extremely frank (it is not for nothing that the direction proclaimed by him is called “new sincerity”). He also ironically over his own sincerity, over his "unfulfilled life":

- Yes, these are not poems,
this is my liveso-and-so-year-old voice,
who promised the woman I loved to make her immortal,
and not able to make her even a little bit happy ...

Bitter irony, however, is characteristic not only of D. Vodennikov as the hero of his own poem, but also of his other characters:

I'm standing on the April mountain - in a tightly sewn military coat,
I have four lives (in reserve), I have a letter from Lena:
"Hello, - Lena writes to me, - I'm seriously ill
And I have no life left …

Of course, not only he himself becomes the subject of irony in Vodennikov, but also things, more precisely, the attitude of people towards them (“a tightly-tailored military coat” from the first part turns into a “stoutly-tailored stupid coat” in the fourth, which emphasizes the lack of its value for the author), and the people themselves ("- Hello, -the second one will say , - if ever in a smoky April, / after drinking half a bottle of martini (or what do you drink there?)”, “Olya, Nastya and Roma, and Petya and Sasha, and who the hell knows”).

An interesting moment in the "Draft" is the moment when the irony disappears. In the poem there are phrases and fragments that are repeated with changes. One of these fragments is in the third part:

Well, those who blew their main everyday battle
who remained in Israel, in Latvia, in Poland, in the fields near Moscow,
we will take them too - like shot blueberries
on the palms, on sunny trousers and skirts, - with you.

– and is repeated at the end of the poem as follows:

and then they will carry - on green palms - home.

The ironic colloquial "profukal" is replaced by the neutral "could not stand it", and thus in the finale there is an "elevation" (as opposed to the ironic "decrease") of the images of the people described. The author becomes serious and no longer allows himself to ridicule "all those who remained." The first fragment can be confidently attributed to the speech of the "author-object", the second - to the "winning" (a few lines before) "author-subject".

After analyzing the poem "Draft", we saw that, despite the predominance of self-irony, Vodennikov's irony has a different focus. Let's identify its main directions:

I. Irony directed at the lyrical hero (-author)

1) The ironic comprehension by the “author-subject” of a lyrical statement, carried out by the “author-object”, which we have already considered, occurs in the process of the speech of the second. There is such a comprehension and commenting, as a rule, in two ways.

…And this year, and this blue hour -

(as usual with me: for the last time)

I wanted to be loved again.

("In the year we lived on earth")

– Who is it, I wonder, we have such an unearthly and unearthly here?

– It's me, it's me here with you - all so unearthly and unearthly,

or using different fonts: the speech of one is in italics (sometimes in capital letters), the speech of the second is not highlighted in any way:

So smoky in here
and unbearable light
that even their hands can not be distinguished -
who wants to live to be loved?
I want to live so that I can be loved!
Well, since you - it's not worth it at all - to live .

("It's so smoky in here")

2) Irony coming from other characters of the poem, directed at the lyrical hero (-author).

The characters inhabiting the poetic world of Dmitry Vodennikov are living people, his friends, acquaintances, colleagues in the poetic workshop. If in a poem such a character is given direct speech, then, as a rule, he either conducts a dialogue with the lyrical hero of Vodennikov, or writes a letter addressed to him. Very often these characters use irony in their speech.

with such genuine sympathy he asked me:

“Well, Dima, you can’t do it anymore - without a scandal?”

Well, why - I CAN.

Here we see a combination of irony with self-irony, characteristic of Vodennikov: to the ironic statement of the character asking "Well, Dima, you can't do it anymore - without a scandal? " his lyrical hero replies with self-irony: "Well, why - I CAN."

and she says: Well - again about the poor srulik?

And in these lines there is a mutual irony of the lyrical hero and his beloved: she speaks ironically about his poems; the author - in response - puts her words into a poem, but with an ironic comment: "Olya is also good."

You write me: “... and now, in a pile of old fines for hazing parking, I found your rare letter. dated July 15, 2003. Printout on the printer. The letter, of course, was a farewell letter. Why did I ever print it - don't know. Probably, he wanted to weep over him in mugs, but due to the liveliness of nature, he was distracted and forgot. Or maybe he did sob, because it was in some kind of divorce (I like to sort mail in dewy fields).
Who knows - can't remember. And what did I think? That your old farewell to me number three thousand forty-seven is as relevant to our real farewell as that draft to the finished product.

("My letters to you from others")

Here someone writes a letter to the lyrical hero, in which irony is again intertwined with self-irony. The words "letter, of course, was a farewell" and "this is your old farewell to me number three thousand forty seven " (here the irony is built on hyperbole and on the colloquial "thousand" used in writing) - the irony of the character in relation to Vodennikov, to his characteristic feature: the passion for writing "farewell" and "most recent" letters, which turn out to be not the last at all. And between these lines is a whole layer of self-irony of the character: “Probably, he wanted to weep over him in mugs, but due to the liveliness of nature, he was distracted and forgot. Or maybe he did sob, because it was in some sort of divorce (I like to sort mail in dewy fields) ».

II. Irony directed at other people

Other people also become objects of Vodennikov's irony. Sometimes this irony comes out of annoyance:

And so it happened! - that, looking once

into your cute cute faces,

with ill-concealed malice, despair and irritation,

I suddenly remembered

as my current art director,

formerly a florist

also, apparently, looking - in no less! - cute faces of their regular customers ...

(“…Mom! And how did it happen…”)

and sometimes - simply from the constant memory of the reader (or spectator / listener, if we recall how important the genre of performing on stage is for Vodennikov) and the desire to prick this reader before he pricks him:

So really
i will never dare
(and who exactly
can I be banned here
aren't you, my precious ones,
aren't you)…

("Is that so")

Vodennikov conducts similar “conversations with the reader” within the poem over several cycles of poems in the late 1990s and early 2000s. From direct, non-ironic appeals to quite specific people in the “Tram” cycle (“I’m ashamed, Eisenberg, to be myself”, “Where are you, Zhenya, she’s swallowing us”), he moves on to the most ironic conversation with a specific, but not having his own name and face of the reader in the cycles “Immortal love - simple love”, “Essays and selected poems” and “How to live - to be loved”:

[ what are you staring at? because I'm dressed,
and, indeed,
seems,
what will I undress now? ]

(“Immortal love is simple love”)

When my poems crumble to dust
(and it will certainly
and I want you to know about it)
then,
on their brilliant bones
(does that bother you too?)
I'll get up myself
with their own feet,
but I will get up
on your own feet.

[To the man from the second row
does this seem optional?
And you try -]

("Essays and Selected Poems")

This kind of ironic and even sarcastic appeals are a kind of "protective layer" of the lyrical hero; the extreme sincerity, "nakedness" of Vodennikov's lyrics make him need to protect himself in advance from other people's attacks, which he perceives very painfully. The author seems to be saying: “Yes, I know what kind of reaction my words cause in you, but I still won’t refuse them.”

III. Ironic comprehension by the author of the life situation in general:

everything that I promised - everything came true

(only everything somehow stuck together, caked) ...

("Rose hip forever »)

There is also a certain “bifurcation” here, which we talked about at the beginning, but in this case it is not a bifurcation of the lyrical hero (when one is ironic over the other), but a split in the assessment of the situation: the first is optimistic, the second is more realistic, and therefore ironic in relation to to the first.

IV. Irony, not directly related to the lyrical hero (author)

1) self-irony of characters:

- And I, too, once roller-skated (I was quite big,
from a great mind and rode), but the trees smelled like that in spring, -

Here, irony is based on a play on words and ironic phraseology and is used to characterize the character as a completely ordinary, “average” person, especially not standing out (“some kind of nothing”), perhaps with some infantilism (“big - from a big mind”).

2) irony of characters directed at other characters:

- And to me, - says the last one, - when I was seven or six -
because of sleeping pills (phenazepam) they came to me
dead and alive, and the first came the white polar bear,
My parents gave me phenazepam, they loved me very much.

("Ehwaz (rune of movement, witnesses say - 2)")

The character is ironic about his parents, who gave him sleeping pills, because of which he had hallucinations. This is not an evil irony, in this case it is used to reduce the general "mystical" pathos of the character's speech.

2.3. Language means of creating irony in the poetic text of Dmitry Vodennikov.

We have outlined the main directions of irony used by Dmitry Vodennikov in his poetic texts. Let's see what language means he uses to create an ironic effect.

1) Use of phrases for comic effect

Ironic phraseological unit

- And I, too, once roller-skated (I was quite big,

from a big mind and rode), but the trees smelled like spring, -

says a man under forty, some kind of all no ...

("Ehwaz (rune of movement, witnesses say - 2)")

An ironically rethought phraseological unit (cf.not from a big mind ) used in the speech of the character in relation to himself; in combination with the previous phrase "I was very big" gives us his characterization as a person who is immature and aware of his "immaturity".

2) Ironic metaphors and comparisons

Ironic comparison at the level of a separate image

How N. Khrushchev sowed corn

all state farm fields near Moscow,

so i sowed all the literature,

poking into verses - your names.

("Poems to the son")

Vodennikov's metaphors and comparisons are not ordinary, paradoxical. In this case, he compares names with corn, literature with state farm fields, himself with Nikita Khrushchev. The comparison is certainly ironic, especially in the context of Vodennikov's entire work (with his attitude to poetry as a service). The effect of irony enhances the colloquial word "poking".

self-confident,as head teacher high school , -
No,graduate - forest sunday - school ,
who finished it - with a gold medal.

("Waiting for the first snow")

Here we see a gradation of ironic comparisons. The ironic effect is doubled: in the transition from the image of the head teacher to the image of the graduate Sunday school and when revealing the image of a graduate, when it turns out that he graduated from school with a gold medal.

Ironic comparison at the text level

In the poem “... Mom! And how did it happen…” Vodennikov compares himself to Debbie Dzhilinsky, a character in the Hollywood film “The Addams Family”. Debbie is by no means distinguished by kindness and philanthropy, however, the author not only calls her an angel, albeit a “violently crazy one,” but also makes her speech (“For - as Debbie Dzhilinsky would say ...”) a comment, an explanation for her own (in addition, highlighting it in italics and capital letters):

"I DID NOT WISH TO HARM ANYONE,
I DID NOT LIKE IT! -
HURT SOMEONE.
BUT SOMETIMES - PEOPLE
JUST REFUSED TO LISTEN TO WHAT THEY SAY
AND THEN - I WAS FORCED
USE PRESSURE, THREATS ... AND - TEARS.

Hyperbolas

And what did I think? That your old goodbye to me number three thousand forty-seven is as relevant to our real goodbye as that draft to the finished product.

("My letters to you from others")

This is a fairly traditional example of the use of irony, often used in everyday speech, in oral dialogues (although in this case we are talking about writing). The author uses the hyperbole "farewell number three thousand forty-seven" to refer to the number of farewell letters as unbelievably large.

Ironic epithets

- Who is it, I wonder, we have such an unearthly and unearthly here?
- It's me, it's me here with you - all so unearthly and unearthly,
pet me, slobber, stick a colored pencil in my belly.

("The Only Poem of 2005")

Before us is a dialogue of two people: a person who looks at his childhood photo, and the boy who answers him from this photo. An adult is ironic at the same time both over the stamped phrases used by adults in relation to young children (“oh, who is this here with us?”), And over his own perception of childhood as “unearthly and unearthly”. The child from the photograph answers him in tone: “I’m here with you - all so unearthly and unearthly” and at the same time ironically over the sentimental attitude of adults to children’s photographs: “amuse me, spit on me, poke a colored pencil in my belly.” Irony arises due to the logical inconsistency of the ingenuous colloquial phrase“Who is it, I wonder, we have such a” epithets “unearthly” and “unearthly”.

3) Logical and syntactic means of expressing irony

Inconsistency of verbal linkages (inconsistency between the lexical meanings of individual words and phrases in context)

As is known -
I often see catastrophes in my dreams.

("As is known…" )

The introductory combination "as is known", used outside its usual context - a story about recognized and publicly available facts ("as you know, the Volga flows into the Caspian Sea"), in the neighborhood with a feature of Vodennikov's biography ("I often dream of catastrophes") gives an ironic effect: the author ironically over such a trait of his character as the desire for fame, success, public recognition.

false antithesis

But the thing is, we've already hung
like apples, and you can see ahead:
one of you is alive and blond,
the other of you is not from here and will die.

("Laguz (water)")

In this case, Vodennikov uses the effect of deceived expectations: after the epithets "alive and blond" in the previous line, the reader expects in the next two epithets opposed to them, and the first epithet used by the author "outside" seems to be opposed to the word "live" - ​​but the second, opposed to the word "blonde". ”, no, instead of it - the verb “will die” (as opposed to the same “living”). Due to a kind of "pseudo-antithesis" and there is an ironic effect.

4) Style means of expressing irony

- intentional overestimation of the style background

a) Use of archaisms

However, since then
for all suggestions and requests
(freestyle
and involuntary
personal and not so ) –
YES, - I answer, - YES, YES, YES, YES! ..

(“The pig swore…”)

The use of the archaic form "free and involuntary" is a reference to Orthodox prayers, where they ask for forgiveness of "free and involuntary sins." In this case, we do not mean sins, but ordinary human requests and suggestions, and the appeal with these requests goes not to God, but to the author (from the people around him). From this discrepancy, irony is born.

b) Use of pathetic vocabulary

Oh, I would know how selfless life is
all freshly washed shirt on the parade ground,
this whole branch - with overflowing lilacs,
I - for all this - will be hit in the face.

("So may life be blessed")

The pathetic speech at the end of the quatrain breaks off with a sharp drop in high pathos: "hit in the face." There is an effect of surprise, and a double one: the author, with his “high” and pathetic attitude to life, did not expect that she would “hit him in the face”, just as the reader did not expect a sharp decrease in pathos and an unexpected turn of events in the last line.

- deliberate understating of the style background

a) Use of jargon, argotism, slang expressions

oh if only they asked me (but who will ask me)
what should be in nature
our normal life...

("An interactive edition (or a requiem for my literary idols)")

The expression “in kind”, referring to criminal slang and in literary language meaning “in fact”, is used in this case to enhance the implausibility of the situation: the author understands that no one will ask him “what life should be”, and endows his an imaginary interlocutor with criminal vocabulary, in order to finally aggravate the impossibility of this conversation.

b) Use of reduced, colloquial vocabulary

but as if there is some kind of bee hell,
which can not be filled, not licked ...
Hello, who wants to know how to live in order to be loved?
Well, why are we silent? Nobody wants to know?

("It's so smoky in here...")

The colloquial “che” instead of “what”, the rough colloquial “alyo” - all this enhances the ironic effect of rhetorical questions, given to the void.

Conclusion

We explored the role of irony in the poetry of Dmitry Vodennikov and the linguistic means of its creation. It is impossible to classify the poetry of this author as actually ironic, however, without a doubt, the role of irony in it is great, as in many other modern poetic texts (by S. Lvovsky, F. Svarovsky, K. Medvedev, E. Fanailova and others). We have traced how diverse the direction of irony in Vodennikov's poetry is: the author sneers at himself, the characters of his own poems, his readers, the realities of the surrounding reality. The purposes of using this trope vary from rather traditional ones (expressing mockery and disapproval) to directly opposite them: in our opinion, the main purpose of using irony by the poet Vodennikov is to “approach” the author to the reader and attempt to implement the “direct personal statement” declared by him. Using irony, the poet defends himself and his ideas about the world from attacks (even imaginary ones), and protects his reader from the surrounding entropy. Vodennikov chooses very diverse ways of defending himself: he uses ironic phraseological units, metaphors and comparisons, hyperbole, epithets, antitheses, "elevated" and "reduced" vocabulary, inconsistent verbal chains. However, in those moments when his lyrical hero perceives himself and his readers as sufficiently protected, irony leaves his texts and gives place to a simple sincere intonation, the achievement of which was his goal:

Because all those who did not survive the main battle,
who stayed in Paris, in a hospital, in a dugout, in poetry near Moscow,
they will still collect, like scattered strawberries,
and then they will carry away - on green palms - home.

("Draft")

Study of the language of the poetry of the endXX-beginning XXIcenturies - one of the topical areas of modern linguopoetics. The functions of irony and the ways of its creation in a modern poetic text are just one of many aspects. scientific research which modern poetry needs even more than traditional poetry. Our work can serve as a starting point for further research in this area.

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« However, Olya is also good. I dictate to her on the phone:
“strengthened, adult, small, dead”, -
and she says: Well, what about the poor srulik again?

(“Immortal love is simple love”)

To fit the latest views into common history studying the concept of "irony", we need to characterize the main previous stages. Brief introduction into the history of the problem will help to move on to a modern understanding of its essence.

Irony was born from a special stylistic device already known to ancient authors. The ancient Greeks called this verbal pretense, when a person wants to seem stupider than he really is. The master of irony - the ironist - knew how to defend the truth "from the opposite." In the dialogue "Feast" Plato describes how Socrates pretended to be like-minded to his opponent and, agreeing with him, developed his views to the point of absurdity.

After Aristotle, from the 5th c. BC. irony was interpreted in poetics as a rhetorical device, calling things by their reverse names. Lucian's satires, Erasmus of Rotterdam's Praise of Folly, and Swift's works were based on its consistent application.

In the aesthetics of classicism, irony was understood as an attribute of the comic, one of the methods of laughter criticism in satire. The belonging of irony to a low style was strictly fixed, but at the same time there was an expression "irony of fate", which meant a fatal discrepancy between a person's assumptions and what the gods predicted for him. The "irony of fate" corresponded not to a comic, but to a tragic collision.

At the end of the eighteenth - beginning of the nineteenth centuries. views on irony were radically revised by romanticism. In their aesthetics, the romantics elevated it to the level of a philosophical position in life, identified it with reflection in general. They especially emphasized that irony is capable of generating not only a comic, but also a tragic effect. The highest value of romantic consciousness was freedom from the imperfection of reality. This principle demanded "universal irony" - the installation that the artist questioned not only real objects and phenomena, but also his own judgments about them. The desire to freely cross the boundaries of established rules and opinions, without being bound by any final truth, was enshrined by the romantics in the categorical concept of "game".

Creativity and life position of the writer turned out to be a kind of high ironic game, like all the "games of the universe": "All the sacred games of art are nothing but a separate reproduction of the endless game of the universe, this work of art, which is in eternal becoming."

The theorists of post-romantic art directed their search to ensure that the universalization of irony does not interfere with understanding the inner essence of the depicted, does not make the subject of the image a helpless toy in the hands of the artist, does not turn ironic play into an end in itself.

Instead of the romantic subjectivist theory of the 20th century. gave a number of concepts of objective irony.

Objective irony is built on the basis of the discrepancy between the meaning of the objectively present and the meaning of the expected. The contradiction underlying the objective irony is due to the fact that the intellectual and cultural development of mankind provokes the formation in its self-consciousness of the illusions of its own freedom and the possibility of social goal-setting.

Over the past hundred years, irony has been the subject of research interest of psychologists, linguists, logicians, as well as representatives of such new branches of humanitarian knowledge as semiotics and communication theory. The tools of these sciences helped to reveal many secrets. Psychologists, for example, have tried to determine the degree of presence of the conscious and the unconscious in a specific laughter reaction to an ironic statement. Logicians established a connection between irony and wit, showed that an ironic statement correlates simultaneously with several mutually exclusive interpretations: both logic and illogicality work to create meaning.

With the advent of semiotics, it was studied in detail how "encoded" and "deciphered" irony in the text. The theory of communication established the dialogical nature of irony and analyzed the relationship between the author, the addressee and the subject of the ironic utterance. The starting position of most modern research is the postulate that the very essence of ironic communication contains the need for active intellectual contact of its participants. The results of more than half a century of controversy led to the conviction that in order to explain the essence of irony, it is most important to pay attention to its iconic nature and paradox.

It should also be noted that the function of irony is unchanged - to connect the incompatible, to make the image a crossroads of two or more sign systems.

The definitions of irony are varied: it is called both a stylistic device that serves to enhance and decorate speech, and the finest mechanism (method) of thought, and an aesthetic setting (aesthetic component of thinking).

Irony is one of the types of allegory that connects the seemingly incompatible: serious and mocking, contemptuous and true, fair.

The meaning revealed by irony is determined by the context that either precedes or accompanies the signifying units and is explicit or implicit. Since an ironic expression contains two opposite meanings, one of which is produced at a higher level of signification, it can be recognized as metasemiotic. The cognitive nature of irony has long attracted the attention of scientists.

From a linguistic point of view, irony is revealed in the aspect of modality and is a kind of subjective modality that carries the expression of the author's critical assessment. The complexity and peculiarity of statements with an ironic modality lies in the fact that they simultaneously contain two polar assessments: one is explicit, the other is implicit. A special perspective on the study of irony opens up in connection with its functioning in various types of discourse.

As we can see, irony is interpreted as a linguo-stylistic concept, the essence of irony is the violation of the postulate of truth. The definitions note the opposite of the meaning of irony to its literal meaning, point out the property of irony to express mockery under the guise of approval or praise.

In modern linguistic studies, it is common to single out two types of irony - irony as a stylistic device and irony as a category of text. In the works of linguists, they are called differently, for example, explicit and hidden irony (D.C. Myukke, 1982), situational and associative (S.I. Pokhodnya), contextual and text-forming (Yu.V. Kamenskaya), etc.

Yu.B. Borev gives the following definition of irony: “Irony is one of the shades of comedic laughter, one of the forms of special emotional criticism, in which a sharp mockery is hidden behind a positive assessment. Irony pretends to praise those properties that it essentially denies, therefore it has a double meaning: direct, literal, and secretive, reverse.

Thus, irony in a general sense is understood as mockery, deceit, pretense or scolding. In contrast to simple deception, irony appears as a vision in a double exposure, when the affirmation and the negation that removes it are expressed explicitly. Like pretense, irony is ambiguous, it is a reproach under the guise of praise and blasphemy under the guise of flattery: blame-by-praise and praise-by-blame. The essence of aesthetic irony is a way of expressing the opposite, where a logical paradox is combined with an emotional and value attitude. The aesthetic range of irony is quite wide, it consists of the attitude to the object and the well-being of the subject. Subjectively, irony gravitates towards the comic or tragic and can be playful or sad, farcical-vaudeville or woefully absurd. Being a biased attitude towards the world, irony changes from apathy to aggressiveness and rebellion, changing the tone from a cheerful, good-natured joke to satire or sarcasm.

Traditionally, in rhetoric, irony is understood as a trope in which the opposite of what is thought about a person or object is deliberately stated, where the true meaning is hidden or contradicts the obvious meaning. In other words, irony is when a person does not say what he has in mind, while intending to be understood by his interlocutors. From the point of view of linguistics, the most optimal way of transmitting information is situations of “direct” communication: when the speaker does not hide his intention and the meaning of the statement is identical to the meaning that the speaker attaches to this statement. These are the majority of speech acts. However, along with them, there are situations of "indirect" communication, in which the identity described above is deliberately not observed. Irony is one of them.