{"id":493,"date":"2017-11-17T01:20:14","date_gmt":"2017-11-16T21:20:14","guid":{"rendered":"https:\/\/rsacs.org\/?p=493"},"modified":"2019-11-23T03:56:22","modified_gmt":"2019-11-22T23:56:22","slug":"rsacs-xliii-international-conference-program","status":"publish","type":"post","link":"https:\/\/rsacs.org\/ru\/rsacs-xliii-international-conference-program\/","title":{"rendered":"Abstracts of RSACS XLIII International Conference"},"content":{"rendered":"

\"\"<\/a>American Humor and Satire: Functions and Forms
\nDecember 7-9, 2017<\/h3>\n

December 7, Thursday, 12.00 Lecture Hall 201
\nPlenary Opening Session<\/p>\n

1. Professor Yassen Zassoursky<\/strong>
\nRSACS President, President of Journalism Department,
\nLomonosov Moscow State University, Russia<\/p>\n

Greetings to the Conference participants<\/p>\n

2. Professor Irwin Weil<\/strong>
\nNorthwestern University
\nEvanston IL, USA
\nFrom Mark Twain to Jokes over the Hot Stove – a stroll through American Humor<\/strong><\/p>\n

Mark Twain had a profound notion about the irregularities, disparities, and laughable nature of American Life, Religion, and Pretensions.<\/p>\n

American anecdotes, many of them in the Twain tradition, know how to send up our national and personal pretensions: from politics to religion, from medicine to psychiatry, from legal life to the after-life in both heaven and hell.<\/p>\n

3. Professor Pavel Balditsyn<\/strong>
\nJournalism Department
\nLomonosov Moscow State University, Russia
\nTraditions of American Humor from Mark Twain to Woody Allen and Jon Stewart:\u00a0\u00a0Continuity and Changes<\/span><\/strong><\/p>\n

Initially there were two extreme trends in the American humor from the times of Benjamin Franklin: the first is pursuit of established and true facts and drive for serious social and moral thought and criticism; the second is exuberant fantasy and wild grotesque imagery in tall tales of the frontier and romantic extravaganzas of Washington Irving and Edgar Poe. Mark Twain was the perfect master of both extremes and combined them in his works: he did it in a short letter on St. Patrick; he wrote at the same time phantasy of a young Satan making miracles and political pamphlets versus tyranny, chauvinism, and imperialism. Therefore, he was generally recognized as the maker of the American comic tradition.
\nThe American culture developed as open and responsive to many world traditions, and its character was plural and complementary from the beginning of the 19th century. Mark Twain followed not only Shakespeare and Franklin but also Cervantes and Voltaire, he knew his direct precursors \u2013 tall tales and works of literary clowns of the South-West. In the age of multiculturalism the American humor absorbed new elements especially of Afro-American and Jewish laughter notably in cinema, and stand-up comedy in the halls and on TV.
\nStaginess and visual appeal were important features of the American humor from the times of Mark Twain: comic speech was mainly vernacular and used extralinguistic means \u2013 facial expression, gestures, tone, intonation, and persona at last. This drift increased in the last century when humor expanded into new visual arts \u2013 cinema and TV , performed in media culture with its collective authorship and industrial creation. Artemus Ward and Mark Twain did their work single-handed, Woody Allen and Jon Stewart work in groups of coworkers. For example, Jon Stewart made his satirical news program The Daily Show with more than 30 co-authors. It is impossible to host a comic show 4 days a week and 42 weeks in a year otherwise.
\nPolyphony and dialogism are the main patterns of fiction and humor of Mark Twain and contemporary American comic writers and showmen. They try to debate and travesty the traditional and authoritative discourse. Limits of tolerance changed greatly from the times of Mark Twain, but the burden of humor remains as ever: laughter breaks social rules and moral standards. Its backbone is to say the truth and reject all lies in contemporary society under any circumstances.<\/p>\n

Section 1: Journalism (coordinator Dr. Yuliya Balashova, Saint-Petersburg State University, Russia)<\/h4>\n

1. Yuliya Balashova
\nSaint-Petersburg State University, Russia
\nHistorical Dynamics of the American Almanacs Development in Global Context<\/strong><\/p>\n

Especially important for intercultural communications are those media which are not compromised by propaganda or ideological battles. The almanac as a type of publication is this kind of media. Historically, almanacs were widespread in the USA, as in many countries in Europe and Asia. A comparison of the historical path of the almanac\u2019s development in the United States with other countries gives reason to make a conclusion about the particular pragmatism of the American culture in the whole. This feature manifestation is the almanacs satirical variety development in the United States.<\/p>\n

2. S.V. Kanashina
\nMGIMO, Moscow, Russia
\nInternet Meme as a Modern Comic Genre in the USA<\/strong><\/p>\n

The development of information technologies and the emergence of the Internet have led to the evolution of traditional comic genres in the USA. A unique cultural phenomenon \u2013 internet meme \u2013 appeared within American internet communication 15 years ago (see picture 1). Broadly speaking the internet meme is an internet communication phenomenon consisting of verbal (textual) and non-verbal (visual) components and having a special square design. It is typical of internet memes to be humorous, topical, expressive, and the humor is often original and goes beyond the bounds of all the conventions. To convey humor the authors of internet memes use different means, for example, pun, allusion, grotesque, absurd. Different real facts of American life, famous people, events of social importance are laughed at in internet memes. Thus the internet meme can be regarded as a modern comic genre in the USA which keeps the tradition of independent and authentic American humor.<\/p>\n

3. Irina Arkhangelskaya
\nHigher School of Economics -Nizhny Novgorod, Russia
\nPolitical Discourse of the US Late Night Comedy Shows of the 2000-2010s<\/strong><\/p>\n

The US Late Night Comedy Shows give politicians opportunities to present their programs, strengthen the existing image, or ruin a negative stereotype. TV humor-shows make it possible to reach the audiences that are not much aware of politics, young people being among them.
\nThe role of Comedy Central\u2018s projects: The Daily Show with Jon Stewart<\/em> (2000 – 2015) and The Daily Show with Trevor Noah<\/em> (2015 \u2013 present), in forming the political agenda are being analyzed in the report.
\nThe style, themes, approaches to picking up guests and interviewing them of The Daily Shows\u2019 are compared with those in The Late Show with David Letterman<\/em> (2000 – 2015) and The Tonight Show with David Leno<\/em> (2000 \u2013 2014).<\/p>\n

<\/p>\n

4. Valery Terin
\nMGIMO University, Moscow, Russia
\nGlobal Manager Trump: humor by means of electronic communications<\/strong><\/p>\n

U.S. President Donald Trump, as well as his opponents, resort to humor. But they happen to make it differently. As to those who criticize Trump in this or that way, some of them dislike his unpredictability as well as his unwillingness to treat America\u2019s allies on an equal footing. With regard to the internal scenery, Trump\u2019s attitude is regularly depicted as a right-wing bias.
\nWith this in mind, while taking into account those who treat him favorably nevertheless, we can pay attention to the ground of his polemics as being of key importance for singling out those who basically share his approach to the world at large, as it is and as it should be principally understood and run (birds of a feather flock together).
\nTo begin with, one look at Donald Trump’s numerous tweets as a multifunctional undertaking corresponding to the electronic communication nature of world politics. Its electronic simultaneity presumes quite definite managerial practices as well as its humoristic repercussions with regard to those who still prefer the reasoning of the Gutenberg Galaxy nature.
\nIn other words, the humoristic effect of the global village circus reveals itself to the extent of Trump being able to demonstrate to the public at large the inadequacy of his opponents as that of linearly expressed argumentation in the electronic environment with its simultaneity impetus.<\/p>\n

5. Svetlana Orekhova-Tibbits
\nTibbits Historical Foundation\/Tibbits News Service
\nWashington, DC, USA
\nAmerican Political Humor in Trump Era<\/strong><\/p>\n

6.\u00a0Elena Pavlova<\/strong>,<\/p>\n

Department of Foreign Languages and Area Studies, Lomonosov Moscow State University, Russia<\/p>\n

Irony and sarcasm in the modern domestic political discourse of the United States<\/strong><\/p>\n

Discursive practices of domestic political discourse in the USA have undergone significant changes recently. Since the appearance of Donald Trump in the presidential campaign till nowadays, indignity and mockery of political opponents, irony and sarcasm have become the main feature of discursive practices of debates both on the part of Trump and his opponents. A comparison of modern domestic political discourse with the discourse of Monicagate showed that moderate style and political correctness, typical for the official political discourse of the previous decades, are passing away. Widespread use of irony and sarcasm in political discourse reflects the aggravation of the domestic political struggle in the USA.<\/p>\n

7. Nikolai Zykov
\nLomonosov Moscow State University, Russia
\nHumor and Satire in the Literary Programs of the Voice of America<\/em><\/strong><\/p>\n

Humor and satire in the programs of the Voice of America were most often heard in the literary programs of the oldest international broadcaster in the United States, as well as in the reviews of the American press. This is both about American humor, and about the humor of Russian-speaking emigrant writers. Humor served as a decoration of radio programs, was a reflection of the worldly wisdom of the American people. Listeners have long remembered these programs.<\/p>\n

8. Yekaterina Zagvozdkina
\nJournalism Department
\nLomonosov Moscow State University, Russia
\nIrony as a Means of Creating the Beat Generation Image (on stories in LIFE, TIME and New York Times)<\/strong><\/p>\n

The Beat Generation was a prominent literature movement and crucial cultural phenomenon in the 1950s America, where it embodied the transition from the postwar era to the tumultuous sixties period. At the end of the 1950s \u2013 the beginning of the 1960s the Beats were criticized by the media for their deviant lifestyle (declining to work, contempt to the authorities, and friendship with black people, drug usage and free love). With the content analyses of the publications on the Beat Generation, we determined the main evaluative characteristics of the \u201conly rebels around\u201d, amid them the irony had a significant place. For instance, in LIFE magazine we found irony in 34 out of 125 news and stories on the Beats, published in 1958-1962, in TIME magazine \u2013 in 7 out of 35, in the New York Times \u2013 in 34 out of 329 texts. Thus, we believe that irony is a core means of creating the negative image of the described phenomenon in media and our report as a case study can be used to describe its usage in press<\/p>\n

9. Karine Chobanyan
\nJournalism Department
\nLomonosov Moscow State University, Russia
\n\u201cRidicuList\u201d Segment \u0430s \u0430n Example of Comical Element in American Broadcast News<\/p>\n

American quality broadcast journalism is usually found within evening news on major networks (NBC, ABC, CBS) and 24-hour news channels (CNN, MSNBC, Fox News, HLN). Working under tough competition, they are all influenced by infotainment, and humor becomes one of the ways to boost ratings and get the viewer\u2019s attention \u2013 this is especially true for cable channels.
\nLet\u2019s take as an example \u201cRidicuList\u201d segment, which airs on CNN\u2019s \u201cAnderson Cooper 360\u00b0\u201d (with simulcast on CNN International). The anchor\u2019s presentation manner allows unrestricted behavior, adlibbing, spontaneous dialogue with his colleagues in the newsroom, and even overpowering giggles which the anchor fails to control.
\nLexically, stylistically, morphologically and syntactically the language of this segment is very close to colloquial.
\nThe subjects are usually based on the events with a clear and current news peg. But the main goal is to show the absurd and ridiculous side of the situation. Real facts and heroes are combined with an open position of the author, who uses irony, sarcasm and grotesque.
\nThe genre analysis shows that this segment is right in between the news and satire, combining the features of topical satire and news tell. We are proposing to consider this form innovational and call it \u201cnews satire\u201d.<\/p>\n

Section 2: American Culture of the 17-19th Centuries
\n(coordinator Professor Elvira Osipova elvira.osipova@mail.ru Saint-Petersburg, Russia)<\/h4>\n

1. Elena Lioznova
\nSchool of Public Administration
\nLomonosov Moscow State University, Russia<\/p>\n

The Fables of Cotton Mather: Political Satire of New England at the end of the 17th century <\/strong>
\nThe Glorious Revolution became a turning point in the history of England and its colonies. The most significant changes took place in Massachusetts. The new charter of 1691 transformed not only its political structure but also its religious policy, legitimizing the principle of religious tolerance. In new political and socio-economic situation, the indisputable authority of Puritan ministers was challenged. The political fables of Cotton Mather include four pieces, in which he points out the advantages of the new political charter of 1691, approves the appointment of William Phips and justifies Increase Mather\u2019s work during his diplomatic mission in London. Although these political fables were not published in Cotton Mather’s lifetime, their handwritten copies were quite popular in 1692. Discussing important current events Cotton Mather used allegorical images of different animals and ancient gods to talk about real historical personages.<\/p>\n

2. Irina Y. Khruleva
\nHistory Department
\nLomonosov Moscow State University, Russia<\/p>\n

George Whitefield, the Religious Leader of the first Great Awakening, as an object of American Colonial Satire<\/strong>
\nThe First Great Awakening was a powerful religious movement that swept across all British colonies in North America and coincided with the Enlightenment. It had a profound effect on all aspects of colonial life, greatly affecting religion, politics, and ideology. There have been numerous books devoted to the religious ideas, the way of preaching and various talents of Whitefield, the famous leader of the Great Awakening, yet no works have been published about caricatures and satirical comments on Whitefield, his unique way of preaching and extremely emotional response from colonial crowds which gathered to hear the sermons of the “greatest celebrity” of the British Atlantic world.<\/p>\n

3. Anna Dulina
\nPhilological Department,
\nLomonosov Moscow State University, Russia
\nThe Role of Laughter in Cock-A-Doodle-Doo! by Herman Melville<\/strong><\/p>\n

Many stereotypes have been formed about Herman Melville’s short story Cock-A-Doodle-Doo! (1853). It is more often regarded either as one of his weakest works or just as a satirical one. The plot, which seems to be a ribald joke, and its presumably sexual subtext made many scholars reduce their analysis to just these two issues; as a result this short story is either represented as a bad joke, or a different psychoanalytic interpretation is given. Others, however, ignored this aspect and interpreted the story exclusively as a serious satire on the philosophy of transcendentalism. Some modern scholars view the narrator of Cock-A-Doodle-Doo! as one who is suffering from a bipolar disorder. But even these radical interpretations imply that laughter (at the writer\u2019s intellectual opponents, at the narrator or with him) is an important component of the poetics of the story. In my view, the laughter in Cock-A-Doodle-Doo! is indicative of a threat that can’t be overcome.
\nIt is by analyzing the way the heroes laugh, that we can adequately interpret the story, thus placing it alongside with other works of Herman Melville.<\/p>\n

4. Astashenkov I.M.
\nRAS Gorky Institute of World Literature, Moscow, Russia
\nComic Absurdity and its Role in Mark Twain’s Early Short Stories<\/strong><\/p>\n

In his early short stories Mark Twain often shows absurd and comic situations, which could hardly have happened in the society of his time. We need to understand that the author used such comic absurdity intentionally, since his short stories were based on the tall tale \u2013 and yarn as its variety. Twain conceals the unreal behind realistic details, smoothing it with the help of humor, thus following the folklore tradition. There are different varieties of the comic (satire, humor, irony, etc.) and it is commonly believed that Mark Twain’s stories are satiric. However, the short stories that are based on the folklore tradition are humorous rather than satiric; the author does not want to ridicule someone else’s idea or existing things, he refers to them positively.<\/p>\n

5. Boris \u041c\u0430\u0445imov
\nJournalism Department,
\nLomonosov Moscow State University, Russia
\nMark Twain\u2019s Humor on the Background of the Victorian Tradition: The Adventures of Huckleberry Finn versus Three Men in a Boat by Jerome K. Jerome<\/strong><\/p>\n

My purpose is to compare two outstanding humoristic narratives, both published in the 1880s, both encompassing similar genre components (travelogue, chronicles, feuilleton, adventure novel). The originality of American humor becomes distinct on the background of the Victorian tradition. Primarily, I will focus on comically degraded subjects, and, apart from that, on various discordances that produce a comic effect.<\/p>\n

6. Elena Gladkikh
\nTransbaikal State University, Chita, Russia
\nIrony as a Way of Creating the Image of a “Seeker of Fortune” in Francis Bret Hart’s Cycle of Californian Short Stories<\/strong><\/p>\n

The paper addresses the role and place of irony in the depiction of characters in Bret Harte’s cycle of Californian short stories. Emphasis will be made on the analysis of stories about life in the gold mines. Irony is shown to be a way to express the author’s assessment of the individual and society in California of the 1860s.<\/p>\n

Round Table Discussion: Henry Thoreau\u2019s Bicentennial<\/strong><\/h4>\n

(coordinator Professor Elvira Osipova elvira.osipova@mail.ru St.Petersburg State University)<\/p>\n

1. Elvira Osipova
\nSt.Petersburg State University, Russia
\nThe Legacy of Henry David Thoreau in the XX century<\/strong><\/p>\n

As a tribute to Henry Thoreau on his bicentenary, the paper focusses on the \u201cliving thoughts\u201d (Th.Dreiser) of the great American author. His ideas of civil disobedience, deliberate poverty \u2013 as means of moral perfection, influenced such writers as Th.Wilder and Kurt Vonnegut, Ray Bradbury and Ken Kesey. The descriptions of nature in the prose of Hemingway and Salinger, Annie Dillard betray the influence of Thoreau’s \u201cWalden\u201d. His thoughts inspired such different authors as Henry Miller, Saul Bellow, and John Gardner. The philosophical tradition expounded by Thoreau can be traced in the later works of Rudofo Anaya.<\/p>\n

2. Polovinkina Olga
\nRussian State University of Humanities, Moscow, Russia
\n\u00abThe Thinking Body\u00bb in H.D. Thoreau\u2019s Poetry<\/strong><\/p>\n

Today critics often speak of body representation in H.D. Thoreau\u2019s works as of \u201cthoroughly intellectual abstractions\u201d (W.M. Etter). R.W. Emerson by no chance focused on Thoreau\u2019s body in his literary portrait of Thoreau. Thoreau considered the dominance of reason over bodily life to be a kind of flaw; from his point of view, the harmony with the world suggests one life for mind and body, \u201cthinking body\u201d. In his poetry this idea is expressed in the image of steps. Thoreau put together steps and music: sounds of music evokes in the memory \u00abthe boyant step\u00bb, when his lyrical hero \u00abtrod lightly as on clouds\u00bb. The rhythm of steps and the musical rhythm of thinking are combined in one, thinking process being united with bodily functions. His idea of unity is very close to the \u201cbody problem\u201d as it was defined by the Western thought from the early 20th century.<\/p>\n

3. Evgenya Frolova
\nDobrolyubov Nizhny Novgorod State Linguistic University, Russia
\nThoreau and Whitman<\/strong><\/p>\n

The paper addresses the problem of Walt Whitman’s poetic phenomenon, which was shaped partly by the influence of transcendentaslists’ ideas and the poetics of Henry Thoreau. Whitman’s method of collecting material for his famous book will be also analyzed. It had much in common with Thoreau’s method of \u201ccontemplation and observation\u201d. The paper will also consider the specifics of autobiographical writing in the Song of Myself and Walden.<\/p>\n

4. Galina Kovalenko
\nRussian State Institute of Performing Arts, Saint-Petersburg, Russia
\nHenry Thoreau’s Ideas in Edward Albee’s drama (The Goat or, Who is Sylvia?)<\/strong><\/p>\n

The play is a parable of losses to which civilization leads and at the same time is a commentary on private life, which is a projection of spiritual values. The destruction of nature destroys these values. The protagonist of the play realized that he had to return back to nature. This is one of Thoreau’s philosophical ideas. He believed that \u201cwhat in other men is religion is in me love of nature\u201d.<\/p>\n

Section3:\u00a0 Literature and Culture of the USA in the 20th-21st centuries<\/h4>\n

and American Drama Round Table<\/h4>\n

(coordinator Professor Natalya Vysotska\u00a0 literatavysotska@gmail.com\u00a0 Kiyev, Ukraine)<\/h4>\n

1.George Shaduri
\nInternational Black Sea University, Tbilisi, Georgia
\nThe Phenomenon of Limerick as Part of American Humor Culture<\/strong><\/p>\n

\u2022 Being originally a part of British culture, Limerick matched well the American sense of humor as evidenced by the first publications at the end of the Civil War of 1861-65;
\n\u2022 Limerick was accepted not only by general public (including newspapers), but also by such intellectuals as Ambrose Bierce, Artemus Ward, and Mark Twain, whose literary language radically differed from that associated with Genteel Tradition;
\n\u2022 Later, on American soil, Limerick became most famous in its ribald (vulgar) form on the grounds of the following traditions:
\n\uf0a7 Strong traditions of humor of the Frontier;
\n\uf0a7 Frivolous literary traditions of the Gilded Age (the last quarter of the 19th C.);
\n\uf0a7 Modernist spirit of the Jazz Age (1920s)
\nIt is the ribald limerick that has become the greatest contribution of American humor culture to limerick poetry.<\/p>\n

2. Kirill Ignatov
\nLomonosov Moscow State University, Russia
\nThe Poetry of Ogden Nash: Between Horse Sense and Horse Laughter<\/strong><\/p>\n

Ogden Nash (1902\u20131971), a renowned poet of humorous and satiric verse of the first half of the 20th century, was called in the USA the \u2018poet laureate of light verse.\u2019 He devised and masterfully used his idiosyncratic poetic form: long lines in the poems written in different meters, but paired by internal rhythm and unexpected rhyme, ubiquitous eye-rhyme, distorted spelling, and a wide use of puns. Nevertheless, by the beginning of the 21st century his popularity had waned and the readership was dwindling. His texts were part and parcel of absurd poetry of the 20th century, and in it he was an heir to nonsense poetry. However, while the poems of Edward Lear, Hilaire Belloc and Lewis Carroll were travelling from nursery to study, Nash\u2019s poems got stuck in the nursery (at best). By analysing stylistic scope and the artistic content of the poems written by Nash, the talk focuses on the ways the author achieves comic effect in his texts.<\/p>\n

3. Natalia Serzhant
\nBSPU, Minsk, Belarus
\nIrony as a Form of Tragic Vision in Henry Miller\u2019s Fiction<\/strong><\/p>\n

The paper explores the artistic worldview in Henry Miller\u2019s fiction (Tropic of Cancer, 1934, Sexus, 1946).
\nThe autobiographical character in the novels is a rebel of an unusual kind. He exists in a world where the semantic relationship between the desired and the real is lost, he feels cramped in social and cultural conditions, and therefore he chooses confrontation in the form of \u201cmad state of decline\u201d. His awareness of unfulfilled life and failure causes his tragic perception of the world and himself in it. Irony is the only way for him to survive; it helps to reduce tragedy and inspires optimism which is always present in Miller’s texts.<\/p>\n

4. Anna Gaganov\u0430
\n\u0421entre f\u043er Intensive Technologies in Education, Moscow, Russia
\nSatirical Techniques of Creating the Duality of a Literary Character in Robert Sylvester’s Novel The Second Oldest Profession<\/em><\/strong><\/p>\n

The paper analyzes the specifics of creating literary portraits of characters in Robert Sylvester’s novel The Second Oldest Profession. The paper argues that the novel\u2019s leading character \u2013 the journalist and newspaperman Ned Gorse \u2013 is depicted in his duality. The writer emphasizes the antagonism between “professional” and “universal” motives in the journalist\u2019s behavior, as well as the contradiction between his thoughts and actions.
\nProfessional image of a successful journalist Ned Gorse is created by means of satirical techniques, expressive language, and grotesque. For delineating Gorse\u2019s “non-professional” or “universal” image satirical techniques are not used.
\nA parallel can be drawn here with Sergei Dovlatov\u2019s Compromises, where satirical techniques for creating a literary portrait reach a higher level of concentration and saturation. In this case, the characters lack “non-professional” or “universal” selves. Perhaps, this accounts for the work\u2019s genre specificity. It can be argued that the Compromises do not offer psychologically profound literary characters presenting solely their “professional” portraits.
\nAt the same time, The Second Oldest Profession depicts a conflict between the two facets of the personality. The struggle of ethical and “newspaper” priorities and values predicates the characters\u2019 unpredictable behaviors. The conflict between “actions of a journalist” and “human actions” addresses such ethical categories as “conscience”, “friendship”, and “generosity” and determines the plot line of personal choice \u2013 the novel\u2019s driving force.<\/p>\n

5. \u041e\u043b\u044c\u0433\u0430 \u041b\u044e\u0431\u0438\u043c\u0441\u043a\u0430\u044f
\n\u0422\u044e\u043c\u0435\u043d\u0441\u043a\u0438\u0439 \u0433\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442, \u0420\u043e\u0441\u0441\u0438\u044f
\n\u0418\u0440\u043e\u043d\u0438\u044f \u043a\u0430\u043a \u0444\u043e\u0440\u043c\u0430 \u043c\u043e\u043b\u0447\u0430\u043d\u0438\u044f \u0432 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u0435 \u0414\u0436. \u0414. \u0421\u044d\u043b\u0438\u043d\u0434\u0436\u0435\u0440\u0430<\/p>\n

\u041d\u0430\u0441\u0442\u043e\u044f\u0449\u0435\u0435 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u0435 \u0432\u044b\u044f\u0432\u043b\u044f\u0435\u0442 \u0441\u0432\u043e\u0435\u043e\u0431\u0440\u0430\u0437\u0438\u0435 \u043a\u043e\u043c\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0432 \u0440\u043e\u043c\u0430\u043d\u0435 \u00ab\u041d\u0430\u0434 \u043f\u0440\u043e\u043f\u0430\u0441\u0442\u044c\u044e \u0432\u043e \u0440\u0436\u0438\u00bb (The Catcher in the Rye, 1951) \u0438 \u043d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u0440\u0430\u0441\u0441\u043a\u0430\u0437\u0430\u0445 \u0414\u0436. \u0414. \u0421\u044d\u043b\u0438\u043d\u0434\u0436\u0435\u0440\u0430 \u043a\u0430\u043a \u0441\u043e\u0441\u0442\u0430\u0432\u043d\u043e\u0433\u043e \u043a\u043e\u043c\u043f\u043e\u043d\u0435\u043d\u0442\u0430 \u0435\u0433\u043e \u043f\u043e\u044d\u0442\u0438\u043a\u0438 \u043c\u043e\u043b\u0447\u0430\u043d\u0438\u044f. \u0418\u0440\u043e\u043d\u0438\u0447\u0435\u0441\u043a\u0438\u0435 \u0440\u0435\u043f\u043b\u0438\u043a\u0438 \u0438 \u0436\u0435\u0441\u0442\u044b \u0433\u0435\u0440\u043e\u044f \u0440\u0430\u0441\u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u044e\u0442\u0441\u044f, \u0441 \u043e\u0434\u043d\u043e\u0439 \u0441\u0442\u043e\u0440\u043e\u043d\u044b, \u0432 \u043a\u0430\u0447\u0435\u0441\u0442\u0432\u0435 \u0430\u043d\u0430\u043b\u043e\u0433\u0430, \u043e\u0441\u043e\u0431\u043e\u0433\u043e \u0440\u043e\u0434\u0430 \u0437\u0430\u043c\u0435\u043d\u044b \u043c\u043e\u043b\u0447\u0430\u043d\u0438\u044f, \u0438 \u0441 \u0434\u0440\u0443\u0433\u043e\u0439 \u2013 \u043a\u0430\u043a \u043e\u0434\u043d\u043e \u0438\u0437 \u043d\u0435\u043c\u043d\u043e\u0433\u0438\u0445 \u0441\u0440\u0435\u0434\u0441\u0442\u0432 \u043a\u043e\u043c\u043c\u0443\u043d\u0438\u043a\u0430\u0446\u0438\u0438. \u0427\u0435\u0440\u0435\u0437 \u0438\u0440\u043e\u043d\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0436\u0435\u0441\u0442 \u0433\u0435\u0440\u043e\u0439 \u0434\u0435\u043c\u043e\u043d\u0441\u0442\u0440\u0438\u0440\u0443\u0435\u0442 \u0441\u0432\u043e\u0439 \u0431\u0435\u0441\u0441\u0438\u043b\u044c\u043d\u044b\u0439 \u043f\u0440\u043e\u0442\u0435\u0441\u0442 \u043f\u0440\u043e\u0442\u0438\u0432 \u0433\u043e\u0441\u043f\u043e\u0434\u0441\u0442\u0432\u0443\u044e\u0449\u0435\u0433\u043e \u0440\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u0438\u0437\u043c\u0430 \u0432 \u043e\u0431\u0449\u0435\u0441\u0442\u0432\u0435, \u0432\u044b\u0440\u0430\u0436\u0430\u0435\u0442 \u0433\u043b\u0443\u0431\u043e\u043a\u043e \u0441\u043f\u0440\u044f\u0442\u0430\u043d\u043d\u043e\u0435 \u00ab\u042f\u00bb \u2013 \u0441\u0432\u043e\u0435 \u0447\u0435\u043b\u043e\u0432\u0435\u0447\u0435\u0441\u043a\u043e\u0435 \u0438\u0440\u0440\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u044c\u043d\u043e\u0435 \u043d\u0430\u0447\u0430\u043b\u043e. \u0412 \u0434\u0438\u0430\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0444\u0440\u0430\u0433\u043c\u0435\u043d\u0442\u0430\u0445 \u0438\u0440\u043e\u043d\u0438\u044f \u0438\u0433\u0440\u0430\u0435\u0442 \u0440\u043e\u043b\u044c \u043e\u0431\u043b\u0438\u0447\u0435\u043d\u0438\u044f \u0438 \u043e\u0431\u043d\u0443\u043b\u0435\u043d\u0438\u044f \u0441\u043a\u0440\u044b\u0442\u044b\u0445, \u043b\u043e\u0436\u043d\u044b\u0445 \u0430\u043c\u0431\u0438\u0446\u0438\u0439 \u0441\u043e\u0431\u0435\u0441\u0435\u0434\u043d\u0438\u043a\u0430, \u0430 \u0442\u0430\u043a\u0436\u0435 \u0437\u0430\u043c\u0435\u0449\u0435\u043d\u0438\u044f \u043f\u043e\u0434\u043b\u0438\u043d\u043d\u043e\u0433\u043e \u0447\u0443\u0432\u0441\u0442\u0432\u0430 \u0438 \u043c\u044b\u0441\u043b\u0438 \u0433\u0435\u0440\u043e\u044f, \u0442\u0449\u0430\u0442\u0435\u043b\u044c\u043d\u043e \u0437\u0430\u043c\u0430\u043b\u0447\u0438\u0432\u0430\u0435\u043c\u043e\u0433\u043e \u0438\u043c.<\/p>\n

Olga Lyubimskaya
\nTyumen State University, Russia
\nIrony as a Form of Silence in J. D. Salinger’s Works<\/p>\n

The present paper reveals specific features of the “comic” in the novel The Catcher in the Rye (1951) and some short stories by J. D. Salinger as an integral component of his poetics of silence. The characters\u2019 ironic retorts and gestures are considered, on the one hand, as an analogue or a special kind of substitution for silence, and, on the other hand, as one of the few means of communication. Due to ironic gesture a character demonstrates his powerless opposition to the dominant rationalism in society, expresses his deeply hidden personal self \u2013 his human irrationality. In the dialogue fragments the irony performs the function of exposing and nullifying the interlocutor\u2019s latent false ambitions, but its main goal is the substitution of a character’s genuine feelings and thoughts which he thoroughly tries to suppress.<\/p>\n

6. Tatyana Kamarovskaya
\nMaxim Tank Belarus State Pedagogical University, Minsk, Belarus
\nThe Ironic Representation of History in Gore Vidal’s Novels Burr, 1876, and Lincoln<\/p>\n

Gore Vidal finds in the Past the germ of deep contradictions peculiar to the U.S. social and political system, the tendency to restrict democracy, and it leads him to de-bunk this Past in the novels Burr and 1876. His main device in depicting historical events and characters is satire. But Lincoln differs from the above-mentioned novels in its treatment of the main character. Gore Vidal appreciates Lincoln for his devotion to the interests of the country and his readiness to sacrifice himself for its rescue. Lincoln, according to
\nVidal, marvelously suited the needs of the country, and so could save it. That\u2019s why his character is the only positive one among the portraits of politicians created by Vidal. Bitter irony, fierce satire, and sarcasm \u2013 the most widely used stylistic devices applied by Vidal in his creation of political leaders \u2013 are substituted in representing Lincoln by mild humor testifying to the author\u2019s fondness of his protagonist and sympathy to him.<\/p>\n

7. Natalia Kuznetsova,
\nJournalism Department
\nLomonosov Moscow State University, Russia
\nImage of Jester in John Updike\u2019s novels The Centaur and The Witches of Eastwick<\/p>\n

In M. M. Bakhtin\u2019s opinion, the ambivalent character of \u201cridiculous man\u201d is embodied in the image of the jester, who is the main character in carnival literature. The jester characters figure most obviously in the two novels by the American author John Updike: The Centaur and The Witches of Eastwick. The two characters endowed with features of jester, which are basically opposite, will be analyzed in this paper: the first one is George Caldwell (The Centaur) who also personifies Jesus Christ, and the second one is \u201cthe devil\u201d Daryl Van Horne (The Witches of Eastwick).<\/p>\n

8. Alla Nikulina
\nM. Akmullah Bashkir State Pedagogical University, Ufa, Russia
\n\u2018Painting the Entire World Anew\u2019: Irony and Postirony in David Markson\u2019s
\nWittgenstein\u2019s Mistress<\/p>\n

David Markson\u2019s novel Wittgenstein\u2019s Mistress (1988) develops the postmodern ironic tradition and strives to overcome it at the same time. The irony in the novel can be traced not only at the stylistic level but at the conceptual one as well, i.e. in the formal structuring of the text, characterizing its genre, creating the intentional situation of epistemological doubt, breaking logical connections, eclectic combining of various artistic elements. But the peculiarity of the novel lies in the fact that its final creative goal appears to be bigger than mere destruction of norms and rules in a postmodern manner or satirizing Wittgenstein\u2019s stiff logocentrism. The novel\u2019s appeal for the reader has to do with sudden shifts from the trifling and grotesque to the grave and sincere, and as a result the postmodern playfulness gives way to a profound philosophical investigation of human nature and the meaning of existence. The elements that run contrary to the postmodern interpretation of the novel include the focus on the individual, the detailed psychological analysis, sincere emotional impact on the reader, posing big metaphysical questions and trying to find universal answers to them. It makes D. Markson\u2019s novel a forerunner of the post-ironic \/ post-postmodern \/ metamodern tradition in the Western literature at the turn of the 21st century.<\/p>\n

9. Alexandra Strukova, Olga Karasik,
\nKazan Federal University , Russia<\/p>\n

Michael Chabon\u2019s Novels: from Irony to Sarcasm
\nMichael Chabon is a modern American writer, the Pulitzer Prize winner, the author
\nof Wonder Boys (1995), The Amazing Adventures of Kavalier & Clay (2000), The Yiddish Policemen\u2019s Union (2007), Moonglow (2016), etc. His fiction lingers on the border between popular and serious literature. We are going to analyze the specific features of Chabon\u2019s humor, and observe the development of comic elements in his novels. We plan to follow the transformation of irony into sarcasm in the author\u2019s depiction of American realities of the 20th and 21st century, history, and national stereotypes. Irony and sarcasm are the main ways of understanding the reality for the author, and his main methods of presenting this reality. They become a part of his postmodern play with readers when he creates his novels, which are close to a farce.<\/p>\n

10. Lyubov Pervushina
\nMinsk State Linguistic University, Belarus
\nSatirical Mood in Steve Tesich\u2019s Works: Artistic Experiments by American \u00c9migr\u00e9 Writer<\/p>\n

Satirical mood is an important characteristic of the works authored by Steve Tesich (1942 \u2013 1996) \u2013 a prominent American immigrant playwright, novelist, screenwriter and essayist of Serbian origin. He was awarded literary prizes for his experimental novels and plays which reveal his satiric perception of the world. Using parody and irony, he exposes contradictions of the globalized world and rethinks contemporary art, with its commercialization and standardization of tastes in his bitterly satiric picaresque novel Karoo (1998, 2004, with the introduction by E.L. Doctorow). Tesich uses grotesque and absurd episodes to reconstruct the atmosphere of \u201cpost-Hollywood disappointment and the moral decline of society\u201d. The play Art and Lesure and the novel Karoo show how the overproduction of meaningless literary works, movies and plays create \u201cfalse\u201d images and ideas which affect people\u2019s consciousness and influence their life.
\nAmerican Drama Round Table
\n1. Natalia Vysotska,
\nKyiv National Linguistic University, Ukraine
\nAmericanizing Shakespeare\u2019s Humor: the Case of Cole Porter\u2019s Kiss me, Kate<\/p>\n

Cole Porter\u2019s 1948 musical (libretto by Bella and Sam Spewacks) based on William Shakespeare\u2019s early comedy The Taming of the Shrew turned out the composer\u2019s masterpiece and the first play to win the Tony award for musical theater. Arguably, the authors\u2019 interest in a dramatic piece with pronounced gender motifs lying at its core might have been predicated, alongside with other factors, upon the new situation arisen by that time in the United States. During World War II many American women were obliged to enter the workforce thus undertaking functions in social production previously performed almost exclusively by men. As a result, the societal demand (most likely, not consciously, but intuitively perceived by the composer and the dramatists), on the one hand, called for the recognition of the altered status of women in America, while, on the other, was meant to induce women through a mild playful medium to get back to their more traditional roles as wives and mothers. It is my belief that the strategies deployed by the authors in order to Americanize the original techniques aimed at creating comic effect include the following:
\n1. Structurally, the authors resort to multiplying the principle of multilayered stage text hinted at by Shakespeare. In addition to the main plot line \u2013 staging a musical based on The Taming of the Shrew by the acting company at the Baltimore Ford theater, the story is split into even more dramatic levels (e.g., the \u201cperformance within the performance\u201d features itinerant Italian actors), up to extra-textual reconciliation of the two coauthoring playwrights that duplicates the play\u2019s collision. Accordingly, there are more metaleptic transitions between textual levels (\u201creality\u201d vs. \u201cacting\u201d) enhancing the humorous effect.
\n2. Strategies long tested within the framework of the age-old tradition of travestying Shakespeare\u2019s works in the US are made ample use of. These include decontextualizing the original\u2019s semantic units followed by their trivialization, as well as imbuing the text and the plot with American life features (gangsters, gambling, baseball, Coke etc.) and period markers abundantly present in the piece\u2019s language.
\n3. Concurrently, Porter\u2019s idiosyncratic style tinted by his immersion into European cultural landscape is manifested in musical numbers\u2019 lavish intertextuality. They contain not solely Shakespearean allusions, but also numerous nods towards West European \u201chigh culture\u201d as a whole, even though played in a humorous key.
\nTo sum up, drawing upon rich resources of both conventional and individual forms of comic expression, Cole Porter and the Spewacks succeeded in adapting Shakespeare\u2019s comedy to new temporal and spatial conditions.<\/p>\n

2. Maxim Gudkov
\nSaint Petersburg State University,
\nRussian State Institute of Performing Arts, Russia<\/p>\n

American Version of The Good Soldier \u0160vejk:<\/strong>
\nProduction of Paul Green\u2019s Johnny Johnson in the Group Theatre (1936)<\/strong><\/p>\n

While Europe is enveloped in fascism and military tension, the first anti-war musical in the history of American theatre appears across the ocean \u2013 Johnny Johnson<\/em>. The production united the efforts of the playwright Paul Green, the composer Kurt Weill, and the director Lee Strasberg, becoming one of the most important works of the legendary Group Theatre in New York City. Comedy, satire, tragedy, as well as music and vocals were mixed in a daring and innovative way to reveal the madness and absurdity of war.<\/p>\n

3. Yulia Kleiman
\nRussian State Institute of Performing Arts,
\nSaint-Petersburg, Russia
\nThe Wooster Group: Making Fun of \u00abSacred Monsters\u00bb<\/strong><\/p>\n

The Wooster Group company was formed by Elizabeth LeCompte inside the Performance Group \u2013 one of most famous companies of the Sixties, and it has retained the reputation of provocateurs and rebels for forty years. The generation of the Sixties was laughing at the falsity of social institutions, but The Wooster Group is laughing at the Sixties\u2019 idealism as well. Kitsch, post-modernist irony and violation of all rules of political correctness are the instruments used by Elizabeth LeCompte for deconstructing texts that are \u201csacred\u201d for the American stage. Plays by Arthur Miller and Eugene O\u2019Neill are among them. Comedy techniques breaking the traditional perception of the classics not only uncover unexpected messages in the plays, but also highlight the pain spots of contemporary society.<\/p>\n

Section 4: Ethnic Components of American Culture
\n(coordinators Dr Oksana Danchevskaya odanchevskaya@gmail.com and Dr. Andrew Wiget Andrew.Wiget@gmail.com )<\/h4>\n

1. Oksana Danchevskaya
\nMoscow State Pedagogical University, Russia<\/p>\n

American Indian Humo<\/strong>r<\/p>\n

Common stereotypes portray North American Indians as reserved, unsmiling and strict, but few know how much they like to joke in real life \u2013 on themselves, over historical events, over their problems… A closer acquaintance with the jokes and the widespread tradition of banter sometimes can reveal more in-depth information about American Indian cultures than the study of classical sources.<\/p>\n

2. Gleb Aleksandrov
\nMoscow, Russia
\nA Joke, a Satire, a Warning: Colonial Images in the XVIIth Century English Entertainment and Their Impact on American Humor<\/strong><\/p>\n

Images of colonies and their native peoples appeared frequently in the XVIIth century English entertainment. They featured most frequently in plays and court masques. The images themselves were relatively diverse and served a number of purposes – from adding a humorous touch to the work to symbolizing the growing British colonial power to warning about the dangers of “savagery” and the loss of civility. The article examines the variety, functions and specifics of those images, as well as their importance as the origin point of many of the “humorous” stereotypes subtly permeating the American humor until the last few decades.<\/p>\n

3. Tatiana Voronchenko
\nTransbaikal State University, Chita, Russia
\nLaughter in Chicano everyday culture: a response to Gustavo Arellano\u2019s Ask a Mexican!<\/em> (2008)<\/strong><\/p>\n

The book of famous Californian journalist Gustavo Arellano Ask a Mexican! (2008) has a form of dialogue with a reader and bases upon his working experience at Orange County Weekly, where he has a column Ask a Mexican!. The author gives an original humorous perspective on various areas of Chicano lifestyle: language, culture, food, music, fashion, etc. Reflection on the book provides new insights into peculiar characteristics of Chicano humour, which are important for understanding the national character.<\/p>\n

4. Ekaterina Fyodorova
\nTransbaikal State University, Chita, Russia
\nArtistic devices for creating comic effect in Carlos Morton\u2019s play Rancho Hollywood<\/em> (1983)<\/strong><\/p>\n

A plot of Chicano playwright Carlos Morton\u2019s play Rancho Hollywood (1983) refers to historical events of mid-19th century when Californian lands had brought into the U.S. control. The prototypes of main characters are real historical figures. The author focuses on mockery of ethnic stereotypes by using a wide range of artistic devices predominantly sarcasm. The paper examines the special nature of Carlos Morton\u2019s humour, who fixates on deep philosophical and political issues through laughter.<\/p>\n

5. M.I. Baranova
\nLinguistics University of Nizhny Novgorod, Nizhny Novgorod, Russia
\nSatirical Discourse of the \u0421hicanos in Klail City by Rolando Hinojosa<\/strong><\/p>\n

Mexican-American and Anglo-American worlds, as well as their cultural confrontations and cross-cultural enrichment, are central to the novels of a chicano writer Rolando Hinojosa. In his works Mexican-American problems are dealt with through inner and outer conflicts of the chicano personages whose humor is an integral part of their character. The paper discusses how the satirical discourse of the chicanos helps to understand the Mexican-American problems of the novel Klail City (1987).<\/p>\n

6. I. M. Udler
\nChelyabinsk State University, Russia
\nFolklore Basic of Comic in the Works of Frederick Douglass<\/strong><\/p>\n

In the classic Narrative of the Life of Frederick Douglass, an American Slave. Written by Himself, in the autobiographical prose, journalism, oratory Frederick Douglass, with his and his people\u2019s wonderful sense of humor, has used the comic, which had a folklore African and African American basic. Forms of comic in his works: 1) \u201dmocking laughter\u201d (V. Y. Propp) over the slaveholders and slave-drivers, the Church and religion in the service of slave system, the ideology of slavery and racism; 2) \u2018laughter through tears\u201d, \u201claughing-to-keep-from-crying\u201d, multi-valued, ambivalent tone of musical folklore, trope of signifyin\u2019 in the representation of African Americans\u2019 psychology, causing emotional solidarity among black listeners and readers. Folklore genres used by Frederick Douglass: tales, legends, fables, anecdotes, proverbs, saying, chant sermons, songs that reflected the mentality and character of black Americans.<\/p>\n

7. Tatiana Klimenko
\nTransbaikal State University, Chita, Russia
\nTraditions of African-American Humor in Paul Beatty\u2019s satire The Sellout<\/strong><\/p>\n

The paper analyses Paul Beatty\u2019s satirical novel The Sellout, which won 2016 Man Booker Prize, from the point of racial comedy. The author of the paper pays special attention to the use of the language means in the book which can remind us of contemporary American stand-up comics, such as Chris Rock, Richard Pryor, Dave Chapelle. The issues of the novel continue the traditions of Ralph Ellison\u2019s and Ishmael Reed\u2019s. The aesthetics of combining the somber with the absurd is an effective weapon against race in eternal American \u201cconversation on race.\u201d<\/p>\n

8. Julia S. Ovchinnikova
\nDepartment Foreign Languages and Area Studies,
\nLomonosov Moscow State University, Russia
\nLa Muerte Sonriente: Humorous Play Imagery of Death in Mexican and Mexican-American cultures<\/strong><\/p>\n

The report focuses on humorous play imagery of death in Mexican and Mexican-American cultures. Born at the intersection of ancient Mesoamerican beliefs and European carnival tradition, culturological concept \u201cLa Muerte Sonriente\u201d nowadays has national importance and is realized in ritualism and hand-made crafts, in everyday life and mass culture, in folk and professional art. A case study of Mexican and Chicano folklore, music, traditional meals, visual arts (engravings, caricatures, traditional paintings, murals and etc.) and different forms of mass culture (posters, broadsides, puppet installations, costume performances and etc.) reveals the following functions of humorous play images of death: transmission of traditional Mexican world view and values, actualization of family and ethnohistorical memory about dead relatives, establishing live connection with forefathers (motive of meeting), as well as educating, ritual, entertaining, advertising and identity functions. Humorous play imagery of death have special significance for Mexican-Americans in process of their ethnocultural identification, in marking borders of Chicano world in national culture of USA and in actualization of cultural dialogue with motherland.<\/p>\n

9. Evgenia Orynianskaya
\nJournalism Department, Lomonosov Moscow State University, Russia
\nHumor and Satire in Jim Northrup\u2019s Column as a Way of Perceiving the Reality<\/strong><\/p>\n

Not long before his death, Jim Northrup made a list of potential tombstone epitaphs. One of them was: \u00abHere\u2019s one deadline I didn\u2019t miss\u00bb.
\nJim Northrup was an Ojibwe writer, poet, playwright and activist, a marine.
\nHe won many awards, including one for his The Fond du Lac Follies<\/em> column, which was named Best Column at the 1999 Native American Journalists Association convention. The column described the life on the Indian reservation and was known for warm humor and sharply political undertone. Northrup did not sugarcoat his critique, be it of the tribal government, USA politics or racism. He told stories about his tribe’s traditions, laughing good-naturedly at those that might seem absurd the other cultures. Service in Vietnam and family tragedies only reinforced Northrup’s love for life, while he was not afraid to speak about the sad side of it. His use of humor turned human’s fear, anger, and despair into love and kindness \u2013 and that is the great example of the importance of art and, especially, of the gift of storytelling.
\nIn the paper, Jim Northrup’s column is analyzed, which had been published in Indian newspapers The Circle, The Native American Press<\/em> and News From Indian Country<\/em> from 1989 till 2001.<\/p>\n

Section 5: Gender Aspects of American Culture
\n(coordinators Dr. Nadezhda Shvedova n.shvedova2015@yandex.ru and Dr. Larisa Mikhaylova larmih@gmail.com )<\/h4>\n
    \n
  1. Larissa V. BaibakovaHistory Department,Lomonosov Moscow State University, RussiaMark Twain’s Depiction<\/strong> of the Struggle for Emancipation of the American Women from the Standpoint of Victorian Ethics<\/strong>\n

    The main idea of this presentation is to consider such a progressive phenomenon as the struggle for emancipation of the American women through the prism of puritanical mores of the Victorian ethics. The author uses such unique historical source as Mark Twain’s outstanding novel \u201cGilded age\u201d, information potential of which is still not appreciated by the Russian researchers. As the negative sides of emancipation, Twain caustically ridiculed the change on women\u2019s life priorities, putting first their desire for self-realization in professional and public activities at the expense of typical home maintenance.<\/li>\n<\/ol>\n

    2. Larisa Mikhaylova
    \nJournalism Department,
    \nLomonosov Moscow State University, Russia
    \nEvolution of Gender Representation in American Comedy series: from I Love Lucy<\/em> (1951-1960) to Mom<\/em> (2013-)<\/strong><\/p>\n

    Comedy TV series serve a good model of gender representation in American culture of the 20th Century second half \u2013 first decades of the 21st Century. There are discernible stages showing the struggle for equal roles in the society from attempts to be something other besides a wife and a mother (I Love Lucy<\/em>, 1951-1957), through struggling as single moms (Lucy Show<\/em>, 1962-1968) and struggling with realization that your wife possesses far greater powers (Bewitched<\/em>, 1964-1972), to earning respect as a professional (Mary Tyler Moore Show<\/em>, 1970-1977). All-women families in several generations (grandmother, mother, daughter, and granddaughter or aunts-nieces) also have an interesting evolution, which can be seen in Sabrina, the Teenage Witch<\/em> (1996-2003) and a recent continuing Mom<\/em> (2013-). In the first, through conventions of fantasy and satire, we observe initiation into the rituals and customs of female powers, but also new realms of realization becoming habitable for females in the end of the 20th century, while in the second very realistic one we follow a departure from the old ways due to a refusal of a daughter to repeat the vicious circle and starting to fight her own alcoholism and helping to do it to her mother. Anna Ferris (daughter Christie) and Allison Jenney (mother Bonnie) are no less inspirational today in comedy than Jenney was in the role of a White House conscientious and energetic press secretary C.J. Cragg in a TV drama West Wing<\/em> (1999-2006). Humor helps to fight the gravest situations, which still abound in the lives of American women.<\/p>\n

    3. Nadezhda Shvedova
    \nRAS Institute for The U.S. and Canadian Studies,
    \nMoscow, Russia
    \nAmerican Women and D. Trump’s administration: Satire as a Means of Protest<\/strong><\/p>\n

    In the general election in November 2016, Republican D. Trump received about three million votes less than Democrat H. Clinton. However, he was supported by the majority in the Electoral College, which is formed by the results of voting in individual states and determines the outcome of elections.
    \nThe day after the inauguration of Republican President D. Trump, thousands of American women marched across the country and abroad, demonstrating disagreement with the position of the newly elected president. It should be emphasized that the organization of large-scale marches of protest is in the tradition of the women’s movement in the United States. Demonstrators at the events that were announced as “Women’s marches”, but involving numerous men, criticized the president’s political agenda and his attacks on women and minorities. Majority wore knitted pink and purple \u201cpussy hats\u201d, symbolizing vaginas, in protest against infamous Trump\u2019s \u201cgrab them by the pussy\u201d bragging. Thus, they conveyed to D. Trump the message about the importance of women’s rights and human rights in general. Participants in the demonstration advocated racial and gender equality, accessible health care and the right to abortion. These are precisely those issues that are threatened during the reign of D. Trump at the present time. October 6, 2017 Eleanor Smeal – the President one of the most influential women’s organizations in the US “Feminist majority”, which has been for 30 years working and fighting for the equality of women, sends an appeal to the Americans. It is entitled uniquely “Misogynistic attack on women today”, which is permeated with anxiety about the status of American women in connection with the new steps taken by the administration of D.Trump, directly concerning the interests of women.
    \nIn what direction does society and the country develop? Will this world become less polarized and property-divided, and society will strengthen humanitarian aspirations? Questions requiring careful study.<\/p>\n

    4. Maria Kislaya
    \nState Academic University for the Humanities, Moscow, Russia
    \nWomen’s & Men’s Humor: American Research on Gender Stereotypes<\/strong><\/p>\n

    Nowadays humor plays a great role in our culture. There are various comic forms that we meet almost at every step of our life. Despite of people\u2019s common aspiration to humorous things, there is a great difference in perception of humor, which depends not only on personality but on gender stereotypes as well. It goes without saying, that according to public opinion women\u2019s sense of humor differs from men\u2019s one in a significant way. However, do we have the right to affirm that men excel women in the sense of humor? Is it fair to have such an attitude to women\u2019s jokes?
    \nThe problem of different perception of male and female sense of humor became a subject of research. American scholars paid much attention to it, and the results of their researches are included in this report. The strict separation of male and female humor is based on gender stereotypes that make us believe in women\u2019s inability to excel men in jokes. The sources of these stereotypes and the mechanism of their influence must be considered in order to break such a strong myth about women\u2019s sense of humor.<\/p>\n

    5. Nadezhda Azhgikhina<\/p>\n

    Journalist Union of Russia<\/p>\n

    Humor and Irony in Combating Gender Stereotyping. Feminist\u00a0Media and Humor<\/strong><\/div>\n
    <\/div>\n
    <\/div>\n

    Section 6: Fantastic in the Arts
    \n(coordinator Dr. Larisa Mikhaylova larmih@gmail.com MSU, Russia)<\/h4>\n

    1. Larisa Mikhaylova
    \nJournalism Department,
    \nLomonosov Moscow State University, Russia
    \nParody as an Affirmative Allusion to Star Trek Universe in the film Galaxy Quest<\/em> (1999) and TV series Orville (2017)<\/em><\/strong><\/p>\n

    Half a century anniversary of Star Trek franchise coincided with a period in history of a great uncertainty and serious discrepancies in the views and prognoses concerning the future development of the USA and the world in general. Is the positive outlook on various conflicts development embodied in the Gene Roddenberry\u2019s vision still viable? Two new series connected to Star Trek<\/em> started to run in 2017 – the official prequel Star Trek: Discovery<\/em> (CBS) and a project advertised as a Star Trek spoof \u2013 Orville<\/em> (Fox) by Seth MacFarlane. While the first one, whose creators claim to be true to Roddenberry\u2019s original aims, causes a great controversy among the fans, the second gains more and more support among them. The main reason \u2013 affirmation of the principles, which for the most are embodied in Star Trek respect to diversity and overcoming contradictions on the background of exploring the Universe.
    \nIn the paper, the comparison of Orville<\/em> and the film Galaxy Quest<\/em> is conducted with the conclusion that they represent a form of a parody as an affirmative allusion.<\/p>\n

    2. Artem A. Zubov
    \nPhilology Department,
    \nLomonosov Moscow State University, Russia
    \nAnthropology of Humor in Science Fiction (case studies of Fredric Brown\u2019s Blood<\/em> and First Time Machine<\/em>)<\/strong><\/p>\n

    In his seminal The Interpretation of Cultures<\/em>, Clifford Geertz posited that the key to understanding the culture of Another lies in understanding of a joke. Science fiction\u2019s anthropological potential, as a mode of literary writing, resides in its ability to depict cultures different from our own and model scenarios of contact that reveal us to ourselves as aliens. But also, science fiction \u2013 as systems of institutions of production and generic interrelations \u2013 is itself a culture open to anthropological investigation.
    \nIn my presentation, I focus on reader-response theory of science fiction which was elicited by Samuel Delany and continued in Nancy Spencer\u2019s and John Rieder\u2019s research. The scholars interpret reading of science fiction as a process of correction of readers\u2019 expectations aimed at producing the effect of reality of descriptions that have no points of reference in author-reader\u2019s environment. Consequently, humor in science fiction comes from double correction and is a product of deconstruction of both realistically built fantastic world and generic expectations.
    \nMy paper includes case studies of two short stories by Fredric Brown both written in 1955. In his stories, the author addresses \u2013 as Eric Rabkin put it \u2013 the \u201cmegatext\u201d of science fiction and deconstructs generic conventions as they formed in the cultural imaginary of readers by the mid-20th century.<\/p>\n

    3. Yuliya Khoroshevskaya
    \nSouthern Federal University, Rostov-on-Don, Russia
    \nThe Figure of a Trickster in the American Fantastic Literature<\/strong><\/p>\n

    One of the peculiarities of modern literature is erasing boundaries between Cosmos and Chaos, and a further attempt to overcome the binary, including the ancient opposition of evil \/ good. As a result of mixing and shifting borders, the image of trickster is popularized and romanticized, trickster being the caricature doppelganger of both the god-creator and the cultural hero. Trickster is neither a positive nor a negative hero, but a balance between them. He is the intermediary between the blessing and the hostile, his own and others, the sacred and profane. This image is analyzed on examples of such characters as Martin Silen (Dan Simmons`s Hyperion Cantos<\/em>), Matt Cauthon (Robert Jordan`s The Wheel of Time<\/em>), Mr. Wednesday and Mr. Nancy (Neil Gaiman`s American Gods<\/em>).<\/p>\n

    4. Dzhafar Verkhovykh
    \nVolgograd State University, Russia
    \nSatire as an Element of Protest: \u201cThe Pursuit of Happiness\u201d in the South Park sitcom<\/strong><\/p>\n

    On the example of South Park characters, it is analyzed how this sitcom creators interact with the famous Thomas Jefferson\u2019s conception of “Pursuit of Happiness” by the means of satire. Peculiarities of the American society representation in the animated series are examined. The attitude of American viewers to the characters of South Park is determined, which helps to draw conclusions on the degree of the show\u2019s satirical representation efficacy of the moral state of the American society.<\/p>\n

    Section 7: Canadian Dimension of American Culture
    \n(coordinator Dr Constantin Romanov kromanov@rocketmail.com\u00a0 \u00a0MSU, Russia)<\/h4>\n

    1. Constantin Romanov
    \nDepartment of Foreign Languages and Regional Studies,
    \nLomonosov Moscow State University, Russia
    \nOvercoming Colonialism: Humor and Irony in Modern Aboriginal Art in Canada<\/strong><\/p>\n

    Colonial policies of Canada\u2019s governments in 19-20 centuries towards Indigenous population have recently been criticized. The consequences of this politics to Aboriginal societies are often called \u201ccultural trauma\u201d in modern humanities and social sciences. Attempting to overcome these consequences, many Native artists use humor and irony as remedy that helps to recover their cultures.<\/p>\n

    2.Marina Pereverzeva
    \nTchaikovsky Moscow State Conservatory (university), Russia
    \nComic Works in the Canadian music of the XX century<\/strong><\/p>\n

    The Canadian composers of the XX century have created many comic works. They used methods of copying and parodying of the cultiral stylistic features of the various historical periods or nations. Perhaps, a large number of the musical pieces of comic character is caused by the philosophical approach to conceptualize of the world, characteristic Canadian “a look from outside”, the need for communication with listeners in simple and clear language, or may be these opuses were a certain psychological reaction to world events. Anyway they deserve attention of researchers and listeners.<\/p>\n

    3. Natalia Karelina,
    \nDepartment of Foreign Languages and Regional Studies,
    \nLomonosov Moscow State University, Russia<\/p>\n

    What Do Canadians Laugh at? Jokes and anecdotes about Canada<\/strong><\/p>\n

    National humour of different kinds tells a lot about the nation and definitely about the country as a whole. The paper sets out to analyze the most popular Canadian jokes and anecdotes which help to form the image of Canada and the people living there. First of all, these jokes and anecdotes are connected with Canada\u2019s geographic position, climate, national character, social habits and preferences.<\/p>\n

    4. Maya Petrukhina
    \nAcademy of Diplomacy, Moscow, Russia
    \nPolitical and Cultural Narratives of Canada 150 Anniversary<\/strong><\/p>\n

    Sesquicentennial anniversary of Canada Confederation as a date in its history and in terms of a speech of its Foreign Minister Chrystia Freeland. Canadian traditions and values to be seen within its inside challenges and interactions of divergent ethnic groups of people. The appointment of the 29th governor \u2013general Julie Payette (Canadian first woman astronaut) as a national symbol. The anniversary \u201dCanada 150\u201d celebrations with \u201cmulticultural parade of nations\u201d, international festival of authors(\u201cToronto festival of words and ideas\u201d), symbols and specific types of achievements in various spheres of life.<\/p>\n

    Round Table Discussion<\/strong>
    \nImprints: Image of Russia and Image of America <\/strong>
    \n(coordinator Professor Yassen Zassoursky)<\/strong><\/h4>\n

    1. G. S. Lapshina,
    \nLomonosov Moscow State University, Russia
    \n\u00ab He gave people hope\u00bb<\/strong>
    \nThis is how Yaakov D. Homnick (http:\/\/www.evrey.com\/sitep\/culture\/print.php?menu=230) named his article, and it is hard to disagree with this thesis.
    \nIn the Library of Congress on the Thomas Jefferson Building\u2019s Ground Floor next to the Gershwin Room one can find Bob Hope Gallery. Bob Hope (1903 \u2013 2003), American comedian, actor, radio- and TV-host, is famous with his numerous performances for American troops, which he conducted also in the war zones. During the span of his career, Bob Hope received awards for his humanitarian work.<\/p>\n

    2. J\u00f3zefina Pi\u0105tkowska-Brzezi\u0144ska
    \nUniversity of Warsaw, Poland
    \nEmotional Component of Irony in English Translations of Anna Akhmatova\u2019s Lyric Poetry<\/strong><\/p>\n

    Detection and translation of irony is one of the most complex tasks for translators. This presentation will focus on the emotional component of ironic utterance. A comprehensive linguistic analysis of chosen texts will be undertaken in order to check if translators have adequately reflected the speaker\u2019s emotional tension. The examples will be provided from English renditions of lyric poems by Anna Akhmatova, who is a poet widely appreciated for her sophisticated irony.<\/p>\n

    3. T.N.Belova
    \nDepartment of Philology
    \nLomonosov Moscow State University, Russia
    \nSatirical Depiction of the American Mode of Life in the Nabokov\u2019s Novels of 1950\u2019s-1960\u2019s <\/strong>
    \n(Pnin, Lolita, Pale Fire<\/em>)<\/strong><\/p>\n

    The detailed and exact realities of American life are depicted in these novels with the trace of real satire coupled with humour in Pnin<\/em>, which hero is portrayed rather sympathetically. The image of Humbert in Lolita<\/em> \u2013 a maniac-nympholept has got both ironical and satirical connotations, and in this novel satire obviously prevails, while in Pale Fire<\/em> forms of satire are constantly coupled with grotesque and parody as the narration is given in the distorting mirror of the neurotic consciousness of Kinbot-Botkin, the insane marginal character. The realities of American mode of life are also depicted in these novels with the trace of satire: the boosted motels and hotels, cars and toilets bearing pretentious names, the newest systems of medical treatment, education and bringing up children, academic grants, the cult of consumption and the dominating influence of advertisement, its banality and vulgarity, hypocrisy, etc. But besides the comical and satirical connotation each novel does represent the tragical shades of the epoch: the World wars and revolutions, dramatic Russian emigre\u00e9 life, elements of racialism and anti-Semitism in American society, etc.<\/p>\n

    4. Ada Baskina
    \nMoscow, Russia
    \nAmerican Humor through a Muscovite\u2019s Eyes<\/strong><\/p>\n

    Americans like making fun. I discovered it at my first step into Kennedy airport (N-Y). All service workers were dressed\u00a0 in masquerade costumes: they were celebrating Halloween. Later many times I was watching the humoristic style of business persons at their very serious meetings.
    \nSometimes American humor seems to be rude, coarse. For example jokes with death, or so-called \u201cass humor\u201d. Very popular in America are anecdotes about dentists and lawyers usually are not understandable for foreigners. Americans, in their turn, do not understand our jokes about drunks.
    \nA book of contemporary anecdotes published in the USA will be analyzed.<\/p>\n","protected":false},"excerpt":{"rendered":"

    American Humor and Satire: Functions and Forms December 7-9, 2017 December 7, Thursday, 12.00 Lecture Hall 201 Plenary Opening Session 1. Professor Yassen Zassoursky RSACS President, President of Journalism Department, Lomonosov Moscow State University, Russia Greetings to the Conference participants 2. Professor Irwin Weil Northwestern University Evanston IL, USA From Mark Twain to Jokes over […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,57],"tags":[71,72],"class_list":["post-493","post","type-post","status-publish","format-standard","hentry","category-conferences","category-57","tag-journalism","tag-larisa-mikhaylova"],"_links":{"self":[{"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/posts\/493","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/comments?post=493"}],"version-history":[{"count":2,"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/posts\/493\/revisions"}],"predecessor-version":[{"id":705,"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/posts\/493\/revisions\/705"}],"wp:attachment":[{"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/media?parent=493"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/categories?post=493"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rsacs.org\/ru\/wp-json\/wp\/v2\/tags?post=493"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}