Culture Of Laughter Research Articles

Carnivalisation of the Russian Language in the Era of the Coronavirus Pandemic

This article studies the carnivalisation of the Russian language in the era of the coronavirus pandemic (March–early December 2020) based on extracts from media texts and live colloquial speech. The phenomenon of carnivalisation is analysed with reference to M. M. Bakhtin’s concept of carnivalisation and D. S. Likhachev’s generalisations about the folk culture of laughter. It is established that the Russian carnival is associated with will. In the situation of a new “coronavirus normality”, the language forms a layer of anxiety vocabulary, which stimulates word and meaning coinage. It is proved that mass linguistic creativity is a form of resistance to disturbing reality. The author systematises potential neologisms, nonce words, and non-standard metaphors. Word innovations act as a means of creating a comic effect, characterisation, and axiological assessment of reality, as well as a means of diagnosing the tender points of the coronavirus space and a means of psychotherapy. The author distinguishes a temporal model formed in the linguistic worldview which reflects the imperfection of the world: the extended present of the coronavirus; pre-coronavirus past; post-coronavirus future which is conceived as a desired return to the past (the slogan Вперед в будущее!). As part of the analysis, the author describes a layer of new compound word-formations with корона- as the first component. Also, she pays special attention to the interpretation of words close to the core of anxiety vocabulary (путинкулы, полный карантинец, etc.). A unique object of analysis is a group of colloquial words that replace business standards (дистанционка, удаленка, запрещенка), as well as neologisms that expand the number of derivatives of the word маска. The author points out the development of coronavirus literature and characterises new online technologies studied by literature, art, and education specialists. Finally, the article describes the axiological explosion accompanying the carnivalisation of the Russian language.

ФУНКЦІОНУВАННЯ УКРАЇНСЬКОЇ ЕТНОКУЛЬТУРНОЇ ТРАДИЦІЇ В УМОВАХ СУЧАСНИХ ВИКЛИКІВ І ЗАГРОЗ

The article examines the problem of the functioning of the Ukrainian ethnocultural tradition in the context of modern challenges and threats. Emphasis is placed on the need to preserve the national cultural heritage of Ukrainians and the role of cultural and spiritual priorities that form a full-fledged socio-cultural environment and values of the younger generation. The peculiarities of the creation of cultural space in Ukraine and the forms of existence of Ukrainian folklore in the socio-cultural environment are considered, taking into account the challenges and threats of the modern world. The essence of folk traditions and customs as spheres of cultural and spiritual heritage, which influence the communicative organization of people with certain life values, is substantiated. The article considers the essence of the Ukrainian ethnocultural space as an object of Ukrainian studies. It has been proved that ethnoculture is an important factor in the unity of a nation and is an indicator of ethnic and national identity among other peoples, as well as one of the factors of the revival and preservation of national memory. It should be noted that such categories as ethnicity, mentality, national traditions, customs, cultural and ideological components play a significant role in the content of national memory. Folk traditional culture is also a socio-cultural segment of national memory, which potentially helps to consolidate Ukrainian society. It is revealed that Ukrainian culture has long been leveled, censored, ideologically pressured, and destroyed, especially during the Soviet era, but despite the difficulties. Now it is a national and cultural revival of Ukrainian ethnocultural heritage, which is a priority for preserving Ukrainian identity and establishing the independence of the Ukrainian nation in the world. It is proved that ethnoculture highlights the inexhaustible and multifaceted talent of Ukrainians, who are the bearers of folk art. Therefore, responding to modern challenges and threats, changes in the social and political life of the country, new genres of folklore, new types of folk art (youth subculture; graffiti; political anecdotes, such as the genre of laughter culture, etc.) are created in information and cultural space, ridiculing and condemning conflict situations and negative phenomena in society. The Ukrainian nation is modernizing, is actively creating its cultural space despite the influence of the ideology of the "Russian world", despite the economic troubles, the military conflict in the east of our state. The article emphasizes the role of Ukrainian ethnoculture as a component of national culture, which has great potential in establishing Ukraine in the world cultural space, is a powerful factor of deconflicting of Ukrainian society and a consolidating factor of the political unity of Ukrainians, especially in modern hybrid warfare.

Whom Are the Mice Burying? The Interpretation of the Lubok Print The Mice Are Burying the Cat

The article is devoted to the interpretation of one of the most famous lubok prints (cheap popular prints) The Mice Are Burying the Cat, which was printed in different editions and versions from the beginning of the 18th century to the middle of the 19th century. The plot of this picture is under discussion. Some researchers view it as a parody of the funeral of Peter I, while others draw attention to the fact that the stylistic features of the early images and the language of captions indicate an earlier origin. Our analysis showed that the epithets of Kazan (Rus. казанский), of Astrakhan (Rus. астраханский) and of Siberia (Rus. сибирский) used with regard to the cat clearly refer to the title of the tsar. This points to the fact that it is a tsar's funeral that the picture parodies. The captions depicting mice reflect the entertaining laughter culture of the second half of the 17th century. It is significant that the mice are carrying buffoonery musical instruments, they are dancing, drinking alcohol and smoking tobacco. The attributes of buffoonery culture and fun, which the tsar used to combat with the support of Patriarch Nikon, make it possible to bring the prototext of the popular print into correlation with a parody of Alexei Mikhailovich's funeral. In later pictures, the plot-forming element is constituted by the indication of the areas the mice are associated with. Changes in a number of images, as well as the introduction of new toponymy, refer the viewer and reader to the funeral of Peter I, the ceremony of which involved a procession with the coats of arms of provinces. The proposed interpretation makes it possible to reconcile the two concepts and prove that this lubok represents a caricatural funeral of the tsar. However, in older engravings the funeral procession consists of buffoons, and in the later ones, it features representatives of different parts of the empire. In the first case, the tsar is Alexei Mikhailovich, and in the second case, Peter I.

On the Role of the Comical in Valery Podoroga's Project of Anthropology of Power

The article analyzes the concepts of comic and laugh in some texts by V.A. Podoroga on anthropology of power, and his view on critical potential of the comic for the philosophical analysis of modern politics and culture. Based on Podoroga's study of M.M. Bakhtin’s theory of laughter culture, grotesque images of corporeality by A. Artaud, A.F. Losev and S. Eisenstein, author argues that Podoroga understands the comic in the context of his theory of the phenomenology of body in which the laughter is associated with the grotesque, when the funny manifests itself in inseparability from the terrible and horrible. The article examines how Podoroga's concept of grotesque correlates with thoughts about the comic and laughter of A. Bergson and Ljubljana philosophical school (S. Zižek, A. Zupancic). It is argued that the prohibition on reading the experience of transgressive corporeality and sexuality (texts of A. Artaud, A.F. Losev and drawings of S. Eisenstein) in terms of the comic, introduced by Podoroga, is canceled when he understands sex not as a sign, a symbol of the sublime, but as a social construct, gender. It is revealed that in the case of gender study of the anthropology of power by Podoroga on the example of post-soviet gender identities and strategies of hegemonic masculinity (on the example of reading M. Proust by M.K. Mamardashvili) he is applying similar to Zižek's strategies of comization, emphasizing the moment of transgression in the comic.

Folk laughter culture in Bakhtin’s philosophy

Folk laughter culture in Bakhtin’s philosophy

ХУДОЖЕСТВЕННЫЕ ОБРАЗЫ ХОРОВОЙ ПОЭМЫ С. СИРОТИНА «СМЕРТЬ ИВАНА ГРОЗНОГО»: САТИРИКО-ТРАГЕДИЙНЫЙ АСПЕКТ

The work of the Russian composer Sergei Ivanovich Sirotin (1941–2014) occupies a unique niche in modern music. However, there is not much information either about the composer or about his choral work. The article focuses on Sirotin's poem "The Death of Ivan the Terrible" written for a mixed choir. The essay chosen for research clarifies the degree of reflection of the aesthetic categories of the tragic and the comic. The author analyzes the artistic images through the prism of these categories. Special attention is paid both to the identification of the tragic beginning in plot collisions of the work and its images, and to the comic in its various forms. The choral poem presents elements of folk laughter culture (parody, grotesque), as well as a character that performs a carnival and ritual function. In conclusion, the author states that the images embodied in the poem are the bearers of both tragic and satirical tragic elements, and indicates the features of musical characteristics that contribute to their expression in artistic images. It is argued that at the conceptual level of the work, the tragic and satirical tragic beginnings are opposed to each other.

COGNOMINA ДВУХ ПЛИНИЕВ: ГАЯ ПЛИНИЯ СЕКУНДА И ГАЯ ПЛИНИЯ ЦЕЦИЛИЯ СЕКУНДА

This article provides information on the actual naming of two Roman writers and statesmen: Gaius Plinius Secundus, and Gaius Plinius Caecilius Secundus. Modern researchers make some mistakes in the names of both Plinies. The history of these names sheds light on legal relations in Ancient Rome (family law, especially the order of adoption, the right of Roman citizens on three names – ius trium nominum) and on the evidence of the folk laughter culture (sniper data cognomina of citizens). Medieval and modern traditions of a generic or family naming have their roots in the Roman law. The Roman name was closely related to social status, indicating the antiquity of the genus or personal privileges, for example, the senatorial class, which included the ancient patrician clans or plebeian nobility, as well as a freeborn citizen or a freedman, a slave or a foreigner–peregrine, etc. Geographic area, family relations, and personal excellence were also taken into account. I. Kajanto, as one would expect from a classifier as a pioneer, goes on formal grounds, referring cognomina, Felix and Faustus, to the category of “wish” or “praise”, and Secundus to the order of birth. Our method of studying in a sociocultural context reveals cognomen Secundus as “happy”.

«DECISIVE FIGHT AGAINST LONELY BOOSTERS»: CREATING COLLECTIVE IDENTITIES USING LAUGHTER PRACTICES IN THE SOVIET SOCIETY

The article is devoted to the problem of creating collective identities in Soviet society with the help of ridiculous practices. Humor has always occupied an ambiguous place in society. After the Civil War, the very existence of laughter as a phenomenon in the new society was questionable. During the discussions of the 1920s and 1930s, Soviet cultural figures legitimized «socialist humor». It was found that laughter in the official Soviet discourse was associated with «nationality» and the «element», which needed organization and control. It is concluded that by appealing to folk laughter culture, Soviet cultural figures tried to develop an image of the collective «we», using typicality and stereotypes in different ways in order to create images of «their own» and «foreign». The creators of the Soviet satirical publications, such as «Pepper » and «Crocodile», attracted amateur cartoonists. The abstract «people», represented as the creator of the pro-government discourse, henceforth had to reduce the resistance to this discourse by correlating themselves with it. During the period of perestroika, laughter in the official space is transformed from a collective practice into an intimate experience of personal experience.

AXIOLOGICAL DETERMINANTS OF REFRAMING IN LAUGHTER CULTURE

The article is devoted to the analysis of the conceptual field of designation of axiological determinants of reframing in a laughing culture, exploring the specifics of the functional load of laughter and its manipulative potential in contemporary society. Addressing to the characteristics of the psychotechnology of semantic reformatting in a laughing culture, the axiological factors of interpretive interactions in various discursive contexts and semantic invariations are examined (examples of political laughter, actual quarantine jokes and viral memes).Conceptual inversions, which in tangible culture have tangible value dynamics, are studied in the aspect of their manipulative and actualization capabilities. It is proved that the laughable effect in reframing techniques is achieved due to an unexpected and sudden change in the stereotypical course of events based on the logic of recurrence and breakdown of expected patterns, based primarily on a change in the value perception of a particular event or phenomenon, as well as its contextual rethinking and creation of cognitive metaphors. Accordingly, the use of metaphors is defined as a special means of reframing, which actualizes the necessary cognitive parameters due to unexpected conceptual games with binary oppositions, semantic subtext, and open metaphorical profiling, which has a powerful effect of latent influence in modeling of social interaction. An analysis of the mutual influence of traditional laughing theories (contradiction, criticism and liberation) allows us to highlight such common signs of laughter as ambivalence, paradox, sociality, solidarity, conventionality, creativity, dialogism, dynamism, reflexivity. An important aspect of the axiology of laughter is defined as a focused attitude to values and anti-values, which can be a means of displaying alternative points of view on the world, giving rise to new contexts of “comic” understanding of reality in game configurations of socially-situational roles and characteristics of conceptual characters of laughter culture.

THE COMIC IN KINETIC ART AND THE HOOLIGAN METAMACHINES OF JEAN TANGLEY

In contrast to the lyrics of abstract painting, kinetic art through the comic reveals the problems of modern times. Sarcasm, grotesque, irony - these are the most common artistic techniques of representatives of kinetism. Jean Tengley’s hooligan metamachines through paradoxical images that cause surprise and laughter, are an emotional aesthetic form of reaction to social, technical and political problems. The comic provides the artist with endless possibilities for seriously - jokingly playing with the prejudices of his time. The article explores the comic as the basis of kinetic art, and in particular the metamachine of the founder of kinetic art, Jean Tengley. His dynamic sculptures embody the organic elements of laughter culture and comic means. Aggression and the danger of a mechanized world and at the same time the dynamism of the modern era is expressed through comic means. The proximity of man and machine in the possibility of being funny, contradictory, fragile and mortal is noted. Tagley’s bullying metamachines simultaneously revitalize and destroy the visual art, change everyday life and perception. The materials that Tengley uses — scrap metal, typewriters, refrigerators, pens, rubbish — produce sounds and give the impression of an animated garbage dump, information rubbish and an overabundance, look comic, provoke laughter and rethinking reality. The random and unpredictable and therefore often comic nature of the functioning of the Tengley mechanisms determined their closeness to the spectacularity and theatricality of the new genre developing in the 1950s - happening. Tengli’s innovation lies not only in the fact that he made his works to move, but also in the fact that through the comic in his own metamachines, he was able to successfully combine kinetism, made mass market products, sound, self-destruction and entertainment of the happening. It could be confidently said that the comic, having found embodiment in the Tengley metamachines, has even become the most relevant and demanded today, representing a constructive and effective element of the dissipative system of the contemporary art.

PANDEMIC IN THE BIG CITY: PARADOX CORONAVIRUS LAUGHTER

The ambivalence of the nature of laughter causes interest in exploring the possibilities of humor to unite people and help in the era of the coronavirus pandemic, acting as a stress regulator. The article is devoted to the study of ‘coronavirus humor’ in urban culture.War, death, and disease have always been secretly forbidden topics for jokes. But during catastrophic events at some point the ‘mass production’ of jokes, memes, songs, anecdotes. Since the beginning of the pandemic, many international cartoon competitions have been held to combat the coronavirus.The purpose of the article is to analyze the cases of ‘coronavirus humor’ from different countries, its place in the socio-philosophical manifestation and conceptualization of laughter culture from the point of view of ‘socioanthropоsaving’ and ‘socio-anthropo-destructive’ factors and modes of laughter.Citizens in different parts of the world reacted to the general threat, the excitement around toilet paper, the features of distance work and learning, self-isolation and its consequences, new rules of behavior in different parts of the world.When we are sick, we are not kidding, we try to heal. And when there is no certainty: sick or not, when it is unclear what is happening, and whether there is a threat to us and our loved ones, humor becomes an important means of interaction, reaction to this threat. In the face of an external threat, we begin to joke, because, on the one hand, it is a compensation for our insecurity. On the other hand, humor is what allows us to unite. It strengthens our solidarity when we all laugh at the same thing together. This means that we all know the same facts - we share the same agenda, and this is important. We have common values, common norms - we laugh at the same thing. So, humor is not just a need to ‘laugh’ at your fear, but also an indicator and factor of our sociality.

Comedy film as a modern embodiment of the culture of laughter

The object of this article is the comedy cinematography. The subject is the comedy cinematography as a manifestation of the culture of laughter. The author examines such aspects of the topic as the culture of laughter and the history of its conceptualization in the humanities knowledge, historical manifestations of the culture of laughter in different eras. Special attention is given to the idea that comedy film is a significant embodiment of the culture of laughter in modern art. The author analyzes comedy as genre of cinematography; substantiates the impact of comedy film upon society through the means of cinematography as an audiovisual art. The main conclusions of the conducted research consist in the determined functions of comedy film as a manifestation of the culture of laughter in the modern era;  an idea that comedy cinematography along with manifestations of the culture of laughter of the previous historical eras, forms a specific anti-cultural world that demonstrates an underside of the surrounding world , and mostly of the society. The author’s special contribution into this work lies in consideration of the comedy genre of cinematography within the concept of the culture of laughter, which allowed highlighting the new aspects of this phenomenon and substantiating its significance in the spiritual life of modern society. The novelty consists in application of the conceptual framework of the culture of laughter with regards to the analysis of comedy film, which views the phenomenon at hand from the universal worldview perspective.

The Lithuanian Folk Couplets: On This Side of the Permissible Laughter and Beyond

The Lithuanian Folk Couplets: On This Side of the Permissible Laughter and Beyond

CONTEMPORARY UKRAINIAN LAUGHTER CULTURE: TRADITIONS AND INNOVATIONS

Nowadays Ukrainian laughter culture acquired principally new characteristics. We witness the outbreak of Ukrainian laughter which is reflected not only in the popularity of entertainment business but also in the influence of laughter culture at the potestary relations. This increases the relevance of discussions about the national authenticity of specific laughter practices. We think that these phenomena and problems deserve a thorough research. That is why the aim of this article is to reveal the semantics of contemporary Ukrainian culture by specifying its invariant elements and singling out the newest discourses. They are studied in the aspect of interaction between potestary and laughter practices. The research is based on some concepts of H. Bergson’s laughter theory and M. Bakhtin’s methodology of analysis of laughter culture, supplemented with the ideas of the contemporary culturological discourse about specific traits of Ukrainian laughter culture. Scientific novelty. The scientific novelty of the work is in the fact that for the first time the invariant practices, peculiar to Ukrainian laughter are singled out in it; the features of its development in modern conditions are analyzed; the criteria of defining truly Ukrainian opposition of laughter culture to ideology are defined. Such contemporary laughter practices as “prikol” are given new interpretations. The phenomenon of Ukrainian laughter is a dynamic cultural fact which combines traditional and innovative practices. In the contemporary cultural space (as opposed to the previous epoch of laughter culture), there exist various laughter discourses, which differ in general cultural level, intellect, and political orientation of the laughter subjects. Based on these two discourses, the interaction of carnivalized politics and politicized laughter culture occur. On the one hand, it testifies to the processes of democratization of the society, but on the other hand it paradoxally, with the help of laughter practices, reflects the depressive condition of social consciousness.

Діалогізм перекладу в компаративному вимірі. Рецензія на монографію Вікторії Приходько «Рецепція та інтерпретація художнього тексту в іншомовному дискурсі: компаративний вимір» (Луцьк, 2019)

The relevance of the monograph is determined, first of all, by the fact that contemporary national literatures are increasingly interacting with each other through translation, and thus the need to consider translated works in comparison with the originals is increasing. Studying the features and patterns of the literary translation is an important area of modern comparative studies. The work focuses on ways of preserving the national and cultural component of the translated text. The works of M. Gogol, Lesia Ukrainka, I. Franko, F. Dostoievskyi, R. Kipling, and J. Conrad were analyzed according to this aspect. A comparative idea of a dialogue is proposed. It is noted that translation is a broad dialogic process between the author and the reader through the interpreter, which includes reception and interpretation. Literary translation is interpreted as the basis for establishing a dialogue between the text and the interpreter, as an expression of the meaning that flows through the prism of the translating consciousness and enriches it, as a co-creation of the writer and interpreter, the purpose of which is mutual understanding, and the result of this understanding is the text-translation. Attention is paid to the issue of intertextuality as a translation problem. Despite the understanding of intertextuality as the interaction between the texts by different authors (text in text) and the interrelation between different works of one author, the thesis proposes to expand the scope of interpretation of this term, adding to it also different interpretations of one work in the same language. In the monograph the problem of reception and interpretation of literary text is considered in the imagological aspect. In particular, the study of reception and interpretation of other national character in a foreign language discourse plays an important role. Foreign language reception and interpretation of laughter culture in general and «Gogol laughter» in particular are thoroughly investigated. A deep analysis of the works of M. Gogol and F. Dostoevsky made it possible to conclude that the carnival colour of Gogol's «pure, folk-festive» laughter and the parody and comic intonation of F. Dostoevsky during translation give rise to certain problems of preserving their identity. It is noted that the perception of colour in a literary work is a peculiar way of interpreting it, and the semantic nuances of colour markings in one language or another require the problem of the reception adequacy and the interpretation of colour when translating from language to language. The practical importance of the monograph is determined by the possibility of using its basic provisions and results as an additional source of information for further comprehension of the translational paradigm in the comparative dimension.

Postmodernism as the Manipulative Technology in Modern Ukrainian Advertising: the Artistic Dominant CharacteristicPostmodernism as the Manipulative Technology in Modern Ukrainian Advertising: the Artistic Dominant Characteristic

The article deals with the influence of the artistic element of the advertising message on the effectiveness of the commercial offer. Postmodern ist aesthetics is presented as an important component of modern manipulative technologies in the world media. Contemporary advertising is presented as a high-tech art that is media oriented and focused on the emotional and image dominan t element of the consumer audience. It determined the increased attention of advertisers to the philosophy and aesthetics of po s tmodernism. The techniques and methods that increase the effectiveness of the advertising message are explored. It is the use of the culture of laughter and innovative, creative and original verbal and non-verbal means of influence, which provide a postmodern ist artistic approach to comprehending advertising images. The w ays of depicting emotional and image elements that dictate the use of artistic creative methods in advertising discourse are presented. Postmodernism is defined as artistic behavior that is effectively used in the modern advertising business. Rejection of reality is one of the ideological precepts of the aesthetics of postm o d e r n ism, the aesthetics of a high level of consciousness and intellectuality. Cultural mediocrity involves citing marked by a slight irony, joke, and grotesque . The main directions of development of postmodern advertising genres, the directions of formation "cit ing " of advertising image created in aesthetics of postmodernism are presented in the work. It is stated that advertising created in postmodernist aesthetics makes the effect of fragmentation as one of the features. It is underlined that politics and language are the tools for targeting the audience, and the rejection of truth is the characteristics of postmodernist advertising. I ntertextuality is defined effective in creating the effect of the unspoken providing the space for imagination to the consumer.

URBAN SOCIAL PROJECT ‘HOSPITAL CLOWN’ AS A NEW FORM OF LAUGH CULTURE

The aim of this work is to implement hospital clowning as an urban social project into the space of social and philosophical research. One of the bright and good projects in volunteering is hospital clowning. As a form of volunteering, hospital clowning has not been practically investigated that this activity of rehabilitating children in hospital in many countries is a professional activity. The research methodology consists in using a combination of general scientific and interdisciplinary research methods: induction and deduction, generalization, ‘case studies’, historical and comparative approaches. According to the philosophical and anthropological ontology of M. Bakhtin, a dialogical worldview opens up prospects for an existential-ontological understanding of the ethics of an act. The scientific novelty of the study is to consider hospital clowning as a variety of ‘laughter culture’, “popular laughter’, ‘carnivalization’ and, at the same time, ‘responsible act’ of volunteers who develop this direction in different cities of Ukraine. Volunteering contributes to the formation of a democratic society, which should be based on the principles of freedom, creativity and humanism. Among the reasons why people engage in volunteer activities and charity is the desire to share what is good, moral, fashion or the trend to do good, because it is accepted and brings moral satisfaction. Sometimes a person feels a need or emptiness in himself and tries to fill it through good deeds. In creativity, along with clowns, children rest from medical procedures and reveal their fears and experiences. Such art therapy is directed against the ‘hospital syndrome’, and the clown becomes a companion for the child to recover. In some hospitals, clowns accompany the child to surgery, and distract the child during painful medical procedures. Prospects for further research are to study the role of biographical / autobiographical experience in the framework of hermeneutic and phenemenological interpretations. This will contribute to the creation of a cross-disciplinary concept of medical gelotology and the development of a modern laughing culture.

COMPARISON OF WORDVIEWS IN THE CONTEXT OF LAUGHTER CULTURE

The article is devoted to the actual problem of lack of self-irony as an element of a laughing culture. On the example of comparing the oppositions of theism – materialism, the author illustrates the incompleteness of perception of the world outlook. Their own ideological attitudes are not fully understood by the participants in the discussion. For example, despite all the strictness of its physicalist principle the materialist worldview has never been able to get out of the charm of its own metaphysical mythology of opposing «good» and «evil», «noble» and «low».The religious type of the picture of the world is too serious about its theological statements, because in theology there is necessarily an element of apophatics disavowing theology itself, which undermines the dogmatic nature of all statements.Nevertheless, it is not difficult to trace the sacralization of the locus of the world outlook in the mind. As often as it has not been renewed and evolved, its principle position in consciousness remains sacred.Thus, self-irony, embedded in the structure of each worldview, remains unrealized.An analysis of the premises of opposition worldviews, their characteristics and contradictory nature are given in the article. The attention to the psychological identity of the arguments of the parties which are directed against each other is drawn in the article.The culture of laughter and self-irony would make the world perception more plastic, less confrontational and painful when they are built in the worldview system and aimed to it.

MANIPULATIVE EFFECTS OF LAUGHTER IN THE DISCOURSE OF TRUST

The article is devoted to the conceptual analysis of the manipulative effects of laughing culture in the communicative strategies of conquest and production of trust, taking into account the new technological possibilities of the modern information society and the dominance of mass communications. Given the ambivalence and versatility of laughter, the mechanisms available in the laughing culture as exposing manipulations and their derivation are studied, actualizing in general the issue of cognitive security and the formation of critical thinking in the context of modern media culture. Uncritical trust is considered as the main condition of effective manipulative influence, which promotes weakening or minimization of protective barriers by activating the necessary emotions, relying on authority, solidarity identity, conformal sense of social community, value similarity, etc. These factors are largely present in laughs communications that, through the combination of emotional and intellectual influence, demonstrate a powerful potential for energy dissipation, the removal of opposition and inequalities, meaning reformatting, creating temporary comic-ironic world picture in which the line between reality and its interpretation, simulation and profanity is being erased.It is stated that it is the mere presence of elements of imitation reality, stereotyping, semantic disguise, emotional contamination, synchronization and social integration that provides mediated pressure on consciousness and behavior. In terms of the analysis of the phenomenon of mоckumentary (falsified quasi-documentary cinema) as a genre modification of laughing culture, media vulnerability markers are identified in the context of analyzing the manipulative effects of information simulations in modern media realities. At the same time, it is noted that due to the realization of an explicit comic effect, a lazy culture lays the foundations of critical thinking, overcoming stereotyping and excessive trust. Attention is drawn to the effect of interpretive coercion inherent in laughter culture, which reveals wide opportunities for activating controlled emotional reactions and the production of the necessary meanings by fragmentation and semantic distortion of information, given psychosocial responses, and regulatory scenarios of social interactions. The article states that laughter in its many varieties becomes an effective tool of communicative influence on the human psyche, realizing perlocutive effects in interactive, expressive, meaningconstructive aspects.

THE BOUNDARIES OF FUNNINESS: PROVOCATION AS TRANSGRESSION (ON THE MATERIALS OF MUSICAL-DRAMATIC ART)

In paper the boundaries of funniness in musical-dramatic art are researched. Musical performance goes out from the semiotic space of the original genre into a field of meanings and signs, which are unstabled, opened, containing and suggesting many interpretations, including ironic ones. It is argued in contemporary aesthetics, on the one hand, that the art cannot exist without a discourse interpreting it. On the other hand, there is a demand to avoid the interpretation, which at the same time legitimizes the aesthetic effect and castrates an object of art. Provocation is used for solving the problems of observing the object of art in a new way and understanding of modern reality, and it’s not complete without irony and self-irony. Wit, irony, comicalness are transformed as fitting into the style of the absurd and deconstructing the border between the funny and serious. The purpose of such provocations is to introduce the viewer into a position of uncertainty and aesthetic shock. Such stupor inevitably orients the spectator to a meeting with an object of art and allows for a new understanding of oneself. The paper considers organicity of the elements of laughter culture and comic devices for the music and drama theater is considered.