HUMOROUS EFFECT IN DRAMATIST DIALOGUES: PARADOX AND DISSONANCE BETWEEN THE CHARACTERS’ REPLICAS

The article analyzes the dialogues from the dramatist texts containing the humorous utterances which are constructed through both the stylistic language resources and the pragmatic speech categories. In this case we distinguish between non-humorous utterances containing humor components and humorous utterances realizing the corresponding humorous frame. In the utterances of the first type the humorous effect acquires the secondary importance. The utterances of the second type are aimed at stimulating the addressee's humorous reaction. In the real dramatist text, these types of statements usually form a symbiosis showing different degrees of the humorous sense expressed. It is noted that in dramatist dialogues the humor can be of aggressive nature, to be a means of attacking against the addressee. In other words, in dramatist texts, the humor aquires phatic / non-phatic character. The phatic humor is kind and friendly, motivated by the speaker's benevolence to the listener Non-phatic humor is aggressive and used with the aim of exaltation of the «Ego» at the expense of the interlocutor. The author focuses on the cognitive functions of the paradox which find their direct manifestation in clarifying the relationship of levels, meanings, particular dialogical and integral replicas of the dramatic text. In the base of the semantic perception of the humorous beginning there is laid a form, which mediates the detection of semantic constituents in the primary stage and simulation of new semantic models of the current situation of communication with the goal of optimal orientation in this situation, based on the identified semantic components