teesid.p65

Transcription

1 13Estonian Literary Museum, Department of Folkloristics 0609ｨｰ06ｨｪ09ｨｺｨｨｨｦ 09ｨｨｨｰ0208ｨ ｨｰｨｮ08ｨｪ04ｨｦ 00ｨｮ0402ｨｦ, 02ｨｰ ｨｹｨｺ050608ｨｨ09ｨｰｨｨｨｺｨｨ The Centre of Cultural History and Folkloristics in Estonia 0609ｨｰ06ｨｪ09ｨｺｨｨｨｦ 0002ｨｪｨｰ ｨｰ0608ｨｨｨｨ 08ｨｮ05ｨｹｨｰｨｮ0804 ｨｨ ｨｹｨｺ050608ｨｨ09ｨｰｨｨｨｺｨｨ POST-SOCIALIST JOKELORE ﾁ International symposion ｨｮｨｪｨ ｨｪ04ｨｦ 09ｨｨｨｬ070604ｨｨｨｮｨｬ January 15 th ｨC16 th ｨC16 07ｨｪ09ｨ Tartu

2 13Koostaja: Arvo Krikmann Kｨｹljendaja: Maris Kuperjanov T01lked: Nikolai Kuznetsov Sｨｹmpoosion toimub Sihtasutuse Eesti Teadusfond grandi ETF 6759 toetusel Trｨｹkise ISBN Elektroonilise teaviku ISBN autorid, EKM FO 2

3 13International symposion POST-SOCIALIST JOKELORE ｧｮｧﾖｧﾘｧﾕｧ蟋ﾟｧﾑｧ筴爰ﾕｧﾟｧｧﾛ ｧ罘ﾚｧﾞｧ皎爰ﾙｧﾚｧ蟋ﾞ ｧｱｧｰｧｳｧｴｧｳｧｰｧｸｧｪｧ ｧｭｧｪｧｳｧｴｧｪｧｹｧｦｧｳｧｬｧｪｧｫ ｧ ｧｯｧｦｧｬｧ ｧｰｧｴ Tartu, Estonian Literary Museum ｧｴｧﾑｧ筴荅, ｧｿｧ罘荅爰ﾟｧ罘ﾜｧﾚｧﾛ ｧｭｧﾚｧ荅ﾖｧ筴ﾑｧ荅蟋筴ﾟｧｧﾛ ｧｮｧ蟋ﾙｧﾖｧﾛ January 15 th ｨC16 th ｨC16 ｧｧﾟｧﾓｧﾑｧ筴 2007 PROGRAMME ｧｱｧｲｧｰｧ ｧｲｧ ｧｮｧｮｧ Monday, January 15 th E. Shmeleva & A. Shmelev (Moscow): Contemporary Russian Jokes: the Evolution of Speech Genre A. Belousov & M. Lurye (St. Petersburg): Youth humour in Post-Soviet Russia L. Laineste (Tartu): Post-Socialism and Political Jokes on Estonian Internet D. Brzozowska (Warsaw): Jokes in Poland in the period of transition 10:00 ｨC 12:00 12:00 ｨC 14:00 16:00 ｨC 18:00 D.-E. Popa (Bucharest): Contemporary Political Humour in the Romanian Public Sphere S. Stanoev (Sofia): Power and Society in Bulgarian Post-Totalitarian Period Joke Telling Tuesday, January 16 th 10:00 ｨC 13:00 S. Neklyudov (Moscow): Origin of an anecdote: 00ｧｮｧ蟋遘ﾑ-ｧ隗爰ﾜｧ爰荅蟋遘ﾑ03 ( ｰThe fly, the jabberer ｱ) on trial of Soviet leaders A. Arkhipova (Moscow): Tradition and innovation in jokes on Putin A. Krikmann (Tartu): Estonians in Contemporary Russian Jokes ｧｱｧ爰ﾟｧﾖｧﾕｧﾖｧﾝｧｧﾟｧﾚｧﾜ, 15 ｧｧﾟｧﾓｧﾑｧ筴 Information and details ｨC 0806ｨｪｨｰｨ ｨｺｨｰ Arvo Krikmann, tel , kriku@ folklore.ee Liisi Laineste, tel , liisi@ folklore.ee ｧｦ. ｧｺｧﾞｧﾖｧﾝｧﾖｧﾓｧﾑ & ｧ. ｧｺｧﾞｧﾖｧﾝｧﾖｧﾓ (ｧｮｧ爰罘ﾜｧﾓｧﾑ): ｧｳｧ爰ﾓｧ筴ﾖｧﾞｧﾖｧﾟｧﾟｧｧﾛ ｧ筴蟋罘罘ﾜｧﾚｧﾛ ｧﾑｧﾟｧﾖｧﾜｧﾕｧ爰: ｧｧﾓｧ爰ﾝｧｧ隗ﾚｧ ｧ筴ﾖｧ鬧ﾖｧﾓｧ爰ﾔｧ ｧﾘｧﾑｧﾟｧ筴ﾑ ｧ. ｧ ｧﾖｧﾝｧ爰蟋罘爰ﾓ & ｧｮ. ｧｭｧ蟋筴ｧﾖ (ｧｱｧﾖｧ荅ﾖｧ筴ﾒｧ蟋筴ﾔ): ｧｮｧ爰ﾝｧ爰ﾕｧﾗｧﾘｧﾟｧｧﾛ ｧｧﾞｧ爰 ｧﾓ ｧ皎爰罘荅罘爰ﾓｧﾖｧ荅罘ﾜｧ爰ﾛ ｧｲｧ爰罘罘ﾚｧﾚ ｧｭ. ｧｭｧﾑｧﾛｧﾟｧﾖｧ罘荅ﾖ (ｧｴｧﾑｧ筴荅): ｧｱｧ爰罘荅罘爰隗ﾚｧﾑｧﾝｧﾚｧﾙｧﾞ ｧﾚ ｧ皎爰ﾝｧﾚｧ荅ﾚｧ鬧ﾖｧ罘ﾜｧﾚｧﾖ ｧﾑｧﾟｧﾖｧﾜｧﾕｧ爰荅 ｧﾓ ｧｧ罘荅爰ﾟｧ罘ﾜｧ爰ﾞ ｧﾚｧﾟｧ荅ﾖｧ筴ﾟｧﾖｧ荅ﾖ ｧ. ｧ ｧ筴ﾙｧ爰ﾙｧ爰ﾓｧ罘ﾜｧﾑ (ｧ ｧﾑｧ筴ﾑｧﾓｧﾑ): ｧｱｧ爰ﾝｧｧ罘ﾜｧﾚｧﾖ ｧﾑｧﾟｧﾖｧﾜｧﾕｧ爰荅 ｧ皎ﾖｧ筴ﾖｧ遘爰ﾕｧﾟｧ爰ﾔｧ ｧ皎ﾖｧ筴ﾚｧ爰ﾕｧﾑ ｧ.-ｧｦ. ｧｱｧ爰皎ﾑ (ｧ ｧ蟋遘ﾑｧ筴ﾖｧ罘): ｧｱｧ爰ﾝｧﾚｧ荅ﾚｧ鬧ﾖｧ罘ﾜｧﾚｧﾛ ｧｧﾞｧ爰 ｧﾓ ｧ皎蟋ﾒｧﾝｧﾚｧ鬧ﾟｧ爰ﾛ ｧ罘讒ﾖｧ筴ﾖ ｧｲｧ蟋ﾞｧｧﾟｧﾚｧﾚ ｧｳ. ｧｳｧ荅ﾑｧﾟｧ爰ﾖｧﾓ (ｧｳｧ爰讒ﾚｧ): ｧｰｧ荅ﾟｧ爰ﾖｧﾟｧﾚｧﾖ ｧﾓｧﾝｧﾑｧ罘荅-ｧ爰ﾒｧｧﾖｧ罘荅ﾓｧ ｧﾓ ｧ筴ﾑｧ罘罘ﾜｧﾑｧﾙｧｧﾓｧﾑｧﾟｧﾚｧﾚ ｧﾑｧﾟｧﾖｧﾜｧﾕｧ爰荅爰ﾓ ｧﾓ ｧ皎爰罘荅荅爰荅ﾑｧﾝｧﾚｧ荅ﾑｧ筴ﾟｧｧﾛ ｧ皎ﾖｧ筴ﾚｧ爰ﾕ ｧﾓ ｧ ｧ爰ﾝｧﾔｧﾑｧ筴ﾚｧﾚ ｧ ｧ荅爰筴ﾟｧﾚｧﾜ, 16 ｧｧﾟｧﾓｧﾑｧ筴 ｧｳ. ｧｯｧﾖｧﾜｧﾝｧｧﾕｧ爰ﾓ (ｧｮｧ爰罘ﾜｧﾓｧﾑ): ｧｱｧ筴爰ﾚｧ罘遘爰ﾘｧﾕｧﾖｧﾟｧﾚｧﾖ ｧﾑｧﾟｧﾖｧﾜｧﾕｧ爰荅ﾑ: 00ｧｮｧ蟋遘ﾑ-ｧ隗爰ﾜｧ爰荅蟋遘ﾑ03 ｧ皎爰ﾕ ｧ罘蟋ﾕｧ爰ﾞ ｧ罘爰ﾓｧﾖｧ荅罘ﾜｧﾚｧ ｧﾓｧ爰ﾘｧﾕｧﾖｧﾛ ｧ. ｧ ｧ筴遘ﾚｧ皎爰ﾓｧﾑ (ｧｮｧ爰罘ﾜｧﾓｧﾑ): ｧｴｧ筴ﾑｧﾕｧﾚｧ隗ﾚｧﾚ ｧﾚ ｧﾟｧ爰ﾓｧﾑｧ隗ﾚｧﾚ ｧﾓ ｧﾑｧﾟｧﾖｧﾜｧﾕｧ爰荅ﾑｧ ｧ ｧｱｧ蟋荅ﾚｧﾟｧﾖ ｧ. ｧｬｧ筴ﾚｧﾜｧﾞｧﾑｧﾟｧﾟ (ｧｴｧﾑｧ筴荅): ｧｿｧ罘荅爰ﾟｧﾖｧ ｧﾓ ｧ罘爰ﾓｧ筴ﾖｧﾞｧﾖｧﾟｧﾟｧｧ ｧ筴蟋罘罘ﾜｧﾚｧ ｧﾑｧﾟｧﾖｧﾜｧﾕｧ爰荅ﾑｧ 3

4 134

5 13ABSTRACTS ｨC

6 136

7 13CONTEMPORARY RUSSIAN JOKES: THE EVOLUTION OF SPEECH GENRE Elena & Alexei Shmelev (Moscow) The paper will briefly discuss the history of Russian jokes: the origin of this speech genre and its evolution in the twentieth century. In particular, it will describe new characters of Russian jokelore (such as new Russians, Estonians, computer programmers, drug addicts) that have emerged since Characters of Russian jokelore are recognizable by the description of appearance, way of behavior, clothes and other accessories. Even more important, the hearer often have to recognize the ｰlinguistic masks ｱ of joke characters (linguistic clichｨｦs, accent, typical grammar mistakes, etc.), which correlate with their ｰbehavior masks ｱ. Characteristics of the new characters of Russian jokes will be listed. For example, if a male joke character wore a red jacket, gold chain and spoke on the cellular phone all the time, he was recognizable as a ｰnew Russian ｱ. The suggestion is made that at the beginning of 21 st century reference to jokes is more popular than joketelling. Russian jokes have become precedent texts; most often, they are not in the focus of attention, but are a source of winged words and proverbs. Russian jokelore is a source of direct quotations, allusions, pithy sayings used in Russian mass media. Hidden allusions to jokes in main Russian newspapers may make use of common stereotypes of Russian jokelore, ｰlinguistic masks ｱ of its characters, etc. In addition, a project of the ｰDictionary of quotations from Russian jokes ｱ will be presented. Not only direct quotations from jokes but also indirect allusions to them are taken into account. The paper will discuss the structure of a lexical entry of the dictionary. Two examples follow: Belyj i pushistyj Joke: Myshka govorit ljagushke: 00Kakaja ty protivnaja, skol ｯzkaja, xolodnaja!03 ｨC 00Da, bolela ja, bolela. A ran ｯshe ja byla belaja i pushistaja!03 Examples: Belye i pushistye (00Izvestija03, ; ); Sledujushchej zimoj muzhchiny stanut belymi i pushistymi. ( 00Izvestija03, ); ｨC Nel ｯzja byt ｯ belym i pushistym, ｨC prodolzhil on [Putin]. ｨC Pust ｯ togda uzh oni za stol peregovorov s ben Ladenom sadjatsja. A chto? A to xotjat byt ｯ belymi i pushistymi, a za stol peregovorov ne xotjat. (00Kommersant03, ). Gorjachie estonskie (finskie) parni Joke: Poshli troe estoncev (finnov) ｨC otec i dva syna ｨC na rybalku. Sidjat oni chas, molchat, drugoj molchat. Cherez chas odin iz synovej govorit: 00Ne kljuett03. Proxodit eshche chas, vtoroj syn govorit: 00Ne kljuett!03 Proxodit eshche chas, otec govorit: 00Nu chto, gorjachie estonskie (finskie) parni, svoej boltovnej vsju rybu raspugali!03 Examples: Estonec okazalsja pogorjachee finnov. 00Kommersant03, ); Finn okazalsja gorjachee estonca (00Kommersant03, ); Gorjachij estonskij samovar (00Izvestija03, ); Noch ｯ gorjachix parnej. Mul ｯtimediafestival ｯ sovremennogo iskusstva Finljandii 00Noch ｯ nezavisimosti03 (00Bol ｯshoj gorod03, ); Gorjachij neneckij paren ｯ (00Izvestija03, ) : ﾁ ｨｪｨ 01ｨｬ ｨ & ｨｺ0902ｨｦ 01ｨｬ (000609ｨｺ09ｨ ) ｨｺ05ｨ 0102 ｨ ｨｮ0102ｨｰ ｨｺ08ｨ ｨｰｨｺ06 08ｨ 0909ｨｬ06ｨｰ0802ｨｪｨ ｨｨ09ｨｰ0608ｨｨ07 08ｨｮ0909ｨｺ ｨ ｨｪ02ｨｺ0106ｨｰｨ : ｨｨ ｨｪｨｨ ﾂ ｨ ｨｪ08ｨ ｨｨ ｨｨ07 ｨｪｨ ｨｰ070302ｨｪｨｨｨｨ XX 0902ｨｺｨ. 00 ﾂｨ 09ｨｰｨｪ0609ｨｰｨｨ, ｨ ｨｮ01ｨｮｨｰ 0607ｨｨ09ｨ ｨｪ04 ｨｪ ｨｪｨ 03ｨｨ 08ｨｮ0909ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ0609, ｨｨ0903ｨｨ (00ｨｪ ｨｮ0909ｨｺｨｨ0203, 0509ｨｰ06ｨｪ0204, ｨ ｨｬｨｬｨｨ09ｨｰ04, ｨｪｨ 08ｨｺ06ｨｬｨ ｨｪ04) ｨｪｨ 03ｨｨ 08ｨｮ0909ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ ｨｪｨ 06ｨｰ ｨｪ0203ｨｪ02ｨｬｨｮ 09ｨｨ01ｨｮ, ｨｬｨ ｨｪ ｨｪｨｨ07, ｨｨ 0108ｨｮ00ｨｨｨｬ 0102ｨｰｨ 0507ｨｬ ｨ 02ｨｪｨｪ06 09ｨ 03ｨｪｨｮ ｨｹ ｨｨ0008ｨ 06ｨｰ 0802 ﾂ ｨ 08ｨ ｨｺｨｰ0208ｨｨ09ｨｰｨｨｨｺｨｨ (0802 ﾂ ｨｰｨ ｨｬ0704, ｨ ｨｺ0202ｨｪｨｰ, ｨｰｨｨ07ｨｨ ﾂｨｪ ｨ ｨｬｨｬｨ ｨｰｨｨ ﾂ0209ｨｺｨｨ ｨｨｨ ｨｺｨｨ ｨｨ ｨｰ. 01.), ｨｺ06ｨｰ ｨｺ ｨｨ08ｨｮ06ｨｰ 09 ｨｨ ｨｪ ﾂ0209ｨｺｨｨｨｬｨｨ ｨｬｨ 09ｨｺｨ ｨｬｨｨ03. 09ｨｮ01ｨｮｨｰ ﾂｨｨ090502ｨｪ04 01ｨ 08ｨ ｨｺｨｰ0208ｨｨ09ｨｰｨｨｨｺｨｨ ｨｪ ｨｪｨ 0302ｨｦ 08ｨｮ0909ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ ｨ 0708., ｨｪｨ 03 ｨ ｨｪ02ｨｺ0106ｨｰ0609 7

8 , ｨｪ060907ｨｴｨｨｨｦ ｨｬｨ 05ｨｨｨｪ060904ｨｦ 07ｨｨ0103ｨ ｨｺ, ｨｰｨｮ ｨｹ ｨｨ ｨｪ ｨｪ ｨｴｨｨｨｦ 0706 ｨｬ06ｨ ｨｨ05ｨｹｨｪ06ｨｬｨｮ ｨｰ ｨｪｨｮ, ｨ ｨｨｨ 06 ﾂｨｪ ｨｪｨ 02ｨｰ0907 ｨｺｨ ｨｺ 00ｨｪ060904ｨｦ 08ｨｮ0909ｨｺｨｨｨｦ03. 02ｨｰｨｬ02 ﾂｨ 02ｨｰ0907, ﾂｨｰ ｨｪｨｨ ｨｨｨｰｨｨ080609ｨ ｨｪｨｨ02 ｨ ｨｪ02ｨｺ0106ｨｰ ｨｰｨ ｨｪ0609ｨｨｨｰ0907 ｨ ｨｮ050708ｨｪ06, ｨｪ ｨｨ 08ｨ 0909ｨｺｨ ｨ ｨｪｨｨ02 ｨ ｨｪ02ｨｺ0106ｨｰ ｨｮ0909ｨｺｨｨ02 ｨ ｨｪ02ｨｺ0106ｨｰ04 00ｨｮｨｪｨｺ02ｨｨ06ｨｪｨｨ08ｨｮ06ｨｰ ｨｺｨ ｨｺ ｨｪｨｰｨｪ0402 ｨｰ02ｨｺ09ｨｰ04; ﾂｨ ｨｴ ｨｪｨｨ ｨｪ ｨ 01ｨ 06ｨｰ ｨｺｨｮ09 09ｨｪｨｨｨｬｨ ｨｪｨｨ07, ｨ 0905ｨｮ03ｨ ｨｰ ｨｨ09ｨｰ06 ﾂｨｪｨｨｨｺ06ｨｬ ｨｺ080405ｨ ｨｰ ｨｨ ｨｺ. 04ｨｮ0909ｨｺｨｨ02 ｨ ｨｪ02ｨｺ0106ｨｰ04 ｨC ｨｨ09ｨｰ06 ﾂｨｪｨｨｨｺ ｨｬ ｨｨｨｰｨ ｨｰ, ｨ ｨｨｨｦ, ｨ ｨｨ04ｨｬ0609, ｨｨ ｨｹ04ｨｮ02ｨｬ ｨｬ02ｨｪｨｪ ｨｰ09ｨ 01 ｨｬｨ ｨｦ ｨｨｨｪ000608ｨｬｨ 02ｨｨｨｨ. 05ｨｺ0804ｨｰ ｨｰ090405ｨｺｨｨ ｨｺ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬ ｨｨｨｦ09ｨｺｨｨ01 00ｨ 0402ｨｰｨ 01 05ｨｺ090705ｨｮｨ ｨｰｨｨ08ｨｮ06ｨｰ 06ｨ ｨｴｨｨ02 09ｨｰ ｨｰｨｨ ｨｮ0909ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ0609, ｨｺ ｨｬｨ 09ｨｺｨｨ03 ｨｨ ｨｪｨ 0302ｨｦ ｨｨ ｨｰ ｨ ｨｺ06ｨｪ0202, ｨ ｨｮ0102ｨｰ ｨｰｨ ｨｪ ｨｺｨｰ ｨ ｨｨｨｰｨ ｨｰ ｨｨ04 ｨ ｨｪ02ｨｺ0106ｨｰ ｨ 08ｨｹ ｨ 00ｨ 02ｨｰ ｨｺ0506 ﾂｨ ｨｰｨｹ ｨｪ02 ｨｰ0605ｨｹｨｺ ｨｬ ｨｨｨｰｨ ｨｰ04, ｨｪ06 ｨｨ ｨｪ020709ｨｪ ｨｰ090405ｨｺｨｨ ｨｺ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬ ｨｺ05ｨ 0102 ｨ ｨｮ0102ｨｰ 06ｨ 09ｨｮ0301ｨ ｨｰｨｹ ｨｰ08ｨｮｨｺｨｰｨｮ08ｨ ｨ 08ｨｪ06ｨｦ 09ｨｰｨ ｨｰｨｹｨｨ ｨ ｨｨ ｨｬ 0109ｨ 0708ｨｨｨｬ0208ｨ ｨｦ ｨｨ 07ｨｮ03ｨｨ09ｨｰ04ｨｦ 08ｨｪ02ｨｺ0106ｨｰ: ｨｺｨ ｨｨｨｰ ｨｮ03ｨｺ02: 0008ｨ ｨｺｨ 07 ｨｰ ｨｰｨｨ09ｨｪｨ 07, 09ｨｺ0605ｨｹ04ｨｺｨ 07, ｨｪｨ 07!03 ｨC 0002ｨ, ｨ ｨ 07, ｨ ｨ ｨ ｨｪｨｹ ｨ 0405ｨ ｨ 0205ｨ 07 ｨｨ 07ｨｮ03ｨｨ09ｨｰｨ 07! ｨｨｨｬ020804: ｨｨ 07ｨｮ03ｨｨ09ｨｰ0402 ( ｨｰｨｨ0703, ; ); ｨｮ06ｨｴ02ｨｦ 04ｨｨｨｬ06ｨｦ ｨｬｨｮ03 ﾂｨｨｨｪ04 09ｨｰｨ ｨｪｨｮｨｰ ｨ ｨｬｨｨ ｨｨ 07ｨｮ03ｨｨ09ｨｰ04ｨｬｨｨ. ( ｨｰｨｨ0703, ); ｨC ｨｹ0407 ｨ 04ｨｰｨｹ ｨ ｨｬ ｨｨ 07ｨｮ03ｨｨ09ｨｰ04ｨｬ, ｨC ｨｨ05 06ｨｪ [03ｨｮｨｰｨｨｨｪ]. ｨC 03ｨｮ09ｨｰｨｹ ｨｰ060001ｨ ｨｮ03 06ｨｪｨｨ 04ｨ 09ｨｰ ｨ 02ｨｪ 09ｨ 0102ｨｪ06ｨｬ 09ｨ 0107ｨｰ ﾂｨｰ06? 08 ｨｰ ｨｰ07ｨｰ ｨ 04ｨｰｨｹ ｨ ｨｬｨｨ ｨｨ 07ｨｮ03ｨｨ09ｨｰ04ｨｬｨｨ, ｨ 04ｨ 09ｨｰ ｨｪ ｨｰ07ｨｰ. (000806ｨｬｨｬ020809ｨ ｨｪｨｰ03, ) ﾂｨｨ ｨｰ06ｨｪ09ｨｺｨｨ02 (00ｨｨｨｪ09ｨｺｨｨ02) 07ｨ 08ｨｪｨｨ 08ｨｪ02ｨｺ0106ｨｰ: ｨｨ ｨｰ ｨｰ06ｨｪ (00ｨｨｨｪｨｪ0609) ｨC 06ｨｰ0202 ｨｨ 0109ｨ 0904ｨｪｨ ｨC ｨｪｨ 0804ｨ ｨ 05ｨｺｨｮ. 05ｨｨ0107ｨｰ 06ｨｪｨｨ ﾂｨ 09, ｨｬ0605 ﾂｨ ｨｰ, 0108ｨｮ0006ｨｦ ｨｬ0605 ﾂｨ ｨｰ. ﾁ ﾂｨ ｨｨｨｪ ｨｨ ｨｪ060902ｨｦ ｨｨｨｰ: ｨｺ050602ｨｰｨｰ ｨｨｨｰ 02ｨｴ02 ﾂｨ 09, 09ｨｰ060806ｨｦ 0904ｨｪ ｨｨｨｰ: ｨｺ050602ｨｰｨｰ! ｨｨｨｰ 02ｨｴ02 ﾂｨ 09, 06ｨｰ ｨｨｨｰ: 0001ｨｮ ﾂｨｰ06, ﾂｨｨ ｨｰ06ｨｪ09ｨｺｨｨ02 (00ｨｨｨｪ09ｨｺｨｨ02) 07ｨ 08ｨｪｨｨ, ｨｦ ｨ 0605ｨｰ0609ｨｪ02ｨｦ ｨ ｨｮ 08ｨ 0907ｨｮ00ｨ 05ｨｨ! ｨｨｨｬ020804: 0609ｨｰ06ｨｪ ｨｺｨ 04ｨ ﾂ ｨｨｨｪｨｪ0609. (000806ｨｬｨｬ020809ｨ ｨｪｨｰ03, ); 08ｨｨｨｪｨｪ 06ｨｺｨ 04ｨ ﾂ ｨｰ06ｨｪ02ｨ (000806ｨｬｨｬ020809ｨ ｨｪｨｰ03, ); ﾂｨｨｨｦ 0509ｨｰ06ｨｪ09ｨｺｨｨｨｦ 09ｨ ｨｬ0609ｨ 08 ( ｨｰｨｨ0703, ); 0106 ﾂｨｹ ﾂｨｨ01 07ｨ 08ｨｪ02ｨｦ. 00ｨｮ05ｨｹｨｰｨｨｨｬ0201ｨｨｨ ｨｰｨｨ09ｨ 05ｨｹ ｨｬ02ｨｪｨｪ ｨｨ09ｨｺｨｮ0909ｨｰ09ｨ 08ｨｨｨｪ0507ｨｪ01ｨｨｨｨ ﾂｨｹ ｨｪ0204ｨ 09ｨｨ09ｨｨｨｬ0609ｨｰｨｨ03 ( ｨｹ0306ｨｦ , ); ﾂｨｨｨｦ ｨｪ02ｨｪ0202ｨｺｨｨｨｦ 07ｨ 0802ｨｪｨｹ ( ｨｰｨｨ0703, ). 8

9 13YOUTH HUMOUR IN POSTSOVIET RUSSIA Alexander Belousov & Mikhail Lurye (St. Petersburg) In the light of all the conflicts and doubts of the contemporary humanities regarding the concept of ｰyouth ｱ, we will define youth as a social group, which is perceived by the society as having the characteristics of ｰchild ｱ and ｰadult ｱ and which is characterized by a number of social characteristics, the most important of which are the following: 1) Participation in various forms of cultural communication exclusively related to ｰyouth ｱ; 2) Training in educational institutions as the basic form of general socialization; 3) Greater awareness of cultural innovations. Our presentation explores the issues descriptively: the paper aims to describe types of humour and social situations from the aspect of formation which is largely typical of the modern Russian youth scene and which can be specifically related to youth, and also to trace how these forms and situations are linked with the Soviet cultural legacy on the one hand and its reception in the contemporary youth culture on the other hand ｨC i.e. with these changes in the social, cultural and communicative space which have taken place in the post-soviet period. We will present a tentative typological overview of contemporary youth humour according to the categories of social-communicative situations and practices in which it occurs. 1. School and student humour lore is preserved in its rather traditional form (jokes about students and teachers, spoofing classical poetry, humorous graffiti in toilets and on school desks, etc.) and has little changed since the bygone Soviet period. This can be explained by the stable social situation which a given student experiences, and, accordingly, by the cultural values forced on the student that he or she finds unacceptable or repulsive. 2. Humour industry as a part of mass communication 1) Jokes about popular musical, informative, entertaining television and radio programmes ｨC a specific style which is typologically close to traditional jesting. In this category, the selection of precedent texts to deal with is mostly derived from the corpus of the Soviet text repertoire (children ｯs literature, political slogans, Soviet folklore, citations of films, etc.). 2) Humorous TV show programmes. The KVN-movement (KVN = Club of the Cheerful and Sharp- Witted) has gained increasing popularity among the youth (senior pupils and students) in the late 1990s and early 2000s, and was followed by a specific subculture of KVN members, who invented (or reproduced) unique forms of activity, communication, social structure and jargon. Almost every high school in Russia has its own KVN team; also, teams of a city with members from different universities have been put together. Each team includes a group of beginners, who can later become new members of the main team. In addition to rehearsals, also special training sessions and masterclasses with stars of KVN are held; at these events beginners polish their performance and the reception of the battle of wits on the stage. The situation is analogous with the new humorous youth TV program Comedy club. 3. Humour in youth subcultures Since the 1990s, the process of sub-culturalization in the youth scene has been very active in Russia: subcultures have shifted from the periphery to mainstream. Almost every teenager, at least those who live in the big city, in some way or another constructs his or her own subcultural identity, choosing one or intentionally opposite form to practice. In this light, youth culture as such has been increasingly associated with subcultural ideologies and practices. 1) The inside humour of a subcultural community ｨC includes these thematic categories of humour texts which are constructed by means of applying symbols, realities, case texts, and jargon that are topical only in the given subculture. Such texts may be perfectly intelligible to all, while the comic effect is achieved exclusively among the insiders (for example, jokes of Tolkien fanatics, which require a profound knowledge of Tolkien ｯs works) and, in fact, may be categorized as the so-called corporate humour. 9

10 132) The general sphere of subcultural humour provides that, regardless of all ideological contradictions and intergroup antagonism (and in many respects owing to these factors), all youth movements constitute a uniform socio-cultural field, characterized by conventionality and transgression of boundaries and the constant process of migration (the passing of individuals from one community to another). Correspondingly, there are forms of subcultural humour which intend to elucidate the relations between different youth movements and groups (invective squabbles at forums of representatives of opposing communities, jokes about each other and so on), but also those involving themes important for all communities (for example, joke lore about the gopniks ( admirers of criminal esthetics) and popsushniks ( pop-music admirers) ｨC social-cultural antagonists of the ｮnormal ｯ world (neformals). These forms are most often realized in online communication. 4. Youth web humour Identifying the community of Internet-users as an integral part of the youth scene is ungrounded, and so is identifying the entire layer of network humour with youth humour. The category should rather include the channels of virtual communication that are used by the youth, first of all ｨC chats and forums on the websites of the youth. Network jokes popular among teenagers and youth, in particular, are spread through these channels. A fine example of that is the wide spread of online communication in the so-called ｰlow-class talk ｱ (consecutive corruption of the spelling of words: aftar zhzhot (< avtor zhzhot ｮthe author burns down ｯ ｨC a positive appreciation), preved (< privet ｮhi! ｯ) etc.), which initially emerged as the form of the subcultural humour, built on clichｨｦs and texts written in this register or its adoption. As to the types of genres (joke, humorous aphorism, witty answer, comic memorate, parody and so forth) and devices for creating a comic effect (grotesque, irony, pun, intertextuality, the use of invectives and so forth), these remain the same by virtue of their universal nature. It is possible to speak only about certain correlations between the type of a social-communicative context and the various degree of preference of a specific form and/or device of humour (e.g. TV show presenters tend to favour word games, the fans of Tolkien lore favour jokes, etc.). In addition, advances in technology have triggered the emergence of new forms of representing comic texts (amateur videos, cartoons, programmes about practical jokes, SMS-jokes, etc.) ｨｺ09ｨ ｨｪ ｨｮ ｨｨ 00ｨｨ01ｨ ｨｨ05 09ｨｮ08ｨｹ02 (05ｨ ｨｪｨｺｨｰ-0302ｨｰ0208ｨ ｨｮ0800) 07 ﾂｨｨｨｰ0409ｨ ｨ 04ｨｪ060005ｨ 09ｨｨ07 ｨｨ 0906ｨｬｨｪ02ｨｪｨｨ ｨｬ02ｨｪｨｪ06ｨｦ 00ｨｮｨｬｨ ｨｪｨｨｨｰｨ 08ｨｪ06ｨｦ ｨｪｨ ｨｮｨｺｨｨ ｨｮ 0706ｨｪ07ｨｰｨｨ07 00ｨｬ ｨｹ03, ｨ ｨｮ0102ｨｬ 09 ﾂｨｨｨｰｨ ｨｰｨｹ ｨｬ ｨｹ ｨｨｨ 05ｨｹｨｪｨｮ ｨｮ0707ｨｮ, ｨｺ06ｨｰ0608ｨ ｨｨｨｪｨｨｨｬｨ 02ｨｰ ｨ ｨｴ0209ｨｰ0906ｨｬ ｨｺｨ ｨｺ ｨｬ02ｨｴｨ 06ｨｴｨ ｨ ｨｺｨ 04ｨ ｨｰ0205ｨｨ ｨｰ09ｨｺ ｨｨ ｨｨ 01ｨ 08ｨ ｨｺｨｰ0208ｨｨ04ｨｮ02ｨｰ ｨｬ ｨｨｨ 05ｨｹｨｪ ｨ 08ｨ ｨｺｨｰ0208ｨｨ09ｨｰｨｨｨｺ, ｨｨ04 ｨｺ06ｨｰ ｨｪｨ 09 ｨｪｨ ｨｨｨ ｨｮｨｴ0209ｨｰ0902ｨｪｨｪ04: 1) ｨｮ ﾂｨ 09ｨｰｨｨ ｨ ｨｬｨ 01 ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ06ｨｦ ｨｺ06ｨｬｨｬｨｮｨｪｨｨｨｺｨ 02ｨｨｨｨ, 09 ﾂｨｨｨｰｨ 06ｨｴｨｨ ｨｨ09ｨｺ0506 ﾂｨｨｨｰ0205ｨｹｨｪ06 00ｨｬ ｨｪ04ｨｬｨｨ03; 2) 06ｨ ｨｮ ﾂ02ｨｪｨｨ02 09 ｨｮ ﾂ02ｨ ｨｪ ｨ ｨｪｨｨ0701 ｨｺｨ ｨｺ 0609ｨｪ0609ｨｪｨ ｨｬｨ ｨｬｨ ｨｦ ｨｨｨ 05ｨｨ04ｨ 02ｨｨｨｨ; 3) ｨ ｨｮ05ｨｹ03ｨ 07 ﾂｨｮ0909ｨｰ09ｨｨｨｰ0205ｨｹｨｪ0609ｨｰｨｹ ｨｺ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ04ｨｬ ｨｨｨｪｨｪ0609ｨ 02ｨｨ07ｨｬ. 01ｨ ｨｺ05ｨ ｨｮ02ｨｰ ｨｺ08ｨｨ07ｨｰｨｨ09ｨｪ ｨ 01ｨ ﾂｨｨ: 0607ｨｨ09ｨ ｨｰｨｹ ｨｬ04 06ｨｬ0608ｨ ｨｨ ｨ 00ｨ 06ｨｴｨｨ02 ｨｨ ｨｨ ｨｪｨｨ ｨｨｨ 05ｨｹｨｪ ｨｨｨｰｨｮｨ 02ｨｨｨｨ, ｨｺ06ｨｰ ｨｪｨ ｨｨｨ 0605ｨｹ0302ｨｦ 09ｨｰ020702ｨｪｨｨ 01ｨ 08ｨ ｨｺｨｰ0208ｨｪ ｨｬ02ｨｪｨｪ06ｨｦ ｨｨｨｦ09ｨｺ06ｨｦ ｨｬ ｨｪ06ｨｦ ｨｨ ｨｺ06ｨｰ ｨｬ0603ｨｪ06 ｨ ｨ ﾂｨｨｨｰｨ ｨｰｨｹ ｨｨ00ｨｨ ﾂ0209ｨｺｨｨ ｨｬ ｨｪ04ｨｬｨｨ, ｨ ｨｰｨ ｨｺ ｨｨｨｰｨｹ, ｨｺｨ ｨｺｨｨｨｬ 06ｨ 08ｨ 0406ｨｬ 05ｨｰｨｨ ｨｬ04 ｨｨ 09ｨｨｨｰｨｮｨ 02ｨｨｨｨ ｨ ｨｪ04, ｨｪ06ｨｦ 09ｨｰ060806ｨｪ04, 09 ｨｪｨ ｨｨ02ｨｬ ｨｰ09ｨｺ06ｨｦ ｨｺｨｮ05ｨｹｨｰｨｮ0804 ｨｨ ｨｨ02ｨｦ 09 ｨｪ04ｨｪ0203ｨｪ02ｨｦ ｨｬ ｨｪ06ｨｦ ｨｺｨｮ05ｨｹｨｰｨｮ0802, ｨｮ0006ｨｦ 09ｨｰ060806ｨｪ04, ｨC 09 ｨｰ02ｨｬｨｨ ｨｨ04ｨｬ02ｨｪ02ｨｪｨｨ07ｨｬｨｨ ｨｨ06ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ ｨｨ ｨｺ06ｨｬｨｬｨｮｨｪｨｨｨｺｨ ｨｰｨｨ09ｨｪ ｨｰ08ｨ ｨｪ09ｨｰ09ｨ, ｨｺ06ｨｰ ｨｨ ｨｨ ｨｰ ｨｰ09ｨｺｨｮ ｨｮ ｨｰｨ 09ｨｨｨｬ ｨｮ ｨｪｨｮ06 ｨｰｨｨ ｨｨ ﾂ0209ｨｺｨｮ06 ｨｺｨ 08ｨｰｨｨｨｪｨｮ ｨｬ02ｨｪｨｪ ｨｬ ｨｪ ｨｬ0608ｨ 09 04ｨ 09ｨｨ09ｨｨｨｬ0609ｨｰｨｨ 06ｨｰ ｨｺ05ｨ ｨｨｨ 05ｨｹｨｪ06-ｨｺ06ｨｬｨｬｨｮｨｪｨｨｨｺｨ ｨｰｨｨ09ｨｪ ｨｨｨｰｨｮｨ 02ｨｨｨｦ ｨｨ 0708ｨ ｨｺｨｰｨｨｨｺ, 09 08ｨ ｨｬｨｺｨ 01 ｨｺ06ｨｰ ｨｪ ｨｪｨｨｨｺｨ 02ｨｰ ｨｺ0605ｨｹｨｪ04ｨｦ ｨｨ 09ｨｰｨｮ0102ｨｪ ﾂ0209ｨｺｨｨｨｦ 09ｨｬ ｨｦ ｨｹｨｺ ｨ ｨｪ0702ｨｰ ｨｨ ｨｰｨ ｨｰ06 ﾂｨｪ06 ｨｰ08ｨ 01ｨｨ02ｨｨ06ｨｪｨｪ ｨｬｨ 01 (ｨ ｨｪ02ｨｺ0106ｨｰ ｨｰｨｮ0102ｨｪｨｰｨ 01 ｨｨ ｨ 09ｨ ｨｰ , ｨｺｨｨ ｨｰｨｨ ﾂ0209ｨｺ06ｨｦ ｨｺ05ｨ 0909ｨｨｨｺｨｨ, 03ｨｮｨｰ06 ﾂｨｪ ｨ 0000ｨｨｨｰｨｨ 09 ｨｰｨｮｨ 0502ｨｰｨ 01 ｨｨ ｨｪｨ 07ｨ 08ｨｰｨ 01 ｨｨ ｨｰ. 07.), ｨｬｨ ｨｨ0106ｨｨ04ｨｬ02ｨｪｨｨ0903ｨｨ09ｨｹ ｨｪ ｨｰ09ｨｺ ｨｨ0601ｨ. 06ｨｰ ｨ ｨｪ ｨｰｨ ｨ ｨｨ05ｨｹｨｪ0609ｨｰｨｹ ｨｨｨ 05ｨｹｨｪ06ｨｦ 09ｨｨｨｰｨｮｨ 02ｨｨｨｨ, 09 ｨｺ06ｨｰ060806ｨｦ ｨｪｨ ｨｨｨｰ ｨ 06ｨｦ ｨｮ ﾂｨ ｨｴｨｨｨｦ0907, ｨｨ, ｨｰ0902ｨｰ09ｨｰ0902ｨｪｨｪ06, 09 01ｨ 08ｨ ｨｺｨｰ0208ｨｪ04ｨｬ ｨｪ ｨｪ020708ｨｨ07ｨｰｨｨ02ｨｬ ｨｨ ｨｪｨｨ02ｨｬ ｨｪｨ ｨ 02ｨｬ0401 ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ ｨｪｨｪ0609ｨｰ02ｨｦ. 10

11 ｨｪ01ｨｮ09ｨｰ08ｨｨ07 06ｨｬ0608ｨ ｨｰ09ｨ 01 ｨｬｨ ｨｦ ｨｺ06ｨｬｨｬｨｮｨｪｨｨｨｺｨ 02ｨｨｨｨ 1) 01ｨｮｨｰｨｺｨｨ ｨｮｨｴｨｨ01 ｨｬｨｮ0404ｨｺｨ 05ｨｹｨｪ0401, ｨｨｨｪ000608ｨｬｨ 02ｨｨ06ｨｪｨｪ0401, 08ｨ ｨｺｨ ｨｰ0205ｨｹｨｪ0401 ｨｰ ｨｨ 08ｨ 01ｨｨ ｨ ﾂ ｨC ｨｨ00ｨｨ ﾂ0209ｨｺｨｨｨｦ 09ｨｰｨｨ05ｨｹ, ｨｰｨｨ ｨｨ ﾂ0209ｨｺｨｨ ｨ 05ｨｨ04ｨｺｨｨｨｦ ｨｰ08ｨ 01ｨｨ02ｨｨ06ｨｪｨｪ06ｨｬｨｮ ｨ ｨ 05ｨ 00ｨｮ0809ｨｰ09ｨｮ. 0308ｨｨ 05ｨｰ06ｨｬ ｨｪｨ ｨ ｨｪｨｰｨｪ0401 ｨｰ02ｨｺ09ｨｰ ｨ ｨ ｨｪｨｨ07 ﾂ020807ｨ 02ｨｰ0907, 09 ﾂｨ 09ｨｰｨｪ0609ｨｰｨｨ, ｨｨ04 ｨ ｨｪｨ 05ｨ ｨｰ09ｨｺ ｨｰ02ｨｺ09ｨｰ ｨｰ08ｨ ｨｪ09ｨｰ09ｨ (0102ｨｰ09ｨｺｨ 07 05ｨｨｨｰ0208ｨ ｨｰｨｮ08ｨ, ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ ｨｮｨｪ00ｨｨ, ｨｰ09ｨｺｨｨｨｦ ｨｹｨｺ050608, ｨｺｨｨｨｪ0602ｨｨｨｰｨ ｨｰ04 ｨｨ ｨｰ. 07.) 2) 07ｨｬ0608ｨｨ09ｨｰｨｨ ﾂ0209ｨｺｨｨ ｨｮ ｨ ｨｬｨｬ ｨｨ0302ｨｪｨｨ ｨｮ ﾂｨｨ0506 ｨ 0605ｨｹ03ｨｮ ｨｮ050708ｨｪ0609ｨｰｨｹ ｨｨ ｨｬ ｨｨ (09ｨｰｨ ｨｺ05ｨ 0909ｨｪｨｨｨｺ0609 ｨｨ 09ｨｰｨｮ0102ｨｪｨｰ0609) 09 ｨｺ06ｨｪ ｨC ｨｪｨ ﾂｨ , ｨｮ05ｨｹｨｰｨ ｨｰ02 ﾂ ｨ 08ｨ ｨ 05ｨ 09ｨｹ (ｨｨ05ｨｨ ｨ 0405ｨ ｨｨ ｨｪｨ ) ｨ ｨ 07 09ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨ ｨｺ ｨｪｨｴｨｨｨｺ ｨｨｨｬｨｨ ｨｬｨ ｨｬｨｨ ｨｰ0205ｨｹｨｪ0609ｨｰｨｨ ｨｨ ｨｺ06ｨｬｨｬｨｮｨｪｨｨｨｺｨ 02ｨｨｨｨ, ｨｨｨ 05ｨｹｨｪ06ｨｦ 09ｨｰ08ｨｮｨｺｨｰｨｮ0806ｨｦ, ｨｪ0006ｨｬ ｨｨ ｨｺ06ｨｬｨ ｨｪ ｨｰｨｹ 0708ｨ ｨｺｨｰｨｨ ﾂ0209ｨｺｨｨ 09 ｨｺｨ ｨｬ , ｨｨｨｪ060001ｨ ｨ 06ｨｰ0907 ｨｬ020309ｨｮ ｨｺｨｨ ｨｺｨｨ02 ｨｺ05ｨｮｨ ｨｨ ｨｺｨ ｨｦ ｨｺ06ｨｬｨ ｨｪ ｨｰｨｹ 0008ｨｮ0707ｨ ｨｪｨ ﾂｨｨｨｪｨ 06ｨｴｨｨ01, ｨｨ04 ｨｺ06ｨｰ060806ｨｦ ｨｬ0600ｨｮｨｰ ｨ 04ｨｰｨｹ 0802ｨｺ08ｨｮｨｰｨｨ080609ｨ ｨｪ04 ｨｪ ﾂ0502ｨｪ ｨｪ0609ｨｪ ｨｰｨ 09ｨ ｨｰ0907 ｨｪ02 ｨｰ0605ｨｹｨｺ ｨｰｨｨ02ｨｨｨｨ, ｨｪ06 ｨｨ ｨｨｨ 05ｨｹｨｪ ｨ ｨｪ07ｨｰｨｨ07, ｨｬｨ 09ｨｰ0208-ｨｺ05ｨ ｨ ｨｬｨｨ , ｨｪｨ ｨｺ06ｨｰ ｨｪ0609ｨｨ ﾂｨｺ ｨ ｨｮ ﾂｨ 06ｨｰ ｨｬｨ ｨｬ ｨｨ 0708ｨｨ02ｨｬｨ ｨｬ 0509ｨｰ08ｨ 01ｨｪ ｨｰ0806ｨｮｨｬｨｨ ｨｨ04ｨｺｨ 07 09ｨｨｨｰｨｮｨ 02ｨｨ07 09ｨｺ05ｨ ｨ 02ｨｰ ｨｺ08ｨｮ00 ｨｪ060906ｨｦ 06ｨｬ0608ｨｨ09ｨｰｨｨ ﾂ0209ｨｺ06ｨｦ ｨｬ ｨｪ06ｨｦ ｨｰ ｨ ｨｬｨｬ04 Comedy club ｨｬ0608 ｨｬ ｨｪ ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ ｨｨｨｨ ｨ ｨｺｨｰｨｨ09ｨｪ ｨｨｨｰ ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｨ04ｨ 02ｨｨｨｨ ｨｬ ｨｪ06ｨｦ : ｨｨ000208ｨｨｨｨ 09ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪｨ 07 03ｨｨ04ｨｪｨｹ 0708ｨ ｨｺｨｰｨｨ ﾂ0209ｨｺｨｨ ｨ ｨｪｨ ｨｪｨｨ02 00ｨｬ05ｨｦｨｪ09ｨｰ08ｨｨｨｬｨ ｨ ｨｺｨｰｨｨ ﾂ0209ｨｺｨｨ ｨｺｨ ｨｦ ｨｰｨｨｨｪ05ｨｦ , 0706 ｨｺ08ｨ ｨｦｨｪ02ｨｦ ｨｬ ｨｨ09ｨｮｨｴｨｨｨｦ 09 ｨ 0605ｨｹ0306ｨｬ , ｨｰｨ ｨｺ ｨｨ05ｨｨ ｨｨｨｪｨ ﾂ ｨ 02ｨｰ ｨｦ 09ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ06ｨｦ ｨｨ0102ｨｪｨｰｨｨ ﾂｨｪ0609ｨｰｨｨ, 0904ｨ ｨｨ08ｨ 07 ﾂｨｰ06-ｨｰ06 ｨｨ05ｨｨ 0708ｨｨｨｪ02ｨｨ07ｨｨｨ 05ｨｹｨｪ ｨｰｨ 09ｨ 0709ｨｹ 09ｨｪ ｨｨ 09 05ｨｰｨｨｨｬ ｨｬ ｨｪｨ 07 ｨｺｨｮ05ｨｹｨｰｨｮ08ｨ ｨｺｨ ｨｺ ｨｰｨ ｨｺ0609ｨ 07 09ｨｰｨ 05ｨ 09 04ｨｪｨ ﾂｨｨｨｰ0205ｨｹｨｪ06ｨｦ 09ｨｰ020702ｨｪｨｨ ｨ ｨｨｨｨ080609ｨ ｨｰｨｹ ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ04ｨｬｨｨ ｨｨ ｨｨ07ｨｬｨｨ ｨｨ 0708ｨ ｨｺｨｰｨｨｨｺｨ ｨｬｨｨ. 1) 00ｨｪｨｮｨｰ0802ｨｪｨｪｨｨｨｦ 06ｨｬ ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ ｨ ｨｴ0209ｨｰ09ｨ ｨC ｨｰ02 ｨｰ02ｨｬｨ ｨｰｨｨ ﾂ0209ｨｺｨｨ ｨｮ ｨｬ0608ｨｨ09ｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨｰ02ｨｺ09ｨｰ0609, ｨｺ06ｨｰ ｨｰ080602ｨｪ04 ｨｪｨ 06ｨ ｨ ｨｪｨｨｨｨ ｨ ｨｺｨｰｨｮｨ 05ｨｹｨｪ0401 ｨｰ0605ｨｹｨｺ ｨ ｨｪｨｪ06ｨｦ 09ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ ｨｨｨｬ , 0802ｨ 05ｨｨｨｦ, ｨｪｨｰｨｪ0401 ｨｰ02ｨｺ09ｨｰ0609, ｨｪ00ｨ. 06ｨ ｨｺｨｨ02 ｨｰ02ｨｺ09ｨｰ04 ｨｬ0600ｨｮｨｰ ｨ 04ｨｰｨｹ ｨ 0102ｨｺ09ｨ ｨｰｨｪ ｨｪ07ｨｰｨｪ04ｨｬｨｨ ｨｨ ｨｰｨｨ ﾂｨｹ ｨｺ06ｨｬｨｨ ﾂ0209ｨｺ ｨｺｨｰｨ ｨｨ09ｨｺ0506 ﾂｨｨｨｰ0205ｨｹｨｪ ｨｴ02ｨｪｨｪ0401 (ｨｪｨ 0708ｨｨｨｬ0208, 03ｨｮｨｰｨｺｨｨ ｨｨ ｨ ｨｪ02ｨｺ0106ｨｰ04 ｨｰ0605ｨｺｨｨ02ｨｪｨｨ09ｨｰ0609, ｨｰ0802ｨ ｨｮ06ｨｴｨｨ ｨｰｨ 05ｨｹｨｪ ｨｪｨ ｨｪｨｨ ｨｨ ｨｪｨｨｨｦ ｨｺｨｨ02ｨｪｨ ) ｨｨ, ｨｮｨｰｨｨ, ｨｰ ｨ 04ｨｪ0609ｨｨ01ｨｪ0609ｨｰｨｹ06 ｨｰｨ ｨｺ ｨｪｨ ｨ 02ｨｬ ｨｺ ｨ ｨｰｨｨ09ｨｪ ｨｬ0608ｨ. 2) 02ｨ ｨｴ ｨｰ08ｨ ｨｪ09ｨｰ ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ ｨｬ0608ｨ 06ｨ ﾂｨｨ09ｨ 02ｨｰ0907 ｨｰ02ｨｬ, ﾂｨｰ06, ｨｪ0209ｨｬ06ｨｰ0807 ｨｪｨ ｨｨ ｨｨ ﾂ0209ｨｺｨｨ ｨｰｨｨ ﾂｨｨ07 ｨｨ ｨｬ ｨｮ ｨｦ ｨ ｨｪｨｰｨ 0006ｨｪｨｨ04ｨｬ (ｨ 0906 ｨｬｨｪ060006ｨｬ ｨｨ ｨ 05ｨ ｨ ｨｰｨｨｨｬ 00ｨ ｨｺｨｰ0608ｨ ｨｬ), ｨｺｨｮ07ｨｪ0609ｨｰｨｹ ｨｬ ｨｪ ｨｨ0302ｨｪｨｨｨｦ ｨｰｨ ｨｰ 0201ｨｨｨｪ ｨｨ06ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ , 01ｨ 08ｨ ｨｺｨｰ0208ｨｨ04ｨｮ06ｨｴ ｨｮ ｨｪ0609ｨｰｨｹ06 ｨｨ ｨｪｨｨ02ｨ 02ｨｬ0609ｨｰｨｹ ｨ ｨｪｨｨ02 ｨｨ ｨｰ0607ｨｪｨｪ04ｨｬ ｨｬｨｨ0008ｨ 02ｨｨ06ｨｪｨｪ04ｨｬ ｨｬ ( ｨｬ ｨｨｨｪ01ｨｨ09ｨｨ ｨｨ ｨｪ ｨ ｨｴ0209ｨｰ09ｨ ｨｮ000602) ｨｰ0902ｨｰ09ｨｰ0902ｨｪｨｪ06, 09ｨｮｨｴ0209ｨｰ09ｨｮ06ｨｰ ｨｬ04 09ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ ｨｬ0608ｨ, 08ｨ 0909 ﾂｨｨｨｰｨ ｨｪｨｪ0402 ｨｪｨ 05ｨｺ090705ｨｨｨｺｨ 02ｨｨ06 06ｨｰｨｪ060302ｨｪｨｨｨｦ ｨｬ020301ｨｮ 08ｨ 04ｨｪ04ｨｬｨｨ ｨｬ ｨｪ04ｨｬｨｨ 0109ｨｨ0302ｨｪｨｨ07ｨｬｨｨ ｨｨ 0008ｨｮ0707ｨ ｨｬｨｨ (ｨｨｨｪ0902ｨｺｨｰｨｨ09ｨｪ ｨ 08ｨ ｨｪｨｺｨｨ ｨｪｨ ｨｮｨｬｨ ｨｰｨ 09ｨｨｨｰ020502ｨｦ 0908ｨ 0301ｨｮ06ｨｴｨｨ ｨ ｨｴ0209ｨｰ09, ｨ ｨｪ02ｨｺ0106ｨｰ ｨｮ ｨｮ0002 ｨｨ ｨｰ. 07.), ｨ ｨｰｨ ｨｺ ｨ ｨｪｨｪ ｨ ｨｴｨｨｨｬｨｨ ｨ ｨｴ0209ｨｰ09 ｨｰ02ｨｬｨ ｨｬｨｨ (ｨｪｨ 0708ｨｨｨｬ0208, 09ｨｰ00ｨ ｨｪｨ ｨｪｨｨｨｺｨ ｨｬｨｨ ｨｨ ｨｮ03ｨｪｨｨｨｺｨ ｨｬｨｨ ｨC ｨｨ06ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ04ｨｬｨｨ ｨ ｨｪｨｰｨ 0006ｨｪｨｨ09ｨｰｨ ｨｬｨｨ ｨｬｨｨ08ｨ ｨｪ ｨｬｨ ). 06ｨｰｨｨ ｨｬ04 ﾂｨ ｨｴ ｨ 05ｨｨ04ｨｮ06ｨｰ ｨ ｨｴ02ｨｪｨｨｨｨ ｨｰ0906ｨｬ 06ｨｪｨｰ0208ｨｪ02ｨｰｨ ｨｰ020906ｨｦ ｨｬ ｨｪ04ｨｦ 06ｨｬ ｨ ｨｴ0209ｨｰ ｨｹ040609ｨ ｨｰ020502ｨｦ 06ｨｪｨｰ0208ｨｪ02ｨｰ ｨｬ ｨｪ020708ｨ 0906ｨｬ0208ｨｪ06 06ｨｰ ｨｰ090507ｨｰｨｹ 09 ｨｬ ｨｪ06ｨｦ ｨｦ, ｨｺｨ ｨｺ ｨｨ ｨｹ 0705ｨ 09ｨｰ 0902ｨｰ ｨｬ0608ｨ, 09 ｨｬ ｨｪ04ｨｬ 06ｨｬ060806ｨｬ. 05ｨｺ , 0802 ﾂｨｹ ｨｪｨ ｨｨ01ｨｰｨｨ 06 ｨｺｨ ｨｪｨ 05ｨ 01 09ｨｨ08ｨｰｨｮｨ 05ｨｹｨｪ ｨ ｨｴ02ｨｪｨｨ07, ｨｨ ｨｹ04ｨｮ02ｨｬ0401 ｨｬ ｨｹ06, ｨC ﾂｨ ｨｰｨ 01 ｨｨ ｨｮｨｬｨ 01 ｨｬ ｨｪ ｨ ｨｦｨｰ ｨｰｨｨｨｬ ｨｺｨ ｨｪｨ 05ｨ ｨｬ, , 08ｨ ｨｰ08ｨ ｨｪ0706ｨｰ ｨｰ ｨｮｨｰｨｺｨｨ, ｨｮ050708ｨｪ ｨｨ ｨｰｨｺ0609 ｨｨ ｨｬ ｨｨ. 0808ｨｺｨｨｨｦ 0708ｨｨｨｬ0208 ｨｰ06ｨｬｨｮ ｨC 08ｨ ｨｰ08ｨ ｨｪ02ｨｪｨｨ02 ｨｪｨ ｨｮ 09ｨｨ08ｨｰｨｮｨ 05ｨｹｨｪ ｨｬ ｨｪ ｨ ｨｴ02ｨｪｨｨ07 ｨｰｨ ｨｺ ｨｪｨ ｨ 02ｨｬ ｨｺｨ ｨｪｨｺ ( ｨ ｨｰ0205ｨｹｨｪ0602 ｨｨ09ｨｺｨ 0302ｨｪｨｨ ｨ 00ｨｨ ﾂ0209ｨｺ ｨ 05ｨｨｨｺｨ ｨ : 00ｨ 00ｨｰｨ ｨｰ03 (00ｨ 09ｨｰ ｨｰ03, ｨｨｨｰ0205ｨｹｨｪｨ ｨｪｨｺｨ ), (=000708ｨｨ0902ｨｰ03) ｨｨ ｨｰ. 07.), ｨｨ04ｨｪｨ ﾂｨ 05ｨｹｨｪ ｨｪｨｨｨｺ ｨｺｨ ｨｺ ｨｬｨ 09ｨｮｨ ｨｺｨｮ05ｨｹｨｰｨｮ08ｨｪ ｨｬ0608ｨ, ｨｰ080602ｨｪｨｪ0401 ｨｪｨ ｨｪ02ｨｬ ｨｺ06ｨｬｨｬｨｮｨｪｨｨｨｺｨ ｨｰｨｨ09ｨｪ0401 ｨｺ05ｨｨ0302 ｨｨ ｨｰ02ｨｺ09ｨｰ0609, ｨｪｨ 07ｨｨ09ｨ ｨｪｨｪ ｨｰ06ｨｬ ｨｨ09ｨｰ0802 ｨｨ05ｨｨ 06ｨ ｨ 06ｨｴｨｨ ｨｨｨｬ02ｨｪ02ｨｪｨｨ02. ﾁｨｰ06 ｨｺｨ 09ｨ 02ｨｰ0907 ｨ ｨｪｨ 05ｨ 03ｨ ｨｪ ｨｬ (ｨ ｨｪ02ｨｺ0106ｨｰ, 03ｨｮｨｰ06 ﾂｨｪ04ｨｦ ｨ ｨｨ04ｨｬ, 0609ｨｰ0806ｨｮｨｬｨｪ04ｨｦ 06ｨｰ0902ｨｰ, ｨｺ06ｨｬｨｨ ﾂ0209ｨｺｨｨｨｦ ｨｬ02ｨｬ0608ｨ ｨｰ, ｨｺｨ ｨｨ ﾂ.) ｨｨ 0708ｨｨ02ｨｬ ｨ ｨｪｨｨ07 ｨｺ06ｨｬｨｨ ﾂ0209ｨｺ ｨｺｨｰｨ (000806ｨｰ0209ｨｺ, ｨｨ0806ｨｪｨｨ07, ｨｺ0609ｨ 07 ｨｨ0008ｨ, 06ｨｰ090405ｨｺｨ ｨｺ ｨｪｨｰｨｪ06ｨｬｨｮ ｨｰ02ｨｺ09ｨｰｨｮ, ｨｮ0706ｨｰ0802ｨ 0502ｨｪｨｨ02 ｨｨｨｪ0902ｨｺｨｰｨｨ09 ｨｨ ﾂ.), 09 09ｨｨ05ｨｮ ｨｨ01 ｨｮｨｪｨｨ ｨ 05ｨｹｨｪ ｨ 08ｨ ｨｺｨｰ0208ｨ, 0609ｨｰｨ 02ｨｰ0907 ｨｪ02ｨｨ04ｨｬ02ｨｪｨｪ04ｨｬ ｨｪ06 05ｨｨ03ｨｹ ｨｨｨｰｨｹ 06ｨ ｨｪｨｪ0401 ｨｺ ｨｨ0701 ｨｬ020301ｨｮ ｨｰｨｨ0706ｨｬ ｨｨｨ 05ｨｹｨｪ06-ｨｺ06ｨｬｨｬｨｮｨｪｨｨｨｺｨ ｨｰｨｨ09ｨｪ ｨｺ06ｨｪｨｰ02ｨｺ09ｨｰｨ ｨｨ 08ｨ 0405ｨｨ ﾂｨｪ06ｨｦ 09ｨｰ020702ｨｪｨｹ ﾂｨｰｨｨｨｰ0205ｨｹｨｪ0609ｨｰｨｨ ｨｰ0201 ｨｨ05ｨｨ ｨｨｨｪ ｨｬ ｨｨ/ｨｨ05ｨｨ 0708ｨｨ02ｨｬ0609 ｨｺ06ｨｬｨｨ ﾂ0209ｨｺ (ｨｪｨ 0708ｨｨｨｬ0208, ｨｬｨ ｨｪ ｨｮｨｴｨｨ01 08ｨ 01ｨｨ ｨ ｨｬｨｬ ｨ ｨ 08ｨ ｨｺｨｰ0208ｨｪｨ ｨｺ0609ｨ 07 ｨｨ0008ｨ, ｨｹｨｺ050608ｨ ｨｰ0605ｨｺｨｨ02ｨｪｨｨ09ｨｰ0609 ｨC ｨ ｨｪ02ｨｺ0106ｨｰ ｨｨ ｨｰ. 07.) ｨｬ02 ｨｰ060006, ｨｰ0907 ｨｪ ｨｬ ｨｪｨｰｨ 02ｨｨｨｨ 06ｨｬ0608ｨｨ09ｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨｰ02ｨｺ09ｨｰ0609, ｨ ｨｪｨｪ ｨｪ060904ｨｬｨｨ ｨｰ0201ｨｪｨｨ ﾂ0209ｨｺｨｨｨｬｨｨ ｨｬ0603ｨｪ0609ｨｰ07ｨｬｨｨ (09ｨ ｨｬ ｨｰ0205ｨｹｨｪ0402 ｨｺ05ｨｨ0704, ｨｬｨｮ05ｨｹｨｰ00ｨｨ05ｨｹｨｬ04, ｨ ｨｬｨｬ ｨｨ, SMS-03ｨｮｨｰｨｺｨｨ ｨｨ ｨｰ. 07.). 11

12 13POST-SOCIALISM AND POLITICAL JOKES IN ESTONIAN INTERNET Liisi Laineste (Tartu) Political jokes from Estonia ｯs major joke source situated at will be analysed in the presentation. Delfi Jokepage is a popular site with about 20 new jokes daily. Jokes from the category of political humour, from the years 2000 to 2006, were included in the analysis, altogether 854 jokes. First of all it is always useful to examine the medium where the jokes are being published. Most essential features of it are on-line news and its commentaries. The number of commentaries through the years 2000 ｨC 2006 show quite clearly that the number of commentaries is rising alonside with and as an identification of the popularity of the portal. Also the quantity of news was rising until At the same time, overall number of jokes follows a falling trend. Since the launch of the joke page in February 2000 and after the first high tide of fascination, there has been one slight revival in Some reorganizations took place on the joke site causing greater interest among Internet users. But trendline delineates the falling tendency. Statistics shows a negative correlation between the daily amount of both news and commentaries and the overall amouont of jokes. The number of political jokes in that period has remained quite stable, with a general tendency of a slightly rising popularity. When comparing this to other categories from the same joke page, we see a different pattern: the number of jokes about animals, ethnic groups or sexual themes behaves quite like the graph with overall number of jokes. What may be the reasons for that? First of all, it shows that political jokes are event-dependent, the high and low tides follow the political event calender quite closely (with only a slight delay). They are similar to catastrophe jokes in this respect. Also, the interest in other jokes is falling because there is a set of them that their reserves are limited while political jokes react to situations and are a relevant congitive tool in everyday life. Political jokes may also be a genre that appeals to Internet-users. Delfi is a portal where information blends well with entertainment, including jokes. Also commentaries often involve irony, sarcasm etc. The cateory of political jokes is hardly homogenous, and the most evident divides are those between old soviet jokes and new jokes. Among new jokes it is possible to differentiate between those new jokes that have excisted before but with different characters, ie transformed jokes with mostly non-political versions, jokes translated from other languages, primarily English, and jokes created specifically on the occasion with no previous version, which can be quite rare. Looking at the dynamics of the jokes through the last six years reveals that the changes in the popularity of these subcategories are obvious. Most visible of these is the rising interest in local state affairs. Besides local issues, also some interest in foreign affairs has risen, though a part of it may be not due to emotional involvement but better access to jokes and translations. The share of old Soviet jokes among contemporary political humour seems to be falling in favour of our own issues and politicians as butts of jokes. I will also briefly describe the difference in choice of targets in two main subcategories: old Soviet jokes and new jokes (or old jokes with new and topical characters). This is an issue that relates closely to the supposition Alexander Rose posed in his article about political jokes under different regimes. He maintains that jokes from totalitarian regime differ from the ones made in democratic conditions mainly by the subject matter: the first make fun of the system and avoid naming any persons, while democracy allows ridicule on the leaders. After analysing the choice of targets in different subcategories of political jokes, I would suggest that the difference is more complicated. Leaders are laughed at in both cases. But the difference lies more in the fact that totalitarian regimes turn nearly any joke into a political joke: any joke can acquire political connotation, be it a sexual or ethnic joke, concerned with animals, work, daily life in general etc. It also seems that political allusion in jokes is in some cases (in some socio-political frameworks) only a metacategory, background noise, overtone (like absurdness in jokes). It appears regardless of the main category the joke belongs to. Politics as well as absurdness invades jokes, be it because of specific sociopolitical circumstances (like in the case of political humour in totalitarian societies) or because there is an inclination towards enjoying a certain kind humour within a group. The most important finding of the present research is that at least political jokes are not losing their edge and appeal to Internet users. Even if we were telling less jokes, and even sending less jokes, political humour is a functional and popular way of discussing the fast changes in our society, decisions that affect them, and personal characteristics of the people who are responsible for it all. What we also need in further studies is a more comprehensive study on the nature of postsocialist joking with relevant comparisons to Soviet period and on the other hand Western jokelore through the years. It would not only give overview of 12

13 13the present situation of jokes in the former Soviet block, but allows an insight into more basic questions like the characteristics and status of political jokes under different regimes and in transformational societies ﾂ ｨｨｨｦ09ｨｨ 09ｨ ｨｦｨｪ0209ｨｰ02 (06ｨ 08ｨｰｨｮ) ｨｺ05ｨ ｨ 02ｨｰ0907 ｨ ｨｪｨ 05ｨｨ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ0609, ｨ ｨｴｨｨ ｨ ｨｬ06ｨｬ 06ｨ ｨｲ02ｨｬｨｪ06ｨｬ ｨｨ09ｨｰ06 ﾂｨｪｨｨｨｺ02 ｨ ｨｪ02ｨｺ0106ｨｰ ｨｰ06ｨｪｨｨｨｨ ｨｪｨ 09ｨ ｨｦｨｰ02 Delfi Jokepage ｨC ｨｮ050708ｨｪｨ 07 06ｨｪｨｰ0208ｨｪ02ｨｰ-09ｨｰ08ｨ ｨｪｨｨ02ｨ, ｨｪ0209ｨｪ ｨｪ0702ｨｬｨ ｨｨｨ 05ｨｨ04ｨｨｨｰ0205ｨｹｨｪ06 20 ｨｪ060904ｨｬｨｨ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬｨｨ. 00 ｨ ｨｪｨ 05ｨｨ04 ｨ 0405ｨｨ 09ｨｺ0506 ﾂ02ｨｪ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｨ0601ｨ , 06ｨｰｨｪ060907ｨｴｨｨ ｨｺ ｨｺｨ ｨｰ ｨｨｨｨ ｨｨｨｰｨｨ ﾂ0209ｨｺ ｨｬ0608ｨ ｨｪ06 ｨｨ ｨ ｨｰｨｹ ｨｨ09ｨｰ06 ﾂｨｪｨｨｨｺ, 09 ｨｺ06ｨｰ060806ｨｬ 07ｨｮｨ 05ｨｨｨｺｨｮ06ｨｰ0907 ｨ ｨｪ02ｨｺ0106ｨｰ ｨｪ0609ｨｪｨ ｨ 02ｨｪｨｪ0609ｨｰｨｹ 01ｨ ｨｪｨｪ ｨｨ09ｨｰ06 ﾂｨｪｨｨｨｺｨ ｨC ｨｪ ｨｰｨｨ 06ｨｪ05ｨ ｨｦｨｪ ｨｨ ｨｺ06ｨｬｨｬ02ｨｪｨｰｨ 08ｨｨｨｨ ｨｺ ｨｪｨｨｨｬ ｨｨ ﾂ02ｨｪｨｨ02 ﾂｨｨ090502ｨｪｨｪ ｨｺ0605ｨｨ ﾂ0209ｨｰ09ｨ ｨｺ06ｨｬｨｬ02ｨｪｨｰｨ 08ｨｨ ｨ ｨｹｨｬｨ 0709ｨｪ06 ｨｮｨｺｨ ｨ 02ｨｰ ｨｪｨ ｨｰ ｨｮ050708ｨｪ0609ｨｰｨｨ ｨｰｨ 05ｨ ｨｮ090205ｨｨ ﾂｨｨ09ｨ ｨｹ ｨｰｨ ｨｺ0302 ｨｨ ｨｺ0605ｨｨ ﾂ0209ｨｰ ｨｮｨ 05ｨｨｨｺｨｮ02ｨｬ0401 ｨｪ ｨｰ02ｨｦ. 00 ｨｰ ｨｬ07, 06ｨ ｨｴ0202 ﾂｨｨ ｨ ｨｪ02ｨｺ0106ｨｰ0609 ｨｨｨｬ ｨｰ02ｨｪ0102ｨｪ02ｨｨ06 ｨｺ 0906ｨｺ08ｨ ｨｴ02ｨｪｨｨ ｨ 07ｨｮ09ｨｺｨ 09ｨｰ08ｨ ｨｪｨｨ ﾂｨｺｨｨ 09 ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬｨｨ ｨ ｨｨ ｨｦ ｨｪ ｨｮ050708ｨｪ0609ｨｰｨｨ ｨｪ02ｨ 0605ｨｹ ｨｨ090502ｨｪｨｨ02 ｨｪｨ ｨ ｨ ｨｹ ｨｰｨ ｨｺ ｨｺ06ｨｰ0608ｨ ｨ ｨｪｨｨ04ｨ 02ｨｨ07, ｨｨｨｬ020903ｨ 07 ｨｬ0209ｨｰ06 ｨｪｨ 09ｨ ｨｦｨｰ02, ｨ 05ｨ ｨ 0605ｨｹ03ｨｨｨｦ ｨｨｨｪｨｰ ｨｨ ｨｨｨｪｨｰ0208ｨｪ02ｨｰ ｨｹ040609ｨ ｨｰ020502ｨｦ. 0201ｨｪｨ ｨｺ06 ｨｺ08ｨｨ09ｨ 07 08ｨ 0409ｨｨｨｰｨｨ07 ｨｨ0102ｨｰ 0706 ｨｪｨｨ0907ｨ 01ｨ 06ｨｴ02ｨｦ. 05ｨｰｨ ｨｰｨｨ09ｨｰｨｨｨｺｨ 0706ｨｺｨ ｨ 02ｨｰ 06ｨｰ08ｨｨ02ｨ ｨｰ0205ｨｹｨｪｨｮ06 ｨｺ ｨｨ06 ｨｬ020301ｨｮ ｨｪ0209ｨｪ04ｨｬ ｨｺ0605ｨｨ ﾂ0209ｨｰ0906ｨｬ ｨｪ ｨｰ02ｨｦ ｨｨ ｨｺ06ｨｬｨｬ02ｨｪｨｰｨ 08ｨｨ0209 ｨｨ 06ｨ ｨｴｨｨｨｬ ｨｺ0605ｨｨ ﾂ0209ｨｰ0906ｨｬ ｨ ｨｪ02ｨｺ0106ｨｰ0609. ﾁｨｨ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ ｨ ｨｪｨｪ04ｨｦ ｨｨ ｨｰｨ 09ｨ ｨｹ ｨｹｨｬｨ 09ｨｰｨ ｨ ｨｨ05ｨｹｨｪ04ｨｬ 09 ｨｪ02ｨ 0605ｨｹ0306ｨｦ ｨｰ02ｨｪ0102ｨｪ02ｨｨ02ｨｦ ｨｺ ｨｪｨｨ ｨｮ050708ｨｪ0609ｨｰｨｨ ｨｨ 0908ｨ 09ｨｪｨｨｨｰｨｹ ｨｨ ｨｮ00ｨｨｨｬｨｨ ｨｺｨ ｨｰ ｨｨ07ｨｬｨｨ ｨｪｨ ｨｰ06ｨｬ ｨ ｨｦｨｰ02, ｨｬ0603ｨｪ06 ｨｮ09ｨｨ0102ｨｰｨｹ ｨｮ06ｨｴｨｮ06 ｨｺｨ 08ｨｰｨｨｨｪｨｮ: ｨｺ0605ｨｨ ﾂ0209ｨｰ0906 ｨ ｨｪ02ｨｺ0106ｨｰ ｨｨ0906ｨｰｨｪ0401, 05ｨｰｨｪｨｨ ﾂ0209ｨｺｨｨ ｨｮ0707ｨ 01 ｨｨ ｨｪｨ 0902ｨｺ09ｨｮｨ 05ｨｹｨｪ0402 ｨｰ02ｨｬ04 ｨｪｨ ｨｰ ｨｨ 06ｨ ｨｴ ﾂｨｨ0905ｨ ｨ ｨｪ02ｨｺ0106ｨｰ ｨｬｨｨｨｪｨｨ08ｨｮ06ｨｴ02ｨｬ ｨｪｨｨｨｨ. ﾁｨｰ06 ｨｬ060302ｨｰ ｨ 04ｨｰｨｹ 0708ｨｨ ﾂｨｨｨｪ06ｨｦ 05ｨｰ060006? , 05ｨｰ ｨｺｨ ｨ 02ｨｰ, ﾂｨｰ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ02 ｨ ｨｪ02ｨｺ0106ｨｰ04 04ｨ 09ｨｨ0907ｨｰ 06ｨｰ ｨｨ ｨｴｨｨ ｨ 04ｨｰｨｨｨｦ, ｨｪｨｨ02 ｨｨ ｨｮｨｬ02ｨｪｨｹ0302ｨｪｨｨ02 ｨｨ01 ｨｺ0605ｨｨ ﾂ0209ｨｰ09ｨ ｨｮ06ｨｰ ｨｪ ｨｰ0902ｨｪｨｪ06 04ｨ 0906ｨ 04ｨｰｨｨ07ｨｬｨｨ ｨｨｨｰｨｨ ﾂ0209ｨｺ ｨｺｨ 0502ｨｪ01ｨ 0807 (05ｨｨ03ｨｹ 09 ｨｪ02ｨ 0605ｨｹ0306ｨｦ 04ｨ ｨｺ06ｨｦ) ｨｰ06ｨｬ 06ｨｰｨｪ060302ｨｪｨｨｨｨ 06ｨｪｨｨ ｨ ｨｪ04 ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬ 06 ｨｺｨ ｨｰｨ 09ｨｰ080600ｨ ｨｬ02 ｨｰ060006, ｨｨｨｪｨｰ ｨｺ 0108ｨｮ00ｨｨｨｬ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬ 07ｨ 01ｨ 02ｨｰ, 0706ｨｰ06ｨｬｨｮ ﾂｨｰ06 ｨｨ ｨ ｨｪｨｨ ﾂ02ｨｪ, ｨｰ060001ｨ ｨｺｨ ｨｺ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ02 ｨ ｨｪ02ｨｺ0106ｨｰ ｨ 00ｨｨ08ｨｮ06ｨｰ ｨｪｨ 09ｨｨｨｰｨｮｨ 02ｨｨ06 ｨｨ ｨｰ0907 ｨｮｨｬ0209ｨｰｨｪ04ｨｬ ｨｺ0600ｨｪｨｨｨｰｨｨ09ｨｪ04ｨｬ ｨｨｨｪ09ｨｰ08ｨｮｨｬ02ｨｪｨｰ06ｨｬ 09 ｨｺｨ ｨｪ0209ｨｪ06ｨｦ 03ｨｨ04ｨｪｨｨ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ02 ｨ ｨｪ02ｨｺ0106ｨｰ04 ｨｰｨ ｨｺ0302 ｨｬ0600ｨｮｨｰ ｨ 04ｨｰｨｹ 03ｨ ｨｪ0806ｨｬ, 0708ｨｨ090502ｨｺｨ ｨｰ0205ｨｹｨｪ04ｨｬ ｨｨｨｪｨｰ0208ｨｪ02ｨｰ ｨｹ040609ｨ ｨｰ020502ｨｦ. Delfi ｨC 05ｨｰ ｨｰｨ 05, ｨｨｨｪ000608ｨｬｨ 02ｨｨ ｨｬ02ｨｴ02ｨｪｨ 09 08ｨ ﾂ02ｨｪｨｨ07ｨｬｨｨ, 09 ｨｰ06ｨｬ ﾂｨｨ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬｨｨ. 05ｨ ﾂｨ 09ｨｰｨｮ06 ｨｺ06ｨｬｨｬ02ｨｪｨｰｨ 08ｨｨｨｨ ｨ ｨｰ ｨｨ0806ｨｪｨｨ06, 09ｨ 08ｨｺｨ 04ｨｬ ｨｨ ｨｰ ｨ ｨｰ ｨｨ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ ﾂ02ｨｪｨｹ 0601ｨｪ ｨｪｨ, 09ｨ ｨｬ ﾂ0209ｨｨ01ｨｪ ｨ ｨｪｨｨ ｨｨ09ｨ 02ｨｰ0907 ｨｬ020301ｨｮ 09ｨｰｨ 0804ｨｬｨｨ ｨｰ09ｨｺｨｨｨｬｨｨ ｨｨ ｨｪ060904ｨｬｨｨ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬｨｨ ｨｨ ｨｪ ｨ ｨｪ02ｨｺ0106ｨｰ0609 ｨｬ0603ｨｪ ｨｨｨｰｨｹ ｨｰ02, ｨｺ06ｨｰ ｨ 04ｨｰ0609ｨ 05ｨｨ ｨｨ , ｨｪ ｨ 05ｨｨ 0108ｨｮ00ｨｨ02 01ｨ 08ｨ ｨｺｨｰ020804, ｨｰ ｨ 08ｨ ｨ ｨｪｨｪ0402 ｨ ｨｪ02ｨｺ0106ｨｰ04, 0005ｨ 09ｨｪ04ｨｬ 06ｨ 08ｨ 0406ｨｬ 09 ｨ ｨｨｨｰｨｨ ﾂｨｪ04ｨｬｨｨ ｨｨ07ｨｬｨｨ; ｨ ｨｪ02ｨｺ0106ｨｰ04, ｨｪｨｪ ｨｮ00ｨｨ ｨｺ0609, ｨ ｨｪ0005ｨｨｨｦ09ｨｺ060006; ｨｨ ｨ ｨｪ02ｨｺ0106ｨｰ04, ｨ ｨｪｨｪ ｨｮ ﾂｨ 06 ｨｨ ｨｪ02 ｨｨｨｬ0206ｨｴｨｨ ｨｮｨｴｨｨ ｨｨｨｦ, ｨｪｨｨ02 ｨｬ0600ｨｮｨｰ ｨ 04ｨｰｨｹ ｨｹｨｬｨ ｨｺｨｨｨｬｨｨ. 02ｨｨｨｪｨ ｨｬｨｨｨｺｨ ｨ ｨｪ02ｨｺ0106ｨｰ ｨｪｨｨ ｨｰｨｨ 0502ｨｰ ｨｮｨｺｨ ｨ 02ｨｰ ｨｪｨ 06 ﾂ0209ｨｨ01ｨｪ0402 ｨｨ04ｨｬ02ｨｪ02ｨｪｨｨ ｨｮ050708ｨｪ0609ｨｰｨｨ 05ｨｰｨｨ ｨｺｨ ｨｰ ｨｨｨｦ ｨ ｨｬ02ｨｰ02ｨｪ ｨ 06ｨｴｨｨｨｦ0907 ｨｨｨｪｨｰ ｨｺ ｨｬ0209ｨｰｨｪ04ｨｬ ｨｮ01ｨ 0809ｨｰ0902ｨｪｨｪ04ｨｬ ｨ ｨｬ. 0306ｨｬｨｨｨｬ06 09ｨｪｨｮｨｰ0802ｨｪｨｪｨｨ , ｨｪ0209ｨｺ0605ｨｹｨｺ ｨｨ ｨｰｨ ｨｺ0302 ｨｨ ｨｨｨｪｨｰ ｨｺ 04ｨ 08ｨｮｨ 0203ｨｪ04ｨｬ ｨ ｨｬ, 0106ｨｰ07 05ｨｰ06 ｨｬ ｨｨ0406ｨｦｨｰｨｨ ｨｪ02 09ｨｰ0605ｨｹｨｺ06 ｨｨ04-04ｨ 05ｨｬ0602ｨｨ06ｨｪｨ 05ｨｹｨｪ06ｨｦ 0708ｨｨ ﾂｨ 09ｨｰｨｪ0609ｨｰｨｨ, 09ｨｺ0605ｨｹｨｺ06 ｨｨ04-04ｨ 05ｨｮ ﾂ ｨｰｨｮ07ｨ ｨｺ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬ ｨｨ ｨ ｨｬ ｨｰｨ ｨｰ09ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ ｨｬ02ｨｪｨｪ06ｨｬ ｨｨｨｰｨｨ ﾂ0209ｨｺ06ｨｬ 06ｨｬ060802, ｨｺｨ 0302ｨｰ0907, 0906ｨｺ08ｨ ｨｴｨ 02ｨｰ ｨｹ04ｨｮ ｨ ｨｪ02ｨｺ0106ｨｰ0609, 09 ｨｺ06ｨｰ ｨｬｨｨ0302ｨｪｨｹ ｨｰｨｮ07ｨ 06ｨｰ ｨｪｨ 03ｨｨ 09ｨｪｨｮｨｰ0802ｨｪｨｪｨｨ ｨ ｨｨ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ ｨｰ0205ｨｨ ｨｬ02 ｨｰ060006, ｨｺ05ｨ ｨ 02ｨｰ0907 ｨｺ08ｨ ｨｰｨｺ ｨｨ09ｨ ｨｪｨｨ02 08ｨ 0405ｨｨ ﾂｨｨｨｦ ｨ ｨｬｨｨ0302ｨｪ02ｨｦ 0109ｨｮ ｨｪ0609ｨｪ ｨｺｨ ｨｰ ｨｨｨｦ: 09ｨｰｨ ｨｰ09ｨｺｨｨ01 ｨｨ ｨｪ ｨ ｨｪ02ｨｺ0106ｨｰ0609 (ｨｨ05ｨｨ 09ｨｰｨ ｨ ｨｪ02ｨｺ0106ｨｰ ｨｪ060904ｨｬｨｨ ｨ ｨｺｨｰｨｮｨ 05ｨｹｨｪ04ｨｬｨｨ 01ｨ 08ｨ ｨｺｨｰ0208ｨ ｨｬｨｨ). 06ｨｰ06ｨｰ ｨｰ0209ｨｪ ｨ ｨｪ 09 00ｨｨ0706ｨｰ020406ｨｦ Alexander Rose, ｨｬｨｮ05ｨｨ080609ｨ ｨｪｨｪ06ｨｦ ｨｰｨ ｨｰｨｹ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰｨ 01 08ｨ 0405ｨｨ ﾂｨｪ ｨｨｨｬ ｨｪ ｨｮｨｰ ｨ 02ｨｰ, ﾂｨｰ06 ｨ ｨｪ02ｨｺ0106ｨｰ04 ｨｰ06ｨｰｨ 05ｨｨｨｰｨ 08ｨｪ ｨｨｨｬｨ 06ｨｰ05ｨｨ ﾂｨ 06ｨｰ ｨｰ ｨ ｨｪ02ｨｺ0106ｨｰ0609, ｨｨ0903ｨｨ ｨｬ06ｨｺ08ｨ ｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨｮ ｨｨ0701, 0005ｨ 09ｨｪ04ｨｬ 06ｨ 08ｨ 0406ｨｬ ｨｬ02ｨｰ06ｨｬ 06ｨ 09ｨｮ030102ｨｪｨｨ07: ｨｬ02ｨｨ09ｨ 06ｨｰ 09ｨｨ09ｨｰ02ｨｬｨｮ ｨｨ ｨｨ04ｨ 0200ｨ 06ｨｰ ｨｪｨ ｨ ｨｪｨｨ07 ｨｨｨｬ02ｨｪ, 09ｨｰ ｨｬ02ｨｨ09ｨ 06ｨｰ 05ｨｨ ｨｪｨ 05ｨｨ ｨ 0608ｨ ｨｬｨｨ0302ｨｪ02ｨｦ 09 08ｨ 04ｨｪ ｨｺｨ ｨｰ ｨｨ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ ｨ 02ｨｰ 0609ｨｪ0609ｨ ｨｪｨｨ ｨｨｨｰｨｹ, ﾂｨｰ06 08ｨ 0405ｨｨ ﾂｨｨ07 ｨｬ020301ｨｮ ｨｪｨｨｨｬｨｨ ｨ ｨｪ ｨｨ ｨｬ02ｨｨ09ｨ 06ｨｰ ｨ 06ｨｨ ｨｮ ﾂｨ ｨ 0405ｨｨ ﾂｨｨ ｨ 0605ｨｹ0302ｨｦ 09ｨｰ020702ｨｪｨｨ 04ｨ ｨｺ0506 ﾂｨ 02ｨｰ ｨｰ06ｨｬ, ﾂｨｰ06 09 ｨｰ06ｨｰｨ 05ｨｨｨｰｨ 08ｨｪ06ｨｬ ｨｨｨｬ ﾂｨｰｨｨ ｨｺｨ ｨｦ ｨ ｨｪ02ｨｺ0106ｨｰ 09ｨｰｨ ｨｪ0609ｨｨｨｰ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨｨｬ: ｨ ｨｪ02ｨｺ0106ｨｰ ｨｨ06ｨ 0802ｨｰｨ 06ｨｰ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨｨｦ ｨｰ02ｨｺ09ｨｰ, ｨ ｨｮ01ｨｹ ｨｰ ｨｺ09ｨｮｨ 05ｨｹｨｪ04ｨｦ ｨｨ05ｨｨ 05ｨｰｨｪｨｨ ﾂ0209ｨｺｨｨｨｦ ｨ ｨｪ02ｨｺ0106ｨｰ, ｨ ｨｪ02ｨｺ0106ｨｰ 06 03ｨｨ0906ｨｰｨｪ0401, 08ｨ ｨ 06ｨｰ02, ｨｪ0209ｨｪ06ｨｦ 03ｨｨ04ｨｪｨｨ ｨｨ ｨ ｨｬ02ｨｰｨｪ06 ｨｰｨ ｨｺ0302, ﾂｨｰ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨｨｦ ｨｪｨ ｨｬ02ｨｺ, 0708ｨｨ09ｨｮｨｰ09ｨｰ09ｨｮ06ｨｴｨｨｨｦ 09 ｨ ｨｪ02ｨｺ0106ｨｰ02, 09 ｨｪ02ｨｺ06ｨｰ ｨｮ ﾂｨ

14 13( ｨｨｨ 05ｨｹｨｪ ｨｨｨｰｨｨ ﾂ0209ｨｺ06ｨｦ 09ｨｨ09ｨｰ02ｨｬ02) ｨｰ ｨｨ03ｨｹ ｨｬ02ｨｰｨ ｨｺｨ ｨｰ ｨｨ02ｨｦ, 0006ｨｪ060904ｨｬ 03ｨｮｨｬ06ｨｬ, ｨｰ02ｨｺ09ｨｰ06ｨｬ (ｨｺｨ ｨｺ ｨ ｨ 09ｨｮ ｨ ｨｪ02ｨｺ0106ｨｰｨ 01) ｨｰ06 ｨｪ0209ｨｬ06ｨｰ0807 ｨｪｨ 0609ｨｪ0609ｨｪｨｮ06 ｨｺｨ ｨｰ ｨｨ06, ｨｺ ｨｺ06ｨｰ060806ｨｦ 0708ｨｨｨｪｨ ｨｨｨｰ ｨ ｨｪ02ｨｺ0106ｨｰ ｨｨｨｰｨｨｨｺｨ, 08ｨ 09ｨｪ06 ｨｺｨ ｨｺ ｨｨ ｨ ｨ 09ｨｮ0801, ｨｪｨｨｨｺｨ 02ｨｰ 09 ｨ ｨｪ02ｨｺ0106ｨｰ 09 09ｨｨ05ｨｮ ｨｨ00ｨｨ ﾂ0209ｨｺ06ｨｦ ｨｨｨ 05ｨｹｨｪ ｨｨｨｰｨｨ ﾂ0209ｨｺ06ｨｦ 09ｨｨｨｰｨｮｨ 02ｨｨｨｨ (ｨｺｨ ｨｺ ｨｮ ﾂｨ ｨｨｨｰｨｨ ﾂ0209ｨｺ ｨｬ0608ｨ 09 ｨｰ06ｨｰｨ 05ｨｨｨｰｨ 08ｨｪ ｨ ｨｴ0209ｨｰ09ｨ 01) ｨｨ05ｨｨ ｨｰ02ｨｪ0102ｨｪ02ｨｨｨｨ ｨｺ ｨｮ ﾂ02ｨｪｨｨ06 ｨｮ ｨｹ09ｨｰ09ｨｨ07 06ｨｰ ｨｪｨｪ ｨｨ01ｨ 06ｨｬ0608ｨ ｨｮ ｨ 03ｨｪ02ｨｦ03ｨｨｨｬ ｨｬ ｨｪｨ 09ｨｰ0607ｨｴ ｨｨ ｨ ｨｪｨｨ ｨｰ0907 ｨｰ06, ﾂｨｰ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ02 ｨ ｨｪ02ｨｺ0106ｨｰ04 ｨｪ ｨｰ ｨｨ ｨｦ 0609ｨｰ0806ｨｰ04 ｨｨ 0708ｨｨ090502ｨｺｨ 06ｨｰ 06ｨｪｨｰ0208ｨｪ02ｨｰ ｨｹ040609ｨ ｨｰ020502ｨｦ. 02ｨ ｨｨ ｨｬ04 08ｨ 0909ｨｺｨ ｨ 02ｨｬ ｨｬ02ｨｪｨｹ0302 ｨ ｨｪ02ｨｺ0106ｨｰ0609, ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨｨｦ 06ｨｬ0608, ｨｰ02ｨｬ ｨｪ02 ｨｬ02ｨｪ0202, ｨｰ0907 ｨｺ06ｨｪ09ｨｰ08ｨｮｨｺｨｰｨｨ09ｨｪ04ｨｬ ｨｨ ｨｮ050708ｨｪ04ｨｬ ｨ 06ｨｬ 06ｨ 09ｨｮ030102ｨｪｨｨ ｨｬ02ｨｪ 09 ｨｪｨ 0302ｨｬ 06ｨ ｨｴ0209ｨｰ0902, ｨｪｨｨｨｦ, ｨｬ06ｨｰｨｨ09ｨｨ080609ｨ 0903ｨｨ01 05ｨｰｨｨ ｨｬ02ｨｪ04, 05ｨｨ ﾂｨｪ ｨ 08ｨ ｨｺｨｰ0208ｨｨ09ｨｰｨｨｨｺ ｨｦ, 06ｨｰ0902ｨｰ09ｨｰ0902ｨｪｨｪ ｨ 05ｨｰ ｨ 05ｨｹｨｪ02ｨｦ ｨｨ04ｨｮ ﾂ02ｨｪｨｨ07 ｨｰ0802ｨ ｨｮ02ｨｰ0907 ｨ ｨｪ0602 ｨｨ ｨ ｨｪｨｨ ｨｨ ｨｰ090602ｨｨｨ 05ｨｨ09ｨｰｨｨ ﾂ0209ｨｺ ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｰｨ ｨｪｨｨｨｨ ｨｰ09ｨｺｨｨｨｬ ｨｨ060106ｨｬ ｨｨ, ｨｮ0006ｨｦ 09ｨｰ060806ｨｪ04, 04ｨ 07ｨ 01ｨｪ0401 ｨ ｨｪ02ｨｺ0106ｨｰ ｨｰ0902ｨｰ09ｨｰ09ｨｮ06ｨｴ ｨｨ0601ｨ ｨｬ02ｨｪｨｨ. 06ｨｰ06 ｨｪ02 ｨｰ0605ｨｹｨｺ06 01ｨ 09ｨｰ 06ｨ ｨｴ ｨｰｨ ｨｪｨｨ02 06 ｨｪ04ｨｪ0203ｨｪ02ｨｦ 09ｨｨｨｰｨｮｨ 02ｨｨｨｨ 09 ｨ ｨｪ02ｨｺ0106ｨｰｨ ｨｬｨｨ 09 ｨ ｨｬ ｨｰ09ｨｺ06ｨｬ ｨ 0506ｨｺ02, ｨｪ06 ｨｨ ｨｨｨｰ ｨｪｨｨｨｺｨｪｨｮｨｰｨｹ 09 00ｨｮｨｪ01ｨ ｨｬ02ｨｪｨｰｨ 05ｨｹｨｪ , ｨｰｨ ｨｺｨｨ02 ｨｺｨ ｨｺ 01ｨ 08ｨ ｨｺｨｰ0208ｨｨ09ｨｰｨｨｨｺｨ ｨｨ 09ｨｰｨ ｨｰｨｮ ｨｨｨｰｨｨ ﾂ0209ｨｺｨｨ01 ｨ ｨｪ02ｨｺ0106ｨｰ ｨ 0405ｨｨ ﾂｨｪ ｨｨｨｬ0609 ｨｨ ｨｰ08ｨ ｨｪ ｨｬｨ 02ｨｨ06ｨｪｨｪ ｨ ｨｴ0209ｨｰ09. 14

15 13POLISH JOKELORE IN THE PERIOD OF TRANSITION Dorota Brzozowska (Warsaw) The aim of the presentation is to show the main tendencies of script changes in jokes popular in Poland at the beginning of the 21 st century. Those observable types of changes are connected with the political, social and economic situation of Poland after the year 1989 and the fall of communism. The proportions between the three groups of jokes considered to be the most numerous i.e. political, ethnic and sexual jokes are examined. Kawa06, one of the Polish equivalents for joke, is said to be ｰfirmly rooted in Polish history ｱ and ｰplays a colossal role in Polish culture ｱ (Wierzbicka 1991: 189). According to Wierzbicka the prototypical kawa06 is political. It promulgates ingroupness, solidarity and social integration vis-a-vis some outsiders. The traditionally largest group of jokes has recently been decreasing rapidly. For many years the main aim of jokes in Poland was to mock socialistic structures, the people who governed the country ｨC especially the first secretaries of the PZPR (Polish United Workers ｯ Party), the Soviet Union and the common citizens ｯ style of living. Due to this ingroup characteristic even nonverbal jokes were difficult to translate without additional background information. The first anthologies of political humor appeared at the beginning of the nineties (e.g. Dowcip surowo wzbroniony) and even the political jokes published ten years later were actually the jokes about the situation in Poland before The ethnic jokes are also different than they used to be. There was a tradition of telling jokes about three men of different nationalities for years known here as ｰPolak, Rusek, Niemiec ｱ. Now they are not so popular any longer. Furthermore, they ceased to have the Polish neighbors as obligatory heroes. Presently, the place of the Russian and the German is usually taken by an American, a Frenchman, a Dutch etc. Additionally, the Pole was always the cleverest hero in old jokes while the new jokes of this type are more similar to Polish jokes with a Pole, as the butt. In former times, typical Jewish humor was very widespread in Poland and the Jewish jokes were one of the most numerous groups in collections coming out before the Second World War. Now the percentage of Jewish jokes is really low. Jokes about Scots try to fill the gap caused by the absence of Jewish humor. As a result, there are more jokes about Scots than about Jewish people in new Polish anthologies even if the latter nation was not mentioned in the old collections at all. Enormous changes are easy to notice also in jokes with SEX/ NO SEX opposition as a considerable number of them followed the opening of sex-shops and the more widespread access to pornography. The role of female characters has changed, too. Women are very often described as sex objects or portrayed as sexually aggressive or stupid. Traditionally some jokes were popular with certain social groups of people and the subject of jokes depended on the audience ｯs background i.e. occupation, status or age. Currently, the new type of popculture promotes low culture jokes. Such jokes have become most common in Poland in the last few years. The political jokes have been substituted with politically incorrect jokes: sick, vulgar or tasteless ｨC printed in booklets or published in dailies and magazines. In the mid-nineties the ｰtruly tasteless jokes ｱ (e.g. from Blanche Knott ｯs series of books) made people feel offended and disgusted. A few years later telling, e- mailing and collecting sick and dirty jokes became a part of Polish sense of humor. One of the sources for jokes is the Internet, which influences not only the quantity, but also the quality of the transmitted jokes. The new fashion of sending jokes by is also present in Poland. Jokes were originally perceived as mainly oral texts, but it has recently been altered. New jokes spread much faster and humorous books grow in popularity, too. There are booklets and pocket size paperbacks easily available as well as thematically arranged hard-back collections of anecdotes and jokes. Jokes in Poland in the period of transition are becoming similar to those popular in other countries. They are losing their national style and are becoming more and more international and universal. The 21 st century is the period of the fast traveling jokes spamming accounts, and the jokes are definitely different from those Poles used to tell their friends even a decade earlier. 15