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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010205 000605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08 0609ィー0608ィィィィ 08ィョ05ィケィーィョ0804 ィィ 080605ィケィコ050608ィィ09ィーィィィコィィ POST-SOCIALIST JOKELORE 0302050605020006080906050606 チ0305080607 08010308020206 International symposion 00020301ィョィェィ 080601ィェ04ィヲ 09ィィィャ070604ィィィョィャ January 15 th ィC16 th 2007 15ィC16 07ィェ09ィ 0807 2007 Tartu 2007 1

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 978-9949-418-71-8 Elektroonilise teaviku ISBN 978-9949-418-70-1 08 autorid, EKM FO 2

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 2007 15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 +372 53 416 520, kriku@ folklore.ee Liisi Laineste, tel +372 51 37 927, 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

134

13ABSTRACTS ィC 040305070003 5

136

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 1990. 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, 4.07.03; 12.09.03); Sledujushchej zimoj muzhchiny stanut belymi i pushistymi. ( 00Izvestija03, 22.01.04); 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, 22.04.04). 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, 12.08.03); Finn okazalsja gorjachee estonca (00Kommersant03, 15.04.03); Gorjachij estonskij samovar (00Izvestija03, 9.12.03); Noch ッ gorjachix parnej. Mul ッtimediafestival ッ sovremennogo iskusstva Finljandii 00Noch ッ nezavisimosti03 (00Bol ッshoj gorod03, 5.12.03); Gorjachij neneckij paren ッ (00Izvestija03, 24.04.04). 0502000403000301010407 04070505080607 08010308020206: 0600020907000608 0403 チ0300020102 0408010408 030502ィェィ 01ィャ02050209ィ & 080502ィコ0902ィヲ 01ィャ02050209 (000609ィコ09ィ ) 00 0106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060006 ィ ィェ02ィコ0106ィーィ : 070806ィィ090106030102ィェィィ02 0802 ツ0209060006 03ィ ィェ08ィ ィィ 020006 050906050602ィィ07 ィェィ 070806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06090402 0702080906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, 07060709ィィ0903ィィ020907 0706090502 1990 00. (00ィェ06090402 08ィョ0909ィコィィ0203, 0509ィー06ィェ0204, 0708060008ィ ィャィャィィ09ィー04, ィェィ 08ィコ06ィャィ ィェ04). 0302080906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 06070604ィェィ 06ィー0907 0706 09ィェ0203ィェ02ィャィョ 09ィィ01ィョ, ィャィ ィェ020802 070609020102ィェィィ07, 060102030102 ィィ 0108ィョ00ィィィャ 0102ィーィ 0507ィャ. 020906ィ 02ィェィェ06 09ィ 03ィェィョ06 080605ィケ ィィ0008ィ 06ィー 0802 ツ02090402 01ィ 08ィ ィコィー0208ィィ09ィーィィィコィィ (0802 ツ02090402 03ィーィ ィャ0704, ィ ィコ0202ィェィー, ィーィィ07ィィ ツィェ0402 0008ィ ィャィャィ ィーィィ ツ0209ィコィィ02 0603ィィィ ィコィィ ィィ ィー. 01.), ィコ06ィー06080402 ィコ0608080205ィィ08ィョ06ィー 09 ィィ01 00070609020102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 07020802 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06090401 0702080906ィェィ 0302ィヲ 08ィョ0909ィコィィ01 ィ ィェ02ィコ0106ィー0609. 01ィ 0708., 0702080906ィェィ 03 ィ ィェ02ィコ0106ィー0609 7

131990-01 0000., 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, 04060506ィーィョ06 020207ィケ ィィ ィェ02070802080409ィェ06 000609060807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0205020006ィェィョ, ィ 02040603ィィィ 06 ツィェ06 06070604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06 09 070609050201ィェィィ02 00060104 02ィィィーィィ080609ィ ィェィィ02 ィ ィェ02ィコ0106ィー0609 09ィーィ ィェ0609ィィィー0907 ィ 06050202 070607ィョ050708ィェ06, ィェ02030205ィィ 08ィ 0909ィコィ 040409ィ ィェィィ02 ィ ィェ02ィコ0106ィー0609. 04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 07080202020102ィェィーィェ0402 ィー02ィコ09ィー04; ツィ ィエ02 0909020006 06ィェィィ ィェ02 070607ィ 01ィ 06ィー 09 0006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0401 09050609 ィィ 0706000609060806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 070807ィャ0401 02ィィィーィ ィー, ィ 05050604ィィィヲ, ィ 000608ィィ04ィャ0609, ィィ09070605ィケ04ィョ02ィャ0401 09 0906090802ィャ02ィェィェ0401 0908020109ィー09ィ 01 ィャィ 0909060906ィヲ ィィィェ000608ィャィ 02ィィィィ. 05ィコ0804ィー0402 06ィー090405ィコィィ ィコ ィ ィェ02ィコ0106ィーィ ィャ 09 08060909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02080206ィーィィ0704 08ィョ0909ィコィィ01 ィ ィェ02ィコ0106ィー0609, 00070404ィコ06090402 ィャィ 09ィコィィ03 ィィ01 0702080906ィェィ 0302ィヲ ィィ ィー. 07. 01ィ ィコ06ィェ0202, ィ ィョ0102ィー 0708020109ィーィ 090502ィェ 07080602ィコィー 0005050609ィ 0807 02ィィィーィ ィー ィィ04 ィ ィェ02ィコ0106ィー060903. 00 0005050609ィ 08ィケ03 07080201070605ィ 00ィ 02ィー0907 09ィコ0506 ツィ ィーィケ ィェ02 ィー0605ィケィコ06 070807ィャ0402 02ィィィーィ ィー04, ィェ06 ィィ ィェ020709ィェ0402 06ィー090405ィコィィ ィコ ィ ィェ02ィコ0106ィーィ ィャ. 00 0106ィコ05ィ 0102 ィ ィョ0102ィー 06ィ 09ィョ0301ィ ィーィケ0907 09ィー08ィョィコィーィョ08ィ 09050609ィ 08ィェ06ィヲ 09ィーィ ィーィケィィ 0005050609ィ 080703. 0308ィィ09020102ィャ 0109ィ 0708ィィィャ0208ィ. 09020504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: 000403ィコィ 0006090608ィィィー 050700ィョ03ィコ02: 0008ィ ィコィ 07 ィー04 070806ィーィィ09ィェィ 07, 09ィコ0605ィケ04ィコィ 07, 0106050601ィェィ 07!03 ィC 0002ィ, ィ 06050205ィ 07, ィ 06050205ィ. 08 08ィ ィェィケ0302 07 ィ 0405ィ ィ 0205ィ 07 ィィ 07ィョ03ィィ09ィーィ 07!03 0308ィィィャ020804: 0902050402 ィィ 07ィョ03ィィ09ィー0402 (000604090209ィーィィ0703, 4.07.03; 12.09.03); 05050201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 020504ィャィィ ィィ 07ィョ03ィィ09ィー04ィャィィ. ( 000604090209ィーィィ0703, 22.01.04); ィC 010205ィケ0407 ィ 04ィーィケ ィ 020504ィャ ィィ 07ィョ03ィィ09ィー04ィャ, ィC 07080601060503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0605 0702080200060906080609 09 ィ 02ィェ 09ィ 0102ィェ06ィャ 09ィ 0107ィー0907. 08 ツィー06? 08 ィー06 0106ィー07ィー ィ 04ィーィケ ィ 020504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0605 0702080200060906080609 ィェ02 0106ィー07ィー. (000806ィャィャ020809ィ ィェィー03, 22.04.04). 01060807 ツィィ02 0509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: 03060305ィィ ィー080602 0509ィー06ィェ020209 (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02080204 ツィ 09 0601ィィィェ ィィ04 0904ィェ060902ィヲ 0006090608ィィィー: 000102 ィコ050602ィーィー03. 030806010601ィィィー 02ィエ02 ツィ 09, 09ィー060806ィヲ 0904ィェ 0006090608ィィィー: 000102 ィコ050602ィーィー!03 030806010601ィィィー 02ィエ02 ツィ 09, 06ィー0202 0006090608ィィィー: 0001ィョ ツィー06, 00060807 ツィィ02 0509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, 09090602ィヲ ィ 0605ィー0609ィェ02ィヲ 090906 0804ィ ィョ 08ィ 0907ィョ00ィ 05ィィ!03 0308ィィィャ020804: 0609ィー06ィェ0202 06ィコィ 04ィ 050907 070600060807 ツ0202 00ィィィェィェ0609. (000806ィャィャ020809ィ ィェィー03, 12.08.03); 08ィィィェィェ 06ィコィ 04ィ 050907 00060807 ツ0202 0509ィー06ィェ02ィ (000806ィャィャ020809ィ ィェィー03, 15.04.03); 01060807 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 (000604090209ィーィィ0703, 9.12.03); 0106 ツィケ 00060807 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 000209ィーィィ09ィ 05ィケ 0906090802ィャ02ィェィェ060006 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 000106 ツィケ ィェ0204ィ 09ィィ09ィィィャ0609ィーィィ03 (00090605ィケ0306ィヲ 000608060103, 5.12.03); 01060807 ツィィィヲ ィェ02ィェ0202ィコィィィヲ 07ィ 0802ィェィケ (000604090209ィーィィ0703, 24.04.04). 8

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

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.). 00020902020304010407 07000204 00 03020506050200030605080207 040205050606 080502ィコ09ィ ィェ0108 09020506ィョ090609 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 07 090902 08ィ 04ィェ060005ィ 09ィィ07 ィィ 0906ィャィェ02ィェィィ07 0906090802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 0706 0706090601ィョ 0706ィェ07ィーィィ07 00ィャ060506010203ィケ03, ィ ィョ0102ィャ 09 ツィィィーィ ィーィケ ィャ060506010203ィケ06 090602ィィィ 05ィケィェィョ06 0008ィョ0707ィョ, ィコ06ィー0608ィ 07 0906090708ィィィェィィィャィ 02ィー0907 06ィ ィエ0209ィー0906ィャ ィコィ ィコ 090609ィャ02ィエィ 06ィエィ 07 09 0902ィ 02 0706ィコィ 04ィ ィー0205ィィ 000102ィー09ィコ06000603 ィィ 0009040806090506000603 ィィ 01ィ 08ィ ィコィー0208ィィ04ィョ02ィー0907 08070106ィャ 090602ィィィ 05ィケィェ0401 01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06080401 010507 ィェィ 09 ィェィ ィィィ 06050202 09ィョィエ0209ィー0902ィェィェ04: 1) ィョ ツィ 09ィーィィ02 09 060906ィ 0401 000608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010907 ィィ09ィコ0506 ツィィィー0205ィケィェ06 00ィャ060506010203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0401 04ィ 09020102ィェィィ0701 ィコィ ィコ 0609ィェ0609ィェィ 07 000608ィャィ ィャィ 0909060906ィヲ 090602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 03 0106ィコ05ィ 01 07080209050201ィョ02ィー 070802030102 0909020006 010209ィコ08ィィ07ィーィィ09ィェ0402 04ィ 01ィ ツィィ: 0607ィィ09ィ ィーィケ 000608ィャ04 06ィャ0608ィ ィィ 07080201070605ィ 00ィ 06ィエィィ02 ィィ01 090609070806ィィ0409020102ィェィィ02 090602ィィィ 05ィケィェ0402 09ィィィーィョィ 02ィィィィ, ィコ06ィー06080402 09 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04 010507 0906090802ィャ02ィェィェ06ィヲ 08060909ィィィヲ09ィコ06ィヲ ィャ060506010203ィェ06ィヲ 0908020104 ィィ ィコ06ィー06080402 ィャ0603ィェ06 ィ 040506 ィ 04 09 ツィィィーィ ィーィケ 09070202ィィ00ィィ ツ0209ィコィィ ィャ060506010203ィェ04ィャィィ, ィ ィーィ ィコ0302 07080609050201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 000608ィャ04 ィィ 09ィィィーィョィ 02ィィィィ 09090704ィ ィェ04, 09 0601ィェ06ィヲ 09ィー060806ィェ04, 09 ィェィ 09050201ィィ02ィャ 09060902ィー09ィコ06ィヲ ィコィョ05ィケィーィョ0804 ィィ 0202 080202020702ィィ02ィヲ 09 ィェ04ィェ0203ィェ02ィヲ ィャ060506010203ィェ06ィヲ ィコィョ05ィケィーィョ0802, 09 0108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 090602ィィ06ィコィョ05ィケィーィョ08ィェ060006 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060006 07080609ィー08ィ ィェ09ィー09ィ, ィコ06ィー06080402 070806ィィ04060305ィィ 09 070609ィー09060902ィー09ィコィョ06 05070601ィョ. 0308020109ィーィ 09ィィィャ ィョ09050609ィェィョ06 ィーィィ0706050600ィィ ツ0209ィコィョ06 ィコィ 08ィーィィィェィョ 0906090802ィャ02ィェィェ060006 ィャ060506010203ィェ060006 06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 09090609 090602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0401 09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06080401 06ィェ 090604ィェィィィコィ 02ィー. 1. 01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0201060906ィヲ 000605ィケィコ050608 09060108ィ ィェ0702ィー0907 09 090906ィィ01 010609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0401 000608ィャィ 01 (ィ ィェ02ィコ0106ィー04 06 09ィーィョ0102ィェィーィ 01 ィィ 070802070601ィ 09ィ ィー02050701, 07020802010205ィコィィ 070605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0402 0008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 0506 09ィィ0106ィィ04ィャ02ィェィィ0903ィィ09ィケ 09 07060401ィェ0209060902ィー09ィコ060006 070208ィィ0601ィ. 06ィー06 09090704ィ ィェ06 0906 09ィーィ ィ ィィ05ィケィェ0609ィーィケ06 090602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 010601ィィィー0907 0506ィ 06ィヲ ィョ ツィ ィエィィィヲ0907, ィィ, 090606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 010507 ィェ020006 ィェ020708ィィ07ィーィィ02ィャ ィィ 060708060902080302ィェィィ02ィャ ィェィ 0907040409ィ 02ィャ0401 ィコィョ05ィケィーィョ08ィェ0401 0202ィェィェ0609ィー02ィヲ. 10

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13POST-SOCIALISM AND POLITICAL JOKES IN ESTONIAN INTERNET Liisi Laineste (Tartu) Political jokes from Estonia ッs major joke source situated at www.delfi.ee/jokes 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 2004. 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 2004. 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

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. 03020506050200060809060500 06 030209060606 ツ0305080603 0801030802020604 00 060506020105080200 060106030401030603 09ィィィヲ09ィィ 09ィ ィヲィェ0209ィー02 (06ィ 08ィーィョ) 00 0106ィコ05ィ 0102 01ィ 02ィー0907 ィ ィェィ 05ィィ04 070605ィィィーィィ ツ0209ィコィィ01 ィ ィェ02ィコ0106ィー0609, 090601020803ィ ィエィィ010907 09 09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0609 0609ィー06ィェィィィィ ィェィ 09ィ ィヲィー02 www.delfi.ee/jokes. 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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 1989. 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 e-mail 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 e-mail accounts, and the jokes are definitely different from those Poles used to tell their friends even a decade earlier. 15