К ПРОБЛЕМЕ ОПРЕДЕЛЕНИЯ ЖАНРА ПАРОДИИ

The article is devoted to the definitions of the parody genre in Russian and Ukrainian scientific literature of the XIX–XXI centuries. We trace the evolution of the term parody, analyzing definitions, in encyclopaedic and explanatory dictionaries, (by Brokgauz and Yefron, Kvyatkovskiy, Timofeyev and Turaev, Yevgeniyev and Ivannikov, Kojevnikov and Nikolaev, Volin and Ushakov, Surkov, etc). The article also dwells on the interpretation of parody genre by such scientists as Ostolopov, Ozhegov, Tynyanov, Novikov, Propp, Rassadin, Tyapkov, Grossman, Nudga, Drach, Getmanets, Melnikov, etc. We choose the most acceptable in our opinion definition of parody, which we will use later to analyze the parody works of D.D. Minaev. In this study, we rely on an important theoretical position about the duality of parody, formulated by Y.N. Tynyanov. The “first plan” of the parody, literal, appears in front of the reader when he sees the text. But behind this, an explicit and literal parody plan, the “second plan” – the object always lies hidden. “The second plan” is built in the minds of readers with varying degrees of completeness – depending on the degree of erudition, and level of ironic humorous intuition. Tynyanov established that in a parody the discrepancies of the two plans and their displacement are necessary. This discrepancy serves as a signal of parody, upon hearing which, the reader ceases to believe in the literalness of the “first plan”. V.I. Novikov adds the thesis about the “third plan”, the measure of that unique meaning, which is transmitted only by a parody. The reading of the “third plan” is a comparison of the “first” and “second plans” reaching a deep dimension of parody sense. It is the highest semantic point of the parody. It contains many meanings and richness of semantic nuances. Melnikova synthesized and generalized the definitions given by Tynyanov and Novikov: a literary parody is “a specific kind of satiric-humorous creativity, which is based on the contrasting of what is displayed (“first plan”) to what is depicted (“ the second plan”), resulting in a comic image of the object”