Idiostyle features of Mikhail Zhvanetsky's satirical texts as a tool for interpreting the author's worldview

The study was carried out in line with the linguoconceptological approach based on the material of Mikhail Zhvanetsky's satirical texts. Since the author's position plays an exceptional role in understanding the essence of a satirical text, which manifests itself in the specifics of the linguistic structure of the text, the analysis of the features of its conceptual and linguistic picture of the world is of particular importance. The aim of this study is to consider the key features of Zhvanetsky's idiosyncrasy reflected in the language structure of his satirical texts as a means of objectifying fragments of the author's worldview associated with ideas about a person as a carrier of social characteristics in the context of relations with society and government. The material includes 122 satirical miniatures by Zhvanetsky created in the period from the late 1980s to the early 2000s. The methodological basis of the research consists of introspection, linguistic conceptual, including linguo-axiological analysis of the text, semantic-stylistic and functional-stylistic analysis, elements of linguodiscursive analysis and modeling. It is noted that the list of considered features of the satirical writer's idiosyncrasy includes extralinguistic and linguistic features proper to his creative manner. The genre specificity of Zhvanetsky's texts of the designated period consists in the predominance of satirical miniatures -works laconic in form, but saturated in terms of conceptual content. Their stylistic features include impressionism, ambivalence of assessment, and syncretism of lyrical, humorous and satirical pragmatics. In the image of the author, complementary "role-playing" components are highlighted - an observer, a narrator, and a mentor. In the latter case, we are talking about the writer's desire to become a "regulator" of the mechanisms of understanding reality in the minds of each addressee, representing an audience of an inert, weak-willed mass reader, and to contribute to his movement towards gaining inner freedom in the context of total suppression of external freedom. The linguistic features of Zhvanetsky's creative manner mainly determine such lexical and stylistic features as techniques of pun, paradox, alo-gism, bringing to the point of absurdity, violation of paradigmatic connections between words, as a result of which pseudoanthonyms and pseudonyms begin to appear in texts. In order to create a comic effect, the writer actively uses cliches, clerical phrases, occasional and colloquial vocabulary, and dialog constructions. An assumption is made about the key place of the concepts of MAN, LAUGHTER and STATE in the author's worldview. Laughter acts as an instrument of reflection, evaluation, interpretation, having various forms of embodiment - from light, mocking irony to derogatory sarcasm and accusatory satire. The man in the street in the satirist's picture of the world is complex, not ideal, experiencing joys and sorrows, looking for his place in the world and in a society full of absurdity and in confrontation with the ridiculous actions of government officials. Zhvanetsky defines the feeling of inner freedom as the highest value of a person, and, therefore, through satire, he ridicules social vices in his modern society. Among the promising directions for the development of the problem, we highlight the task of modeling based on the results of studying the specifics of Zhvanetsky's idiosyncrasy in the systematic form of his worldview. The authors declare no conflicts of interests.

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