title: ÐÐ¸Ð½Ð³Ð²Ð¸ÑÑÐ¸ÑÐµÑÐºÐ¸Ð¹ Ð°Ð½Ð°Ð»Ð¸Ð· Ð¸Ð½ÑÐµÑÑÐµÐºÑÑÑÐ°Ð»ÑÐ½ÑÑ Ð²ÐºÐ»ÑÑÐµÐ½Ð¸Ð¹ Ð¿ÑÐ¸ ÑÐ¾Ð·Ð´Ð°Ð½Ð¸Ð¸ ÐºÐ¾Ð¼Ð¸ÑÐµÑÐºÐ¾Ð³Ð¾ ÑÑÑÐµÐºÑÐ° (Ð½Ð° Ð¼Ð°ÑÐµÑÐ¸Ð°Ð»Ðµ Ð±ÑÐ¸ÑÐ°Ð½ÑÐºÐ¸Ñ Ð¸ Ð°Ð¼ÐµÑÐ¸ÐºÐ°Ð½ÑÐºÐ¸Ñ ÑÐ¸ÑÐºÐ¾Ð¼Ð¾Ð²)
title: Ð²ÑÐ¿ÑÑÐºÐ½Ð°Ñ ÐºÐ²Ð°Ð»Ð¸ÑÐ¸ÐºÐ°ÑÐ¸Ð¾Ð½Ð½Ð°Ñ ÑÐ°Ð±Ð¾ÑÐ° Ð±Ð°ÐºÐ°Ð»Ð°Ð²ÑÐ°
titleType: Subtitle
title: Linguistic analysis of intertextual inclusions when creating a comic effect (based on the material of British and American sitcoms)
Creators: name: ÐÐ°ÑÐ°ÑÑÐº, ÐÐ°Ð»ÐµÑÐ¸Ñ
Publisher: name: Ð¡Ð°Ð½ÐºÑ-ÐÐµÑÐµÑÐ±ÑÑÐ³ÑÐºÐ¸Ð¹ Ð¿Ð¾Ð»Ð¸ÑÐµÑÐ½Ð¸ÑÐµÑÐºÐ¸Ð¹ ÑÐ½Ð¸Ð²ÐµÑÑÐ¸ÑÐµÑ ÐÐµÑÑÐ° ÐÐµÐ»Ð¸ÐºÐ¾Ð³Ð¾
Year: 2022
Subjects: Ð¸Ð½ÑÐµÑÑÐµÐºÑÑÑÐ°Ð»ÑÐ½Ð¾ÑÑÑ
Ð¸Ð½ÑÐµÑÑÐµÐºÑÑÑÐ°Ð»ÑÐ½ÑÐµ Ð²ÐºÐ»ÑÑÐµÐ½Ð¸Ñ
Ð¸Ð½ÑÐµÑÑÐµÐºÑÑ
ÑÐ¸ÑÐºÐ¾Ð¼Ñ
ÐºÐ¾Ð¼Ð¸ÑÐµÑÐºÐ¸Ð¹ ÑÑÑÐµÐºÑ
ÑÐ¼Ð¾Ñ
intertextuality
intertextual inclusions
intertext
sitcoms
comic effect
humor

description: Ð Ð°Ð±Ð¾ÑÐ° Ð¿Ð¾ÑÐ²ÑÑÐµÐ½Ð° Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ Ð¸Ð½ÑÐµÑÑÐµÐºÑÑÑÐ°Ð»ÑÐ½ÑÑ Ð²ÐºÐ»ÑÑÐµÐ½Ð¸Ð¹ Ð² Ð±ÑÐ¸ÑÐ°Ð½ÑÐºÐ¸Ñ Ð¸ Ð°Ð¼ÐµÑÐ¸ÐºÐ°Ð½ÑÐºÐ¸Ñ ÑÐ¸ÑÐºÐ¾Ð¼Ð°Ñ, Ð¸Ñ Ð²Ð¸Ð´Ñ, ÑÑÐ½ÐºÑÐ¸Ð¸ Ð¸ ÑÐ¾Ð»Ð¸, ÐºÐ¾ÑÐ¾ÑÑÐµ Ð¾Ð½Ð¸ Ð²ÑÐ¿Ð¾Ð»Ð½ÑÑÑ. Ð Ð°Ð±Ð¾ÑÐ° Ð¿ÑÐ¾Ð²ÐµÐ´ÐµÐ½Ð° Ð½Ð° Ð±Ð°Ð·Ðµ ÑÐ°ÐºÐ¸Ñ ÑÐ¸ÑÐºÐ¾Ð¼Ð¾Ð² ÐºÐ°Ðº Â«ÐÐ°Ðº Ñ Ð²ÑÑÑÐµÑÐ¸Ð» Ð²Ð°ÑÑ Ð¼Ð°Ð¼ÑÂ», Â«Ð¡Ð¾Ð¾Ð±ÑÐµÑÑÐ²Ð¾Â», Â«ÐÐ¸Ð¿-ÑÐ¾ÑÂ» Ð¸ Â«ÐÐ¾Ð»Ð±Ð°Ð½ÑÑÑÐµÂ». Ð Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ð¸ Ð±ÑÐ»Ð¸ Ð¸ÑÐ¿Ð¾Ð»ÑÐ·Ð¾Ð²Ð°Ð½Ñ ÑÑÐµÐ±Ð½ÑÐµ Ð¿Ð¾ÑÐ¾Ð±Ð¸Ñ, Ð½Ð°ÑÑÐ½ÑÐµ ÑÑÐ°ÑÑÐ¸, ÑÐ¸ÑÐ°ÑÑ Ð¸Ð· Ð²ÑÐµÐ¼Ð¸ÑÐ½Ð¾ Ð¸Ð·Ð²ÐµÑÑÐ½ÑÑ Ð¿ÑÐ¾Ð¸Ð·Ð²ÐµÐ´ÐµÐ½Ð¸Ð¹, Ð° ÑÐ°ÐºÐ¶Ðµ ÑÑÐ°Ð½ÑÐºÑÐ¸Ð¿ÑÑ ÑÐ°ÑÑÐ¼Ð°ÑÑÐ¸Ð²Ð°ÐµÐ¼ÑÑ ÑÐ¸ÑÐºÐ¾Ð¼Ð¾Ð². ÐÑÐ»Ð¸ Ð²ÑÑÐ²Ð»ÐµÐ½Ñ Ð¸Ð½ÑÐµÑÑÐµÐºÑÑÑÐ°Ð»ÑÐ½ÑÐµ Ð²ÐºÐ»ÑÑÐµÐ½Ð¸Ñ Ð¸ Ð¸Ñ ÑÑÐ½ÐºÑÐ¸Ð¸ ÑÐ°ÑÐ°ÐºÑÐµÑÐ½ÑÐµ Ð´Ð»Ñ Ð²ÑÑÐµÑÐ¿Ð¾Ð¼ÑÐ½ÑÑÑÑ ÑÐ°ÑÑÐ¼Ð°ÑÑÐ¸Ð²Ð°ÐµÐ¼ÑÑ ÑÐ¸ÑÐºÐ¾Ð¼Ð¾Ð². Ð ÑÐµÐ·ÑÐ»ÑÑÐ°ÑÐµ Ð°Ð½Ð°Ð»Ð¸Ð·Ð° Ð±ÑÐ» ÑÐ´ÐµÐ»Ð°Ð½ Ð²ÑÐ²Ð¾Ð´, ÑÑÐ¾ Ð¸Ð½ÑÐµÑÑÐµÐºÑÑÑÐ°Ð»ÑÐ½ÑÐµ Ð²ÐºÐ»ÑÑÐµÐ½Ð¸Ñ Ð¸Ð³ÑÐ°ÑÑ Ð²Ð°Ð¶Ð½ÑÑ ÑÐ¾Ð»Ñ Ð½Ðµ ÑÐ¾Ð»ÑÐºÐ¾ Ð¿ÑÐ¸ ÑÐ¾Ð·Ð´Ð°Ð½Ð¸Ð¸ ÐºÐ¾Ð¼Ð¸ÑÐµÑÐºÐ¾Ð³Ð¾ ÑÑÑÐµÐºÑÐ°, Ð½Ð¾ Ð¸ Ð¿ÑÐ¸ Ð¿ÑÐ¸Ð²Ð»ÐµÑÐµÐ½Ð¸Ð¸ Ð·ÑÐ¸ÑÐµÐ»ÐµÐ¹, ÑÐ»ÑÑÑÐµÐ½Ð¸Ð¹ Ð¾Ð±ÑÐµÐ³Ð¾ Ð²Ð¿ÐµÑÐ°ÑÐ»ÐµÐ½Ð¸Ñ Ð¾Ñ Ð¿ÑÐ¾ÑÐ¼Ð¾ÑÑÐ°. Ð¡Ð¸ÑÐºÐ¾Ð¼Ñ Ð¾ÑÑÐ°Ð¶Ð°ÑÑ Ð±ÑÑÑÑÐ¾ Ð¼ÐµÐ½ÑÑÑÐ¸ÐµÑÑ ÑÐµÐ°Ð»Ð¸Ð¸ Ð¾Ð±ÑÐµÑÑÐ²Ð°, Ñ Ð¿Ð¾Ð¼Ð¾ÑÑÑ ÑÐ¼Ð¾ÑÐ° Ð¸ Ð¾ÑÑÑÐ»Ð¾Ðº ÑÐ¸ÑÐºÐ¾Ð¼ Ð¾ÑÐ»Ð¸ÑÐ°ÐµÑÑÑ Ð¾Ñ Ð´ÑÑÐ³Ð¸Ñ Ð¶Ð°Ð½ÑÐ¾Ð² ÑÐ²Ð¾ÐµÐ¹ Â«Ð³Ð¸Ð±ÐºÐ¾ÑÑÑÑÂ», Ð±ÑÑÑÑÐ¾ÑÐ¾Ð¹ ÑÐµÐ°Ð³Ð¸ÑÐ¾Ð²Ð°Ð½Ð¸Ñ Ð½Ð° Ð½Ð¾Ð²ÑÐµ ÑÐ¾ÑÐ¸Ð°Ð»ÑÐ½ÑÐµ Ð¿ÑÐ¾Ð±Ð»ÐµÐ¼Ñ Ð¸ Ñ. Ð´., ÑÑÐ¾ Ð¿Ð¾Ð´ÑÐ²ÐµÑÐ¶Ð´Ð°ÐµÑ ÐºÑÐ»ÑÑÑÑÐ½ÑÑ ÑÐµÐ½Ð½Ð¾ÑÑÑ ÑÐ¸ÑÐºÐ¾Ð¼Ð° ÐºÐ°Ðº Ð¶Ð°Ð½ÑÐ°.
description: The work is devoted to the study of intertextual inclusions in British and American sitcoms, their types, functions and roles they perform. The work was basedÂ  on such sitcoms as âHow I Met Your Motherâ, âCommunityâ, âPeep Showâ and âSpacedâ. The study used textbooks, scientific papers, quotes from world-famous works, as well as transcripts of the sitcoms under study. Intertextual inclusions and their functions specific to the aforementioned sitcoms were identified. As a result of the analysis, it was concluded that intertextual inclusions play an important role not only in creating a comic effect, but also in attracting viewers and improving the overall viewing experience. Sitcoms reflect the rapidly changing realities of society, with the help of humor and references, the sitcom differs from other genres by its âflexibilityâ, quick response to new social problems, etc., which confirms the cultural value of the sitcom as a genre.