خلاصة:
Humor in Gogol's fantasies is not only social criticism, but the author tries to instill a kind of fear and sometimes anger and surprise in the reader with special measures. This article tries to deal with Gogol's ways or Styles to achieve this characteristic in two works, Nose and Overcoat, with a descriptive-analytical approach and with reference method, and to show that Gogol used excessiveness and exaggeration in Reality and turning to fantasy has taken it to other dimensions like grotesque. He has turned to the grotesque both in the elements of the story, in the method of its execution, and in the content. In the structure section, it has been achieved with the help of suspense, characterization, and exaggerated and rumored beginnings and endings, and in the performance method, it has chosen fantasy and postmodern approaches rather than humanizing objects and body parts. to give them an exaggerated personality and by creating an illusion in the audience, create a platform to turn to an open ending and as a result create an eerie uncertainty for the reader. It breaks the border between reality and fantasy in the audience's mind, and finally, with uncertainty, fear and anger prevail over humor. In fact, by changing the real and real texture to fantasy and also turning to scary content, in addition to a funny and surprising and unconventional act, the author has thrown a scary background in the heart of a person's awake conscience to complete his set of Grotesque Styles or ways
ملخص الجهاز:
ir Article Information Article Type: Research Article Date Received: May 31, 2023 Date Reviewed: November 22, 2023 Date Accepted: December 12, 2023 Date Published: February 12, 2024 Abstract Humor in Gogol’s fantasies is not merely social critique; rather, through specific techniques, the author seeks to evoke a sense of horror, and at times, awe and admiration in the reader, which drives his works towards the grotesque.
In the elements of the story section, with the help of suspense (character, place, and event), characterization, space-making, and atmosphere, he achieves it, and in the method of execution, he utilizes fantasy and postmodern approaches to give exaggerated personalities to objects and body parts and create illusions in the audience, providing a context for turning to an open ending and consequently creating a haunting sense of uncertainty for the reader.
The most important characteristics of the grotesque that have been mentioned in numerous works include: bodily transformation and its conversion into plants or animals or objects, abnormality, imbalance and disproportion and incompatibility of two strange things, violent and terrifying abnormality, and exaggeration and excess (Thomson, 2019, 23-32), which, as can be seen, some are accessible in characters and some in other elements of the story.
156 Research Journal of Literary Criticism and Rhetoric, Year 13, No. 4, Winter 1403, Serial 36 The focus of this article is not only on stating the repeated elements of the grotesque, including bodily transformation, the strange and metamorphosis, but rather it relies more on the structural and suprastructural look of the author and addresses the author's techniques and tricks to create the aforementioned characteristics; Therefore, it has differences with other articles.
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