У статті аналізується проблема сміхової культури в прозі М. Хвильового у контексті філософсько-антропологічних розвідок. Акцентується увага на таких характерних ознаках сміху та сміхової культури в художній творчості М. Хвильового: сміх для народу як спосіб перемагати страх перед владою та її прислуговувачами, як спосіб позбуватися тих чи інших власних вад; виявлення трагічних і комічних особливостей особистого та суспільного життя із застосуванням розмаїття мовних засобів, "запаха слова"; застосуваннярізних видів сатири, що виступає в творах не в чистому вигляді, а переважно як складова частина несатиричного твору, як один із засобів художнього відтворення багатогранної картини людського буття тощо.
The article analyzes the problem of the laughter culture in M. Khvylovy"s intellectual prose in the context of philosophical and anthropological studies. It"s focussed on the characteristic features of laughter and laughter culture in M. Khvylyovy"s art work: laughter for people as a way to overcome fear of authorities and their followers, as a way to avoid any given own wrinkles; identification of tragic and comic features of personal and public life with the use of varieties of language means, "smell of word"; the use of different types of satire& that you can see in works not in its pure form, but mainly as a part of non-satirical work, as a mean of artistic reproduction of human life multifaceted picture, etc. M. Khvyliovy as a "romantic-vitaist" organically uses in his flash fiction (stori&es, short stories) humor, jokes and other means of comic that spread optimism, hope for a better fate, trust in success of "peasant communes" (image of the future society). His romance followers are hyperbole and grotesque. The writer makes active us&e of crushing satire on the vices of social life after the revolution dealing with "politlikbez", "truth of the revolution" ("Colonies, Villas ...", "Puss in Boots"), "heroic patience" and "commune life" ("Silhouettes", "Chumakovskaya Commune"), sati&rical tools are smoothly implemented on the petty bourgeoisie, partsovbarstvo ("Pig", "Room p. 2", "Zaulok"). The period of a "romance-vitaist" ends for Khvylyovy with accuse of nationalism and sell-out of interests of the party. In the end of the pe&riod this master of the pen began to change essentially laughter paradigm in his prose. Khvylyovy, a "doomed romance", begins to be doubtful of the implementation of high ideals of "socialist construction" and a person of "new time", so in his later &works (after the famous literary discussion of 1925-1928 in Ukraine) we can clearly see that the author uses different types of irony, veiled or overt sharp criticism of "new life" of an ordinary person, naked satire, sarcasm, tragicomic motifs, cart&oons and others. Sharp satire by M. Khvylyovy, a "doomed romance", can be called transformation of comic forms. In these works you can feel and strengthening of tragicomical and parodical elements ("Ivan Ivanovich", "Revisor").
