Википедија

Literaturna besmislenost

Literaturna besmislenost je široka kategorizacija književnosti koja koristi elemente koji imaju smisla sa nekima koji nemaju, sa efektom podrivanja jezičkih konvencija ili logičkog zaključivanja.[1] Iako je najpoznatiji oblik književne besmislice besmisleni stih, ovaj žanr je prisutan u mnogim oblicima književnosti.

Efekat besmislica je često uzrokovan viškom značenja, a ne nedostatkom istog. Njegov humor potiče iz njegove besmislene prirode, a ne iz duhovitosti ili šale.[2]

Istorija uredi

 
Prikaz besmislenih stvorenja Džona Tenijela u Kerolovoj poemi Jabberwocky.

Literaturna besmislica, koja se prepoznaje još od devetnaestog veka, dolazi iz kombinacije dva široka umetnička izvora. Prvi i stariji izvor je usmena narodna tradicija, uključujući igre, pesme, drame i rime, kao što je dečja pesmica Hey Diddle Diddle.[3] Književna figura, bajka "Majka Guska" predstavlja uobičajene inkarnacije ovog stila pisanja.

Drugi, noviji izvor književnih besmislica je u intelektualnim apsurdima dvorskih pesnika, naučnika i intelektualaca raznih vrsta. Ovi pisci su često stvarali sofisticirane besmislene oblike latinskih parodija, verskih travestija i političke satire, iako se ovi tekstovi razlikuju od čistije satire i parodije po svojim preteranim besmislenim efektima.[4]

Današnja literaturna besmislica dolazi iz kombinacije oba izvora.[5] Iako nije prvi koji je napisao ovu hibridnu vrstu besmislica, Edvard Ler ju je razvio i popularizovao u svojim brojnim stihovima (počev od A Book of Nonsense, 1846) i drugim poznatim tekstovima kao što su Sova i mačkica, Penis sa svetlećim nosom, The Jumblies i Priča o četvoro male dece koja su obišla svet. Luis Kerol je nastavio ovaj trend, pretvarajući književnu besmislicu u svetski fenomen sa Alisom u zemlji čuda (1865) i Alisom s one strane ogledala (1871). Kerolova pesma Jabberwocky, koja se pojavljuje u poslednjoj knjizi, često se smatra suštinskom besmislicom.[6]

Teorija uredi

U književnoj besmislici, određeni formalni elementi jezika i logike koji olakšavaju značenje balansirani su elementima koji negiraju značenje. Ovi formalni elementi uključuju semantiku, sintaksu, fonetiku, kontekst, reprezentaciju i formalnu dikciju.[7] Žanr je najlakše prepoznati po različitim tehnikama ili mehanizmima koje koristi da stvori ovu ravnotežu značenja i nedostatka značenja, kao što su neispravni uzrok i posledica, portmanto, neologizam, preokreti i inverzije, nepreciznost (uključujući besmislice), simultanost, nepodudarnost slika i teksta, proizvoljnost, beskonačno ponavljanje, negativnost ili preslikavanje i zloupotreba. [8] Besmislena tautologija, reduplikacija i apsurdna preciznost takođe su korišćeni u žanru besmislica.[9] Da bi tekst bio u žanru književne besmislice, mora da ima obilje besmislenih tehnika utkanih u tkivo dela. Ako tekst koristi samo povremene besmislice, onda se ne može klasifikovati kao književna besmislica, iako može postojati besmislen efekat na određene delove dela.[10] Tristram Shandy Lorensa Sterna, na primer, koristi besmislicu nepreciznosti tako što uključuje praznu stranicu, ali ovo je samo jedna besmislica u romanu koja inače ima smisla.[11] U delu Treći policajac Flana O'Brajena, s druge strane, mnoga sredstva besmislica su prisutna svuda, pa bi se stoga moglo smatrati besmislenim romanom.[12]

Razlika uredi

Brbljarija, laki stihovi, fantazija, vicevi i zagonetke se ponekad pogrešno smatraju književnim besmislicama, a konfuznost je veća jer besmislica ponekad može postojati u ovim (i mnogim drugim) formama i žanrovima.[13]

Čisto brbljanje, kao u dečjoj pesmici Hey Diddle Diddle je sredstvo besmislica, ali ne čini tekst, sveukupno, literaturnom besmislicom. Ako nema značajnog smisla za balansiranje takvih sredstava, onda se tekst pretvara u doslovnu (za razliku od književne) besmislicu.[14]

Lagani stih, koji je uopšteno govoreći duhoviti stih namenjen zabavi, može deliti humor, nepovezanost i razigranost sa besmislicom, ali obično ima jasnu poentu ili šalu i nema potrebnu tenziju između značenja i nedostatka značenja.[15]

Besmislice se razlikuju od fantazije, iako ponekad postoje sličnosti između njih. Dok besmislice mogu koristiti čudna stvorenja, drugačije svetovne situacije, magiju i fantastične životinje koje govore, ovi natprirodni fenomeni nisu besmisleni ako imaju uočljivu logiku koja podržava njihovo postojanje. Razlika leži u koherentnoj i jedinstvenoj prirodi fantazije.[16] Sve sledi logiku u okviru pravila sveta fantazije; svet besmislica, s druge strane, nema sveobuhvatan sistem logike, iako može implicirati postojanje nedokučivog, samo izvan našeg dosega.[17] Priroda magije unutar imaginarnog sveta je primer ove razlike. Svetovi fantazije koriste prisustvo magije da logički objasne nemoguće. U besmislenoj literaturi magija je retka, ali kada se dogodi, njena besmislena priroda samo doprinosi misteriji, a neobjašnjava logično bilo šta.[18]

Zagonetke su samo besmislice dok se ne pronađe odgovor. Najpoznatija zagonetka besmislice je takva samo zato što prvobitno nema odgovor.[19] U Kerolovoj Alisi u zemlji čuda, Ludi šeširdžija pita Alisu: „Zašto je gavran poput pisaćeg stola?“ Kada Alisa odustane, Šeširdžija odgovara da ni on ne zna, stvarajući besmislenu zagonetku.[20] Neki naizgled besmisleni tekstovi su zapravo zagonetke, kao što je popularna pesma iz 1940-ih Mairzy Doats, za koju se u početku čini da ima malo uočljivog značenja, ali ima poruku koja se može otkriti.[21] Šale nisu besmislice jer njihov humor proizilazi iz njihovog smisla, iz našeg „shvatanja“, dok su besmislice smešne jer nemaju smisla, mi to ne „shvatamo“.[22]

Prijem uredi

Dok je većina savremenih besmislica napisana za decu, forma ima široku istoriju u konfiguracijama za odrasle pre devetnaestog veka. Likovi poput Džona Hoskinsa, Henrija Pičama, Džona Sandforda i Džona Tejlora živeli su početkom sedamnaestog veka i u svoje vreme bili poznati pisci besmislica.[23] Glupost je takođe bila važan element u delima Flana O'Brajena i Ežena Joneskoa. Književne besmislice, za razliku od narodnih besmislica koje su oduvek postojale u pisanoj istoriji, prvi put su pisane za decu početkom devetnaestog veka. Popularizirao ih je Edvard Ler, a kasnije Luis Kerol. Danas literaturne besmislice uživaju podjednak prijem i kod odraslih i kod dece.

Pisci besmislica uredi

Napomena: Nijedan od ovih pisaca se ne smatra ekskluzivno „piscem besmislica“. Neki od njih su pisali tekstove za koje se smatra da pripadaju tom žanru (kao kod Lera, Kerola, Goreja, Lenona, Sendburga), dok drugi koriste samo besmislice kao povremeno sredstvo (kao kod Džojsa, Džastera). Svi ovi pisci pisali su i van žanra besmislica.[24] Neki od pisaca su:

Pisci besmislica na drugim jezikcima, osim engleskog, su:

Popularna kultura uredi

Bob Dilan je napisao neke tekstove koji sadrže tehnike besmislica, posebno sredinom 1960-ih, u pesmama kao što su "Bob Dylan's 115th Dream" i "Tombstone Blues".[25]

Dejvid Birn, iz art rok grupe novog talasa Talking Heads, koristio je tehnike besmislica u pisanju pesama. Birn je često kombinovao koherentne, ali nepovezane fraze da bi napravio besmislene tekstove u pesmama kao što su: "Burning Down the House", "Making Flippy Floppy" i "Girlfriend Is Better".[26] Ova tendencija je bila osnova naslova za koncertni film Talking Heads-a, Stop Making Sense.

Sid Baret, osnivač Pink Flojda, bio je poznat po svom često besmislenom pisanju pesama pod uticajem Lera i Kerola, što se u velikoj meri nalazilo na prvom albumu Pink Flojda, The Piper at the Gates of Dawn.[27]

Strip Glena Bakstera je često sa besmislicama, oslanjajući se na zbunjujuću međuigru između reči i slike.[28]

The Tomfoolery Show je bila američka crtana humoristička televizijska serija zasnovana na besmislicama Edvarda Lera, Luisa Kerola i drugih.

Zippy the Pinhead, Bila Grifita, je američki strip koja meša filozofiju, uključujući ono što se naziva „hajdegerovski poremećaji“[29] i pop kulturu u svojim besmislenim procesima.[30]

Vidi još uredi

Reference uredi

  1. ^ Tigges, "Anatomy," p. 47.
  2. ^ Tigges, Anatomy, p. 255.
  3. ^ Heyman, Boshen, pp. 2–4
  4. ^ Malcolm 1997, str. 4
  5. ^ Malcolm 1997, str. 6–7
  6. ^ Malcolm 1997, str. 14
  7. ^ Tigges, "Anatomy," p. 47.
  8. ^ Tigges, Anatomy, pp. 166–167.
  9. ^ Heyman, Naissance, pp. xxvi–xxix
  10. ^ Lecercle, str. 29
  11. ^ Tigges, "Anatomy," p. 2.
  12. ^ Tigges, "Anatomy," p. 85, 131.
  13. ^ Heyman, Shortsleeve, p. 168.
  14. ^ Tigges, "Anatomy," p. 101.
  15. ^ Tigges, "Anatomy," pp. 104–105
  16. ^ Anderson, str. 33
  17. ^ Tigges, str. 108–110
  18. ^ Heyman, Pigs, p. 66 (note 1).
  19. ^ Tigges, Anatomy, p. 95.
  20. ^ Carroll, str. 55
  21. ^ „Cabaret and Jazz Songs by Dennis Livingston”. Pristupljeno 24. 4. 2010. 
  22. ^ Tigges, "Anatomy," p. 96.
  23. ^ Malcolm 1997, str. 127
  24. ^ Noakes, Vivien, Edward Lear, The Life of a Wanderer, Sutton.
  25. ^ Tarantula, Scribner (1971).
  26. ^ „desideratum | David Byrne on reevaluating ideas and finding”. Catharsis.tumblr.com. 22. 3. 2010. Pristupljeno 12. 5. 2012. 
  27. ^ O'Hagan, Sean (25. 4. 2010). „Syd Barrett: A Very Irregular Head by Rob Chapman”. The Guardian. London. Pristupljeno 24. 4. 2010. 
  28. ^ Pereira, str. 189–195
  29. ^ Grabiner, July/Aug, 2011
  30. ^ Lecercle, str. 108–109

Literatura uredi

Dodatna literatura uredi

Primarni izvori uredi

  • Allen, Woody, Without Feathers. New York, Random House, 1972.
  • Benson, John P. The Woozlebeasts. New York: Moffat, Yard & Co., 1905.
  • Burgess, Anthony. A Long Trip to Teatime. London: Dempsey and Squires, 1976.
  • Carroll, Lewis (Charles Lutwidge Dodgson), Alice in Wonderland (1865). ed. Donald J. Gray, 2nd edition. London: Norton, 1992.

_________. The Complete Works of Lewis Carroll. London: Nonesuch Press, 1940.

  • Daly, Nicholas. A Wanderer in Og. Cape Town: Double Storey Books, 2005.
  • Eggers, Dave and his brother Christopher] aka Dr. and Mr. Doris Haggis-on-Whey'. Giraffes? Giraffes!, The Haggis-On-Whey World of Unbelievable Brilliance, Volume 1., Earth: McSweeney's, 2003.

_________. Your Disgusting Head: The Darkest, Most Offensive—and Moist—Secrets of Your Ears, Mouth and Nose, Volume 2., 2004. _________. Animals of the Ocean, In particular the giant squid, Volume 3, 2006 _________. Cold Fusion, Volume 4, 2008

  • Gordon, Mike. Mike's Corner: Daunting Literary Snippets from Phish's Bassist. Boston: Bulfinch Press, 1997.
  • Gorey, Edward. Amphigorey. New York: Perigee, 1972.

_________. Amphigorey too. New York: Perigee, 1975. _________. Amphigorey Also. Harvest, 1983. _________. Amphigorey Again. Barnes & Noble, 2002.

  • Kipling, Rudyard, Just So Stories.New York: Signet, 1912.
  • Lawson, JonArno. Down in the Bottom of the Bottom of the Box. Erin: The Porcupine's Quill, 2012.
  • Lear, Edward, The Complete Verse and Other Nonsense. Ed. Vivian Noakes. London: Penguin, 2001.
  • Lee, Dennis, Alligator Pie. Boston: Houghton Mifflin, 1975.
  • Lennon, John, Skywriting by Word of Mouth and other writings, including The Ballad of John and Yoko. New York: Perennial, 1986.

_________. The Writings of John Lennon: In His Own Write, A Spaniard in the Works New York: Simon and Schuster, 1964, 1965.

  • Milligan, Spike, Silly Verse for Kids. London: Puffin, 1968.
  • Morgenstern, Christian, The Gallows Songs: Christian Morgenstern's "Galgenlieder", trans. Max Knight. Berkeley: University of California Press, 1963.
  • Peake, Mervyn, A Book of Nonsense. London: Picador, 1972.

_________. Captain Slaughterboard Drops Anchor. London: Country Life Book, 1939. _________. Rhymes Without Reason. Eyre & Spottiswoode, 1944. _________. Titus Groan. London:, London: Methuen, 1946.

  • Rasmussen, Halfdan. Hocus Pocus: Nonsense Rhymes, adapted from Danish by Peter Wesley-Smith, Illus. IB Spang Olsen. London: Angus & Robertson, 1973.
  • Ravishankar, Anushka, Excuse Me Is This India? illus. by Anita Leutwiler, Chennai: Tara Publishing, 2001.

_________. Wish You Were Here, Chennai: Tara Publishing, 2003. _________. Today is My Day, illus. Piet Grobler, Chennai: Tara Publishing, 2003.

  • Richards, Laura E., I Have a Song to Sing You: Still More Rhymes, illus. Reginald Birch. New York, London: D. Appleton—Century Company, 1938.

_________. Tirra Lirra: Rhymes Old and New, illus. Marguerite Davis. London: George G. Harrap, 1933.

  • Roethke, Theodore, I Am! Says the Lamb: a joyous book of sense and nonsense verse, illus. Robert Leydenfrost. New York: Doubleday & Company, 1961.
  • Rosen, Michael, Michael Rosen's Book of Nonsense, illus. Claire Mackie. Hove: Macdonald Young Books, 1997.
  • Sandburg, Carl, Rootabaga Stories. London: George G. Harrap, 1924.

_________. More Rootabaga Stories.

  • Schweitzer, Louise, One Wild Flower (PhD thesis), London: Austin Macauley, 2012
  • Seuss, Dr. On Beyond Zebra!New York: Random House, 1955.
  • Thurber, James, The 13 Clocks, 1950. New York: Dell, 1990.
  • Watts, Alan, Nonsense. New York: E.P. Dutton, 1975; originally Stolen Paper Review Editions, 1967.

Antologije uredi

  • A Book of Nonsense Verse, collected by Langford Reed, illus. H. M. Bateman. New York & London: G.P. Putnam's Sons, 1926.
  • The Book of Nonsense, edited by Paul Jennings. London: Raven Books, 1977.
  • The Chatto Book of Nonsense Poetry, ed. Hugh Haughton. London: Chatto & Windus, 1988.
  • The Everyman Book of Nonsense Verse, ed. Louise Guinness. New York: Everyman, 2004.
  • The Faber Book of Nonsense Verse, ed. Geoffrey Grigson. London: Faber, 1979.
  • A Nonsense Anthology, collected by Carolyn Wells. New York: Charles Schribner's Sons, 1902.
  • The Nonsensibus, Compiled by D. B. Wyndham Lewis. London: Methuen, 1936
  • O, What Nonsense!, selected by William Cole, illus. Tomi Ungerer. London: Methuen & Co., 1966.
  • The Puffin Book of Nonsense Verse, selected and illus. Quentin Blake. London: Puffin, 1994.
  • Pumpkin Grumpkin: Nonsense Poems from Around the World, Collected by John Agard and Grace Nichols. London: Walker Books, 2011.
  • The Tenth Rasa: An Anthology of Indian Nonsense, ed. Michael Heyman, with Sumanyu Satpathy and Anushka Ravishankar. New Delhi: Penguin, 2007. The blog for this book and Indian nonsense: [1]
  • This Book Makes No Sense, ed. Michael Heyman. New Delhi: Scholastic, 2012. A slim volume for all ages that includes a piece on how to write nonsense.

Sekundarni izvori uredi

  • Andersen, Jorgen, "Edward Lear and the Origin of Nonsense" English Studies, 31 (1950): 161–166.
  • Baker, William, "T.S. Eliot on Edward Lear: An Unnoted Attribution," English Studies, 64 (1983): 564–566.
  • Bouissac, Paul, "Decoding Limericks: A Structuralist Approach," Semiotica, 19 (1977): 1–12.
  • Byrom, Thomas, Nonsense and Wonder: The Poems and Cartoons of Edward Lear. New York: E.P. Dutton, 1977.
  • Cammaerts, Emile, The Poetry of Nonsense. London: Routledge, 1925.
  • Chesterton, G.K., "A Defence of Nonsense," in The Defendant (London: J.M. Dent & Sons, 1914), pp. 42–50.
  • Chitty, Susan, That Singular Person Called Lear. London: Weidenfeld & Nicolson, 1988.
  • Colley, Ann C., Edward Lear and the Critics. Columbia, SC: Camden House, 1993.

_________. "Edward Lear's Limericks and the Reversals of Nonsense," Victorian Poetry, 29 (1988): 285–299. _________. "The Limerick and the Space of Metaphor," Genre, 21 (Spring 1988): 65–91.

  • Cuddon, J.A., ed., revised by C.E. Preston, "Nonsense," in A Dictionary of Literary Terms and Literary Theory, 4th edition (Oxford: Blackwell, 1976, 1998), pp. 551–58.
  • Davidson, Angus, Edward Lear: Landscape Painter and Nonsense Poet. London: John Murray, 1938.
  • Deleuze, Gilles, The Logic of Sense, trans. Mark Lester with Charles Stivale, ed. Constantin V. Boundas. London: The Athlone Press, (French version 1969), 1990.
  • Dilworth, Thomas, "Edward Lear's Suicide Limerick," The Review of English Studies, 184 (1995): 535–38.

_________. "Society and the Self in the Limericks of Lear," The Review of English Studies, 177 (1994): 42–62.

  • Dolitsky, Marlene, Under the Tumtum Tree: From Nonsense to Sense. Amsterdam: John Benjamins, 1984.
  • Ede, Lisa S., "The Nonsense Literature of Edward Lear and Lewis Carroll". unpublished PhD dissertation, Ohio State University, 1975.

_________. "Edward Lear's Limericks and Their Illustrations" in Explorations in the Field of Nonsense, ed. Wim Tigges (Amsterdam: Rodopi, 1987), pp. 101–116. _________. "An Introduction to the Nonsense Literature of Edward Lear and Lewis Carroll" in Explorations in the Field of Nonsense, ed. Wim Tigges (Amsterdam: Rodopi, 1987), pp. 47–60.

  • Flescher, Jacqueline, "The language of nonsense in Alice," Yale French Studies, 43 (1969–70): 128–44
  • Graziosi, Marco, "The Limerick" on Edward Lear Home Page <https://web.archive.org/web/20000815212456/http://www2.pair.com/mgraz/Lear/index.html>
  • Guiliano, Edward, "A Time for Humor: Lewis Carroll, Laughter and Despair, and The Hunting of the Snark" in Lewis Carroll: A Celebration, ed. Edward Guiliano (New York, 1982), pp. 123–131.
  • Haight, M.R., "Nonsense," British Journal of Aesthetics, 11 (1971): 247–56.
  • Hark, Ina Rae, Edward Lear. Boston: Twayne Publishers, 1982.

_________. "Edward Lear: Eccentricity and Victorian Angst," Victorian Poetry, 16 (1978): 112–122.

_________. "A New Defense of Nonsense; or, 'Where is his phallus?' and other questions not to ask" in Children's Literature Association Quarterly, Winter 1999–2000. Volume 24, Number 4 (186–194) _________. "An Indian Nonsense Naissance" in The Tenth Rasa: An Anthology of Indian Nonsense, edited by Michael Heyman, with Sumanyu Satpathy and Anushka Ravishankar. New Delhi: Penguin, 2007. _________. "Nonsense", with Kevin Shortsleeve, in Keywords for Children's Literature. eds. Philip Nel and Lissa Paul. New York: NYU Press, 2011. _________. "The Perils and Nonpereils of Literary Nonsense Translation." Words Without Borders. 2 June 2014.

  • Hilbert, Richard A., "Approaching Reason's Edge: 'Nonsense' as the Final Solution to the Problem of Meaning," Sociological Inquiry, 47.1 (1977): 25–31
  • Huxley, Aldous, "Edward Lear," in On the Margin (London: Chatto & Windus, 1923), pp. 167–172
  • Lecercle, Jean-Jacques, Philosophy of Nonsense: The Intuitions of Victorian Nonsense Literature. London, New York: Routledge, 1994.
  • Lehmann, John, Edward Lear and his World. Norwich: Thames and Hudson, 1977.
  • Malcolm, Noel, The Origins of English Nonsense. London: Fontana/HarperCollins, 1997.
  • McGillis, Roderick, "Nonsense," A Companion to Victorian poetry, ed. by Richard Cronin, Alison Chapman, and Anthony Harrison. Oxford: Blackwell, 2002. 155–170.
  • Noakes, Vivien, Edward Lear: The Life of a Wanderer, 1968. Glasgow: Fontana/Collins, revised edition 1979.

_________. Edward Lear, 1812–1888. London: Weidenfeld & Nicolson, 1985.

  • Nock, S. A., "Lacrimae Nugarum: Edward Lear of the Nonsense Verses," Sewanee Review, 49 (1941): 68–81.
  • Orwell, George, "Nonsense Poetry" in Shooting an Elephant and Other Essays. London: Secker and Warburg, 1950. pp. 179–184
  • Osgood Field, William B., Edward Lear on my Shelves. New York: Privately Printed, 1933.
  • Partridge, E., "The Nonsense Words of Edward Lear and Lewis Carroll," in Here, There and Everywhere: Essays Upon Language, 2nd revised edition. London: Hamilton, 1978.
  • Prickett, Stephen, Victorian Fantasy. Hassocks: The Harvester Press, 1979.
  • Reike, Alison, The Senses of Nonsense. Iowa City: University of Iowa Press, 1992.
  • Robinson, Fred Miller, "Nonsense and Sadness in Donald Barthelme and Edward Lear," South Atlantic Quarterly, 80 (1981): 164–76.
  • Sewell, Elizabeth, The Field of Nonsense. London: Chatto and Windus, 1952.
  • Stewart, Susan, Nonsense: Aspects of Intertextuality in Folklore and Literature. Baltimore: The Johns Hopkins UP, 1979.
  • Swifty, Tom, Perplexicon: Your Pea-Green Guide to Nonsense Literature. Rotterdam: Brave New Books, 2016. An earlier edition was published in 2015 as A Course in Nonsense.
  • Tigges, Wim, An Anatomy of Literary Nonsense. Amsterdam: Rodopi, 1988.

_________. "The Limerick: The Sonnet of Nonsense?" Dutch Quarterly Review, 16 (1986): 220–236. _________. ed., Explorations in the Field of Nonsense. Amsterdam: Rodopi, 1987.

  • van Leeuwen, Hendrik, "The Liaison of Visual and Written Nonsense," in Explorations in the Field of Nonsense, ed. Wim Tigges (Amsterdam: Rodopi, 1987), pp. 61–95.
  • Wells, Carolyn, "The Sense of Nonsense," Scribner's Magazine, 29 (1901): 239–48.
  • Willis, Gary, "Two Different Kettles of Talking Fish: The Nonsense of Lear and Carroll," Jabberwocky, 9 (1980): 87–94.
  • Wullschläger, Jackie, Inventing Wonderland, The Lives and Fantasies of Lewis Carroll, Edward Lear, J.M. Barrie, Kenneth Grahame, and A.A. Milne. London: Methuen, 1995.

Spoljašnje veze uredi

Preuzeto iz „https://sr.wikipedia.org/w/index.php?title=Литературна_бесмисленост&oldid=27678489”