Late night talk shows have been an integral part of U.S. television since the 1950s, and the genre continues to thrive today in an ever changing media landscape. In my dissertation, I argue that the contemporary programs of Late Night with Seth Meyers, The Late Show with Stephen Colbert, and Jimmy Kimmel Live! make up a category of late night talk shows that I term as satirical network late night. From a visual standpoint, these programs look almost identical to past programs like The Tonight Show Starring Johnny Carson or the Late Show with David Letterman with their sets, house bands, monologues, sketches, desk pieces, and guest appearances. However, these satirical network late night programs produce political content that differs vastly from their predecessors. I assert that these programs are steeped in brazen partisanship, amplify the news media, and function as a sensationalized form of infotainment. This is not the big-tent and “least objectionable programming” offered on past network programs like Carson’s Tonight Show. Additionally, this is not what was offered on cable parody news programs such as The Daily Show with Jon Stewart that presented a veiled partisanship, served as a watchdog over the media and political spheres, and lambasted the entertainment-laden modes of modern news reporting and punditry. In less than a decade, satirical network late night has disrupted genre conventions that existed on network television for over sixty years. This research breaks down what makes these new satirical network late night programs’ political content distinct and helps to decipher why these changes took place in mid-2010s.

In all their various categories, the arts serve as the dominant subject matter of Gesamtkunstwerk and Other Trifles. The title itself begins with a German word-meld—gesamt (total) + kunstwerk (work of art). Thus a primary aim of these poems is to bring as many elements of art together as possible and to use their various forms (self-portraits, nocturnes, odes, etc.) as metaphorical frameworks that inform abstractions such as regret ("How to Draw Regret"), psychological disorders ("Insomnia Nocturnes") and confusion in how one should feel about living realities as opposed to inanimate objects ("Dead Starling"). Most of the poems that are not related in some way to the arts (other than their inseparable relation to the art of poetry itself) deal with death or some other form of loss. Some of them humorous ("Commencement Speech"), others poignant ("In Places Where We Store Our Deaths"), these poems ironically find their place as the "other trifles" of the work. The purpose of this somewhat irreverent categorization of death and tragedy is to create ironic commentaries on the triviality of humankind's grand designs and accomplishments and to show the many similarities shared by comedy and tragedy alike, a project Tony Hoagland took up in his first book of poems, Sweet Ruin. My aim in writing these poems is to better understand how various art forms relate to each other and how aligning those arts in poetry allows the various genres to be "in conversation" one with another. I hope that readers will come away with a better understanding of how art forms are interconnected, but at the same time, I always aim to construct my poems in such a way that multiple readings can occur.

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The research includes critical analysis of scientific literature, discoursive analysis of stand-up comedy show scripts. The following methods used in the research to reveal the pragmatic effectiveness of the speech influence on public are: the statistic method and the method of translating. The linguistic material was collected with the use of the lingvocultural approach and based on the stand-up comedy show scripts and their translation into Russian language. The research reveals the peculiarities of creating comical effect in English-language stand-up comedy and the aspects of saving the comical effect during the translation of stand-up comedy shows into Russian language. The results of the research may be used as a guidance for translation of prose, interpreting humorous texts, revealing the role of cultural aspect in the process of creating and understanding comedy. It is also appropriate as a teaching material for students majoring in cognitive linguistics, psycholinguistics, the theory of translation and intercultural communication. / В исследовании используется критический анализ научной литературы, дискурсивный анализ скриптов «живых» выступлений в жанре стендап комедии. Также в ходе исследования используется статистический метод и метод перевода, позволяющие определить степень эффективности речевого воздействия выступающего на публику в рамках изучения прагматического потенциала речевых фрагментов, представленных в форме монолога. Выбор языковых явлений для анализа осуществляется с применением лингвокультурологического подхода, на основе скриптов выступлений в жанре стендап шоу на английском языке и текстов их перевода на русском языке. В ходе исследования выделяются особенности создания комического эффекта в стендап комедии в английском языке, а также приемы и способы сохранения комического эффекта при переводе на русский язык. Результаты исследования могут быть использованы при переводе художественных текстов, интерпретации юмористических текстов, раскрытии роли культурного аспекта в процессе создания и понимания комического, а также в преподавании таких лингвистических дисциплин в высших учебных заведениях, как когнитивная лингвистика, психолингвистика, теория перевода и межкультурная коммуникация.

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