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The De Gruyter Handbook of Humor Studies consolidates the cumulative contributions in theory and research on humor from 57 international scholars representing 21 different countries in the widest possible diversity of disciplines. It organizes research in a unique conceptual framework addressing two broad themes: the Essence of Humor and the Functions of Humor. Furthermore, scholars of humor have recognized that humor is not only a universal human experience, it is also inherently social, shared among people and woven into the fabric of nearly every type of interpersonal relationship. Scholars across all academic disciplines have addressed questions about the essence and functions of humor at different levels of analysis relating to how narrowly or broadly they conceptualize the social context of humor. Accordingly, the editors have organized each broad thematic section into three subsections defined by level of analysis. The book first addresses questions about individual psychological processes, then discusses text properties, and finally moves to questions involving broader conceptualizations of the social context addressing humor and social relations, as well as humor and culture. By providing a comprehensive review of foundational work as well as new research and theoretical advancements across academic disciplines, the De Gruyter Handbook of Humor Studies will serve as the foremost authoritative research handbook for experienced humor scholars as well as an essential starting point for newcomers to the field, such as graduate students seeking to conduct their own research on humor. Further, by highlighting the interdisciplinary interest of new and emerging areas of research the book identifies and defines directions for future research for scholars from every discipline that contributes to our understanding of humor.

Comedy is a game that all humans play. There are big social prizes if you win, but it is easy to end up with custard pie on your face... or worse. Comedy can soothe our pain, vent our anger, make us feel less alone and provide the answer to life's most difficult questions, such as, ‘What do you call a man with a seagull on his head?'• It's a social glue but it can also be divisive, and the joke is on us if we don't understand how it works. So, what are the rules? How does comedy do its magic and why does it matter? Join professional comedy writer Joel Morris on a hilarious journey into the hidden world of shared laughter where he reveals the mechanisms that make jokes work and what comedy can teach us about ourselves. Offering astute analysis of everything from stand-up to slapstick and sitcom to spoof, Morris examines comedic patterns, rhythms and dynamics to uncover the algorithms that secretly underpin comedy. Packed with gags and examples of comedy at its best – plus some invaluable tips on how to master that b'dum tish timing – Be Funny or Die is a fascinating investigation into how our species has developed and mastered this essential art form where laughter is the universal language and only the funniest survive. •Cliff.

En este volumen se recogen trabajos sobre el humorismo tanto en la literatura, como en la publicidad, el cine y otros géneros audiovisuales. Con una lente panorámica, se conjugan estudios particulares sobre autores y obras, tanto de actualidad, como del pasado, tanto de España como del mundo.

What's so humorous about the Bible? Quite a bit, especially if experienced with others! Nine biblical scholars explore their experiences of reading and hearing passages from the Bible and discovering humor that becomes clearer in performance. Each writer found clues in their chosen biblical text that suggested biblical authors expected an audience to respond with laughter. Performers have a powerful role in either bringing out or tamping down humor in the Bible. One audience may be more disposed to respond to humor than another. And each contributor found that experiencing humor changed the interpretation of the biblical passage. From Genesis to Revelation, this study uncovers the Bible's potential for humor.

This book explores closely related aspects of the historical study of humour. It challenges much that has been taken for granted in a field of study for which history has been marginal. It disputes the conventional genealogical view that humour theory dates from antiquity and outlines an alternative conceptual history. It critically examines the nostrum that humour is universal. It then explores the methodological difficulties in treating both verbal and non-verbal humour historically, dealing with contextualisation, intentionality, translation and reception. It explores the variable relationships between satire and definition and concludes with a detailed case study from recent history: the iconic Yes Minister and Yes, Prime Minister television comedies. These are commonly seen as realistic, but better understood as presenting popularised theories for satiric and propagandistic effect. Only in their treatment of language can we assess a putative political realism. The satires are often highly perceptive but largely dependent on misleading and inadequate theories of political discourse.Conal Condren is an Emeritus Scientia Professor at UNSW, a member of two Cambridge Colleges and a fellow both of the Australian Academy of the Humanities and The Social Sciences in Australia. He has published widely and principally in early modern intellectual history. Among his books are The Status and Appraisal of Classic Texts; Argument and Authority in Early Modern England; Political Vocabularies: Word Change and the Nature of Politics.

The book provides a comprehensive discussion of the new humor that has appeared on the internet. The book is divided into five sections: First, the introduction, which explains the idea that humor has changed since the widespread adoption of the internet and social media. The introduction reviews the theoretical tools that will be applied throughout the book: a discussion of humor theory and memes and how they function. The discussion is kept engaging and readable but is nonetheless based on rigorous scholarship, presented clearly by a well-known humor researcher. Part 1 collects several chapters on the new humorous genres that have appeared on the internet: the humorous meme, the compilation video, online digital cartoons, the “stuff white people like” phenomenon, Dogecoin, the joke crypto-currency, and of course satirical news, such as The Onion. The overall point is that many of these phenomena are completely native to the internet/social media or have been significantly affected by the distribution via the internet. Part 2 considers in more detail a number of examples of humorous memes: they include the Cheryl She Shed meme, the BoatyMcBoatface incident in which the crowdsourcing of the name for a boat went awry, Pastafarianism, the joke religion, grumpy cats, and the Chuck Norris memes. Part 3 considers multimodal humorous genres: the Hitler rant, photobombing, embarrassment (“cringe”) comedy, rant-to-music videos, and music video parodies. Here too, these new genres can exist only due to the availability of platforms such as Youtube or TikTok. Part 4 looks at the dark side of internet humor, considering the use of humor by the alt. right on 4chan and 8chan, trolling, and related phenomena. The last chapter looks at humorous cartoon “mascots” such as Pepe the Frog and Kek, which have been appropriated by the right. The first comprehensive guide to humor in the age of the internet and social media, this book will make you laugh (for the examples) and will enlighten you (for the analyses). Hopefully.

NATIONAL BESTSELLER “In fact very funny.” —Cosmopolitan “[A] hilarious and much-needed book.” —Samantha Bee, Emmy Award–winning comedian, author, and host of Full Frontal with Samantha Bee For fans of the perceptive comedy of Hannah Gadsby, Lindy West, and Sarah Silverman, Academy Award–nominated and acclaimed stand-up comedian Jena Friedman presents a witty and insightful collection of essays on the cultural flashpoints of today.Growing up, Jena Friedman didn't care about being likable. And she never wanted to be a comedian, either. A child of the 90s, she wouldn't discover her knack for the funny business until research for her college thesis led her to take an improv class in Chicago. That anthropology paper, written on race, class, and gender in the city's comedy scene, was, in Jena's own words, “just as funny as it sounds.” But it did lay the groundwork for a career that has seen her write and produce for The Daily Show with Jon Stewart, the Late Show with David Letterman, and the Oscar nominated Borat Subsequent Moviefilm. Friedman's debut collection, Not Funny, takes on the third rails of modern life in Jena's bold and subversive style, with essays that explore cancel culture, sexism, work, celebrity worship, and…dead baby jokes. In a moment where women's rights are being rolled back, fascism is on the rise, and so many of us could use a breather as we struggle to get by, Jena applies her unique gifts to pull a laugh from things deemed too raw, too precious, and too scary to joke about. She shares her stories of taking on those who told her she was too brash, too edgy, and too “unlikable” to make it. She deftly dissects how we get coerced into silence on the issues that matter most, until they've gone too far afield to be turned back around again. And she shares her struggles to make it (-ish) in a world that, more often than not, would rather tune out than listen to a woman confronting the indignities we've been told to bear.

'The world's humour, in its best and greatest sense, is perhaps the highest product of our civilization.'Stephen Leacock writes a masterful account of how humour works—and of how it very often doesn't. As well as being remarkably insightful about the various ways in which a joke can fall flat, Humour as I See It is an exceptionally humane testimony from one of the English language's most gifted humourists.

El monográfico Interactividad en modo humorístico: géneros orales, escritos y tecnológicos avanza en una línea de investigación novedosa en los estudios lingüísticos, la del humor interactivo. Centrada en el humor como actuación, permite comprenderlo como proceso y determinar cómo se aprecia, cómo se negocian los significados humorísticos o cómo se co-construye el discurso, entre otros aspectos. A partir de la propuesta de Chovanec y Tsakona (2018), se explora la imbricación de diversos géneros discursivos con el humor, el carácter secuencial que presentan y la co-aparición de los diversos elementos implicados en el evento comunicativo. No solo se describen géneros propiamente interactivos, como la conversación, sino también otros cuyo carácter interactivo no había sido suficientemente resaltado hasta el momento, como el monólogo humorístico, los memes, WhatsApp, los foros virtuales, Twitter o los blogs. Así, el trabajo se vertebra en torno a tres ejes principales, referidos a géneros humorísticos interactivos, como el monólogo y los memes, géneros no humorísticos interactivos, como la conversación, y géneros no humorísticos interactivos, como la comunicación digital. Las contribuciones de Esther Linares Bernabéu, Elvira Manero Richard, Leonor Ruiz Gurillo, María Belén Alvarado Ortega, Larissa Timofeeva Timofeev, Francisco Yus, G. Angela Mura, Ana Mancera Rueda y José Joaquín Martínez Egido otorgan al fenómeno del humor interactivo en español la profundidad debida.

This book critically examines the role and politics of humour and the performance of power in South Asia. What does humour do and how does it manifest when lived political circumstances experience ruptures or instability? Can humour that emerges in such circumstances be viewed as a specific narrative on the nature of democracy in the region? Drawing upon essays from India, Sri Lanka and Bangladesh, this volume discusses many crucial historical and contemporary themes, including dance-drama performances in northern India; caste and stand-up comedy in India; cartoon narratives of citizens'anxieties; civic participation through social media memes in Sri Lanka; media, politics and humorous public in Bangladesh; the politics of performance in India; and the influence of humour and satire as political commentaries. The volume explores the impact of humour in South Asian folklore, ritual performances, media and journalism, and online technologies.This topical and interdisciplinary book will be essential for scholars and researchers of cultural studies, political science, sociology and social anthropology, media and communication studies, theatre and performance studies, and South Asian studies.

L'humour coïncide d'ordinaire avec les champs de significations de la gaieté, du divertissement, de la liberté et de la cohésion sociale. Sous ce vernis candide et conciliateur, l'humour est pourtant loin d'être une activité humaine dénuée de violence. Alors que certaines productions humoristiques (plaisanteries quotidiennes, stand-up, films, etc.) portent avec elles une violence aisément (re)connaissable, d'autres en couvent une qui se révèle être beaucoup plus subtile, qu'on peine à discerner. Le racisme, l'homophobie, le sexisme, la misogynie, la transphobie et le dédain des classes populaires sont encore largement banalisés. L'imperceptibilité de cette violence liée aux systèmes de domination est parfois telle qu'elle (pré)dispose certains groupes à en user, (re)produisant par cela les conditions de leur propre marginalisation. Ce phénomène, Pierre Bourdieu l'a nommé « violence symbolique ». En adoptant cette notion comme outil de travail, et en la revisitant, ce collectif examine les parts sombres de l'humour, sans cependant en négliger la puissance critique. Composé de réflexions théoriques et d'études de cas, cet ouvrage a pour but de rendre plus perceptibles ces liens qui unissent humour et violence, qu'on peine encore aujourd'hui à discerner.

In sixteenth-century France, the level of jokes, irony, and ridicule found in pamphlets and plays became aggressively hostile. In Hostile Humor in Renaissance France, Bruce Hayes investigates this period leading up to the French Wars of Religion, when a deliberately harmful and destructive form of satire appeared. This study examines both pamphlets and plays to show how this new form of humor emerged that attacked religious practices and people in ways that forever changed the nature of satire and religious debate in France. Hayes explores this phenomenon in the context of the Catholic and Protestant conflict to reveal new insights about the society that both exploited and vilified this kind of satire.

The book contains essays in honor of Victor Raskin. The contributions are all directly related to some of the major areas of work in which Raskin's scholarship has spanned for decades. The obvious connecting idea is the encyclopedic script-based foundation of lexical meaning, which informs his pioneering work in semantics in the 1970s and 1980s. The first part of the book collects articles directly concerned with script-based semantics, which examine both the theoretical and methodological premises of the idea and its applications. Script-based semantics is the foundation of both Raskin's ground-breaking work in humor research (addressed by the articles in part 2) and in Ontological semantics (addressed in part 3), the most recent development of script-based semantics. The fourth part is dedicated to a less-known, but equally important, strand of Raskin's research, the applications of linguistics to other fields, including writing, lexicography, and professional applications (e,g., tourism). Overall, the book provides and up-to-date, in-depth discussion of an influential strand of the discussion on semantics and its most recent developments and influence on other seemingly unrelated fields, such as Cognitive Linguistics.

Contrary to what their oppressive design would lead us to believe, might structures of imprisonment actually incite humour? Starting from the most obvious areas of imprisonment (war camps, prison cells) and moving to the less obvious (masks, bodies), Framing Literary Humour demonstrates how 20th-century humour in theory and in fiction cannot be fully understood without a careful look at its connection with the notion of imprisonment. Understanding imprisonment as a concrete spatial setting or a metaphorical image, Jeanne Mathieu-Lessard analyses selected works of Romain Gary, Giovannino Guareschi, Wyndham Lewis, Vladimir Nabokov and Luigi Pirandello to reconfigure confinement as an essential structural condition for the emergence of humour.

Every few weeks a politician, pundit or soap star causes a media storm by making a gaffe or tweeting a joke that some people do not find funny. Comedy is very hard to get right and yet we think it's important to have a sense of humour and not take yourself too seriously. On the other hand, a sense of humour failure can lead to losing your friends, your twitter account, your job, your career and, in some cases, your life.James Cary knows about this. He is a sitcom writer who's written jokes about bomb disposal in Afghanistan (Bluestone 42), defended comments about Islam by Ben Elton on Newsnight, been on a panel with radical Muslim cleric Anjem Choudary, sits on the General Synod of the Church of England and somehow managed to co-write episodes of Miranda. An odd mix, but one that makes him very readable. This entertaining, breezy book, explains how comedy works (with jokes and quotes) and gives much-needed insights into the controversy surrounding humour.

A compelling guide to the fundamental place of humour and comedy within Western culture—by one of its greatest exponents Written by an acknowledged master of comedy, this study reflects on the nature of humour and the functions it serves. Why do we laugh? What are we to make of the sheer variety of laughter, from braying and cackling to sniggering and chortling? Is humour subversive, or can it defuse dissent? Can we define wit? Packed with illuminating ideas and a good many excellent jokes, the book critically examines various well-known theories of humour, including the idea that it springs from incongruity and the view that it reflects a mildly sadistic form of superiority to others. Drawing on a wide range of literary and philosophical sources, Terry Eagleton moves from Aristotle and Aquinas to Hobbes, Freud, and Bakhtin, looking in particular at the psychoanalytical mechanisms underlying humour and its social and political evolution over the centuries.

This book deals with the construction of diverse forms of humor in everyday oral, written, and mediatized interactions. It sheds light on the differences and, most importantly, the similarities in the production of interactional humor in face-to-face and various technology-mediated forms of communication, including scripted and non-scripted situations. The chapters analyze humor-related issues in such genres as spontaneous conversations, broadcast dialogues, storytelling, media blogs, bilingual conversations, stand-up comedy, TV documentaries, drama series, family sitcoms, Facebook posts, and internet memes. The individual authors trace how speakers collaboratively circulate, reconstruct, and (re)frame either personal or public accounts of reality, aiming –among other things– to produce and/or reproduce humor. Rather than being “finished” products with a “single” interpretation, humorous texts are thus approached as dynamic communicative events that give rise to diverse interpretations and meanings. The book draws on a variety of up-to-date approaches and methodologies, and will appeal to scholars in discourse analysis, conversation analysis, interactional sociolinguistics, pragmatics, ethnography of communication, and social semiotics.

A Kirkus Reviews Best Book of the Year The witty and exuberant New York Times bestselling author and record-setting Jeopardy! champion Ken Jennings relays the history of humor in “lively, insightful, and crawling with goofy factlings,” (Maria Semple, author of Where'd You Go Bernadette)—from fart jokes on clay Sumerian tablets to the latest Twitter gags and Facebook memes.Where once society's most coveted trait might have been strength or intelligence or honor, today, in a clear sign of evolution sliding off the trails, it is being funny. Yes, funniness. Consider: Super Bowl commercials don't try to sell you anymore; they try to make you laugh. Airline safety tutorials—those terrifying laminated cards about the possibilities of fire, explosion, depressurization, and drowning—have been replaced by joke-filled videos with multimillion-dollar budgets and dance routines. Thanks to social media, we now have a whole Twitterverse of amateur comedians riffing around the world at all hours of the day—and many of them even get popular enough online to go pro and take over TV. In his “smartly structured, soundly argued, and yes—pretty darn funny” (Booklist, starred review) Planet Funny, Ken Jennings explores this brave new comedic world and what it means—or doesn't—to be funny in it now. Tracing the evolution of humor from the caveman days to the bawdy middle-class antics of Chaucer to Monty Python's game-changing silliness to the fast-paced meta-humor of The Simpsons, Jennings explains how we built our humor-saturated modern age, where lots of us get our news from comedy shows and a comic figure can even be elected President of the United States purely on showmanship. “Fascinating, entertaining and—I'm being dead serious here—important” (A.J. Jacobs, author of The Year of Living Biblically), Planet Funny is a full taxonomy of what spawned and defines the modern sense of humor.

Why are things funny? How has humor changed over the centuries? How can humor be a political force?Featuring expert authors from across the globe, The Languages of Humor discusses three main types of humour: verbal, visual, and physical. Despite the differences between them, all have a common purpose, showing us in different ways the reality that we live in, and how we can reflect on that reality. To this end, the book shows how humor has been used to address such topics as the Holocaust and the Soviet Union, and why it has been controversial in cases including Charlie Hebdo.The Languages of Humor explores a subject that is of interest in a wide range of intellectual disciplines including sociology, psychology, communication, philosophy, history, social sciences, linguistics, computer science, literature, theatre, education, and cultural studies. This volume features contributions from world-leading academics, some of who have professional backgrounds in this field. This unique research-led book, which includes over 20 illustrations, offers a top-down analysis of humor studies.

In this accessible book, Delia Chiaro provides a fresh overview of the language of jokes in a globalized and digitalized world. The book shows how, while on the one hand the lingua-cultural nuts and bolts of jokes have remained unchanged over time, on the other, the time-space compression brought about by modern technology has generated new settings and new ways of joking and playing with language. The Language of Jokes in the Digital Age covers a wide range of settings from social networks, e-mails and memes, to more traditional fields of film and TV (especially sitcoms and game shows) and advertising. Chiaro's consideration of the increasingly virtual context of jokes delights with both up-to-date examples and frequent reference to the most central theories of comedy. This lively book will be essential reading for any student or researcher working in the area of language and humour and will be of interest to those in language and media and sociolinguistics.

This is not a funny book--but it is the first to bring together contemporary experimental studies on humor. The fourteen scholarly papers included here mark an important breakthrough in this vital, complex, and largely unexplored subject. Motivation in Humor shows that humor is researchable by scientific methods and indicates the difficulties involved in such work. Here are samples of the important parameters of behavior and attempts at defining the factors that influence the humor response as well as the effects of this response upon subsequent emotional states. In his expert introductory chapter, Jacob Levine traces the progress of humor research and analyzes the papers that follow. To summarize a few of his findings: Three basic research models--three conflicting models of the motivation of man--have been used to explain the motivational sources of humor: one is positive, one negative, and one mixed. These are: (1) cognitive-perceptual theory, which stresses the successful and surprising resolution of an incongruity, paradox, or double entendre; (2) behavior theory, with its emphasis on stimulus-response learning and the reduction of base drives; and (3) psychoanalytic theory, which emphasizes the gratification of the primary unconscious drives of sex and aggression in conjunction with the pleasures of mental activity that sometimes involve regression to infantile modes of thinking. The development of humor reflects an interaction between innate psycho physiological processes and learned response patterns. Evidence indicates that humor is influenced by such diverse situations and individual dispositions as interpersonal anxiety, prior emotional set, and social setting. Studies also point to the cathartic effects of humor appreciation, particularly with aggressive or tendentious humor. The considerable research prompted by these ideas has begun to throw some light on the positive motives, a reflection of the new approaches to motivation theory. Teachers will fi

Humor at its best is a somewhat fluid and transitory element, but most books about it are illustrated with hardened old jokes from the comic papers, or classic witticisms jerked out of their context. Max Eastman, in this work, avoids this catastrophe by quoting mainly from contemporary American humor. This is not an anthology in that selections have been made with a view to making a point rather than covering the field.The purpose of Eastman's fabled work is to make the reader laugh. Since his early school days, it has seemed to him that textbooks are wrongly written in that they are conducted in a way which ignores the natural operation of the mind. As a result, the opinion is universal, and under the circumstances a fact, that in order to learn anything you have to study. Since this introduction to humor is itself near to writing a textbook, Eastman uses the very text he constructs to illustrate the manner in which textbooks should be written.Examination and classification of the kinds of humorous experience upon the basis of a theory is a science. As such, this work offers a fair chance to illustrate a method of instruction. However, the distinction between a good joke and a bad one will not prevent the reader from making bad jokes nor enable one to make good ones. There is an artistic and playful element that simply cannot be taught. Enjoyment of Laughter presents a total view of the science of laughter and draws upon some of the great American humorists to do so.

Just as a distinctive literary voice or style is marked by the ease with which it can be parodied, so too can specific aspects of humor be unique. Playwrights, television writers, novelists, cartoonists, and film scriptwriters use many special technical devices to create humor. Just as dramatic writers and novelists use specific devices to craft their work, creators of humorous materials from the ancient Greeks to today's stand-up comics have continued to use certain techniques in order to generate humor.In The Art of Comedy Writing, Arthur Asa Berger argues that there are a relatively limited number of techniques forty-five in all that humorists employ. Elaborating upon his prior, in-depth study of humor, An Anatomy of Humor, in which Berger provides a content analysis of humor in all forms joke books, plays, comic books, novels, short stories, comic verse, and essaysThe Art of Comedy Writing goes further. Berger groups each technique into four basic categories: humor involving identity such as burlesque, caricature, mimicry, and stereotype; humor involving logic such as analogy, comparison, and reversal; humor involving language such as puns, wordplay, sarcasm, and satire; and finally, chase, slapstick, and speed, or humor involving action.Berger claims that if you want to know how writers or comedians create humor study and analysis of their humorous works can be immensely insightful. This book is a unique analytical offering for those interested in humor. It provides writers and critics with a sizable repertoire of techniques for use in their own future comic creations. As such, this book will be of interest to people inspired by humor and the creative process professionals in the comedy field and students of creative writing, comedy, literary humor, communications, broadcast/media, and the humanities.

Humor permeates every aspect of society and has done so for thousands of years. People experience it daily through television, newspapers, literature, and contact with others. Rarely do social researchers analyze humor or try to determine what makes it such a dominating force in our lives. The types of jokes a person enjoys contribute significantly to the definition of that person as well as to the character of a given society. Arthur Asa Berger explores these and other related topics in An Anatomy of Humor. He shows how humor can range from the simple pun to complex plots in Elizabethan plays.Berger examines a number of topics ethnicity, race, gender, politics each with its own comic dimension. Laughter is beneficial to both our physical and mental health, according to Berger. He discerns a multiplicity of ironies that are intrinsic to the analysis of humor. He discovers as much complexity and ambiguity in a cartoon, such as Mickey Mouse, as he finds in an important piece of literature, such as Huckleberry Finn. An Anatomy of Humor is an intriguing and enjoyable read for people interested in humor and the impact of popular and mass culture on society. It will also be of interest to professionals in communication and psychologists concerned with the creative process.

Satire, Humor and the Construction of Identities conveys how satire can contribute to the construction of social subjects'identities. It attempts to provide a theoretical ground for a novel understanding of the relationship between satire and identity by finding their common denominator, namely opposition, in order to explain the mechanism through which satire can form identities. After establishing the role of opposition in satire and identity construction through a detailed analysis of various theories, it will be argued that satire can contribute to the construction of racial, ethnic, national, religious, and gender identities. Several examples from British, Persian, ancient Roman literary traditions, and different epochs illustrate the theoretical discussions. The prevalence of satire and the challenges that identity has encountered in our contemporary world guarantee the significance of this study and its socio-political implications.

In Blind Men and Elephants, Arthur Asa Berger uses case histories to show how scholars from different disciplines and scholarly domains have tried to describe and understand humor. He reveals not only the many approaches that are available to study humor, but also the many perspectives toward humor that characterize each discipline. Each case history sheds light on a particular aspect of humor, making the combination of approaches of considerable value in the study of social research.Among the various disciplines that Berger discusses in relation to humor are: communication theory, philosophy, semiotics, literary analysis, sociology, political science, and psychology. Berger deals with these particular disciplines and perspectives because they tend to be most commonly found in the scholarly literature about humor as well as being those that have the most to offer. Blind Men and Elephants covers a wide range of humor, from simple jokes to the uses of literary devices in films. Berger observes how humor often employs considerable ridicule directed at diverse groups of people: women, men, animals, politicians, African Americans, Jews, Catholics, Protestants, gay people, straight people, and so forth. The book also explains the risk factor in ridicule as a humorous device.Blind Men and Elephants depicts how one entity or one situation can be viewed in as many different ways as the number of people studying it. Berger also shows how those multiple perspectives, the Rashomon Effect, can be used together to create a clearer understanding of humor. Blind Men and Elephants is a valuable companion to Berger's recent effort about humor, An Anatomy of Humor, and will be enjoyed by communication and information studies scholars, sociologists, literary studies specialists, philosophers, and psychologists.

Nothing in the understanding of humor is as simple as it might seem. In Joking Asides, Elliott Oring confronts the problems of humor, analyzing the key contemporary approaches to its study and addressing controversial topics with new empirical data and insights. A folklorist drawn to the study of humor, Oring developed his formulation of “appropriate incongruity” as a frame to understand what jokes must do to produce humor. He tests appropriate incongruity against other major positions in the field, including the general theory of verbal humor, conceptual integration theory, benign violation theory, and false-belief theory. Oring draws on the work of scholars from several disciplines—anthropology, folklore, philosophy, psychology, linguistics, and literature—to ask basic questions about the construction and evolution of jokes, untangle the matter of who the actual targets of a joke might be, and characterize the artistic qualities of jokes and joke performances. Although Oring guides the reader through a forest of jokes and joke genres, this is not a joke book. A major work from a major scholar, Joking Asides is a rigorous exploration of theoretical approaches to jokes and their functions and is filled with disquieting questions, penetrating criticisms, and original observations. Written in a clear and accessible style, this book will prove valuable to any scholar or student who takes matters of jokes and joking seriously.

The author and humorist Sam Levenson is quoted hundreds of time each day on Twitter, and his sayings appear on everything from t-shirts to inspirational signs. To read through and savor You Don't Have To Be In Who's Who To Know What's What is to discover much of the source material for his timeless wisdom. It is a treasure trove of topics ranging from family (“Insanity is hereditary; you can get it from your children”) to perseverance (“Don't watch the clock; do what it does. Keep going.”) Levenson's upbringing was as the youngest of eight children in a large Jewish immigrant family in New York. He evolved from a Spanish teacher in Brooklyn to working the Catskills circuit as a comedian and by the 1950s was a fixture in American homes as television personality, appearing and guest hosting numerous times on classic shows like This Is Show Business, Two For The Money, and The Ed Sullivan Show. For several years, he hosted his own variety show on CBS called The Sam Levenson Show, where the set doubled as a school classroom and the guests often evoked Levenson's love of learning, teaching, and family. These experiences informed his lessons about life, family and careers, and make this definitive collections of his views and sayings so timeless.

Humor is the tendency of particular cognitive experiences to provoke laughter and provide amusement. Throughout history, it has played a crucial role in defining gender roles and identities. This collection offers an in-depth thematic examination of this relationship between humor and gender, spanning a variety of historical and cultural backdrops.

In Practically Joking, the first full-length study of the practical joke, Moira Marsh examines the value, artistry, and social significance of this ancient and pervasive form of vernacular expression. Though they are sometimes dismissed as the lowest form of humor, practical jokes come from a lively tradition of expressive play. They can reveal both sophistication and intellectual satisfaction, with the best demanding significant skill and talent not only to conceive but also to execute. Practically Joking establishes the practical joke as a folk art form subject to critical evaluation by both practitioners and audiences, operating under the guidance of local aesthetic and ethical canons. Marsh studies the range of genres that pranks comprise; offers a theoretical look at the reception of practical jokes based on “benign transgression”—a theory that sees humor as playful violation—and uses real-life examples of practical jokes in context to establish the form's varieties and meanings as an independent genre, as well as its inextricable relationship with a range of folklore forms. Scholars of folklore, humor, and popular culture will find much of interest in Practically Joking.

This volume presents recent developments in the linguistics of humour. It depicts new theoretical proposals for capturing different humorous forms and phenomena central to humour research, thereby extending its scope. The 15 contributions critically survey and develop the existing interpretative models, or they postulate novel theoretical approaches to humour in order to better elucidate its workings. The collection of articles offers cutting-edge interdisciplinary explorations, encompassing various realms of linguistics (semantics, pragmatics, stylistics, cognitive linguistics, and language philosophy), as well as drawing on findings from other fields, primarily: sociology, psychology and anthropology. Thanks to careful overviews of the relevant background literature, the papers will be of use to not only researchers and academics but also students. Albeit focused on theoretical developments, rather than case studies, the volume is illustrated with interesting research data, such as the discourse of television programmes and series, films and stand-up comedy, as well as jokes.

Die Beiträge dieses Bandes beschäftigen sich alle mit Formen von konversationellem Humor, z. B. mit spaßigen Geschichten und Anekdoten, Frotzeleien, konversationellen Parodien, Formen des Sich-Mokierens, der Ironie und rituellen Scherzbeziehungen. Die Gesprächsanalysen der humoristischen Aktivitäten werden auch im Rahmen der Aushandlung sozialer Identitäten betrachtet. Verfahren der Gestaltungsorientierung in der Darbietung von Scherzkommunikation stellen einen weiteren Schwerpunkt der Einzelstudien dar.

Funny: The Book is an entertaining look at the art of comedy, from its historical roots to the latest scientific findings, with diversions into the worlds of movies (Buster Keaton and the Marx Brothers), television (The Office), prose (Woody Allen, Robert Benchley), theater (The Front Page), jokes and stand-up comedy (Richard Pryor, Steve Martin), as well as personal reminiscences from the author's experiences on such TV programs as Mork and Mindy.With allusions to the not-always-funny Carl Jung, George Orwell, and Arthur Koestler, Funny: The Book explores the evolution, theories, principles, and practice of comedy, as well as the psychological, philosophical, and even theological underpinnings of humor, coming to the conclusion that (Spoiler Alert!) Comedy is God.

How are humorous meanings generated and interpreted? Understanding a joke involves knowledge of the language code (a matter mostly of semantics) and background knowledge necessary for making the inferences to get the joke (a matter of pragmatics). This book introduces and critiques a wide range of semantic and pragmatic theories in relation to humour, such as systemic functional linguistics, speech acts, politeness and relevance theory, emphasising not only conceptual but also interpersonal and textual meanings. Exploiting recent corpus-based research, it suggests that much humour can be accounted for by the overriding of lexical priming. Each chapter's discussion topics and suggestions for further reading encourage a critical approach to semantic and pragmatic theory. Written by an experienced lecturer on the linguistics of the English language, this is an entertaining and user-friendly textbook for advanced students of semantics, pragmatics and humour studies.

Brevity may be the soul of wit, but it is also much more. In this exploration of the shortest literary works—wise sayings, proverbs, witticisms, sardonic observations about human nature, pithy evocations of mystery, terse statements regarding ultimate questions—Gary Saul Morson argues passionately for the importance of these short genres not only to scholars but also to general readers. We are fascinated by how brief works evoke a powerful sense of life in a few words, which is why we browse quotation anthologies and love to repeat our favorites. Arguing that all short genres are short in their own way, Morson explores the unique form of brevity that each of them develops. Apothegms (Heraclitus, Lao Tzu, Wittgenstein) describe the universe as ultimately unknowable, offering not answers but ever deeper questions. Dicta (Spinoza, Marx, Freud) create the sense that unsolvable enigmas have at last been resolved. Sayings from sages and sacred texts assure us that goodness is rewarded, while sardonic maxims (Ecclesiastes, Nietzsche, George Eliot) uncover the self-deceptions behind such comforting illusions. Just as witticisms display the power of mind,'witlessisms'(William Spooner, Dan Quayle, the persona assumed by Mark Twain) astonish with their spectacular stupidity. Nothing seems further from these short works than novels and epics, but the shortest genres often set the tone for longer ones, which, in turn, contain brilliant examples of short forms. Morson shows that short genres contribute important insights into the history of literature and philosophical thought. Once we grasp the role of aphorisms in Herodotus, Samuel Johnson, Dostoevsky, and even Tolstoy, we see their masterpieces in an entirely new light.

Joke Therapy is much more than a book - it is a celebration of humor, joy and life. Written by a physicist with a sense of humor, Joke Therapy is a laugh-inducing collection of jokes and riddles that provides a soothing antidote to the difficulties and frustrations of life. Sometimes, we find ourselves in situations that we can't change. Weaving a therapeutic thread of laughter and cheer, the book attempts to show the reader the bright side of life, and to carry the reader through the tough moments with hope and happiness. Humor is infectious, and Joke Therapy is written to be shared with family, friends and even strangers. As the reader feels his spirits lift with each joke and each smile, so the positive energy that flows from within the pages of the book is spread to others, uplifting and inspiring society with joy.

Just as a distinctive literary voice or style is marked by the ease with which it can be parodied, so too can specific aspects of humor be unique. Playwrights, television writers, novelists, cartoonists, and film scriptwriters use many special technical devices to create humor. Just as dramatic writers and novelists use specific devices to craft their work, creators of humorous materials—from the ancient Greeks to today's stand-up comics—have continued to use certain techniques in order to generate humor. In The Art of Comedy Writing, Arthur Asa Berger argues that there are a relatively limited number of techniques—forty-five in all—that humorists employ. Elaborating upon his prior, in-depth study of humor, An Anatomy of Humor, in which Berger provides a content analysis of humor in all forms—joke books, plays, comic books, novels, short stories, comic verse, and essays—The Art of Comedy Writing goes further. Berger groups each technique into four basic categories: humor involving identity such as burlesque, caricature, mimicry, and stereotype; humor involving logic such as analogy, comparison, and reversal; humor involving language such as puns, wordplay, sarcasm, and satire; and finally, chase, slapstick, and speed, or humor involving action. Berger claims that if you want to know how writers or comedians create humor study and analysis of their humorous works can be immensely insightful. This book is a unique analytical offering for those interested in humor. It provides writers and critics with a sizable repertoire of techniques for use in their own future comic creations. As such, this book will be of interest to people inspired by humor and the creative process—professionals in the comedy field and students of creative writing, comedy, literary humor, communications, broadcast/media, and the humanities.

An invaluable guide on how to'lighten up'from a distinguished pro who has provided laughs for JAY LENO, BILLY CRYSTAL, STEVE MARTIN, ROBIN WILLIAMS, BRAD GARRETT, WHOOPI GOLDBERG, AND MANY MORE.Who hasn't wished for the perfect withering comeback line, a clever tension-breaking quip, or a winning flirtatious remark? Being funny is hard work and not everyone is a natural. How to Be Funny is a witty guide that teaches readers precisely how to be funnier in everyday life. It's a must-read for anyone who has to speak in public, be engaging and funny at work or at play, or who hopes to one day go out on a date.Jon Macks, a comedy writer for The Tonight Show with Jay Leno, the Academy Awards, the Emmy Awards, Hollywood Squares, and the nation's top comedians, politicians, and corporate leaders, knows his funny business. Here he demystifies the process of making people laugh, breaks down the basic building blocks and types of humor -- which include self-deprecation, misdirection, deadpan delivery, sarcasm, and'the reverse'-- and reveals the best approaches to use in common situations.How to Be Funny features helpful (and hilarious) tips and anecdotes from the comic legends Mack's worked with -- including Jay Leno, Arsenio Hall, Gilbert Gottfried, Billy Crystal, Rita Rudner, Dave Barry, and Carrie Fisher -- in his eleven years as one of the nation's top television writers.Whether the goal is to give a memorable public address or deliver a killer line with friends, How to Be Funny is a charming, instructive, and practical read.

A travers une présentation par chapitres de divers penseurs ayant étudié ou pratiqué l'humour, l'auteur éclaire le côté humoristique de la pensée philosophique occidentale. Il explique en quoi une plaisanterie peut avantageusement remplacer un syllogisme, et un mot d'esprit traduire toute une philosophie, l'humour étant, comme la philosophie, une discipline intellectuelle visant à découvrir et révéler la vérité, mais aussi les erreurs et les illusions.

Despite popular opinions of the ‘dark Middle Ages'and a ‘gloomy early modern age,'many people laughed, smiled, giggled, chuckled, entertained and ridiculed each other. This volume demonstrates how important laughter had been at times and how diverse the situations proved to be in which people laughed, and this from late antiquity to the eighteenth century. The contributions examine a wide gamut of significant cases of laughter in literary texts, historical documents, and art works where laughter determined the relationship among people. In fact, laughter emerges as a kaleidoscopic phenomenon reflecting divine joy, bitter hatred and contempt, satirical perspectives and parodic intentions. In some examples protagonists laughed out of sheer happiness and delight, in others because they felt anxiety and insecurity. It is much more difficult to detect premodern sculptures of laughing figures, but they also existed. Laughter reflected a variety of concerns, interests, and intentions, and the collective approach in this volume to laughter in the past opens many new windows to the history of mentality, social and religious conditions, gender relationships, and power structures.

Written for all who are interested in the mechanics of humor, Sweet Madness presents a general discussion and introduction to the roles of paradox, metaphor, and fantasy in humor. The operation of the implicit and the unconscious in humor; the importance of humor to human life; and the development, from childhood on, of the sense of humor are discussed.The background for this serious study is drawn from such fields as psychiatry, psychology, anthropology, and sociology. William F. Fry, in this work, presents a new theory of the structure of humor based on the sometimes little understood psychological processes experienced by those who use humor or are exposed to humor. It is these relationships with other fields of study that allows for this investigation into the anatomy of humor.Fry, in this outstanding and erudite volume, takes a giant step in furthering our thinking about humor in transactional terms. Humor and a sense of humor are a vital part of human interactions, and as such, this book has much to contribute to the study of psychology, cultural, communications, and of coursehumor itself.

'Humor is complex, and the author, Mitch Earleywine, does an exceptional job of covering the big bases of humor from a research perspective in a small space with a readable content. When I first picked up this book and began reading it, I was looking for depth. What I found was an overview and at the same time a very exciting way to provide an entrÈe into psychology-a vehicle for students to grab hold of topics central to psychology but studiedand researched in terms of modern themes, and particularly humor.'--PsycCRITIQUES'I've just finished reading Humor 101 with great interest and admiration. The book combines psychological research and practicality beautifully and humorously.'-- Bob MankoffCartoon Editor, The New Yorker Magazine'In lucid, cheerful prose, Earleywine offers up the impossible: an explanation of humor that is as thoughtful, fascinating, and entertaining as humor itself.'Elisa AlbertAuthor of,The Book of Dahliaand How This Night is Different'Dr. Earleywine's witty insight on this topic will make you funny, happy, and wise. Mitch has that rare ability to clearly explain something that is mysterious as it is magical: the power of laughter. Read this book and laugh while you learn.'Brett SiddellSirius/XM Satellite Radio Personality'Dr. Earleywine has written the perfect guide to understanding humor. No one else has the unique combination of witty stage time, outstanding teaching expertise, and impressive scientific background. You'll love this book.'Derrick JacksonWinner, Ultimate Laff-DownWhat makes something funny?How does humor impact health and psychological well-being?How can you incorporate humor into everyday life? A concise, reader-friendly introduction to an important but often underappreciated topic in modern psychology, Humor 101 explains the role of comedy, jokes, and wit in the sciences and discusses why they are so important to understand.Psychology professor Dr. Mitch Earleywine draws from his personal experiences in stand-up comedy to focus on how humor can regulate emotion, reduce anxiety and defuse tense situations, expose pretensions, build personal relationships, and much more. He irreverently debunks the pseudoscience on the topic of humor and leaves readers not only funnier, but better informed.The Psych 101 SeriesShort, reader-friendly introductions to cutting-edge topics in psychology. With key concepts, controversial topics, and fascinating accounts of up-to-the-minute research, The Psych 101 Series is a valuable resource for all students of psychology and anyone interested in the field.

This essay collection is dedicated to intersections between gender theories and theories of laughter, humour, and comedy. It is based on the results of a three-year research programme, entitled “Gender – Laughter – Media” (2003-2006) and includes a series of investigations on traditional and modern media in western cultures from the 18th to the 20th century. A theoretical opening part is followed by four thematic sections that explore the multiple forms of irritating stereotypical gender perceptions; aspects of (post-)colonialism and multiculturalism; the comic impact of literary and media genres in different national cultures; as well as the different comic strategies in fictional, philosophical, artistic or real life communication. The volume presents a variety of new approaches to the overlaps between gender and laughter that have only barely been considered in groundbreaking research. It forms a valuable read for scholars of literary, theatre, media, and cultural studies, at the same time reaching out to a general readership.

Pons Asinorum Or The Future of Nonsense George Edinger and E J C Neep Originally published in 1929.'A most entertaining essay, rich in quotation from the old masters of clownship's craft.'Saturday Review The author maintains that true nonsense must be aimless humour – the humour that makes fun as opposed to the humour that makes fun of something. 88pp Democritus Or The Future of Laughter Gerald Gould Originally published in 1929.'Democritus is bound to be among the favourites of the series. Gould's humour glances at history, morality, and humanity…wise and witty writing.'Observer Democritus is intended to illustrate the prevailing fashion in laughter and on the basis of historical and philosophical principles to forecast the humour of the future. 90pp Mrs Fisher Or The Future of Humour Robert Graves Originally published in 1928'Mr Graves is the best man who could have been chosen to write on this subject.'Daily Express'…perfectly irresponsible, as a joker should be.'The Times This volume analyzes humour with a solemnity which becomes almost nightmarish. 90pp Babel Or the Past, Present and Future of Human Speech Richard Paget Originally published in 1930.'…stimulating and absorbing.'Journal of Education This volume discusses human speech and treats it as a growth which must be tamed if it is to fulfil its highest purpose as a symbolism for human thought. 86pp

The book is intended to provide a definitive view of the field of humor research for both beginning and established scholars in a variety of fields who are developing an interest in humor and need to familiarize themselves with the available body of knowledge. Each chapter of the book is devoted to an important aspect of humor research or to a disciplinary approach to the field, and each is written by the leading expert or emerging scholar in that area. There are two primary motivations for the book. The positive one is to collect and summarize the impressive body of knowledge accumulated in humor research in and around Humor: The International Journal of Humor Research. The negative motivation is to prevent the embarrassment to and from the'first-timers,'often established experts in their own field, who venture into humor research without any notion that there already exists a body of knowledge they need to acquire before publishing anything on the subject-unless they are in the business of reinventing the wheel and have serious doubts about its being round! The organization of the book reflects the main groups of scholars participating in the increasingly popular and high-powered humor research movement throughout the world, an 800 to 1,000-strong contingent, and growing. The chapters are organized along the same lines: History, Research Issues, Main Directions, Current Situation, Possible Future, Bibliography-and use the authors'definitive credentials not to promote an individual view, but rather to give the reader a good comprehensive and condensed view of the area.

Humour permeates our lives. People tell jokes, make puns, and engage in witty banter. There is written humour in headlines and captions, in ads, on signs, t-shirts, and bumper stickers, and in the form of graffiti. Nowadays humour is available on the web and circulated by e-mail. Playing with Words shows how every facet of language is exploited for humour. Where a word has multiple meanings or sounds like another, this is the basis for puns (A boiled egg is hard to beat). The word-building rules are used for clever compounds, smart blends and catchy phrases as in'circulated by word of mouse'. Ambiguities in the syntax afford further scope for humour (Miners refuse to work after death), and the sounds of words can be exploited in humorous verse. There is also humour to be found in slips of the tongue, malapropisms, and funny misspellings. Playing with Words also covers the subject matter of humour and the part it plays in society. It is an informed account in non-technical language, full of examples, a book to be read for information and for fun.

Britain's hottest young comedian presents a seriously funny, up-close look at joking matters—from the social origins of laughter, to the art and craft of humor, to why we can never remember the punch line—featuring over 300 jokes.As the host of the hit game show Distraction (now in its third season on Comedy Central) and one of the premier stand-up acts working today, award-winning comedian Jimmy Carr has won over millions of fans around the world with his trademark rapier wit, laced with'exquisitely economical and perfectly timed one-liners'(The Guardian). For this book he teams up with friend and fellow comedy writer Lucy Greeves to take an in-depth look at where humor comes from and how it works, through exploring its purest form: the joke.Only Joking begins with the mechanism of laughter—how it happens and why even infants do it—then delves into the power of the punch line, exploring the basics of all jokes, from the use of shock and surprise to advanced stand-up techniques such as the'pull-back/reveal.'Carr and Greeves go on to explore taboo humor, jokes that bomb, and the psychology of finding something funny. They look into the long-standing connection between politics and humor, and discuss the survival prospects for contentious jokes in the current political climate. Throughout the book they conjure up a supporting cast of colorful joke enthusiasts, from Sigmund Freud to Lenny Bruce, and discuss their influence on the jokes we tell today. Surveying across national, ethnic, and gender divides, this rollicking analysis of why joking will always be close to the human heart is an irresistible exploration of humor that makes clear why we need a good laugh now more than ever.

Description based on print version record.

Of the articles in this volume, eight concern a world-famous author (François Rabelais); the others are studies of little-known authors (Cortesi, Corrozet, Mercier) or genres (the joke, the apophthegm). The common theme, in all but one, is humour: how it was defined, and how used, by orators and humanists but also by court jesters, princes, peasants and housewives. Though neglected by historians, this subject was of crucial importance to writers as different as Luther, Erasmus, Thomas More and François Rabelais. The book is divided into four sections.'Humanist Wit'concerns the large and multi-lingual corpus of Renaissance facetiae. The second and third parts focus on French humanist humour, Rabelais in particular, while the last section is titled''Serious'Humanists'because humour is by no means absent from it. For the Renaissance, as Erasmus and Rabelais amply demonstrate, and as the'minor'authors studied here confirm, wit, whether affectionate or bitingly satirical, can coexist with, and indeed be inseparable from, serious purpose. Rabelais, as so often, said it best:'Rire est le propre de l'homme.'