Aspects of Verbal Humour in English


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The funny side of the United Kingdom


Book Description

Seminar paper from the year 2007 in the subject English Language and Literature Studies - Linguistics, grade: 1,7, University of Osnabrück, course: British Life and Times , language: English, abstract: If people who are living outside the United Kingdom are asked to characterise British humour, many of them will probably mention the jokes of one of the Monty Python series or maybe famous quotes from the British sitcom Fawlty Towers; and if you ask these people which person they would associate with the shows, the answer will probably be: John Cleese. He is well known in nearly all European countries and even in the United States. But how did he become that famous or maybe even a label for today’s view on English humour? In my research paper I want to point out Cleese’s significance for British Comedy and humour. At first, I would like to give a general definition of the term and at the same time look at different types of humour in order to investigate why people start grinning or laughing in certain situations. I will present some criteria which can detect different types of humour and consider humour on phonological and syntactical levels. Then I want to work out if there is a special concept of humour in the United Kingdom and if this humour even characterises the British culture. In a next step I will compare the stereotypical concept of British and German humour to show that they are at least rated as being contradictory. After I have shown some typical styles and techniques of the British humour, my central focus will be on John Cleese. I want to give an overview of his life and introduce people who are close to him or supported him in his career. In doing so I will also concentrate on his major achievements: e.g. Monty Python’s Flying Circus and their films and Fawlty Towers. Their popularity throughout the world is really remarkable and shows that Cleese and his friends possibly managed to broadcast a new sense of humour. I will therefore finally analyse their and particular Cleese’s share in British sense of humour.




The Social Faces of Humour


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First published in 1996, this volume is a sequel to Humour in Society: Resistance and Control which was edited by George E.C. Paton and Chris Powell. Now, seven years later, the culturally central nature of humour seems greater than ever. This collection of original essays critically assesses the practices of humour in various role relationships in a number of social contexts, for example, in the workplace and between family members. A feature of this new volume is the critical analysis of socio-linguistic practices, including the use of jokes and cartoons, to manage tensions in social relationships at the micro- and macro-sociological levels of human interaction. Wider social and cultural issues area also examined by other contributors concerned with alternative comedy and sitcoms in British and Australian society, for example, which along with humour practices are situated by the editors in their introduction to substantiate the value of studying and researching the sociology of humour.




Semantic Mechanisms of Humor


Book Description

GOAL This is the funniest book I have ever written - and the ambiguity here is deliberate. Much of this book is about deliberate ambiguity, described as unambiguously as possible, so the previous sentence is probably the fIrst, last, and only deliberately ambiguous sentence in the book. Deliberate ambiguity will be shown to underlie much, if not all, of verbal humor. Some of its forms are simple enough to be perceived as deliberately ambiguous on the surface; in others, the ambiguity results from a deep semantic analysis. Deep semantic analysis is the core of this approach to humor. The book is the fIrst ever application of modem linguistic theory to the study of humor and it puts forward a formal semantic theory of verbal humor. The goal of the theory is to formulate the necessary and sufficient conditions, in purely semantic terms, for a text to be funny. In other words, if a formal semantic analysis of a text yields a certain set of semantic proptrties which the text possesses, then the text is recognized as a joke. As any modem linguistic theory, this semantic theory of humor attempts to match a natural intuitive ability which the native speaker has, in this particular case, the ability to perceive a text as funny, i. e. , to distinguish a joke from a non-joke.




Comedy and Distinction


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This book was shortlisted for the 2015 BSA Philip Abrams Memorial Prize. Comedy is currently enjoying unprecedented growth within the British culture industries. Defying the recent economic downturn, it has exploded into a booming billion-pound industry both on TV and on the live circuit. Despite this, academia has either ignored comedy or focused solely on analysing comedians or comic texts. This scholarship tends to assume that through analysing an artist’s intentions or techniques, we can somehow understand what is and what isn’t funny. But this poses a fundamental question – funny to whom? How can we definitively discern how audiences react to comedy? Comedy and Distinction shifts the focus to provide the first ever empirical examination of British comedy taste. Drawing on a large-scale survey and in-depth interviews carried out at the Edinburgh Festival Fringe, the book explores what types of comedy people like (and dislike), what their preferences reveal about their sense of humour, how comedy taste lubricates everyday interaction, and how issues of social class, gender, ethnicity and geographical location interact with patterns of comic taste. Friedman asks: Are some types of comedy valued higher than others in British society? Does more ‘legitimate’ comedy taste act as a tangible resource in social life – a form of cultural capital? What role does humour play in policing class boundaries in contemporary Britain? This book will be of interest to students and scholars of sociology, social class, social theory, cultural studies and comedy studies.




Humorous Discourse


Book Description

This book attempts to discuss selected but thorny issues of humor research that form the major stumbling blocks as well as challenges in humor studies at large and thus merit insightful discussion. Any discourse is action, so the text-creation process is always set in a non-verbal context, built of a social and communicative situation, and against the background of relevant culture. On the other hand, humor scholars claim that humorous discourse has its special, essential features that distinguish it from other discourses. The pragmatic solution to the issue of potential circularity of humor defined in terms of discourse and discourse in terms of humor seems only feasible, and thus there is a need to discuss the structure and mechanisms of humorous texts and humorous performances. The chapters in the present volume, contributed by leading scholars in the field of humor studies, address the issues from various theoretical perspectives, from contextual semantics through General Theory of Verbal Humor, cognitive linguistics, discourse studies, sociolinguistics, to Ontological Semantic Theory of Humor, providing an excellent overview of the field to novices and experts alike.




Humorous Structures of English Narratives, 1200-1600


Book Description

We all have the ability to recognize and create humour. But how do we do it? Salvatore Attardo and Victor Raskin have attempted to explain the workings of humour with their General Theory of Verbal Humor. How well does their theory explain the way humour ‘works’ in a particular text, and can it provide us with interesting, novel interpretations? By identifying and interpreting the narrative structures that create humour, this study tests the usefulness of Attardo & Raskin’s humour theory on a specific corpus of fabliaux, parodies and tragedies. Hamilton proposes a supplementation of the General Theory of Verbal Humor to create a means of undertaking what she calls a ‘humorist reading’. By posing the questions ‘why is this humorous?’, ‘how is it humorous?’ or ‘why is it not humorous?’ and providing the theoretical tools to answer them, a ‘humorist reading’ can make a valuable contribution to our understanding of a literary text and its place in society.




The Language of Jokes in the Digital Age


Book Description

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.