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Does Conceptual Integration Theory Possess the Cognitive Toolkit to Explain the Comic? Building Bridges Between Diverse fFelds of Linguistics in Respect of the English Humour

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Jabłońska-Hood J.
Półrocznik Językoznawczy Tertium
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2019
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vol. 4
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issue 1
EN
In this paper, I would like to display the workings of the mechanism of conceptual integration theory (CIT for short), aka blending, as envisaged by Fauconnier and Turner (1998 & 2002). I wish to demonstrate that blending is a potential candidate for a humour theory. On the basis of a few chosen examples of English humour, specifically a joke, a cartoon and a scene from a sitcom, I hope to prove that CIT possesses a toolkit for an in-detailed analysis of any humour type. Further, I wish to argue that some examples of comedy may require the cognitive procedure of frame-shifting alongside CIT, in order to account for the funniness in a systematic way. Frame-shifting is a term proposed by Seana Coulson to be used in joke analysis (Coulson 2017). I would like to point to the fact that it may boost CIT in humour explanation. Yet it needs to be stressed that frame-shifting on its own canntot explain humour. It ought to be regarded as a parameter to be included within CIT. Futher, it is especially important to verify whether or not frame-shifting is always obligatory when studying comedy. Certainly, it is valid for shorter pieces of discourse, but its presence may not be required for all the other types of humour. The paper aims to refer to this issue in conclusive remarks, following the analyss of the comic. Additionally, I would like to demonstrate that blending can function as a higher-order theoretical paradigm which explicates humour origin and which interlinks with other well-established processes involved in any comic study, e.g. incongruity perception and/or resolution. I put forward that CIT is capable of complementing incongruity resolution theories in its power to explain the source of the comic. What is more, I would like to postulate that in its power to throw light on the humour source and origin, CIT may be assigned the status of a cognitive tool with which to explicate humour.
2
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Humour as a Carrier of Memory within Culture. A few Remarks on the English Sense of Humour and its Relation to the Collective Memory of the British Society, seen from the Perspective of Cognitive Integration Theory

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Jabłońska-Hood J.
Horyzonty Wychowania
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2016
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vol. 15
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issue 36
87-105
EN
 RESEARCH OBJECTIVE: The purpose of my article is to present the notion of cultural memory as applied to both the English society as well as the English sense of humour, and to examine these in relation to WW2 by means of the cognitive integration theory, aka blending. THE RESEARCH PROBLEM AND METHODS: The presented research problem hinges around the term of memory, specifically the collective memory of the English, as perceived with regard to its multimodal conceptualization with the culture, together with its inextricable link with the English sense of humour. All this has been scrutinised by a linguistic method, i.e. conceptual integration theory, and the references to the literature in question. THE PROCESS OF ARGUMENTATION: Having defined the goal of my paper, and the basic concepts pertaining to it (memory, collective memory, English sense of humour), I proceed to the brief explanation of the linguistic paradigm, i.e. blending theory, which is employed within this study. Then, I present the analysis of the English humour tackling the subject of the Second World War, which is performed with the aid of the blending theory. RESEARCH RESULTS: The result of this argumentation is the preservation of the glorious memories of the British past via the English sense of humour, which helps to deal with the trauma and the not‑so‑glarious moments of the English history. CONCLUSIONS, INNOVATIONS AND RECOMMENDATIONS: This analysis confirmed that conceptual integration theory can be utilized as a tool with which to analyse the collective memory of the English and their sense of humour. It also proved that the English nation employs their humour into the processing of the historical past, which softens the blow of the horrendous events, and makes it possible for the English to glorify and idealise their role within the world’s arena.
3
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Does Conceptual Integration Theory Possess the Cognitive Toolkit to Explain the Comic? Building Bridges Between Diverse fFelds of Linguistics in Respect of the English Humour

100%
Jabłońska-Hood J.
Półrocznik Językoznawczy Tertium
|
2019
|
vol. 4
|
issue 1
PL
Niniejszy artykuł dotyczy mechanizmu funkcjonowania integracji pojęciowej, zwanej również teorią amalgamatów, która została stworzona przez Fauconniera oraz Turnera (1998, 2002). Jest również próbą ukazania, iż integracja pojęciowa może być uznana za potencjalną teorię humoru. W odniesieniu do wybranych przykładów humoru angielskiego, tj. żartu, komiksu oraz sceny z komedii, autorka próbuje pokazać, że teoria amalgamatów może posłużyć jako kognitywne narzędzie do wnikliwej analizy komizmu różnego rodzaju. Co więcej, autorka proponuje wprowadzenie terminu frame-shifting obok integracji pojęciowej do systematycznej analizy humoru. Frame-shifting to pojęcie wprowadzone przez Coulson (2017) do analizy żartów, i wydaje się być odpowiednie do studiów nad komizmem, aczkolwiek nie jest to zjawisko, które może samodzielnie objaśnić śmieszność, a powinno być raczej traktowane jako dodatkowy parametr integracji pojęciowej. W artykule autorka próbuje również sprawdzić, czy frame-shifting jest obligatoryjne dla humoru, czy też dotyczy to jedynie krótszych form dyskursu komicznego. Problem ten jest rozważany w konkluzjach artykułu, gdzie autorka argumentuje także, że amalgamat i przestrzenie mentalne powinny zostać uznane za podstawowy mechanizm wykorzystywany do studiów nad komizmem.
EN
In this paper, I would like to display the workings of the mechanism of conceptual integration theory (CIT for short), aka blending, as envisaged by Fauconnier and Turner (1998 & 2002). I wish to demonstrate that blending is a potential candidate for a humour theory. On the basis of a few chosen examples of English humour, specifically a joke, a cartoon and a scene from a sitcom, I hope to prove that CIT possesses a toolkit for an in-detailed analysis of any humour type. Further, I wish to argue that some examples of comedy may require the cognitive procedure of frame-shifting alongside CIT, in order to account for the funniness in a systematic way. Frame-shifting is a term proposed by Seana Coulson to be used in joke analysis (Coulson 2017). I would like to point to the fact that it may boost CIT in humour explanation. Yet it needs to be stressed that frame-shifting on its own canntot explain humour. It ought to be regarded as a parameter to be included within CIT. Futher, it is especially important to verify whether or not frame-shifting is always obligatory when studying comedy. Certainly, it is valid for shorter pieces of discourse, but its presence may not be required for all the other types of humour. The paper aims to refer to this issue in conclusive remarks, following the analyss of the comic. Additionally, I would like to demonstrate that blending can function as a higher-order theoretical paradigm which explicates humour origin and which interlinks with other well-established processes involved in any comic study, e.g. incongruity perception and/or resolution. I put forward that CIT is capable of complementing incongruity resolution theories in its power to explain the source of the comic. What is more, I would like to postulate that in its power to throw light on the humour source and origin, CIT may be assigned the status of a cognitive tool with which to explicate humour.
4
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Integracja pojęciowa jako fundamentalny mechanizm ludzki w języku

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Jabłońska-Hood J.
Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia
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2016
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vol. 34
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issue 1
EN
According to Fauconnier and Turner, human conceptualisation is based around the process referred to as conceptual integration, aka blending. How it works is basically that language users, or rather their brains, tend to pick and mix selective elements of diverse mental spaces (or input spaces) as a base for novel meaning creation, which is resultant from the blend of such inputs. Thus, language creativity and originality hinges on the blending of correspondences that are mapped onto one another in order to come up with a third new quality that has not existed in language before, as it would seem. In my paper, I would like to display how cognitive integration processes operate in regard of humour within language. Further, I would like to prove that blending may well be considered a fundamental prerequisite for creativity with recourse to the comic use of language.
PL
Niniejszy artykuł wyjaśnia, na przykładzie komizmu językowego, mechanizm funkcjonowania integracji pojęciowej oraz rządzące nim prawa w odniesieniu do kreatywności językowej. Składa się z trzech części. Na wstępie autorka przedstawia podstawowe założenia teorii integracji pojęciowej, wykorzystanej w dalszej części do analizy materiału językowego. Następnie, na podstawie wybranych przykładów kreatywnego użycia języka, udowadnia, że amalgamat i przestrzenie mentalne powinny zostać uznane za podstawowy mechanizm kreatywności człowieka w języku. Na zakończenie, podsumowując przeprowadzone analizy, przedstawia najistotniejsze dla językowej działalności człowieka elementy integracji pojęciowej, bez których konceptualizacja oraz kreatywność językowa byłyby niemożliwe lub ograniczone.
5
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What is the Impact of Multimodality and Intersubjectivity on the English Humour?

100%
Jabłońska-Hood J.
Horyzonty Wychowania
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2020
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vol. 19
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issue 52
83-92
EN
RESEARCH OBJECTIVE: The purpose of my article is to demonstrate how the terms of multimodality and intersubjectivity function within the areana of English humour, specifically in reference to a chosen sitcom. To this means I shall employ the cognitive apparatus of conceptual integration theory, aka blending. THE RESEARCH PROBLEM AND METHODS: The presented research problem centres around the notions of intersubjectivity, i.e. the human ability to display a shared perception of reality with regard to members of their own community, as well as multimodality, i.e. the use of more than one sense for the purpose of meaning rendition. Both phenomena are studied here with regard to the English humour, whose explanation is based on a cognitive linguistic method of blending. THE PROCESS OF ARGUMENTATION: Having explained the term ‘English humour’, I then clarify intersubjectivity, multimodality and cognitive integration, which will serve here as the tools for the purpose of my humour analysis. Therein I intend to show how they interlink and how their roles influence the comprehension of English humour. RESEARCH RESULTS: The result of this argumentation is constituted by the fact that intersubjectivity and multimodality together with blending can greatly enhance the comprehension of the amusing contents within English comedy. CONCLUSIONS, INNOVATIONS, AND RECOMMENDATIONS: The analysis confirms that conceptual integration theory, as enriched by intersubjectivity and multimodality, provides a humour researcher with a concrete apparatus for measuring humour effects. However, further research is advocated into the process of blending, as accompanied by intersubjectivity and multimodality, with recourse to English humour as well as other types of humour, e.g. the Polish comedy, in order to provide contrastive evidence for these tools and their usefulness or effectiveness.
6
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Conceptual integration theory and British humour: an analysis of the sitcom Miranda

100%
Jabłońska-Hood J.
The European Journal of Humour Research
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2019
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vol. 7
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issue 4
EN
Conceptual integration theory (henceforth CIT), aka conceptual blending, was devised by Fauconnier and Turner (2002) as a model for meaning construction and interpretation. It is based on the notion of a mental space, which originated in Fauconnier's early research (1998). Mental spaces are structures that constitute information pertaining to a particular concept (Fauconnier and Turner 2002: 40). Interestingly, mental spaces can be linked together and blended so as to produce a novel quality not previously present. In this manner, conceptual integration serves the purpose of a theoretical model which throws light on creativity in language use. In my paper, I will apply CIT to British humour in order to use its multiway blending together with its dynamic, online running of the blended contents for the purpose of comedy elucidation. It is crucial to observe that British humour is a complex phenomenon which pertains to many different levels of interpretation, i.e. a linguistic, cultural or a discourse one. CIT possesses a well suited cognitive apparatus which can encompass the complexity of British humour with all its layers. The primary goal of the article is to analyse a selected scene from a sitcom entitled Miranda in order to show the validity of the theory in respect of humour studies. In particular, I will undertake to demonstrate that CIT, with a special emphasis on its principles such as compression and the emergent structure of the blend can deal with many processes that accumulate within British humour and result in laughter. Simultaneously, I will try to demonstrate that frame-shifting, as proposed by Coulson (2015: pp. 167-190), can be of help to CIT in humour explanation.
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