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1

Is the Concept of Incongruity Still a Useful Construct for the Advancement of Humor Research?

100%
Forabosco G.
Lodz Papers in Pragmatics
|
2008
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vol. 4
|
issue 1
45-62
EN
The perception of incongruity is considered to be a necessary, though not sufficient, component of the humor experience. Incongruity has been investigated in the philosophical tradition for centuries, and it goes back as far as Aristotle's definition of the comic as based on a particular form of απάτη (surprise and deception). In modern times, many theoretical models, as well as empirical works, are based on this concept. The question is here raised whether the concept of incongruity has already been examined and exploited to its full potential, and nothing new, of theoretical or experimental usefulness, may be drawn from it. It is proposed to conceptualize incongruity as follows: a stimulus is perceived as incongruous when it diverts from the cognitive model of reference. In this perspective, a number of observations are advanced which point to a heuristic property of incongruity still open to interesting developments, both for theory and for applications.
2
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Les Enfants risibles: comic portrayals of childhood in French fiction

88%
Parkin J.
The European Journal of Humour Research
|
2015
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vol. 4
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issue 2
EN
Les Enfants risibles: comic portrayals of childhood in French fiction
3
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“This is not a political party, this is Facebook!”: Political jokes and political (mis)trust in crisis-ridden Greece

88%
Tsakona V.
The European Journal of Humour Research
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2017
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vol. 5
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issue 4
EN
The present study attempts to combine Raskin’s (1985) and Davies’ (2011) methodological approaches to political jokes to investigate Greek political jokes targeting politicians and circulated during the first 4 years of the Greek crisis. The proposed analysis identifies, on the one hand, what Greek people perceive as politicians’ main incongruities, namely their flaws that prevent them from fulfilling their roles ‘appropriately’. On the other hand, the particularities of the sociopolitical context in Greece and, most importantly, the pervasive lack of political trust among Greeks allow for an interpretation of the jokes under scrutiny as expressions of disillusionment and disappointment with politicians and the political system in general, and as manifestations of mild, playful aggression towards them. The findings of the study reveal that the accusations raised in the jokes against politicians capture and reproduce quite accurately most of the aspects and causes of political mistrust in Greece.
4
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Affect philosophy meets incongruity: about transformative potentials in comic laughter

88%
Weeks M.
The European Journal of Humour Research
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2020
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vol. 8
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issue 1
EN
The emergence of philosophical affect theory, sourced substantially in Continental philosophy, has intensified scholarly attention around affective potentials in laughter. However, the relationship between laughter’s affect and the comic remains a complicated one for researchers, with some maintaining that the two should be studied separately (Emmerson 2019, Parvulescu 2010). While there is a credible academic rationale for drawing precise distinctions, the present article takes an integrative approach to laughter and the comic. It analyzes, then synthesizes, points of convergence between key texts in affect philosophy and certain elements of incongruity-based humour theory. Specifically, the article seeks to demonstrate that some integration can bring insight and clarity to discussion of transformative potentials sometimes attributed to forms of comic laughter, especially within cultural studies and social science following the philosophy of Deleuze. This approach may also usefully complicate the concept of incongruity itself.
5
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On the Popcultural Life of Historical Works of Art in Humorous Advertising

88%
Stwora A.
Świat i Słowo
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2021
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vol. 36(1)
167-181
EN
The paramount objective of this paper is to discuss the popcultural life of historical works of art in selected humorous ads. Firstly, the workings of the incongruityresolution theory of humour and script opposition are presented. Then, the author proceeds to the topic of popculturing visual art in ads. Finally, attention is paid to specific instances of popculturing and funification in several art-related multimodal ads, which makes it possible to see the mechanisms of humour elicitation resultant from the ongoing displacement of historical works of art and their transference into the pop-cultural and advertising realms. To this end, the author gathered a collection of ads in English in which visual art is used in order to introduce humour.
6

Figure-Ground Duality in Humour: A Multi-Modal Perspective

75%
Veale T.
Lodz Papers in Pragmatics
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2008
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vol. 4
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issue 1
63-81
EN
Creativity with words or pictures is not simply a matter of communicating a message, but of communicating it well, in a way that is effective, original and which defies convention. Effectiveness here pertains to the pragmatic goals of the communicator, and the extent to which these are achieved, while originality pertains to the manner in which the message is framed. Language, for instance, provides a wealth of conventions for framing a message; indeed, the vast part of language is a solidified body of culturally received conventions, which fix the meaning of words and phrases and determine the contextual appropriateness of specific terms, topics and conversational strategies. To frame a message in a novel manner that stretches or even subverts these conventions, a communicator must imbue the elements of communication-whether words, gestures or pictorial elements-with additional meanings. This duality of meaning is not arbitrary, however, or communication cannot succeed. Rather, a creative communicator must draw out secondary meanings that are already implicit in the stock elements of communication, in a way that the audience can understand, appreciate and replicate. Duality thus lies at the heart of creative communication, allowing a communicator to say one thing and simultaneously convey another, secondary message that may augment or subvert the overt content of the communication. This mechanism, which draws out and gives prominence to that which is normally unseen or implicit, is Figure-Ground Reversal.
7

A Relevance-Theoretic Classification of Jokes

75%
Yus F.
Lodz Papers in Pragmatics
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2008
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vol. 4
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issue 1
131-157
EN
Relevance Theory pictures communication as an inferential activity that adjusts, in parallel, the explicit content of utterances, the implicated premises and conclusions that can be derived, and the right amount of contextual information needed to obtain them. When applied to jokes, a relevance-theoretic classification may be proposed depending on whether the humorist plays with the audience's inferential activity aimed at an explicit interpretation, with the audience's inference devoted to deriving implications or with their access to the right amount and quality of contextual information needed to obtain relevant interpretations. In this paper three types of jokes are proposed which focus on these aspects. A fourth type is also added, but this time referred to broad contextual assumptions on social or cultural values of society that are targeted by humorists.
8

Analyzing jokes with the Intersecting Circles Model of humorous communication

75%
Yus F.
Lodz Papers in Pragmatics
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2013
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vol. 9
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issue 1
3-24
EN
Speakers of jokes are aware of the human cognitively rooted relevance-seeking inferential procedure (Sperber and Wilson 1995) and predict (i.e. metarepresent) the interlocutor’s steps leading to a valid interpretation of the utterance(s) in the joke. Specifically, speakers can predict (a) the accessibility to certain information which builds up a proper scenario for understanding the joke (make-sense frame), (b) the inferential steps taken to turn the words uttered into contextualized meaningful propositions (utterance interpretation), and (c) the awareness of cultural stereotypes regarding professions, nationalities, connoted places, sex roles, etc. (cultural frame). This inferred information (a-c) is exploited to generate humorous effects. In previous research (Yus forthcoming), the Intersecting Circles Model was proposed. It comprises seven types of jokes depending on whether the joke only relies on one of (a-c) or on combinations of them, which entails analyzing the extent to which (a-c) play or do not play a role in the generation of humorous effects. In this paper, 1000 jokes are analyzed and fitted into a type or combinations of (a-c). Several interesting humor-generating patterns are also isolated inside the seven preliminary joke types covered by the Model.
9
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Humorous TV ads and the 3WD: Evidence for generalizability of humour appreciation across media?

63%
Hofmann J., Ruch W. F.
The European Journal of Humour Research
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2017
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vol. 5
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issue 4
EN
Individuals differ in their appreciation of jokes and cartoons with respect to the structure of the humorous material (e.g., whether the jokes and cartoons are can be categorised in terms of incongruity-resolution or in terms of nonsense), as well as content (e.g., whether they contain sexual themes or not). While the 3WD (3 jokes dimensions) test allows for the measurement of such differences in a paper-pencil test of verbal jokes and visual cartoons, humour transported by other media, such as TV advertisements, has not been included so far. The current study aimed at assessing the appreciation of jokes and cartoons alongside the appreciation of humorous TV ads that were pre-categorized according to the structure and content factors of the 3WD. Moreover, relationships to personality and willingness to buy were also assessed. A sample of 134 adult participants completed the study. A joint factor analysis of the 3WD scores and humour appreciation in TV ads shows a five-factor structure, with three factors denominating the appreciation of incongruity-resolution humour, nonsense humour and sexual humour, a fourth factor denominating the liking of incongruity resolution humour with sexual themes (in both ads and jokes) and an advertisement specific factor. Thus, the 3WD dimensions can also be verified in humorous ads. Psychoticism and sensation seeking correlated negatively with the perceived funniness of incongruity resolution humour, replicating findings for the 3WD and additionally showing that the relationships are similar with respect to humour appreciation in TV advertisements. Moreover, the appreciation of humour predicted the willingness of the individual to buy the product or use the service. To conclude, the structure of humour appreciation is generalizable across media. Yet, there is also some advertisement specific variance and future studies may address the question of whether the 3WD covers all aspects of humour appreciation across media types. Moreover, knowing the target group of a product (and personality features of this group) may help to tailor the humour of the advertisement to match the “humour taste” of potential customers.
10
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“Girding up the Loins”: A Cognitive Sematic Analysis of Humorous Expressions

51%
Kövecses Z.
Półrocznik Językoznawczy Tertium
|
2016
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vol. 1
|
issue 1&2
PL
Duża liczba wyrażeń żartobliwych w języku angielskim, a także w innych językach, charakteryzuje się obecnością takich procesów poznawczych, jak metonimia, metafora, integracja pojęciowa czy amalgamat. Te wyrażenia figuratywne nie są jednak ani niezbędne ani konieczne, aby efekt humorystyczny mógł zaistnieć. Zgadzając się z innymi badaczami, proponuję dla scharakteryzowania wyrażeń żartobliwych przyjąć istnienie pojęcia niespójności pojęciowej czy też niezgodności wewnątrz albo między ramami poznawczymi. W niniejszym artykule przedstawiam klasyfikację wybranych typów niespójności czy też niezgodności, występujących w moim zbiorze wyrażeń żartobliwych. Istnienie dużej liczby wyrażeń żartobliwych opartych o metonimię, metaforę czy amalgamat da się moim zdaniem wyjaśnić tym, że te środki stylistyczne tworzą lub ułatwiają tworzenie się niespójności. Analiza szeregu wyrażeń żartobliwych umożliwi wstępne naszkicowanie kognitywnego wyjaśnienia mechanizmu, który powoduje, że te wyrażenia wywołują efekt humorystyczny.
EN
A large number of humorous linguistic expressions in English (and also in other languages) are characterized by such cognitive processes as metonymy, metaphor, and conceptual integration, or blending. However, these figurative devices are neither sufficient nor necessary for humorous effects. Following other researchers, I suggest that in order to account for humorous expressions we need the notion of conceptual incongruity, or incompatibility inside or between frames of knowledge. In the paper I will take stock of some of the commonly occurring types of incongruity, or incompatibility, in my data of humorous expressions. I will account for the existence of a large number of metonymy-, metaphor-, and blending-based humorous expressions by proposing that these figurative devices create or facilitate the creation of incongruities. The analyses of a number of humorous expressions will make it possible to suggest a rough and sketchy cognitive linguistic account of the humorous effect of these expressions.
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