The narrative always contains a protagonist who becomes the „ass“ or the target of the joke. [ref. needed] This label serves to develop and consolidate stereotypes within the culture. It also allows researchers to group and analyze the creation, persistence, and interpretation of joke cycles around a particular character. Some people are inherently more successful than others, but anyone can tell a joke because the comic trigger is in the narrative text and punchline. A poorly told joke is always funny unless mistakes or omissions make the intended relationship between the narrative and the punchline incomprehensible. There are many types of joke books that are printed today; An internet search offers a plethora of titles available for purchase. They can be read alone for a solitary conversation or used to fill up on new jokes to entertain friends. Some people try to find deeper meaning in jokes, as in „Plato and a Platypus Go to a Bar. Understanding philosophy through jokes.“ [13] [Note 3] However, a deeper meaning is not necessary to appreciate their inherent value in entertainment. [14] Magazines often use jokes and caricatures as fillers for the printed page. Reader`s Digest ends many articles with an (unrelated) joke at the end of the article.
The New Yorker first appeared in 1925 with the stated aim of being a „sophisticated humor magazine“ and is still known today for its cartoons. A joke is a display of humor in which words in a specific, clearly defined narrative structure are used to make people laugh, and are usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends with a punchline, revealing the humorous element of the story; This can be done with a play on words or any other type of pun, irony or sarcasm, logical incompatibility, exaggeration or other means. [1] Linguist Robert Hetzron offers the definition: Mr. Crow would swing back and forth on his pole, because a joke – about everyone but himself – always appealed to him. A 2007 survey of existing instruments for measuring humor identified more than 60 psychological measurement tools. [91] These measuring instruments use many different approaches to quantify humour and its related states and characteristics. There are tools to measure an individual`s physical response based on their smile. The Facial Action Coding System (FACS) is one of many tools that can be used to identify one of the many types of smiles.
[92] Or laughter can be measured to calculate an individual`s amusing reaction; Several types of laughter have been identified. It should be emphasized here that smiling and laughing are not always a reaction to something funny. When trying to develop a measurement tool, most systems use „jokes and cartoons“ as test materials. However, given that no two tools use the same jokes and that this would not be feasible across languages, how does she ask herself whether the objects of revision are comparable? Who do you ask to rate a person`s sense of humour? Do you ask the person themselves, an impartial observer, or their family, friends and colleagues? In addition, the current mindset of the test subjects was taken into account; Someone with a recent death in the family may not be very prone to laughter. Given the plethora of variants that stem from a superficial view of the problem,[93] it becomes clear that these avenues of scientific research are fraught with problematic pitfalls and questionable solutions. This investigation led to a flowering of monographs to explore the meaning of many joke cycles. What`s so funny about absurd elephant jokes? Why take dead babies lightly? In an article on contemporary German jokes about Auschwitz and the Holocaust, Dundes justifies this research: „Whether you find Auschwitz jokes funny or not is not a problem. This material exists and should be registered. Jokes are always an important barometer of a group`s attitude. Jokes exist and they obviously have to meet a psychological need for the individuals who tell them and those who listen to them. [101] A stimulating generation of new theories of humor thrives like mushrooms in the undergrowth: Elliott Oring`s theoretical discussions of „appropriate ambiguity“ and Amy Carrell`s hypothesis of an „audience-based theory of verbal humor (1993),“ to name a few. The context examines the specific social situation in which the jokes occur.
[32] The narrator automatically changes the joke text to be acceptable to different audiences, while supporting the same divergent scripts in the punchline. The vocabulary used to tell the same joke at a student party and to the grandmother can vary very well. In any situation, it is important to identify both the narrator and the audience, as well as their relationship to each other. This varies to reflect the complexity of a matrix of various social factors: age, gender, race, ethnicity, kinship, political views, religion, power relations, etc. When all possible combinations of such factors between narrator and audience are taken into account, a single joke can take on infinite nuances of meaning for any unique social environment. Beginning in the 1960s, cultural scholars began to expand their role as collectors and archivists „popular ideas“[85] to a more active role as interpreters of cultural artifacts. One of the leading scholars active during this transition period was the folklorist Alan Dundes. He began asking questions about tradition and traditions, with the key observation: „No piece of folklore continues to be transmitted unless it means something, even if neither the speaker nor the audience can articulate what that meaning might be.“ [100] In the context of jokes, this then becomes the basis for further research. Why is the joke being told now? It is only from this broader perspective that it is possible to understand its significance for participants. Remember that you studied for SATs and standardized tests and had to make these logical problems? Have you tested if you have understood that all lions are cats, but not all cats are lions? It`s the relationship between humor, comedy and jokes: all jokes are comedy, and every comedy is humor, but not all humor is comedy and certainly not all jokes. Well, I think, it`s not a joke for sure, with this leak I will have family to make in a few years. However, what the variety and variety of sets and subsets shows is that folklore [jokes] not only takes many forms, but is also multifaceted, with purpose, use, structure, content, style, and function all relevant and important.
Each of these diverse and diverse aspects of a folkloric example [such as jokes] or a combination of these diverse aspects [such as jokes] may prove dominant in a particular situation or for a particular investigation. [79] Be careful! Don`t say someone is „telling a joke“ or „making a joke.“ So, no, I could have said something smooth, but I didn`t make jokes all day, I don`t think. Sociologist Christie Davies has written extensively about ethnic jokes told in countries around the world. [63] In ethnic jokes, he finds that the „stupid“ ethnic target in the joke is not a stranger to the culture, but rather a peripheral social group (geographical, economic, cultural, linguistic) well known to joke tellers. [64] Americans tell jokes about the Polacks and Italians, Germans tell jokes about East Frisians, and English tell jokes about the Irish. A review of Davies` theories states: „For Davies, [ethnic] jokes are more about how joke storytellers imagine themselves than how they imagine others who serve as their supposed targets. So jokes serve to center you in the world – to remind people of their place and reassure them that they are there. [65] „I do the standard eye roll and the older the joke, the greater the eye roll,“ Monica wrote. When folktales and other types of oral literature became collectibles throughout Europe in the 19th century (brothers Grimm et al.), folklorists and anthropologists of the time needed a system to organize these objects. The Aarne-Thompson classification system was first published by Antti Aarne in 1910 and later expanded by Stith Thompson to become the most prestigious classification system for European folktales and other types of oral literature.
The last section deals with anecdotes and jokes, listing the traditional humorous stories sorted by their protagonist. „This section of the index is essentially a classification of older European jokes or funny stories – humorous stories characterized by short, fairly simple plots.
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