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Superiority theory has built a strong foundation for researchers to continue studying humor. Over time, philosophers and scholars have redefined and expanded the theory. We see superiority theory used as the building block for newer ideas of humor.
Superiority theory has built a strong foundation for researchers to continue studying humor. Over time, philosophers and scholars have redefined and expanded the theory. We see superiority theory used as the building block for newer ideas of humor.


== Incongruity Theory ==
==Incongruous juxtaposition theory==
[[File:HalfFullHalfEmptyBeerGlass.jpg|thumb|A beer glass made by [[Camden Town Brewery]] ([[London]]). The physical presence of beer in the glass's lower part, exactly where the inscription is: 'HALF EMPTY', sets a collision between two frames of reference. This incongruity results in a humorous effect at the moment of its realization.]]
[[File:HalfFullHalfEmptyBeerGlass.jpg|thumb|A beer glass made by [[Camden Town Brewery]] ([[London]]). The physical presence of beer in the glass's lower part, exactly where the inscription is: 'HALF EMPTY', sets a collision between two frames of reference. This incongruity results in a humorous effect at the moment of its realization.]]


The superiority theory of humor traces back to [[Plato]], [[Aristotle]], and [[Thomas Hobbes|Thomas Hobbes's]] [[Leviathan (Hobbes book)|''Leviathan'']]. The general idea is that a person laughs about the misfortunes of others because they assert their superiority based on the shortcomings of others.<ref name="mn20023">{{cite conference |last1=Mulder |first1=M.P. |last2=Nijholt |first2=Anton |date=November 2002 |title=Humor in Human-Computer Interaction |url=https://www.researchgate.net/publication/2474262 |location=Enschede, Netherlands |publisher=[[University of Twente]]}}</ref>We feel superior to the person who is the target of the joke. Plato described it as being both a pleasure and pain in the [[Soul|soul.]] One may experience these mixed emotions during the malicious person's happiness at the victim's misfortune. For Aristotle, we laugh at inferior or [[Beauty|ugly]] individuals because we feel [[joy]] at feeling superior to them.<ref>''Poetics'', 1449a, p. 34-35.</ref>Aristotle observed that many jokes relied on a combination of incongruity and [[hostility]]. He explained that jokes are funny because they catch the listener off guard, introducing a surprising and unexpected [[Plot twist|twist]] that amuses them. However, this incongruity alone doesn't entirely explain the mechanics of laughter. There also appears to be a component of hostility from both the [[comedian]] and the [[audience]]. What makes something funny often involves [[ridiculous]] features, such as a physical [[deformity]]<nowiki/>or a slip-up. Therefore, whether through jokes, situations, or physical characteristics, while humor's laughter-inducing quality primarily stems from incongruity, [[aggression]] is also intertwined with it.<ref>{{Cite book |last=Destrée |first=Pierre |title=Laughter, Humor, and Comedy in Ancient Philosophy |last2=Trivigno |first2=Franco |publisher=Oxford University Press |year=2019 |isbn=9780190460549 |location=USA |pages=36–41}}</ref>
[[Francis Hutcheson (philosopher)|Francis Hutcheson]] expressed in ''Thoughts on Laughter'' (1725) what became a key concept in the evolving theory of the comic: laughter as a response to the perception of incongruity.<ref>[[Peter Ludwig Berger]] ''Redeeming Laughter: The Comic Dimension of Human Experience'' (1997) p.22</ref> This can be compared to Aristotle's notion of ugliness,<ref>''Poetics'' 1449a</ref> but is much broader.


Nevertheless, Aristotle regarded humor as a positive [[phenomenon]] as long as it was not excessive. Aristotle believed that humor could be used effectively in [[rhetoric]], but it must be used in a way that served the argument. The speaker should avoid inappropriate jokes that could [[Alienation effect|alienate]] the audience. He considered [[irony]] to be an acceptable and effective tool if used sparingly. [[Jester|Buffoonery]], on the other hand, or crude humor, should be avoided altogether. One of the most important contributions of Aristotle to the future development of the theory of humor is the opposition of [[comedy]] versus [[tragedy]], which has been a major theme in the study of humor until the [[20th century]].<ref>{{Cite book |last=Attardo |first=Salvatore |title=Linguistic Theories of Humor |publisher=De Gruyter, Inc. |year=1994 |isbn=9783110142556 |location=Berlin/Boston |pages=20–21}}</ref>
Hutcheson thus initiated the incongruity theory. It was later developed by others, and now typically states that humor is perceived at the moment of realization of incongruity between a concept involved in a certain situation and the real objects thought to be in some relation to the concept.<ref name="mn2002">{{cite conference |last1=Mulder |first1=M.P. |last2=Nijholt |first2=Anton |date=November 2002 |title=Humor in Human-Computer Interaction |url=https://www.researchgate.net/publication/2474262 |location=Enschede, Netherlands |publisher=[[University of Twente]]}}</ref>


In the 17th century, Thomas Hobbes described superiority theory in two pieces, ''Human Nature'' (1650) and ''[[Leviathan (Hobbes book)|Leviathan]]'' (1651), which have very similar views. Hobbes describes laughter as the sudden [[Glory (honor)|glory]] one feels that one is better than the target of the [[humorous]] narrative. The sense of glory comes from the recognition of [[Power (social and political)|power]]. Hobbes also mentions the theory of [[Passion (emotion)|passion]] in which laughter is not passion; however, laughter is how the body manifests a particular emphasis.<ref name=":62">{{Cite journal |last=Heyd |first=David |date=1982 |title=The Place of Laughter in Hobbes's Theory of Emotions |journal=Journal of the History of Ideas |pages=285-295}}</ref> Hobbes proposed there are several which typically evoke this feeling of glory:
A view much like that contemporary sense of the incongruity theory was put forth a half-century after Hutcheson by the Scottish poet [[James Beattie (poet)|James Beattie]]. Although not widely read today, historically, Beattie's presentation of the incongruity theory has been very influential.<ref>J.Beattie, Essays (William Creech, Edinburg, 1776).</ref> He made the theory more universal, and instead of incongruity ''per se'', emphasized its partial appropriateness by the idea of "[[Assemblage (philosophy)|assemblage]]." In turn, incongruity has been described as being resolved (i.e., by putting the objects in question into the real relation), and the incongruity theory is often called the incongruity-resolution theory (as well as incongruous juxtaposition).<ref name=mn2002/> [[Anthropologist]] [[Elliott Oring]] in fact mentions that Beattie pioneered the appropriate incongruity theory.{{citation needed|date=February 2023}}


# Success in one's actions beyond one's expectations.
A famous version of the incongruity theory is that of [[Immanuel Kant]], due to his renown, who claimed that the comic is "the sudden transformation of a strained expectation into nothing."<ref>{{Citation | title= Masculinity and Ridicule| first1= Timothy | last1= Laurie | first2= Anna | last2= Hickey-Moody | journal=Gender: Laughter |publisher=Macmillan Reference|location=Farmington Hills, Michigan| pages= 216–217 | year= 2017 | url=https://www.academia.edu/31232852}}</ref> Kant explained laughter at humor as a response to an "[[absurdity]]."<ref>{{Cite book|last=Clewis|first=Robert|title=Kant's Humorous Writings: An Illustrated Guide|publisher=[[Bloomsbury Publishing|Bloomsbury]]|year=2020|isbn=9781350112797|location=London, England}}</ref> We first have an expectation about the world, but that expectation is then disappointed or "disappears into nothing." Our response to humor consists in a "play with thoughts." In section 54 of ''Critique of Judgment'', Kant told three jokes to explain his theory. While Kant is an incongruity theorist, his account also has elements of release theory (emphasizing the physiological and physical aspects). It also evokes superiority theory. He thought that teasing was acceptable as long as it occurred in the right setting and did not harm the person being teased.
# The perception of infirmities and defects in others.
# The perception of infirmities and defects in one's past.
# The conception of some absurdity is abstracted from individual persons.


According to Hobbes, laughter evoked by these circumstances always has connections with the feeling of superiority.<ref name=":62" />
[[Arthur Schopenhauer]] wrote that the perceived incongruity is between a concept and the real object it represents.{{Citation needed|date=January 2023}} [[Georg Wilhelm Friedrich Hegel]] shared almost exactly the same view, but saw the concept as an "appearance" and believed that laughter then totally negates that appearance.{{Citation needed|date=January 2023}}


While [[Immanuel Kant|Kant]] is not usually recognized as a superiority theorist, there are elements of superiority theory in his account. Kant thinks that there is a place for harmless [[teasing]]. In addition, [[Philosophy|philosopher]] of humor [[Noël Carroll]] observes that even the structure of a narrative joke, on Kant's view, requires the joke teller to "take in" or outdo the joke receiver, even if only momentarily. Because such joking is recognized as joking and it is carried out in a playful way, it does not imply that the joker feels or thinks they are actually superior.<ref name="Clewis 2020">{{Cite book |last=Clewis |first=Robert |title=Kant's Humorous Writings: An Illustrated Guide |publisher=[[Bloomsbury]] |year=2020 |isbn=9781350112797 |location=London, England}}</ref>
[[Henri Bergson]] attempted to perfect incongruity by reducing it to the "[[Life|living]]" and "[[Machine|mechanical]]".<ref>{{cite book|first=Henri|last=Bergson|authorlink=Henri Bergson|title=Laughter: An Essay on the Meaning of the Comic|date=1900}}</ref> In Bergson's many types of combination of the mechanical and the living, there is much similarity with the incongruity theory.


Superiority theory has built a strong foundation for researchers to continue studying humor. Over time, philosophers and scholars have redefined and expanded the theory. We see superiority theory used as the building block for newer ideas of humor.
There has been some debate attempting to clarify the roles of juxtaposition and shifting in humor, hence, the discussion in the series ''Humor Research'' between [[John Morreall]] and [[Robert Latta (philosopher)|Robert Latta]].<ref>{{cite book|first=Robert L.|last=Latta|date=1999|title=The Basic Humor Process: A Cognitive-Shift Theory and the Case against Incongruity|publisher=[[Walter de Gruyter]]|location=Berlin, Germany|isbn=3-11-016103-6}}</ref> Though Morreall himself endorses a cognitive shift theory,<ref>{{cite book|first=John|last=Morreal|authorlink=John Morreall|date=1983|title=Taking Laughter Seriously|publisher=[[SUNY Press]]|location=New York City|isbn=0-87395-642-7}}</ref> in this particular dialogue he indicated examples of simultaneous contrast, while Latta emphasized the cognitive shift. Humor frequently contains an unexpected, often sudden, shift in perspective, which gets assimilated by the incongruity theory. This has been defended by Latta (1998) and by [[Brian Boyd]] (2004).<ref>{{cite journal|last1=Boyd|first1=Brian|authorlink=Brian Boyd|title=Laughter and Literature: A Play Theory of Humor|journal=[[Philosophy and Literature]]|publisher=[[Johns Hopkins University]]|location=Baltimore, Maryland|date=2004|volume=28|issue=1|pages=1–22|doi=10.1353/phl.2004.0002|s2cid=144552197}}</ref> Boyd views the shift as from seriousness to play. Nearly anything can be the object of this perspective twist; it is, however, in the areas of human creativity ([[science]] and [[art]] being the varieties) that the shift results from "structure mapping" (termed "[[bisociation]]" by [[Arthur Koestler|Koestler]]) to create novel meanings.<ref>Koestler, Arthur (1964): "The Act of Creation".</ref> Arthur Koestler argues that humor results when two different frames of reference are set up and a collision is engineered between them.


==Other theories==
==Other theories==

Revision as of 01:40, 16 December 2023

Theories of Humor

It has been said that many benefits that come with experiencing laughter and mirth. But why do we experience this emotional expression? There are many theories of humor which attempt to explain what humor is, what social functions it serves, and what would be considered humorous. Although various classical theories of humor and laughter may be found, in contemporary academic literature, three theories of humor appear repeatedly: relief theory, superiority theory, and incongruity theory.[1] These theories are used as building blocks for the rest of the theories. Among current humor researchers, there has yet to be a consensus about which of these three theories of humor is most viable.[1]Proponents of each one originally claimed their theory to be capable of explaining all cases of humor.[1][2] However, they now acknowledge that although each theory generally covers its area of focus, many instances of humor can be explained by more than one theory.[1][2][3][4] Similarly, one view holds that theories have a combinative effect; Jeroen Vandaele claims that incongruity and superiority theories describe complementary mechanisms that together create humor.[5]

Relief Theory

Relief Theory suggests humor is a mechanism for pent-up emotions or tension through emotional relief. In this theory, laughter serves as a homeostatic mechanism by which psychological stress is reduced[6][7][8]Humor may thus facilitate ease of the tension caused by one's fears, for example. Laughter and joy, according to relief theory, result from this release of excess nervous energy.[9] According to relief theory, humor is used mainly to overcome sociocultural inhibitions and reveal suppressed desires. It is believed that this is why we laugh while being tickled, due to a buildup of tension as the tickler "strikes."[10][11] Thus it is essential for those in the industry to ass bits of comic relief in media that may be dramatic or tragic.

Relief theory dates back to the Greek Philosopher Aristotle. In Poetics, he suggested humor to be a way in which one releases pent-up negative emotions that may have been caused by trauma or tragedy we've experienced. Many philosophers and researchers took the idea of humor being a release of tension and have evolved relief theory or comic relief over time.[12]

In the eighteenth century, English drama theorists John Dryden and Samuel Johnson argued that relief theory was to be used as a dramatic tool. John Dryden (1668) believed mirth and tragedy would make for the best plots.[13]

On the other hand, Shurcliff (1968) argued that humor is a mechanism to relieve tension. When in anticipation of a negative experience, one may begin to feel some heightened arousal. According to Shurcliff, the heightened arousal is then reduced through mirth or laughter. [14] Comparably, an English Scholar, Lucas (1958), wrote that audiences respond better based on the "strain-rest-strain-rest" idea in which a tragic event may happen with moments of relaxation.[15]

According to Herbert Spencer, laughter is an "economical phenomenon" whose function is to release "psychic energy" that had been wrongly mobilized by incorrect or false expectations. The latter point of view was supported also by Sigmund Freud. Immanuel Kant also emphasized the physiological release in our response to humor.[16]Eddie Tafoya uses the idea of a physical urge tied to a psychological need for release when describing relief theory in his book The Legacy of the Wisecrack: Stand-up Comedy as the Great Literary Form. Tafoya explains "…that each human being is caught in a tug-of-war: part of us strains to live free as individuals, guided by bodily appetites and aggressive urges, while the other side yearns for conformity and acceptance. This results in every normal person being continually steeped in psychic tension, mostly due to guilt and lack of fulfillment. This tension can be relieved, albeit temporarily, through joking."[17]

Superiority theory

The superiority theory of humor traces back to Plato, Aristotle, and Thomas Hobbes's Leviathan. The general idea is that a person laughs about the misfortunes of others because they assert their superiority based on the shortcomings of others.[18] We feel superior to the person who is the target of the joke. Plato described it as being both a pleasure and pain in the soul. One may experience these mixed emotions during the malicious person's happiness at the victim's misfortune. For Aristotle, we laugh at inferior or ugly individuals because we feel joy at feeling superior to them.[19] Aristotle observed that many jokes relied on a combination of incongruity and hostility. He explained that jokes are funny because they catch the listener off guard, introducing a surprising and unexpected twist that amuses them. However, this incongruity alone doesn't entirely explain the mechanics of laughter. There also appears to be a component of hostility from both the comedian and the audience. What makes something funny often involves ridiculous features, such as a physical deformityor a slip-up. Therefore, whether through jokes, situations, or physical characteristics, while humor's laughter-inducing quality primarily stems from incongruity, aggression is also intertwined with it.[20]

Nevertheless, Aristotle regarded humor as a positive phenomenon as long as it was not excessive. Aristotle believed that humor could be used effectively in rhetoric, but it must be used in a way that served the argument. The speaker should avoid inappropriate jokes that could alienate the audience. He considered irony to be an acceptable and effective tool if used sparingly. Buffoonery, on the other hand, or crude humor, should be avoided altogether. One of the most important contributions of Aristotle to the future development of the theory of humor is the opposition of comedy versus tragedy, which has been a major theme in the study of humor until the 20th century.[21]

In the 17th century, Thomas Hobbes described superiority theory in two pieces, Human Nature (1650) and Leviathan (1651), which have very similar views. Hobbes describes laughter as the sudden glory one feels that one is better than the target of the humorous narrative. The sense of glory comes from the recognition of power. Hobbes also mentions the theory of passion in which laughter is not passion; however, laughter is how the body manifests a particular emphasis.[22] Hobbes proposed there are several which typically evoke this feeling of glory:

  1. Success in one's actions beyond one's expectations.
  2. The perception of infirmities and defects in others.
  3. The perception of infirmities and defects in one's past.
  4. The conception of some absurdity is abstracted from individual persons.

According to Hobbes, laughter evoked by these circumstances always has connections with the feeling of superiority.[22]

While Kant is not usually recognized as a superiority theorist, there are elements of superiority theory in his account. Kant thinks that there is a place for harmless teasing. In addition, philosopher of humor Noël Carroll observes that even the structure of a narrative joke, on Kant's view, requires the joke teller to "take in" or outdo the joke receiver, even if only momentarily. Because such joking is recognized as joking and it is carried out in a playful way, it does not imply that the joker feels or thinks they are actually superior.[23]

Superiority theory has built a strong foundation for researchers to continue studying humor. Over time, philosophers and scholars have redefined and expanded the theory. We see superiority theory used as the building block for newer ideas of humor.

Incongruity Theory

A beer glass made by Camden Town Brewery (London). The physical presence of beer in the glass's lower part, exactly where the inscription is: 'HALF EMPTY', sets a collision between two frames of reference. This incongruity results in a humorous effect at the moment of its realization.

The superiority theory of humor traces back to Plato, Aristotle, and Thomas Hobbes's Leviathan. The general idea is that a person laughs about the misfortunes of others because they assert their superiority based on the shortcomings of others.[24]We feel superior to the person who is the target of the joke. Plato described it as being both a pleasure and pain in the soul. One may experience these mixed emotions during the malicious person's happiness at the victim's misfortune. For Aristotle, we laugh at inferior or ugly individuals because we feel joy at feeling superior to them.[25]Aristotle observed that many jokes relied on a combination of incongruity and hostility. He explained that jokes are funny because they catch the listener off guard, introducing a surprising and unexpected twist that amuses them. However, this incongruity alone doesn't entirely explain the mechanics of laughter. There also appears to be a component of hostility from both the comedian and the audience. What makes something funny often involves ridiculous features, such as a physical deformityor a slip-up. Therefore, whether through jokes, situations, or physical characteristics, while humor's laughter-inducing quality primarily stems from incongruity, aggression is also intertwined with it.[26]

Nevertheless, Aristotle regarded humor as a positive phenomenon as long as it was not excessive. Aristotle believed that humor could be used effectively in rhetoric, but it must be used in a way that served the argument. The speaker should avoid inappropriate jokes that could alienate the audience. He considered irony to be an acceptable and effective tool if used sparingly. Buffoonery, on the other hand, or crude humor, should be avoided altogether. One of the most important contributions of Aristotle to the future development of the theory of humor is the opposition of comedy versus tragedy, which has been a major theme in the study of humor until the 20th century.[27]

In the 17th century, Thomas Hobbes described superiority theory in two pieces, Human Nature (1650) and Leviathan (1651), which have very similar views. Hobbes describes laughter as the sudden glory one feels that one is better than the target of the humorous narrative. The sense of glory comes from the recognition of power. Hobbes also mentions the theory of passion in which laughter is not passion; however, laughter is how the body manifests a particular emphasis.[28] Hobbes proposed there are several which typically evoke this feeling of glory:

  1. Success in one's actions beyond one's expectations.
  2. The perception of infirmities and defects in others.
  3. The perception of infirmities and defects in one's past.
  4. The conception of some absurdity is abstracted from individual persons.

According to Hobbes, laughter evoked by these circumstances always has connections with the feeling of superiority.[28]

While Kant is not usually recognized as a superiority theorist, there are elements of superiority theory in his account. Kant thinks that there is a place for harmless teasing. In addition, philosopher of humor Noël Carroll observes that even the structure of a narrative joke, on Kant's view, requires the joke teller to "take in" or outdo the joke receiver, even if only momentarily. Because such joking is recognized as joking and it is carried out in a playful way, it does not imply that the joker feels or thinks they are actually superior.[29]

Superiority theory has built a strong foundation for researchers to continue studying humor. Over time, philosophers and scholars have redefined and expanded the theory. We see superiority theory used as the building block for newer ideas of humor.

Other theories

Script-based semantic theory of humor

The script-based semantic theory of humor (SSTH) was introduced by Victor Raskin in "Semantic Mechanisms of Humor", published 1985.[30] While being a variant on the more general concepts of the Incongruity theory of humor (see above), it is the first theory to identify its approach as exclusively linguistic. As such it concerns itself only with verbal humor: written and spoken words used in narrative or riddle jokes concluding with a punch line.[31]

The linguistic scripts (a.k.a. frames) referenced in the title include, for any given word, a "large chunk of semantic information surrounding the word and evoked by it [...] a cognitive structure internalized by the native speaker".[32] These scripts extend much further than the lexical definition of a word; they contain the speaker's complete knowledge of the concept as it exists in his world. Thus native speakers will have similar but not identical scripts for words they have in common.

To produce the humor of a verbal joke, Raskin posits, the following two conditions must be met:

  • "(i) The text is compatible, fully or in part, with two different [semantic] scripts
  • (ii) The two scripts with which the text is compatible are opposite [...]. The two scripts with which the text is compatible are said to overlap fully or in part on this text."[33]

Humor is evoked when a trigger at the end of the joke, the punch line, causes the audience to abruptly shift its understanding from the primary (or more obvious) script to the secondary, opposing script.

As an example Raskin uses the following joke:

"Is the doctor at home?" the patient asked in his bronchial whisper. "No," the doctor's young and pretty wife whispered in reply. "Come right in."[34]

For this example, the two scripts contained in the joke are DOCTOR and LOVER; the switch from one to the other is triggered by our understanding of the "whispered" reply of the "young and pretty wife". This reply only makes sense in the script of LOVER, but makes no sense in the script of a bronchial patient going to see the DOCTOR at his (home) office. Raskin expands further on his analysis with more jokes, examining in each how the scripts both overlap and oppose each other in the text.[35]

In order to fulfill the second condition of a joke, Raskin introduces different categories of script opposition. A partial list includes: actual (non-actual), normal (abnormal), possible (impossible), good (bad), life (death), obscene (non-obscene), money (no money), high (low) stature.[36] A complete list of possible script oppositions for jokes is finite and culturally dependent. For example, Soviet political humor does not use the same scripts to be found in Jewish humor.[37] However, for all jokes, in order to generate the humor a connection between the two scripts contained in a given joke must be established. "...one cannot simply juxtapose two incongruous things and call it a joke, but rather one must find a clever way of making them make pseudo-sense together".[38]

General theory of verbal humor

The general theory of verbal humor (GTVH) was proposed by Victor Raskin and Salvatore Attardo in the article "Script theory revis(it)ed: joke similarity and joke representation model".[39] It integrated Raskin's ideas of Script Opposition (SO), developed in his Script-based Semantic Theory of Humor [SSTH], into the GTVH as one of six levels of independent Knowledge Resources (KRs).[40][41] These KRs could be used to model individual verbal jokes as well as analyze the degree of similarity or difference between them. The Knowledge Resources proposed in this theory are:[42]

  1. Script opposition (SO) references the script opposition included in Raskin's SSTH. This includes, among others, themes such as real (unreal), actual (non-actual), normal (abnormal), possible (impossible).
  2. Logical mechanism (LM) refers to the mechanism which connects the different scripts in the joke. These can range from a simple verbal technique like a pun to more complex LMs such as faulty logic or false analogies.
  3. Situation (SI) can include objects, activities, instruments, props needed to tell the story.
  4. Target (TA) identifies the actor(s) who become the "butt" of the joke. This labeling serves to develop and solidify stereotypes of ethnic groups, professions, etc. This is an optional KR.
  5. Narrative strategy (NS) addresses the narrative format of the joke, as either a simple narrative, a dialogue, or a riddle. It attempts to classify the different genres and subgenres of verbal humor. In a subsequent study Attardo expands the NS to include oral and printed humorous narratives of any length, not just jokes.[43]
  6. Language (LA) "...contains all the information necessary for the verbalization of a text. It is responsible for the exact wording ...and for the placement of the functional elements."[44]

To illustrate their theory, the authors use 7 examples of the light bulb joke, each variant shifted by a single Knowledge Resource.[35] Each one of the KRs, ordered hierarchically above and starting with the Script Opposition, has the ability to "determine the parameters below themselves, and are determined [circumscribed] by those above themselves. 'Determination' is to be intended as limiting or reducing the options available for the instantiation of the parameter; for example, the choice of the SO [script opposition] DUMB/SMART will reduce the options available to the generation in the TA (in North America to Poles, etc.)"[45]

One of the advantages of this theory (GTVH) over Raskin's script-based semantic theory (SSTH) is that through the inclusion of the Narrative Strategy (NS) any and all humorous texts can be categorized. Whereas Raskin's SSTH only deals with jokes, the GTVH considers all humorous text from spontaneous one-liners to funny stories and literature. This theory can also, by identifying how many of the Knowledge Resources are identical for any two humorous pieces, begin to define the degree of similarity between the two.

As to the ordering of the Knowledge Resources, there has been much discussion. Willibald Ruch, a distinguished German psychologist, and humor researcher,[46] wanted to test empirically the ordering of the Knowledge Resources, with only partial success.[47][48] Nevertheless, both the listed Knowledge Resources in the GTVH and their relationship to each other has proven to be fertile ground in the further investigation of what exactly makes humor funny.[49]

Computer model of humor

The computer model of humor was suggested by Suslov in 1992.[50] Investigation of the general scheme of information processing shows the possibility of a specific malfunction, conditioned by the need that a false version should be quickly deleted from consciousness. This specific malfunction can be identified with a humorous effect on psychological grounds: it exactly corresponds to incongruity-resolution theory. However, an essentially new ingredient, the role of timing, is added to the well-known role of ambiguity. In biological systems, a sense of humor inevitably develops in the course of evolution, because its biological function consists of quickening the transmission of the processed information into consciousness and in a more effective use of brain resources. A realization of this algorithm in neural networks[51] justifies naturally Spencer's hypothesis on the mechanism of laughter: deletion of a false version corresponds to zeroing of some part of the neural network and excessive energy of neurons is thrown out to the motor cortex, arousing muscular contractions.

The theory treats on equal footing the humorous effect created by the linguistic means (verbal humor), as well as created visually (caricature, clown performance) or by tickling. The theory explains the natural differences in susceptibility of people to humor, the absence of humorous effect from a trite joke, the role of intonation in telling jokes, nervous laughter, etc. According to this theory, humor has a purely biological origin, while its social functions arose later. This conclusion corresponds to the known fact that monkeys (as pointed out by Charles Darwin) and even rats (as found recently) possess laughter like qualities when playing, drawing conclusions to some potential form of humor.[52]

A practical realization of this algorithm needs extensive databases, whose creation in the automatic regime was suggested recently.[53]

Ontic-epistemic theory of humor

The ontic-epistemic theory of humor (OETC) proposed by P. Marteinson (2006) asserts that laughter is a reaction to a cognitive impasse, a momentary epistemological difficulty, in which the subject perceives that Social Being itself suddenly appears no longer to be real in any factual or normative sense. When this occurs material reality, which is always factually true, is the only percept remaining in the mind at such a moment of comic perception. This theory posits, as in Bergson, that human beings accept as real both normative immaterial percepts, such as social identity, and neological factual percepts, but also that the individual subject normally blends the two together in perception in order to live by the assumption they are equally real. The comic results from the perception that they are not. This same result arises in a number of paradigmatic cases: factual reality can be seen to conflict with and disprove social reality, which Marteinson calls Deculturation; alternatively, social reality can appear to contradict other elements of social reality, which he calls "Relativisation". Laughter, according to Marteinson, serves to reset and re-boot the faculty of social perception, which has been rendered non-functional by the comic situation: it anesthetizes the mind with its euphoria, and permits the forgetting of the comic stimulus, as well as the well-known function of communicating the humorous reaction to other members of society.[54]

Sexual selection

See also: Sexual selection in human evolution

Evolutionary psychologist Geoffrey Miller contends that, from an evolutionary perspective, humour would have had no survival value to early humans living in the savannas of Africa. He proposes that human characteristics like humor evolved by sexual selection. He argues that humour emerged as an indicator of other traits that were of survival value, such as human intelligence.[55]

Detection of mistaken reasoning

In 2011, three researchers, Hurley, Dennett and Adams, published a book that reviews previous theories of humor and many specific jokes. They propose the theory that humor evolved because it strengthens the ability of the brain to find mistakes in active belief structures, that is, to detect mistaken reasoning.[56] This is somewhat consistent with the sexual selection theory, because, as stated above, humor would be a reliable indicator of an important survival trait: the ability to detect mistaken reasoning. However, the three researchers argue that humor is fundamentally important because it is the very mechanism that allows the human brain to excel at practical problem solving. Thus, according to them, humor did have survival value even for early humans, because it enhanced the neural circuitry needed to survive.

Misattribution theory

Misattribution is one theory of humor that describes an audience's inability to identify exactly why they find a joke to be funny. The formal theory is attributed to Zillmann & Bryant (1980) in their article, "Misattribution Theory of Tendentious Humor", published in Journal of Experimental Social Psychology. They derived the critical concepts of the theory from Sigmund Freud's Wit and Its Relation to the Unconscious (note: from a Freudian perspective, wit is separate from humor), originally published in 1905.

Benign violation theory

The benign violation theory (BVT) was developed by researchers A. Peter McGraw and Caleb Warren.[57] BVT claims that humor occurs when three conditions are satisfied: (1) something threatens one's sense of how the world "ought to be", (2) the threatening situation seems benign, and (3) a person sees both interpretations at the same time.[58][59]

From an evolutionary perspective, humorous violations likely originated as apparent physical threats, like those present in play fighting and tickling. As humans evolved, the situations that elicit humor likely expanded from physical threats to other violations, including violations of personal dignity (e.g., slapstick, teasing), linguistic norms (e.g., puns, malapropisms), social norms (e.g., strange behaviors, risqué jokes), and even moral norms (e.g., disrespectful behaviors). BVT suggests that anything that threatens one's sense of how the world "ought to be" will be humorous, so long as the threatening situation also seems benign.[58]

There is also more than one way a violation can seem benign. McGraw and Warren tested three contexts in the domain of moral violations. A violation can seem benign if one norm suggests something is wrong but another salient norm suggests it is acceptable. A violation can also seem benign when one is psychologically distant from the violation or is only weakly committed to the violated norm.[60]

For example, McGraw and Warren find that most consumers were disgusted when they read about a church raffling off a Hummer SUV to recruit new members, but many were simultaneously amused. Consistent with BVT, people who attended church were less likely to be amused than people who did not. Churchgoers are more committed to the belief that churches are sacred and consequently were less likely to consider the church's behavior benign.[61]

Humor as defense mechanism

According to George Eman Vaillant's (1977) categorization, humor is level 4 defense mechanism: overt expression of ideas and feelings (especially those that are unpleasant to focus on or too terrible to talk about) that gives pleasure to others. Humor, which explores the absurdity inherent in any event, enables someone to call a spade a spade, while wit is a form of displacement (level 3).[why?] Wit refers to the serious or distressing in a humorous way, rather than disarming it; the thoughts remain distressing, but they are "skirted round" by witticism.

Sense of humor, sense of seriousness

One must have a sense of humor and a sense of seriousness to distinguish what is supposed to be taken literally or not. An even more keen sense is needed when humor is used to make a serious point.[62][63] Psychologists have studied how humor is intended to be taken as having seriousness, as when court jesters used humor to convey serious information. Conversely, when humor is not intended to be taken seriously, bad taste in humor may cross a line after which it is taken seriously, though not intended.[64][65]

Metaphor, metonymy, and allegory

Tony Veale, who takes a more formalised computational approach than Koestler, has written on the role of metaphor and metonymy in humour,[66][67][68] using inspiration from Koestler as well as from Dedre Gentner's theory of structure-mapping, George Lakoff and Mark Johnson's theory of conceptual metaphor, and Mark Turner and Gilles Fauconnier's theory of conceptual blending.

Mikhail Bakhtin's humor theory is one that is based on "poetic metaphor", or the allegory of the protagonist's logosphere.[69]

O'Shannon model of humor

The O'Shannon model of humor (OMOH) was introduced by Dan O'Shannon in "What Are You Laughing At? A Comprehensive Guide to the Comedic Event", published in 2012.[70] The model integrates all the general branches of comedy into a unified framework. This framework consists of four main sections: context, information, aspects of awareness, and enhancers/inhibitors. Elements of context are in play as reception factors prior to the encounter with comedic information. This information will require a level of cognitive process to interpret, and contain a degree of incongruity (based on predictive likelihood). That degree may be high, or go as low as to be negligible. The information will be seen simultaneously through several aspects of awareness (the comedy's internal reality, its external role as humor, its effect on its context, effect on other receivers, etc.). Any element from any of these sections may trigger enhancers / inhibitors (feelings of superiority, relief, aggression, identification, shock, etc.) which will affect the receiver's ultimate response. The various interactions of the model allow for a wide range of comedy; for example, a joke needn't rely on high levels of incongruity if it triggers feelings of superiority, aggression, relief, or identification. Also, high incongruity humor may trigger a visceral response, while well-constructed word-play with low incongruity might trigger a more appreciative response. Also included in the book: evolutionary theories that account for visceral and social laughter, and the phenomenon of comedic entropy.

Unnoticed fall-back to former behavior patterns

This model defines laughter as an acoustic signal to make individuals aware of an unnoticed fall-back to former behaviour patterns. To some extent it unifies superiority and incongruity theory. Ticklishness is also considered to have a defined relation to humor via the development of human bipedalism.[71]

Bergson

In Laughter: An Essay on the Meaning of the Comic, French philosopher Henri Bergson, renowned for his philosophical studies on materiality, memory, life and consciousness, tries to determine the laws of the comic and to understand the fundamental causes of comic situations.[72] His method consists in determining the causes of comic instead of analyzing its effects. He also deals with laughter in relation to human life, collective imagination and art, to have a better knowledge of society.[73] One of the theories of the essay is that laughter, as a collective activity, has a social and moral role, in forcing people to eliminate their vices. It is a factor of uniformity of behaviours, as it condemns ludicrous and eccentric behaviours.[74]

In this essay, Bergson also asserts that there is a central cause that all comic situations are derived from: that of mechanism applied to life. The fundamental source of comic is the presence of inflexibility and rigidness in life. For Bergson, the essence of life is movement, elasticity and flexibility, and every comic situation is due to the presence of rigidity and inelasticity in life. Hence, for Bergson the source of the comic is not ugliness but rigidity.[75] All the examples taken by Bergson (such as a man falling in the street, one person's imitation of another, the automatic application of conventions and rules, absent-mindedness, repetitive gestures of a speaker, the resemblance between two faces) are comic situations because they give the impression that life is subject to rigidity, automatism and mechanism.

Bergson closes by noting that most comic situations are not laughable because they are part of collective habits.[76] He defines laughter as an intellectual activity that requires an immediate approach to a comic situation, detached from any form of emotion or sensibility.[77] Bergson finds a situation to be laughable when the attention and the imagination are focused on the resistance and rigidity of the body. Bergson believes that a person is laughable when he or she gives the impression of being a thing or a machine.

Complex systems theory

A budding area of interest within humor studies is the application of complex dynamic systems theory. Also referred to as complexity or chaos theory, complex systems theory "aims to account for how the interacting parts of a complex system give rise to the system's collective behaviour and how such a system simultaneously interacts with its environment", with "change [being] central to theory and method" (Larsen-Freeman & Cameron, 2008).[78]

In his 2020 book The linguistics of humor: An introduction Attardo calls for a pivot toward transdisciplinary research in humor studies, noting the potential that complex systems theory has in regard to this.[79] Applications of this theory include Tschacher and Haken's (2023) study of incongruity and resolution using visual puns or verbal jokes, in which they connected the results of their research with dynamics seen in psychotherapy.[80] Demjén (2018) also applied complex systems theory to conversational humor to better describe how jokes, puns, and memes originate in a discourse community using complexity based models of understanding language and language use.[81]

See also

References

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  34. ^ Raskin (1985), pg. 100.
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  37. ^ Raskin (1985), see Table of Contents.
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  41. ^ The other 5 KRs had been previously identified in Attardo's five-level joke representation model. See Hofstadter, D.; Gabora, L.; Raskin, V.; Attardo, S. (1989). "Synopsis of the Workshop on Humor and Cognition". Humor. 2 (4): 417–440. doi:10.1515/humr.1989.2.4.407.
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  46. ^ de:Willibald Ruch
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  48. ^ Both the test structure and the results are described in Krikman (2006), pp. 38-39.
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  55. ^ 2001, The Mating Mind, by Geoffrey Miller
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  60. ^ "A brief introduction to the benign violation theory of humor – guest post by Dr Peter McGraw | Psychology of Humor". Retrieved 2020-03-16.
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  62. ^ Dukore, B. F. (2010). "Seriousness Redeemed by Frivolity: Ayckbourn's Intimate Exchanges". Modern Drama. 53 (4): 447–470. doi:10.1353/mdr.2010.0026.
  63. ^ Yarwood, D. L. (2001). "When Congress makes a joke: Congressional humor as serious and purposeful communication". Humor. 14 (4): 359–394. doi:10.1515/humr.2001.010.
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  65. ^ Turner, Michele. Theories of Humour and the Place of Humour in Education (Thesis).
  66. ^ Veale, Tony (2003): "Metaphor and Metonymy: The Cognitive Trump-Cards of Linguistic Humor" (Afflatus.uce.ie)
  67. ^ Veale, T.; Feyaerts, K.; Brône, G. (2006). "The cognitive mechanisms of adversarial humor". Humor. 19 (3): 305–339. CiteSeerX 10.1.1.146.5649. doi:10.1515/HUMOR.2006.016. S2CID 1821223.
  68. ^ Veale, T. (2004). "Incongruity in humor: Root cause or epiphenomenon?". Humor. 17 (4): 419–428. doi:10.1515/humr.2004.17.4.419. S2CID 145339075.
  69. ^ Bakhtin, Mikhail Mikhailovich (2020) [1981]. "Forms of Time and of the Chronotope in the Novel: VI. The Functions of the Rogue, Clown and Fool in the Novel". In Holquist, Michael (ed.). The Dialogic Imagination: Four Essays. Slavic Series, NO. 1. Translated by Emerson, Caryl; Holquist, Michael. Austin, Texas, USA: University of Texas Press. p. 166. ISBN 978-0-292-71534-9. Finally, there is real difficulty with the problem of prosaic allegorization, if you will, the problem of the prosaic metaphor (which of course has nothing in common with the poetic metaphor) that is introduced into literature by the rogue, clown and fool, and for which there is not even an adequate term ('parody,' 'joke,' 'humor,' 'irony,' 'grotesque,' 'whimsy,' etc., are but narrowly restrictive labels for the heterogeneity and subtlety of the idea). Indeed, what matters here is the allegoricized being of the whole man, up to and including his world view, something that in no way coincides with his playing the role of actor (although there is a point of intersection).
  70. ^ O'Shannon, Dan (2012). What Are You Laughing At? A Comprehensive Guide to the Comedic Event.
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  78. ^ Ellis, Brian (2008-12-30). "<em>Complex Systems and Applied Linguistics</em> by Diane Larsen-Freeman and Lynne Cameron. Oxford: Oxford University Press, 2008, 287 pp". Issues in Applied Linguistics. 16 (2). doi:10.5070/l4162005101. ISSN 2379-4542.
  79. ^ Attardo, Salvatore (2020). "The Linguistics of Humor: An Introduction, Oxford: Oxford University Press". ELUA (35): 349. doi:10.14198/elua2021.35.20. ISSN 2171-6692.
  80. ^ Tschacher, Wolfgang; Haken, Hermann (2023-02-13). "A Complexity Science Account of Humor". Entropy. 25 (2): 341. doi:10.3390/e25020341. ISSN 1099-4300.
  81. ^ Demjén, Zsófia (August 2018). "Complexity theory and conversational humour: Tracing the birth and decline of a running joke in an online cancer support community". Journal of Pragmatics. 133: 93–104. doi:10.1016/j.pragma.2018.06.001. ISSN 0378-2166.

Further reading

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