164:(GTVH) was expanded to include longer humorous texts together with jokes, using the GTVH narrative structure to categorize them. A new term "jab line" was introduced to designate humor within the body of a text, as opposed to the punch line, which is always placed at the end. The jab line is functionally identical to the punch line, except that it can be positioned anywhere within the text, not just at the end. "Jab and punch lines are semantically indistinguishable (...), but they differ at a narratological level." Additionally, "jab lines are humorous elements fully integrated in the narrative in which they appear (i.e., they do not disrupt the flow of the narrative, because they either are indispensable to the development of the 'plot' or of the text, or they are not antagonistic to it)".
96:. Humor is evoked when a trigger, contained in the punch line, causes the audience to abruptly shift its understanding of the story from the primary (or more obvious) interpretation to a secondary, opposing interpretation. "The punch line is the pivot on which the joke text turns as it signals the shift between the scripts necessary to interpret the joke text." To produce the humor in the verbal joke, the two interpretations (i.e., scripts) need to be both compatible with the joke text
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opposite or incompatible with each other. Thomas R. Shultz, a psychologist, independently expands Raskin's linguistic theory to include "two stages of incongruity: perception and resolution". He explains that "incongruity alone is insufficient to account for the structure of humour. Within this
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Some men are about to be executed. The guard brings the first man forward, and the executioner asks if he has any last requests. He says no, and the executioner shouts, "Ready! Aim!" Suddenly the man yells, "Earthquake!" Everyone is startled and looks around. In all the confusion, the first man
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Using the expanded narrative structure of the GTVH and this new terminology of jab lines, literature and humor researchers now have a single theoretical framework, with which they can analyze and map any kind of verbal humor, including novels, short stories, TV sitcoms, plays, movies as well as
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According to this theory, the punchline is always the deviation, and it does not matter how many instances of A occur for there to be a punchline. However, jokes following the AAB structure are consistently rated as being funnier than their AB or AAAB counterparts.
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in which the punch line is deliberately anticlimactic. The humor here lies in fooling the audience into expecting a typical joke with a punch line. Instead they listen and listen to nothing funny and end up themselves as the butt of the joke.
180:) where a joke is made up of a set of three, the first two of which share some common attribute, and the third represents a deviation from that attribute. Under these conditions, the third item in the set—the B—is the punchline.
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The guard brings the second man forward, and the executioner asks if he has any last requests. He says no, and the executioner shouts, "Ready! Aim!" Suddenly the man yells, "Tornado!" In the confusion, the second man escapes.
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Another type of anti-joke is the nonsense joke, defined as having "a surprising or incongruous punch line", which provides either no resolution at all or only a partial, unsatisfactory resolution. One example of this is the
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punch line: "Two elephants were taking a bath. One said, 'Please pass the soap.' The other replied, 'No soap, radio.'" Here the anticipated resolution to the joke is absent and the audience becomes the butt of the joke.
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than the speech preceding it, or a dramatic pause before the punchline is delivered. In laboratory settings, however, none of these changes are employed at a statistically significant level in the production of
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By now the last man has it all figured out. The guard brings him forward, and the executioner asks if he has any last requests. He says no, and the executioner shouts, "Ready! Aim!" and the last man yells,
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framework, humour appreciation is conceptualized as a biphasic sequence involving first the discovery of incongruity followed by a resolution of the incongruity." Resolution generates laughter.
393:
Rozin, Paul; Rozin, Alexander; Appel, Brian; Wachtel, Charles (August 2006). "Documenting and
Explaining the common AAB pattern in music and humor: Establishing and breaking expectations".
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In order to better elucidate the structure and function of the punch line, it is useful to look at some joke forms that purposely remove or avoid the punch line in their narrative.
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Pickering, Lucy; Corduas, Marcella; Eisterhold, Jodi; Seifried, Brenna; Eggleston, Alyson (November 2009). "Prosidic
Markers of Saliency in Humorous Narratives".
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by the beginning of the 20th century, the actual term "punch line" is first documented in the 1910s; the
Merriam-Webster dictionary pegs the first use in 1916.
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A joke contains a single story with a single punch line at the end. In the analysis of longer humorous texts, an expanded model is needed to map the
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In a broader sense, "punch line" can also refer to the unexpected and funny conclusion of any performance, situation or story.
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Felicitous jokes are often formatted in a style called AAB, (referred to as an A-A-A' triad by Yves
Lavandier in
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Attardo, Salvatore (2008). "A primer for the
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There are many folk theories of how people deliver punchlines, such as punchlines being
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A linguistic interpretation of the mechanics of the punch line response is posited by
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Shultz, Thomas R. (1976). "A cognitive-developmental analysis of humour".
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Ruch, Willibald (2008). "Psychology of humor". In Raskin, Victor (ed.).
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Rozin gives the following example as exemplifying this structure:
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This article is about a feature of jokes. For other uses, see
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Chlopicki, W. (2005). "The
Linguistic Analysis of Jokes".
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For an example of this type of humor text analysis, see (
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Humour and
Laughter: Theory, Research and Applications
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463:. Berlin, New York: Mouton de Gruyter. p. 83.
461:Humorous Texts: A Semantic and Pragmatic Analysis
527:. Berlin, New York: Mouton de Gruyter. pp.
450:. Berlin, New York: Mouton de Gruyter. pp.
475:. Berlin, New York: Mouton de Gruyter: 303–332.
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470:"Primer of Humor Research: Humor Research 8"
468:Carrell, Amy (2008). Raskin, Victor (ed.).
359:, pp. 82–83; partly available through
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514:. Dordrecht, Boston, Lancaster: D. Reidel.
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57:. It is the third and final part of the
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94:script-based semantic theory of humor
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53:; it is intended to make people
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512:Semantic Mechanisms of Humor
459:Attardo, Salvatore (2001).
32:Punch line (disambiguation)
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228:"Definition of PUNCH LINE"
126:Jokes without a punch line
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417:10.1037/1528-3542.6.3.349
312:10.1080/01638530902959604
160:. With this in mind, the
158:narratological structure
864:Theatre of ancient Rome
510:Raskin, Victor (1985).
72:The origin of the term
488:Cite journal requires
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59:typical joke structure
1071:Theatre of the Absurd
503:Journal of Pragmatics
1046:Shakespearean comedy
844:Ancient Greek comedy
172:Three-part structure
300:Discourse Processes
232:merriam-webster.com
120:humorous narratives
84:Linguistic analysis
27:Last part of a joke
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132:Shaggy dog stories
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271:, pp. 12–13.
105:Prosodic features
16:(Redirected from
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1456:Storytelling
1258:Black sitcom
1238:Mockumentary
1146:Opéra bouffe
1114:Café-théâtre
1099:Ballad opera
1017:Harlequinade
967:Comedy-drama
746:Mockumentary
654:
630:Impersonator
610:Comic timing
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481:cite journal
460:
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374:Attardo 2008
368:
361:Google Books
357:Attardo 2001
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345:Attardo 2008
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1322:(dry humor)
1285:Alternative
1263:Teen sitcom
1156:Opera buffa
1131:Light music
1126:Comedy club
1076:Tragicomedy
1041:Shadow play
269:Shultz 1976
257:Raskin 1985
1445:Categories
1233:Television
1136:Music hall
1081:Vaudeville
1002:Macchietta
992:Double act
901:Indonesia
895:Mo lei tau
891:Hong Kong
885:Xiangsheng
756:Remarriage
665:Visual gag
655:Punch line
650:Prank call
436:References
136:anti-jokes
78:Vaudeville
74:is unknown
43:punch-line
39:punch line
1380:Slapstick
1305:Christian
1300:Character
1277:Subgenres
1092:and dance
1012:Pantomime
798:Slapstick
771:Screwball
675:Word play
403:CiteSeerX
333:Ruch 2008
214:Footnotes
191:escapes.
152:Jab lines
68:Etymology
47:punchline
18:Punchline
1420:Category
1355:Physical
1166:Operetta
940:Sarugaku
808:Thriller
700:American
620:Humorist
590:Comedian
540:: 11–36.
425:16938077
320:56460926
1392:Surreal
1320:Deadpan
1206:Hip hop
1104:Cabaret
830:Country
822:Theatre
786:Mexican
781:Italian
761:Romance
736:Fantasy
715:Italian
705:British
693:Country
395:Emotion
205:"Fire!"
168:jokes.
92:in his
1451:Comedy
1430:Portal
1402:Zombie
1385:Topics
1345:Insult
1340:Horror
1315:Cringe
1248:Sitcom
1211:Parody
935:Rakugo
930:Owarai
925:Manzai
920:KyĹŤgen
916:Japan
910:Ludruk
905:Lenong
837:Europe
803:Stoner
793:Silent
751:Parody
741:Horror
731:Action
710:French
660:Satire
625:Humour
583:Topics
576:Comedy
423:
405:
318:
111:louder
41:(also
1370:Shock
1310:Clown
1290:Black
1243:Roast
1228:Radio
1223:Novel
1196:Album
1191:Music
1184:Media
1171:Revue
1090:Music
955:Genre
880:China
724:Genre
640:Irony
615:Farce
531:–100.
473:(PDF)
454:–156.
316:S2CID
115:pitch
55:laugh
1375:Sick
1360:Prop
1331:High
1295:Blue
1201:Rock
1056:Spex
873:Asia
685:Film
645:Joke
494:help
421:PMID
51:joke
1335:low
776:Sex
670:Wit
452:101
413:doi
308:doi
98:and
45:or
1447::
1333:/
529:17
485::
483:}}
479:{{
419:.
411:.
397:.
381:^
314:.
304:46
302:.
288:^
230:.
37:A
568:e
561:t
554:v
505:.
496:)
492:(
427:.
415::
399:6
363:.
322:.
310::
234:.
202:B
195:A
188:A
34:.
20:)
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