Joke - Knowledge

500:. Humour is evoked when a trigger contained in the punchline causes the audience to abruptly shift its understanding of the story from the primary (or more obvious) interpretation to a secondary, opposing interpretation. "The punchline 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 humour in the verbal joke, the two interpretations (i.e. scripts) need to both be compatible with the joke text and 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 framework, humour appreciation is conceptualized as a biphasic sequence involving first the discovery of incongruity followed by a resolution of the incongruity." In the case of a joke, that resolution generates laughter. 561:

availability for the evening. Different types of jokes, going from general to topical into explicitly sexual humour signalled openness on the part of the waitress for a connection. This study describes how jokes and joking are used to communicate much more than just good humour. That is a single example of the function of joking in a social setting, but there are others. Sometimes jokes are used simply to get to know someone better. What makes them laugh, what do they find funny? Jokes concerning politics, religion or sexual topics can be used effectively to gauge the attitude of the audience to any one of these topics. They can also be used as a marker of group identity, signalling either inclusion or exclusion for the group. Among pre-adolescents, "dirty" jokes allow them to share information about their changing bodies. And sometimes joking is just simple entertainment for a group of friends.

1309: 322: 927:. These cycles arise regularly as a response to terrible unexpected events which command the national news. An in-depth analysis of the Challenger joke cycle documents a change in the type of humour circulated following the disaster, from February to March 1986. "It shows that the jokes appeared in distinct 'waves', the first responding to the disaster with clever wordplay and the second playing with grim and troubling images associated with the event…The primary social function of disaster jokes appears to be to provide closure to an event that provoked communal grieving, by signalling that it was time to move on and pay attention to more immediate concerns". 1206:. Jokes have been defined above as oral narratives in which words and sentences are engineered to build toward a punchline. The linguist's question is: what exactly makes the punchline funny? This question focuses on how the words used in the punchline create humour, in contrast to the psychologist's concern (see above) with the audience's response to the punchline. The assessment of humour by psychologists "is made from the individual's perspective; e.g. the phenomenon associated with responding to or creating humor and not a description of humor itself." Linguistics, on the other hand, endeavours to provide a precise description of what makes a text funny. 1086:

create a multitude of combinations, enabling a researcher to select jokes for analysis which contain only one or two defined KRs. It also allows for an evaluation of the similarity or dissimilarity of jokes depending on the similarity of their labels. "The GTVH presents itself as a mechanism … of generating an infinite number of jokes by combining the various values that each parameter can take. … Descriptively, to analyze a joke in the GTVH consists of listing the values of the 6 KRs (with the caveat that TA and LM may be empty)." This classification system provides a functional multi-dimensional label for any joke, and indeed any verbal humour.

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this would not be feasible, how does one determine that the assessment objects are comparable? Moving on, whom does one ask to rate the sense of humour of an individual? Does one ask the person themselves, an impartial observer, or their family, friends and colleagues? Furthermore, has the current mood of the test subjects been considered; someone with a recent death in the family might not be much prone to laughter. Given the plethora of variants revealed by even a superficial glance at the problem, it becomes evident that these paths of scientific inquiry are mined with problematic pitfalls and questionable solutions.

168: 965:, began to appear in academic journals. Dead baby jokes are posited to reflect societal changes and guilt caused by widespread use of contraception and abortion beginning in the 1960s. Elephant jokes have been interpreted variously as stand-ins for American blacks during the Civil Rights Era or as an "image of something large and wild abroad in the land captur the sense of counterculture" of the sixties. These interpretations strive for a cultural understanding of the themes of these jokes which go beyond the simple collection and documentation undertaken previously by folklorists and ethnologists. 537:. The joke teller hopes the audience "gets it" and is entertained. This leads to the premise that a joke is actually an "understanding test" between individuals and groups. If the listeners do not get the joke, they are not understanding the two scripts which are contained in the narrative as they were intended. Or they do "get it" and do not laugh; it might be too obscene, too gross or too dumb for the current audience. A woman might respond differently to a joke told by a male colleague around the water cooler than she would to the same joke overheard in a women's lavatory. A joke involving 1016:

subordinate to this. A second problem with these systems is that the listed motifs are not qualitatively equal; actors, items and incidents are all considered side-by-side. And because incidents will always have at least one actor and usually have an item, most narratives can be ordered under multiple headings. This leads to confusion about both where to order an item and where to find it. A third significant problem is that the "excessive prudery" common in the middle of the 20th century means that obscene, sexual and scatological elements were regularly ignored in many of the indices.

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university fraternity party and to one's grandmother might well vary. In each situation, it is important to identify both the narrator and the audience as well as their relationship with each other. This varies to reflect the complexities of a matrix of different social factors: age, sex, race, ethnicity, kinship, political views, religion, power relationships, etc. When all the potential combinations of such factors between the narrator and the audience are considered, then a single joke can take on infinite shades of meaning for each unique social setting.

709: 1469:, to research the world's oldest examples of recorded humour. Because humour may be difficult to define their condition was "a clear set-up and punch line structure". In review, McDonald stated: "... jokes have varied over the years, with some taking the question and answer format while others are witty proverbs or riddles. What they all share, however, is a willingness to deal with taboos and a degree of rebellion. Modern puns, Essex girl jokes and toilet humour can all be traced back to the very earliest jokes identified in this research." 38: 402:

executions, ballads and verse, they also contained jokes. Only one of many broadsides archived in the Harvard library is described as "1706. Grinning made easy; or, Funny Dick's unrivalled collection of curious, comical, odd, droll, humorous, witty, whimsical, laughable, and eccentric jests, jokes, bulls, epigrams, &c. With many other descriptions of wit and humour." These cheap publications, ephemera intended for mass distribution, were read alone, read aloud, posted and discarded.

1290:, the anthropologist Mahadev Apte presents a solid case for his own academic perspective. "Two axioms underlie my discussion, namely, that humor is by and large culture based and that humor can be a major conceptual and methodological tool for gaining insights into cultural systems." Apte goes on to call for legitimising the field of humour research as "humorology"; this would be a field of study incorporating an interdisciplinary character of humour studies. 5831: 946:

Americans tell jokes about Polacks and Italians, Germans tell jokes about Ostfriesens, and the English tell jokes about the Irish. In a review of Davies' theories it is said that "For Davies, jokes are more about how joke tellers imagine themselves than about how they imagine those others who serve as their putative targets…The jokes thus serve to center one in the world – to remind people of their place and to reassure them that they are in it."

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questions of tradition and transmission with the key observation that "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." In the context of jokes, this then becomes the basis for further research. Why is the joke told right now? Only in this expanded perspective is an understanding of its meaning to the participants possible.

1410: 1365:. A primary ambition of this field is to develop computer programs which can both generate a joke and recognise a text snippet as a joke. Early programming attempts have dealt almost exclusively with punning because this lends itself to simple straightforward rules. These primitive programs display no intelligence; instead, they work off a template with a finite set of pre-defined punning options upon which to build. 463:

being told with no substantiating details, and placing an unlikely combination of characters into an unlikely setting and involving them in an unrealistic plot, is the start of a joke, and the story that follows is not meant to be taken at face value (i.e. it is non-bona-fide communication). The framing itself invokes a play mode; if the audience is unable or unwilling to move into play, then nothing will seem funny.

993:, listing traditional humorous tales ordered by their protagonist; "This section of the Index is essentially a classification of the older European jests, or merry tales – humorous stories characterized by short, fairly simple plots. …" Due to its focus on older tale types and obsolete actors (e.g., numbskull), the Aarne–Thompson Index does not provide much help in identifying and classifying the modern joke. 630:, "that genre of lore in which whole crops of jokes spring up seemingly overnight around some sensational event … flourish briefly and then disappear, as the mass media move on to fresh maimings and new collective tragedies". This correlates with the new understanding of the internet as an "active folkloric space" with evolving social and cultural forces and clearly identifiable performers and audiences. 1043:, attempts to do exactly this. This classification system was developed specifically for jokes and later expanded to include longer types of humorous narratives. Six different aspects of the narrative, labelled Knowledge Resources or KRs, can be evaluated largely independently of each other, and then combined into a concatenated classification label. These six KRs of the joke structure include: 1023:…Yet what the multiplicity and variety of sets and subsets reveal is that folklore not only takes many forms, but that it is also multifaceted, with purpose, use, structure, content, style, and function all being relevant and important. Any one or combination of these multiple and varied aspects of a folklore example might emerge as dominant in a specific situation or for a particular inquiry. 1197:"The linguistics of humor has made gigantic strides forward in the last decade and a half and replaced the psychology of humor as the most advanced theoretical approach to the study of this important and universal human faculty." This recent statement by one noted linguist and humour researcher describes, from his perspective, contemporary linguistic humour research. 235:. It concerns three men seeking justice from a king on the matter of ownership over a newborn calf, for whose birth they all consider themselves to be partially responsible. The king seeks advice from a priestess on how to rule the case, and she suggests a series of events involving the men's households and wives. The final portion of the story (which included the 1004:. This system enables jokes to be classified according to individual motifs included in the narrative: actors, items and incidents. It does not provide a system to classify the text by more than one element at a time while at the same time making it theoretically possible to classify the same text under multiple motifs. 1225:, the SSTH was relabelled as a Logical Mechanism (LM) (referring to the mechanism which connects the different linguistic scripts in the joke) and added to five other independent Knowledge Resources (KR). Together these six KRs could now function as a multi-dimensional descriptive label for any piece of humorous text. 1012:. Here one can select an index for medieval Spanish folk narratives, another index for linguistic verbal jokes, and a third one for sexual humour. To assist the researcher with this increasingly confusing situation, there are also multiple bibliographies of indices as well as a how-to guide on creating your own index. 1189:

KRs. Advancement in this direction would be a win-win for both fields of study; linguistics would have empirical verification of this multi-dimensional classification system for jokes, and psychology would have a standardised joke classification with which they could develop verifiably comparable measurement tools.

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and underdeveloped, it is encouraging to note the many interdisciplinary efforts which are currently underway. As this field grows in both understanding and methodology, it provides an ideal testbed for humour theories; the rules must firstly be clearly defined in order to write a computer program around a theory.

132:, jokes are passed along anonymously. They are told in both private and public settings; a single person tells a joke to his friend in the natural flow of conversation, or a set of jokes is told to a group as part of scripted entertainment. Jokes are also passed along in written form or, more recently, 1389:

natural language processing system. It is only "the most complex linguistic structures can serve any formal and/or computational treatment of humor well". Toy systems (i.e. dummy punning programs) are completely inadequate to the task. Despite the fact that the field of computational humour is small

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perspective. While jokes can provoke laughter, laughter cannot be used as a one-to-one marker of jokes because there are multiple stimuli to laughter, humour being just one of them. The other six causes of laughter listed are social context, ignorance, anxiety, derision, acting apology, and tickling.

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Since the publication of Freud's study, psychologists have continued to explore humour and jokes in their quest to explain, predict and control an individual's "sense of humour". Why do people laugh? Why do people find something funny? Can jokes predict character, or vice versa, can character predict

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The context explores the specific social situation in which joking occurs. The narrator automatically modifies the text of the joke to be acceptable to different audiences, while at the same time supporting the same divergent scripts in the punchline. The vocabulary used in telling the same joke at a

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within the culture. It also enables researchers to group and analyse the creation, persistence and interpretation of joke cycles around a certain character. Some people are naturally better performers than others; however, anyone can tell a joke because the comic trigger is contained in the narrative

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While the label "humorology" has yet to become a household word, great strides are being made in the international recognition of this interdisciplinary field of research. The International Society for Humor Studies was founded in 1989 with the stated purpose to "promote, stimulate and encourage the

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Whether one finds Auschwitz jokes funny or not is not an issue. This material exists and should be recorded. Jokes are always an important barometer of the attitudes of a group. The jokes exist and they obviously must fill some psychic need for those individuals who tell them and those who listen to

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This questioning resulted in a blossoming of monographs to explore the significance of many joke cycles. What is so funny about absurd nonsense elephant jokes? Why make light of dead babies? In an article on contemporary German jokes about Auschwitz and the Holocaust, Dundes justifies this research:

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has been very active in the research of humour. He has collaborated with the linguists Raskin and Attardo on their General Theory of Verbal Humour (GTVH) classification system. Their goal is to empirically test both the six autonomous classification types (KRs) and the hierarchical ordering of these

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on to further recipients. Interaction is limited to the computer screen and for the most part solitary. While preserving the text of a joke, both context and variants are lost in internet joking; for the most part, emailed jokes are passed along verbatim. The framing of the joke frequently occurs in

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The joking relationship is defined as a peculiar combination of friendliness and antagonism. The behaviour is such that in any other social context it would express and arouse hostility; but it is not meant seriously and must not be taken seriously. There is a pretence of hostility along with a real

366:, first published in 1470. The popularity of this jest book can be measured on the twenty editions of the book documented alone for the 15th century. Another popular form was a collection of jests, jokes and funny situations attributed to a single character in a more connected, narrative form of the 1376:

humour theories, it is easy to see why. The linguistic scripts (a.k.a. frames) referenced in these theories 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". These scripts extend much

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Previous folklore research has been limited to collecting and documenting successful jokes, and only after they had emerged and come to folklorists' attention. Now, an Internet-enhanced collection creates a time machine, as it were, where we can observe what happens in the period before the risible

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form of communication. Both the performer and audience understand it to be set apart from the "real" world. "An elephant walks into a bar…"; a person sufficiently familiar with both the English language and the way jokes are told automatically understands that such a compressed and formulaic story,

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There are many types of joke books in print today; a search on the internet provides a plethora of titles available for purchase. They can be read alone for solitary entertainment, or used to stock up on new jokes to entertain friends. Some people try to find a deeper meaning in jokes, as in "Plato

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forces a re-evaluation of social spaces and social groups. They are no longer only defined by physical presence and locality, they also exist in the connectivity in cyberspace. "The computer networks appear to make possible communities that, although physically dispersed, display attributes of the

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describes in detail the sequential organisation in the telling of a single joke. "This telling is composed, as for stories, of three serially ordered and adjacently placed types of sequences … the preface , the telling, and the response sequences." Folklorists expand this to include the context of

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of the 19th century and earlier. With the increase in literacy in the general population and the growth of the printing industry, these publications were the most common forms of printed material between the 16th and 19th centuries throughout Europe and North America. Along with reports of events,

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A joke is a short humorous piece of oral literature in which the funniness culminates in the final sentence, called the punchline… In fact, the main condition is that the tension should reach its highest level at the very end. No continuation relieving the tension should be added. As for its being

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of a word; they contain the speaker's complete knowledge of the concept as it exists in his world. As insentient machines, computers lack the encyclopaedic scripts which humans gain through life experience. They also lack the ability to gather the experiences needed to build wide-ranging semantic

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have been identified. It must be stressed here that both smiles and laughter are not always a response to something funny. In trying to develop a measurement tool, most systems use "jokes and cartoons" as their test materials. However, because no two tools use the same jokes, and across languages

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A 2007 survey of existing tools to measure humour identified more than 60 psychological measurement instruments. These measurement tools use many different approaches to quantify humour along with its related states and traits. There are tools to measure an individual's physical response by their

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is done with a (frequently formulaic) expression which keys the audience in to expect a joke. "Have you heard the one…", "Reminds me of a joke I heard…", "So, a lawyer and a doctor…"; these conversational markers are just a few examples of linguistic frames used to start a joke. Regardless of the

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of joking. Both of these subspecialties within the field focus on "naturally occurring" language use, i.e. the analysis of real (usually recorded) conversations. One of these studies has already been discussed above, where Harvey Sacks describes in detail the sequential organisation in telling a

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Several difficulties have been identified with these systems of identifying oral narratives according to either tale types or story elements. A first major problem is their hierarchical organisation; one element of the narrative is selected as the major element, while all other parts are arrayed

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The context, however, should not be confused with the function of the joking. "Function is essentially an abstraction made on the basis of a number of contexts". In one long-term observation of men coming off the late shift at a local café, joking with the waitresses was used to ascertain sexual

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Beginning in the 1960s, cultural researchers began to expand their role from collectors and archivists of "folk ideas" to a more active role of interpreters of cultural artefacts. One of the foremost scholars active during this transitional time was the folklorist Alan Dundes. He started asking

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Freud describes the social nature of humour and illustrates his text with many examples of contemporary Viennese jokes. His work is particularly noteworthy in this context because Freud distinguishes in his writings between jokes, humour and the comic. These are distinctions which become easily

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As development of the GTVH progressed, a hierarchy of the KRs was established to partially restrict the options for lower-level KRs depending on the KRs defined above them. For example, a lightbulb joke (SI) will always be in the form of a riddle (NS). Outside of these restrictions, the KRs can

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directly address the theory of script switching articulated by Raskin in their work. The article "Getting it: Human event-related brain response to jokes in good and poor comprehenders" measures brain activity in response to reading jokes. Additional studies by others in the field support more

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A study by the folklorist Bill Ellis documented how an evolving cycle was circulated over the internet. By accessing message boards that specialised in humour immediately following the 9/11 disaster, Ellis was able to observe in real-time both the topical jokes being posted electronically and

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published one of the first "comprehensive and in many ways remarkably accurate description of laughter in terms of respiration, vocalization, facial action and gesture and posture" (Laughter). In this early study Darwin raises further questions about who laughs and why they laugh; the myriad

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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 humour. In a subsequent study Attardo expands the NS to include oral and printed humorous narratives of any length, not just

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has written extensively on ethnic jokes told in countries around the world. In ethnic jokes he finds that the "stupid" ethnic target in the joke is no stranger to the culture, but rather a peripheral social group (geographic, economic, cultural, linguistic) well known to the joke tellers. So

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Following its linguistic framing the joke, in the form of a story, can be told. It is not required to be verbatim text like other forms of oral literature such as riddles and proverbs. The teller can and does modify the text of the joke, depending both on memory and the present audience. The

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frame used, it creates a social space and clear boundaries around the narrative which follows. Audience response to this initial frame can be acknowledgement and anticipation of the joke to follow. It can also be a dismissal, as in "this is no joking matter" or "this is no time for jokes".

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includes humour (and playfulness) as one of the core character strengths of an individual. As such, it could be a good predictor of life satisfaction. For psychologists, it would be useful to measure both how much of this strength an individual has and how it can be measurably increased.

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The context of joking in turn leads to a study of joking relationships, a term coined by anthropologists to refer to social groups within a culture who take part in institutionalised banter and joking. These relationships can be either one-way or a mutual back and forth between partners.

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where the observations, although accurate reflections of their own competent methodological inquiry, frequently fail to grasp the beast in its entirety. This attests to the joke as a traditional narrative form which is indeed complex, concise and complete in and of itself. It requires a

113:; although presented as a joke, it contains a long drawn-out narrative of time, place and character, rambles through many pointless inclusions and finally fails to deliver a punchline. Jokes are a form of humour, but not all humour is in the form of a joke. Some humorous forms which are 1257:

in 1930, they have been collected and studied since there were folklorists and anthropologists abroad in the lands. As a genre they were important enough at the beginning of the 20th century to be included under their own heading in the Aarne–Thompson index first published in 1910:

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may have been intended as a jokester's handbook of quips to say on the fly, rather than a book meant to be read straight through. Many of the jokes in this collection are surprisingly familiar, even though the typical protagonists are less recognisable to contemporary readers: the

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joke; a laugh is followed in the next breath by a disclaimer: "Oh, that's bad…" Here the multiple steps in cognition are clearly evident in the stepped response, the perception being processed just a breath faster than the resolution of the moral/ethical content in the joke.

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Many academic disciplines lay claim to the study of jokes (and other forms of humour) as within their purview. Fortunately, there are enough jokes, good, bad and worse, to go around. The studies of jokes from each of the interested disciplines bring to mind the tale of the

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important characteristic is that the narrative is succinct, containing only those details which lead directly to an understanding and decoding of the punchline. This requires that it support the same (or similar) divergent scripts which are to be embodied in the punchline.

1218:(SSTH) begins by identifying two linguistic conditions which make a text funny. It then goes on to identify the mechanisms involved in creating the punchline. This theory established the semantic/pragmatic foundation of humour as well as the humour competence of speakers. 541:

may be funnier told on the playground at elementary school than on a college campus. The same joke will elicit different responses in different settings. The punchline in the joke remains the same, however, it is more or less appropriate depending on the current context.

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interdisciplinary study of humour; to support and cooperate with local, national, and international organizations having similar purposes; to organize and arrange meetings; and to issue and encourage publications concerning the purpose of the society". It also publishes

227:: "How do you entertain a bored pharaoh? You sail a boatload of young women dressed only in fishing nets down the Nile and urge the pharaoh to go catch a fish." The tale of the three ox drivers from Adab completes the three known oldest jokes in the world. This is a 705:. These cycles seem to appear spontaneously, spread rapidly across countries and borders only to dissipate after some time. Folklorists and others have studied individual joke cycles in an attempt to understand their function and significance within the culture. 585:

Joking relationships were first described by anthropologists within kinship groups in Africa. But they have since been identified in cultures around the world, where jokes and joking are used to mark and reinforce appropriate boundaries of a relationship.

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have perhaps the strongest claims on jokes as belonging to their bailiwick. Jokes remain one of the few remaining forms of traditional folk literature transmitted orally in western cultures. Identified as one of the "simple forms" of oral literature by

520:, it has been shown that the expression of laughter is caused by two partially independent neuronal pathways: an "involuntary" or "emotionally driven" system and a "voluntary" system. This study adds credence to the common experience when exposed to an 390:, the contents of which appear to both inform and borrow from his plays. All of these early jestbooks corroborate both the rise in the literacy of the European populations and the general quest for leisure activities during the Renaissance in Europe. 406:

and a Platypus Walk into a Bar... Understanding Philosophy Through Jokes". However a deeper meaning is not necessary to appreciate their inherent entertainment value. Magazines frequently use jokes and cartoons as filler for the printed page.

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A third category of joke cycles identifies absurd characters as the butt: for example the grape, the dead baby or the elephant. Beginning in the 1960s, social and cultural interpretations of these joke cycles, spearheaded by the folklorist

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Two major new linguistic theories have been developed and tested within the last decades. The first was advanced by Victor Raskin in "Semantic Mechanisms of Humor", published 1985. While being a variant on the more general concepts of the

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lists over 200 articles discussing various aspects of humour; in psychological jargon, the subject area has become both an emotion to measure and a tool to use in diagnostics and treatment. A new psychological assessment tool, the

187:, i.e., temporary documents created for a specific purpose and intended to be thrown away. Many of these early jokes deal with scatological and sexual topics, entertaining to all social classes but not to be valued and saved. 1027:

It has proven difficult to organise all different elements of a joke into a multi-dimensional classification system which could be of real value in the study and evaluation of this (primarily oral) complex narrative form.

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in their performance, and may rely on actions as well as on the verbal punchline to evoke laughter. This distinction has been formulated in the popular saying "A comic says funny things; a comedian says things funny".

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The Thompson Motif Index has spawned further specialised motif indices, each of which focuses on a single aspect of one subset of jokes. A sampling of just a few of these specialised indices have been listed under

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study words, how words are strung together to build sentences, how sentences create meaning which can be communicated from one individual to another, and how our interaction with each other using words creates

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or one-liners, the setting is implicitly understood, leaving only the dialogue and punchline to be verbalised. However, subverting these and other common guidelines can also be a source of humour—the

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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.

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Telling a joke is a cooperative effort; it requires that the teller and the audience mutually agree in one form or another to understand the narrative which follows as a joke. In a study of

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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).

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dating to the fourth or fifth century AD. The author of the collection is obscure and a number of different authors are attributed to it, including "Hierokles and Philagros the

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text and punchline. A joke poorly told is still funny, unless errors or omissions make the intended relationship between the narrative and the punchline unintelligible.

1081:"…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." 97:"oral," it is true that jokes may appear printed, but when further transferred, there is no obligation to reproduce the text verbatim, as in the case of poetry. 1521:

Our focus here is with the contemporary state of joke research. A more extensive survey of the history of various humour theories can be found under the topic

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blurred in many subsequent studies where everything funny tends to be gathered under the umbrella term of "humour", making for a much more diffuse discussion.

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Access to archived message boards also enables us to track the development of a single joke thread in the context of a more complicated virtual conversation.

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It is generally held that jokes benefit from brevity, containing no more detail than is needed to set the scene for the punchline at the end. In the case of

1283:'s theoretical discussions on "appropriate ambiguity" and Amy Carrell's hypothesis of an "audience-based theory of verbal humor (1993)" to name just a few. 1604: 3829:

Dundes, Alan; Pagter, Carl R. (1991). "The mobile SCUD Missile Launcher and other Persian Gulf Warlore: An American Folk Image of Saddam Hussein's Iraq".

1485: 3389: 3088:"Dead parrot sketch is 1600 years old: It's long been held that the old jokes are the best jokes - and Monty Python's Dead Parrot sketch is no different" 661:

is a collection of jokes about a single target or situation which displays consistent narrative structure and type of humour. Some well-known cycles are

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identifies the actor(s) who become the "butt" of the joke. This labelling serves to develop and solidify stereotypes of ethnic groups, professions, etc.

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Several years later the SSTH was incorporated into a more expansive theory of jokes put forth by Raskin and his colleague Salvatore Attardo. In the

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the subject line: "RE: laugh for the day" or something similar. The forward of an email joke can increase the number of recipients exponentially.

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offers some insight into the cognitive processing involved in this abrupt laughter at the punchline. Studies by the cognitive science researchers

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Jokes do not belong to refined culture, but rather to the entertainment and leisure of all classes. As such, any printed versions were considered

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the joking. Who is telling what jokes to whom? And why is he telling them when? The context of the joke-telling in turn leads into a study of

3087: 205:: "Something which has never occurred since time immemorial; a young woman did not fart in her husband's lap." Its records were dated to the 4866: 626:

direct, unconstrained, unofficial exchanges folklorists typically concern themselves with". This is particularly evident in the spread of

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to become the most renowned classification system for European folktales and other types of oral literature. Its final section addresses

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generally the theory of two-stage processing of humour, as evidenced in the longer processing time they require. In the related field of

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responses since then illustrate the complexities of this behaviour. To understand laughter in humans and other primates, the science of

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The narrative always contains a protagonist who becomes the "butt" or target of the joke. This labelling serves to develop and solidify

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scripts and understand language in a broader context, a context that any child picks up in daily interaction with his environment.

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Sacks, Harvey (1974). "An Analysis of the Course of a Joke's telling in Conversation". In Bauman, Richard; Sherzer, Joel (eds.).

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Sigmund Freud was one of the first modern scholars to recognise jokes as an important object of investigation. In his 1905 study

443:, a term coined by anthropologists to refer to social groups within a culture who engage in institutionalised banter and joking. 4341: 4159:

Jason, Heda (2000). "Motif, type, and genre: a manual for compilation of indices & a bibliography of indices and indexing".

1237:

single joke. Discourse analysis emphasises the entire context of social joking, the social interaction which cradles the words.

3429:

Coulson, Seana; Kutas, Marta (2001). "Getting it: Human event-related brain response to jokes in good and poor comprehenders".

64:

and is usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends in a

4247: 4045: 3760: 3522: 3503: 3484: 3288: 3188: 2264: 1567: 1385:

Further development in this field must wait until computational linguists have succeeded in programming a computer with an

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The Cambridge History of English and American Literature in 18 Volumes (1907–21). Volume III. Renascence and Reformation

997: 266:

The punny phrase, "tertia deducta", can be translated as "with one-third off (in price)", or "with Tertia putting out."

6183: 5877: 4634:

Raskin, Victor; Attardo, Salvatore (1991). "Script theory revis(it)ed: joke similarity and joke representation model".

4000:

Giles, H.; Oxford, G.S. (1970). "Towards a multidimensional theory of laughter causation and its social implications".

4946: 4439: 3958: 3367: 3127: 924: 916: 702: 1373: 1222: 1032: 4850: 3333: 1509: 418:

was first published in 1925 with the stated goal of being a "sophisticated humour magazine" and is still known for

3959:"The Surprising Psychology of Smiling: Natural or fake, each smile tells you something important about its wearer" 1700: 5799: 1009: 4323:

Marcus, Adam (2001). "Laughter Shelved in Medicine Cabinet: America's sense of humor blunted by week of shock".

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is intended to make the audience laugh. A linguistic interpretation of this punchline/response is elucidated by

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As such, the study of laughter is a secondary albeit entertaining perspective in an understanding of jokes.

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As folktales and other types of oral literature became collectables throughout Europe in the 19th century (

673:, which describe all kinds of operational stupidity. Joke cycles can centre on ethnic groups, professions ( 4974: 1466: 1162: 1133:

the jokes an individual laughs at? What is a "sense of humour"? A current review of the popular magazine

251: 3494:

Davies, Christie (1999). "Jokes on the Death of Diana". In Walter, Julian Anthony; Walter, Tony (eds.).

1211: 228: 6178: 3629:

Dundes, Alan (1972). "Folk ideas as units of World View". In Bauman, Richard; Paredes, Americo (eds.).

915:

disaster discussed above, cycles attach themselves to celebrities or national catastrophes such as the

387: 337: 1368:

More sophisticated computer joke programs have yet to be developed. Based on our understanding of the

341: 5630: 3906:

Frank, Russel (2009). "The Forward as Folklore: Studying E-Mailed Humor". In Blank, Trevor J. (ed.).

1358: 1102: 1019:

The folklorist Robert Georges has summed up the concerns with these existing classification systems:

996:

A more granular classification system used widely by folklorists and cultural anthropologists is the

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Hempelmann, Christian; Samson, Andrea C. (2008). "Cartoons: Drawn jokes?". In Raskin, Victor (ed.).

1308: 6091: 5129: 4391: 3915: 3684:

Dundes, Alan (1981). "Many Hands Make Light Work or Caught in the Act of Screwing in Light Bulbs".

3146:

Apte, Mahadev L. (1988). "Disciplinary boundaries in humorology: An anthropologist's ruminations".

3119: 920: 595: 206: 4608:

Raskin, Victor (1992). "Humor as a Non-Bona-Fide Mode of Communication". In E. L. Pedersen (ed.).

4478:

Oring, Elliott (Spring 2000). "Review of Jokes and Their Relation to Society by Christie Davies".

4176:. Halle (Saale): Forschungsinstitut für Neuere Philologie Leipzig: Neugermanistische Abteilung; 2. 3278: 977:

et al.), folklorists and anthropologists of the time needed a system to organise these items. The

5411: 5278: 1362: 598:

at the end of the 20th century introduced new traditions into jokes. A verbal joke or cartoon is

303: 294: 167: 3532:

Davies, Christie (2008). "Undertaking the Comparative Study of Humor". In Raskin, Victor (ed.).

5870: 5779: 5263: 5180: 4967: 4932: 4516: 4382: 4365: 4249:

Catalogue of English and American chapbooks and broadside ballads in Harvard University Library

4064: 3541: 3223: 4672: 4257:

Laszlo, Kurti (July–September 1988). "The Politics of Joking: Popular Response to Chernobyl".

3549:

Dorst, John (1990). "Tags and Burners, Cycles and Networks: Folklore in the Telectronic Age".

1279:

A stimulating generation of new humour theories flourishes like mushrooms in the undergrowth:

1114: 393:

The practice of printers using jokes and cartoons as page fillers was also widely used in the

60:

in which words are used within a specific and well-defined narrative structure to make people

6205: 5485: 5401: 5114: 4208:

Kerman, Judith B. (1980). "The Light-Bulb Jokes: Americans Look at Social Action Processes".

3753:

Mother Wit from the Laughing Barrel: Readings in the Interpretation of Afro-American Folklore

3600:

Dundes, Alan (1971). "A Study of Ethnic Slurs: The Jew and the Polack in the United States".

2254: 1249: 1233: 1001: 431: 21: 5448: 4664: 4508: 4374: 4357: 4056: 3907: 3713:

Dundes, Alan (October–December 1985). "The J. A. P. and the J. A. M. in American Jokelore".

3533: 3227: 3111: 1357:

is a new field of study which uses computers to model humour; it bridges the disciplines of

1165:(FACS) is one of several tools used to identify any one of multiple types of smiles. Or the 209:

and the joke may go as far back as 2300 BC. The second oldest joke found, discovered on the

6210: 5764: 5460: 5258: 5170: 5119: 652: 394: 5528: 5268: 4812:

Walle, Alf H. (1976). "Getting Picked up without Being Put down: Jokes and the Bar Rush".

4570:

Rahkonen, Carl (2000). "No Laughing Matter: The Viola Joke Cycle as Musicians' Folklore".

3891: 371: 344:. This was coupled with the growth of literacy in all social classes. Printers turned out 8: 5916: 5124: 3908: 3112: 1428: 1354: 690: 570: 440: 383: 379: 333: 191: 4417:

Nilsen, Alleen; Nilsen, Don C. (2008). "Literature and Humor". In Raskin, Victor (ed.).

708: 581:

friendliness. To put it in another way, the relationship is one of permitted disrespect.

419: 242:

Jokes can be notoriously difficult to translate from language to language; particularly

6053: 6043: 5938: 5740: 5699: 5443: 5438: 5273: 5200: 4829: 4788: 4753: 4715: 4698:

Simons, Elizabeth Radin (1986). "The NASA Joke Cycle: The Astronauts and the Teacher".

4651: 4613: 4587: 4558: 4550: 4495: 4466: 4274: 4225: 4174:

Einfache Formen. Legende, Sage, Mythe, Rätsel, Spruch, Kasus, Memorabile, Märchen, Witz

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When You're Up to Your Ass in Alligators: More Urban Folklore from the Paperwork Empire

3808: 3779: 3730: 3701: 3655: 3617: 3588: 3454: 3320: 3256: 3171: 1750: 1692: 1500:

How do we know that ___ had dandruff? They found his/her head and shoulders on the ___.

1378: 1229: 1203: 803: 783: 408: 363: 326: 315: 4507:

Oring, Elliott (2008). "Humor in Anthropology and Folklore". In Raskin, Victor (ed.).

4397:. University of Twente, Netherlands: Center of Telematics and Information Technology. 3442: 1228:

Linguistics has developed further methodological tools which can be applied to jokes:

6215: 5863: 5840: 5647: 5391: 5386: 4950: 4942: 4913: 4665: 4655: 4617: 4610:

Proceedings of the 1992 annual meeting of the Deseret Language and Linguistic Society

4509: 4435: 4428: 4375: 4358: 4333: 4093: 4057: 4041: 3970:

Georges, Robert A. (1997). "The Centrality in Folkloristics of Motif and Tale Type".

3756: 3663: 3571:

Dundes, Alan (1962). "From Etic to Emic Units in the Structural Study of Folktales".

3534: 3518: 3499: 3480: 3446: 3363: 3356: 3284: 3260: 3228: 3175: 3163: 3123: 2260: 1754: 1742: 1684: 1522: 1460: 1183: 1095: 1040: 886: 814: 773: 686: 682: 375: 239:), has not survived intact, though legible fragments suggest it was bawdy in nature. 5535: 4562: 3947: 3458: 37: 6173: 5719: 5714: 5396: 5185: 4903: 4821: 4778: 4745: 4707: 4643: 4579: 4542: 4487: 4458: 4266: 4217: 4139: 4110: 4081: 3838: 3800: 3722: 3693: 3647: 3609: 3580: 3438: 3310: 3248: 3155: 1734: 1386: 1135: 721: 670: 615: 504: 367: 106: 5575: 5565: 5523: 4783: 4766: 3513:

Davies, Christie (2002). "Jokes about Newfies and Jokes told by Newfoundlanders".

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Coulson, Seana; Kutas, Marta (1998). "Frame-shifting and sentential integration".

3315: 3298: 3184: 1559: 68:, whereby the humorous element of the story is revealed; this can be done using a 6248: 6101: 6038: 5966: 5834: 5769: 5667: 5555: 5475: 5421: 5222: 5175: 5014: 4356:

Mintz, Lawrence E. (2008). "Humor and Popular Culture". In Raskin, Victor (ed.).

1738: 1489: 1214:, it is the first theory to identify its approach as exclusively linguistic. The 1149: 942: 892: 778: 689:). A joke can be reused in different joke cycles; an example of this is the same 666: 521: 210: 172: 118: 5560: 4647: 3252: 1254: 412:

closes out many articles with an (unrelated) joke at the bottom of the article.

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can be measured to calculate the funniness response of an individual; multiple

986: 974: 869: 819: 750: 744: 622: 603: 451: 414: 246:, which depend on specific words and not just on their meanings. For instance, 133: 128:

Identified as one of the simple forms of oral literature by the Dutch linguist

89: 3562:

Douglas, Mary (1975). "Jokes". In Mukerji, Chandra; Schudson, Michael (eds.).

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Plato and a Platypus Walk into a Bar... Understanding Philosophy Through Jokes

1590:"The Butt of the Joke?: Laughter and Potency in the Becoming of Good Soldiers" 1465:

commissioned a team of academics, led by humour expert Paul McDonald from the

6237: 6063: 6021: 5978: 5844: 5816: 5811: 5759: 5754: 5729: 5465: 5207: 5155: 5145: 5019: 4800: 4449:

Oring, Elliott (July–September 1987). "Jokes and the Discourse on Disaster".

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Goldberg, Harriet (1998). "Motif-Index of Medieval Spanish Folk Narratives".

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can include objects, activities, instruments, props needed to tell the story.

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Smyth, Willie (October 1986). "Challenger Jokes and the Humor of Disaster".

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https://www.npr.org/2007/05/13/10158510/joking-and-learning-about-philosophy

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Morreall, John (2008). "Philosophy and Religion". In Raskin, Victor (ed.).

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Attardo, Salvatore; Chabanne, Jean-Charles (1992). "Jokes as a text type".

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Wild, Barbara; Rodden, Frank A.; Grodd, Wolfgang; Ruch, Willibald (2003).

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Shultz, Thomas R. (1976). "A cognitive-developmental analysis of humour".

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Living Folklore: Introduction to the Study of People and their Traditions

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Rethinking Popular Culture: Contemporary Perspectives in Cultural Studies

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Ruch, Willibald (2008). "Psychology of humor". In Raskin, Victor (ed.).

4304:(PhD thesis). Poznań, Poland: Adam Mickiewicz University. Archived from 6222: 6147: 6106: 6096: 6026: 6016: 5928: 5911: 5749: 5550: 5495: 5416: 5406: 5309: 5299: 5190: 5079: 5069: 5064: 4833: 4757: 4719: 4591: 4554: 4151: 3983: 3850: 3812: 3783: 3705: 3659: 1696: 1672: 1322: 955: 827: 789: 694: 271: 236: 110: 65: 4843:"V. The Progress of Social Literature in Tudor Times. § 9. Jest-books" 4792: 4499: 4470: 4278: 4229: 4122: 3978:(3). Bloomington and Indianapolis: Indiana University Press: 195–202. 3778:(3). Bloomington and Indianapolis: Indiana University Press: 195–202. 3734: 3621: 3592: 3324: 6200: 6157: 6111: 6078: 6033: 5998: 5794: 5426: 5089: 3283:, Berkeley, Los Angeles, and London: University of California Press, 3234:. Vol. 8. Berlin, New York: Mouton de Gruyter. pp. 101–156. 2445: 2004: 489: 147: 143: 122: 85: 73: 5334: 4825: 4749: 4711: 4583: 4546: 4340:. Vol. 13. Columbia, MO: Center for Studies in Oral Tradition. 4143: 3860:"The Last Thing ... Said: The Challenger Disaster Jokes and Closure" 3842: 3804: 3697: 3651: 3557:(3). Bloomington and Indianapolis: Indiana University Press: 61–108. 2413: 179:

1600 BC, contains an example of one of the earliest surviving jokes.

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Folklore An Encyclopedia of Beliefs, Customs, Tales, Music, and Art

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Dundes, Alan; Hauschild, Thomas (October 1983). "Auschwitz Jokes".

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Folklore An Encyclopedia of Beliefs, Customs, Tales, Music, and Art

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i.e. The necessary and sufficient conditions for a text to be funny

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and holds yearly conferences to promote and inform its speciality.

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The performance frame serves to label joke-telling as a culturally

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An Ambiguity-based theory of the linguistic verbal joke in English

3185:"Author Review of Humor and Laughter: an Anthropological Approach" 1481:

NPR Interview with the authors Cathcart and Klein can be found at

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Hirsch, K.; Barrick, M.E. (1980). "The Helen Keller Joke Cycle".

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1 July is celebrated around the world as International Joke Day.

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The Jokes of Sigmund Freud: a Study in Humor and Jewish Identity

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interests of the populace. One early anthology of jokes was the

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Stop Me If You've Heard This: A History and Philosophy of Jokes

2963: 2056: 848: 839: 607: 459: 446: 259: 155: 57: 4684:. Cambridge, UK: Cambridge University Press. pp. 337–353. 3744:

Cracking jokes: Studies of Sick Humor Cycles & Stereotypes

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Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up

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This article is about the form of humour. For other uses, see

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How Many Zen Buddhists Does It Take to Screw In a Light Bulb?

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The Meaning of folklore: the Analytical Essays of Alan Dundes

2104: 2032: 1333:, meaning laughter) has been established; it is the study of 1327: 1166: 1158: 712:

Why did the chicken cross the road? To get to the other side.

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Preston, Cathy Lynn (1997). "Joke". In Green, Thomas (ed.).

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Various kinds of jokes have been identified in ancient pre-

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Radcliffe-Brown, A. R. (1940). "On Joking Relationships".

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Hetzron, Robert (1991). "On the structure of punchlines".

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once sold land at a surprisingly cheap price to his lover

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verbal jokes are: involuntary humour, situational humour,

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The Game of Humor: A Comprehensive Theory of Why We Laugh

3995:. Bloomington and Indianapolis: Indiana University Press. 3424:(3–4). San Diego, CA: Technical Report CogSci.UCSD-98.03. 3388:. Berlin, New York: Mouton de Gruyter. pp. 303–332. 3051: 2509: 2337: 2273: 1844: 1822: 1820: 1512:

were first approved for use in the United States in 1960.

611: 306:, the eunuch, and people with hernias or bad breath. The 243: 69: 4288:

Rationale of the Dirty Joke: an Analysis of Sexual Humor

2183: 2020: 1892: 1790: 4612:. Provo, UT: Brigham Young University. pp. 87–92. 4239:

Explosive Jokes: A collection of Persian Gulf War Humor

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Tale type- and motif-indices: An annotated bibliography

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Humour and Laughter: Theory, Research and Applications

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Dundes, Alan (July 1979). "The Dead Baby Joke Cycle".

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Jewish American Princess and Jewish Mother joke cycles

340:

spread across Europe following the development of the

4642:(3–4). Berlin, New York: Mouton de Gruyter: 293–348. 3633:. Bloomington, IN: Trickster Press. pp. 120–134. 3468:

Ethnic Humor Around the World: A comparative Analysis

3039: 2879: 2773: 2771: 2732: 2681: 1968: 1868: 4421:. Berlin, New York: Mouton de Gruyter. pp. –––. 2633: 2597: 2557: 2461: 2224: 2222: 2207: 2080: 2068: 1992: 1802: 1778: 1768: 1766: 1764: 1654: 1652: 1639: 1637: 1405: 685:), or logical mechanisms which generate the humour ( 545: 4889: 4334:"E-Texts: The Orality and Literacy Issue Revisited" 3914:. Logan, UT: Utah State University Press. pp. 3110:Apo, Satu (1997). "Motif". In Green, Thomas (ed.). 2999: 2915: 2903: 2891: 2855: 2705: 2149: 2147: 2062: 1603:(1). Denmark: The University of California: 25–56. 716:Joke cycles circulated in the recent past include: 254:, who was rumoured to be prostituting her daughter 4434:. Philadelphia: University of Pennsylvania Press. 4427: 3675:Dundes, Alan (1980). "Texture, text and context". 3355: 2939: 2843: 2831: 2768: 2669: 2621: 2585: 2497: 2473: 2433: 2401: 2361: 2349: 2325: 2313: 2301: 2234: 1940: 1916: 386:in England. There is also a jest book ascribed to 3215:Humorous Texts: A Semantic and Pragmatic Analysis 2987: 2975: 2807: 2795: 2756: 2645: 2521: 2485: 2373: 2256:Humorous Texts: A Semantic and Pragmatic Analysis 2252: 2219: 2195: 2171: 1856: 1761: 1649: 1634: 949: 6235: 4671:. Berlin, New York: Mouton de Gruyter. pp. 4515:. Berlin, New York: Mouton de Gruyter. pp. 4381:. Berlin, New York: Mouton de Gruyter. pp. 4364:. Berlin, New York: Mouton de Gruyter. pp. 4063:. Berlin, New York: Mouton de Gruyter. pp. 4054: 3991:Georges, Robert A.; Jones, Michael Owen (1995). 3755:. University Press of Mississippi. p. 612. 3540:. Berlin, New York: Mouton de Gruyter. pp. 3069: 2144: 1832: 639:moment, when attempts at humour are unsuccessful 264:conparavit Servilia hunc fundum tertia deducta." 194:texts. The oldest identified joke is an ancient 4767:"Joking Relationships in an Industrial Setting" 4532: 3922: 3790: 3238: 3139:Humor and Laughter: An Anthropological Approach 2969: 2750: 2657: 2609: 2138: 1886: 1288:Humor and Laughter: An Anthropological Approach 4636:Humor: International Journal of Humor Research 4535:Journal of the International African Institute 4074:Humor: International Journal of Humor Research 4015:Medieval & Renaissance Texts & Studies 3241:Humor: International Journal of Humor Research 3148:Humor: International Journal of Humor Research 1297:Humor: International Journal of Humor Research 1000:, which separates tales into their individual 279:), a collection of 265 jokes written in crude 5885: 5871: 4975: 4633: 4389: 4100: 3406: 3033: 2343: 1850: 1587: 900: 329:, author of one of the first joke anthologies 4726: 4416: 4390:Mulder, M.P.; Nijholt, A. (September 2002). 4183:"World's oldest joke traced back to 1900 BC" 3990: 3828: 3819: 3428: 3415: 2957: 2455: 2126: 2038: 2026: 1934: 1240: 4682:Explorations in the Ethnography of Speaking 3999: 3949:Der Witz und seine Beziehung zum Unbewußten 3017: 2246: 1125:Jokes and their Relation to the Unconscious 1089: 5878: 5864: 4982: 4968: 4892:"Neural correlates of laughter and humour" 4840: 4667:Primer of Humor Research: Humor Research 8 4627:Primer of Humor Research: Humor Research 8 4603:. Dordrecht, Boston, Lancaster: D. Reidel. 4511:Primer of Humor Research: Humor Research 8 4419:Primer of Humor Research: Humor Research 8 4377:Primer of Humor Research: Humor Research 8 4360:Primer of Humor Research: Humor Research 8 4059:Primer of Humor Research: Humor Research 8 4040:. Piscataway, NJ: Transaction Publishers. 4027:: CS1 maint: location missing publisher ( 3937:: CS1 maint: location missing publisher ( 3536:Primer of Humor Research: Humor Research 8 3386:Primer of Humor Research: Humor Research 8 1826: 824:Little Willie and Quadriplegic joke cycles 27:"Jest" redirects here. For the horse, see 4907: 4867:"The Secret History Of Knock-Knock Jokes" 4807:. Logan, UT: Utah State University Press. 4782: 4731:. Logan, UT: Utah State University Press. 4236: 3566:. Berkeley, CA: University of California. 3349:. Logan, UT: Utah State University Press. 3314: 2451: 1393: 1303: 968: 606:; reactions include a replied email with 370:. Examples of this are the characters of 4727:Sims, Martha; Stephens, Martine (2005). 4569: 4372: 4012: 3824:. Detroit: Wayne State University Press. 3751:Dundes, Alan, ed. (1991). "Folk Humor". 3470:. Bloomington: Indiana University Press. 3407:Cathcart, Thomas; Klein, Daniel (2007). 3353: 3267: 3118:. Santa Barbara, CA: ABC-CLIO. pp. 2825: 2639: 2603: 2575: 2467: 1337:and its effects on the body from both a 1307: 1144:developed by the American psychologists 1113: 707: 503:This is the point at which the field of 320: 166: 36: 4841:Ward, A.W.; Waller, A.R., eds. (2000). 4799: 4523: 4130:Hirsch, Robin (1964). "Wind-Up Dolls". 4071: 3969: 3956: 3561: 3479:. Walter de Gruyter. pp. 186–189. 3418:USCD Cognitive Science Technical Report 3376: 3344: 3224:"A primer for the linguistics of humor" 3221: 3212: 3203: 3141:. Ithaca, NY: Cornell University Press. 3021: 2933: 2861: 2789: 2738: 2726: 2714: 2699: 2050: 2014: 1986: 1974: 1628: 1349: 258:to Caesar in order to keep his favour. 6236: 4697: 4688: 4629:. Berlin, New York: Mouton de Gruyter. 4624: 4607: 4598: 4322: 4285: 4256: 4207: 4180: 4171: 4167:. Helsinki: Suomalainen Tiedeakatemia. 4129: 4035: 4002:Bulletin of British Psychology Society 3923:Freedman, Matt; Hoffman, Paul (1980). 3820:Dundes, Alan; Pagter, Carl R. (1987). 3769: 3750: 3741: 3712: 3683: 3674: 3637: 3628: 3599: 3570: 3531: 3512: 3493: 3474: 3465: 3296: 3208:. Berlin, New York: Mouton de Gruyter. 3057: 3045: 2921: 2885: 2777: 2687: 2675: 2627: 2591: 2579: 2551: 2539: 2515: 2503: 2479: 2439: 2419: 2407: 2395: 2391: 2367: 2355: 2331: 2319: 2307: 2279: 2098: 2086: 2010: 1998: 1962: 1946: 1922: 1910: 1874: 1670: 1658: 1643: 1470: 1216:Script-based Semantic Theory of Humour 498:Script-based Semantic Theory of Humour 5859: 4963: 4864: 4811: 4764: 4735: 4679: 4506: 4477: 4448: 4425: 4355: 4331: 4158: 3945: 3905: 3881: 3857: 3548: 3331: 3276: 3085: 2945: 2813: 2801: 2651: 2563: 2527: 2491: 2427: 2423: 2379: 2295: 2291: 2240: 2228: 2213: 2201: 2189: 2177: 2165: 2114: 2110: 2074: 1958: 1898: 1862: 1811: 1796: 1784: 1772: 269:The earliest extant joke book is the 4662: 4404:from the original on 20 October 2016 4252:. Cambridge, MA: Harvard University. 4246:Lane, William Coolidge, ed. (1905). 4245: 3993:Folkloristics : an Introduction 3182: 3145: 3136: 3005: 2993: 2981: 2909: 2897: 2873: 2849: 2837: 2762: 2153: 1838: 1610:from the original on 9 February 2021 1424:List of humour research publications 1035:or GTVH, developed by the linguists 979:Aarne–Thompson classification system 4392:"Humour Research: State of the Art" 4294: 4195:from the original on August 2, 2023 3631:Toward New Perspectives in Folklore 3477:Jokes and Their Relation to Society 3109: 2663: 2615: 2259:. Walter de Gruyter. pp. 69–. 1720: 293:, "Philistion". British classicist 162: 13: 4926: 3952:. Leipzig, Vienna: Franz Deuticke. 693:joke refitted to the tragedies of 447:Framing: "Have you heard the one…" 14: 6265: 4814:Journal of the Folklore Institute 4290:. New York: Simon & Schuster. 3362:. New York, London: W.W. Norton. 3191:from the original on 5 March 2016 1312:Charles Darwin in his later years 925:Space Shuttle Challenger disaster 917:death of Diana, Princess of Wales 546:Shifting contexts, shifting texts 5839: 5830: 5829: 4877:from the original on May 8, 2015 4480:The Journal of American Folklore 4451:The Journal of American Folklore 4259:The Journal of American Folklore 3957:Furnham, Adrian (Oct 30, 2014). 3715:The Journal of American Folklore 3498:. Berg Publishers. p. 255. 1528: 1408: 762:Challenger (space shuttle) jokes 669:incorporating black humour, and 564: 425: 310:even contains a joke similar to 287:", just "Hierokles", or, in the 4865:Weeks, Linton (March 3, 2015). 4853:from the original on 2015-09-23 4344:from the original on 2016-08-11 3870:from the original on 2021-09-29 3395:from the original on 2015-09-24 3345:Bronner, Simon J., ed. (2007). 3098:from the original on 2018-05-28 3078: 1703:from the original on 2022-08-29 1570:from the original on 2023-05-26 1515: 1503: 1494: 1475: 1223:General Theory of Verbal Humour 1033:General Theory of Verbal Humour 981:was first published in 1910 by 930: 533:Expected response to a joke is 348:along with Bibles to meet both 6190:Motif-Index of Folk-Literature 4528:. Santa Barbara, CA: ABC-CLIO. 4181:Joseph, John (July 31, 2008). 3358:The Study of American Folklore 1721:Low, Peter Alan (2011-03-01). 1714: 1664: 1581: 1552: 1453: 1441: 1192: 950:Absurdities and gallows humour 876:Said the actress to the bishop 646: 1: 4941:New York: W.W. Norton, 2008. 4784:10.1525/aa.1966.68.1.02a00250 3864:International Folklore Review 3443:10.1016/s0304-3940(01)02387-4 3354:Brunvand, Jan Harald (1968). 3316:10.1525/aa.1975.77.2.02a00030 1588:Sløk-Andersen, Beate (2019). 1541: 1109: 589: 221: 176: 4693:. London: John Wiley: 11–36. 4625:Raskin, Victor, ed. (2008). 4601:Semantic Mechanisms of Humor 4332:Mason, Bruce Lionel (1998). 4210:Journal of American Folklore 4103:Journal of American Folklore 3972:Journal of Folklore Research 3884:"Making a Big Apple Crumble" 3772:Journal of Folklore Research 3746:. Berkeley: Ten Speed Press. 3602:Journal of American Folklore 3573:Journal of American Folklore 3551:Journal of Folklore Research 3217:. Berlin: Walter de Gruyter. 3206:Linguistic Theories of Humor 3070:Hempelmann & Samson 2008 1739:10.1080/0907676X.2010.493219 1723:"Translating jokes and puns" 1546: 1459:In 2008, British TV channel 1212:incongruity theory of humour 483: 16:Display of humor using words 7: 4648:10.1515/humr.1991.4.3-4.293 4036:Gruner, Charles R. (1997). 3384:. In Raskin, Victor (ed.). 3379:"Historical Views of Humor" 3299:"Verbal Art as Performance" 3253:10.1515/humr.1992.5.1-2.165 3226:. In Raskin, Victor (ed.). 3222:Attardo, Salvatore (2008). 3213:Attardo, Salvatore (2001). 3204:Attardo, Salvatore (1994). 2970:Dundes & Hauschild 1983 2751:Attardo & Chabanne 1992 1887:Attardo & Chabanne 1992 1467:University of Wolverhampton 1401: 1163:Facial Action Coding System 792:joke cycle (United Kingdom) 677:), catastrophes, settings ( 602:to a friend or posted on a 528: 342:movable type printing press 88:, or other means. Linguist 84:, logical incompatibility, 10: 6270: 6184:Aarne–Thompson–Uther Index 6179:Morphology (folkloristics) 4989: 4849:. New York: BARTLEBY.COM. 4295:Lew, Robert (April 1996). 3888:New Directions in Folklore 3517:. Transaction Publishers. 3411:. New York: Penguin Books. 2253:Salvatore Attardo (2001). 1142:Values in Action Inventory 1093: 953: 934: 904: 901:Tragedies and catastrophes 808:Jew and Polack joke cycles 650: 568: 549: 466: 18: 6166: 6130: 6077: 6007: 5952: 5894: 5825: 5690: 5598: 5504: 5369: 5287: 5251: 5244: 5235: 5138: 5107: 5098: 4997: 4241:. Unpublished Manuscript. 3910:Folklore and the Internet 3475:Davies, Christie (1998). 3466:Davies, Christie (1990). 3183:Apte, Mahadev L. (2002). 3137:Apte, Mahadev L. (1985). 3034:Mulder & Nijholt 2002 2344:Hirsch & Barrick 1980 1851:Cathcart & Klein 2007 1359:computational linguistics 1241:Folklore and anthropology 1103:blind men and an elephant 596:electronic communications 213:and believed to be about 4805:The Dynamics of Folklore 4286:Legman, Gershon (1968). 4086:10.1515/humr.1991.4.1.61 3297:Bauman, Richard (1975). 3268:Azzolina, David (1987). 3230:Primer of Humor Research 2958:Dundes & Pagter 1987 2456:Dundes & Pagter 1991 2127:Sims & Stephens 2005 2039:Coulson & Kutas 2001 2027:Coulson & Kutas 1998 1935:Sims & Stephens 2005 1447:Generally attributed to 1434: 1090:Joke and humour research 985:, and later expanded by 921:death of Michael Jackson 703:Challenger space shuttle 634:responses to the jokes. 201:from 1900 BC containing 5279:Theatre of ancient Rome 4771:American Anthropologist 4599:Raskin, Victor (1985). 4426:Oring, Elliott (1984). 4237:Kitchener, Amy (1991). 3946:Freud, Sigmund (1905). 3332:Berry, William (2013). 3303:American Anthropologist 3160:10.1515/humr.1988.1.1.5 3086:Adams, Stephen (2008). 3018:Giles & Oxford 1970 1564:www.merriam-webster.com 1363:artificial intelligence 1328: 1072:Narrative strategy (NS) 795:Helen Keller joke cycle 665:using nonsense humour, 334:During the 15th century 304:absent-minded professor 231:dating back to 1200 BC 92:offers the definition: 4765:Sykes, A.J.M. (1966). 4172:Jolles, André (1930). 3866:(8). London: 110–124. 3496:The Mourning for Diana 1827:Ward & Waller 2000 1671:Sadler, J. D. (1982). 1394:International Joke Day 1313: 1304:Physiology of laughter 1277: 1119: 1054:Logical Mechanism (LM) 1048:Script Opposition (SO) 1025: 969:Classification systems 845:Persian Gulf War jokes 713: 681:), absurd characters ( 641: 583: 330: 180: 99: 49: 5486:Theatre of the Absurd 3742:Dundes, Alan (1987). 3677:Interpreting Folklore 3377:Carrell, Amy (2008). 1677:The Classical Journal 1311: 1272: 1250:cultural anthropology 1234:conversation analysis 1117: 1021: 711: 636: 578: 432:conversation analysis 324: 207:Old Babylonian period 170: 94: 40: 22:Joke (disambiguation) 5461:Shakespearean comedy 5259:Ancient Greek comedy 4909:10.1093/brain/awg226 3882:Ellis, Bill (2002). 3858:Ellis, Bill (1991). 3431:Neuroscience Letters 3334:"The Joke's On Who?" 3277:Beard, Mary (2014), 3272:. New York: Garland. 2139:Radcliffe-Brown 1940 1560:"Definition of JOKE" 1387:ontological semantic 1355:Computational humour 1350:Computational humour 1146:Christopher Peterson 998:Thompson Motif Index 701:and the crew of the 691:Head & Shoulders 441:joking relationships 134:through the internet 109:is an example of an 6254:Traditional stories 3890:(6). Archived from 3024:, pp. 116–117. 2518:, pp. 163–165. 2282:, pp. 142–143. 2192:, pp. 180–181. 2053:, pp. 125–126. 1901:, pp. 337–353. 1799:, pp. 186–188. 1673:"Latin Paronomasia" 1510:Contraceptive pills 1429:Index of joke types 1260:Anecdotes and jokes 1010:other motif indices 991:anecdotes and jokes 842:joke cycle (Canada) 804:Desert island jokes 699:Admiral Mountbatten 571:Joking relationship 388:William Shakespeare 380:Lazarillo de Tormes 338:printing revolution 6044:Luminous gemstones 5939:Personal narrative 5449:Comédie larmoyante 5444:Sentimental comedy 5439:Restoration comedy 5402:Commedia dell'arte 5274:Corral de comedias 2168:, pp. 99–100. 2013:, pp. 12–13; 1488:2023-01-16 at the 1379:lexical definition 1314: 1230:discourse analysis 1120: 784:East Frisian jokes 714: 434:, the sociologist 364:Poggio Bracciolini 331: 327:Poggio Bracciolini 325:1597 engraving of 316:Dead Parrot Sketch 277:The Laughter-Lover 181: 50: 6231: 6230: 5853: 5852: 5631:Musical comedians 5594: 5593: 5392:Comedy of manners 5387:Comedy of humours 5377:Boulevard theatre 5365: 5364: 5269:Comédie-Italienne 5264:Comédie-Française 5231: 5230: 4902:(10): 2121–2138. 4161:FF Communications 4047:978-0-7658-0659-8 3762:978-0-87805-478-7 3524:978-0-7658-0096-1 3505:978-1-85973-238-0 3486:978-3-11-016104-5 3290:978-0-520-95820-3 3060:, p. 17/349. 2876:, pp. 40–45. 2554:, pp. 41–54. 2266:978-3-11-017068-9 2101:, pp. 23–24. 2041:, pp. 71–74. 1913:, pp. 20–32. 1631:, pp. 65–66. 1597:Cultural Analysis 1523:theories of humor 1377:further than the 1177:The psychologist 1171:types of laughter 1096:Theories of humor 1041:Salvatore Attardo 887:Wind-up doll joke 815:Knock-knock jokes 722:Conditional jokes 687:knock-knock jokes 679:…walks into a bar 376:Till Eulenspiegel 72:or other type of 6261: 6174:Folklore studies 5889:genres and types 5880: 5873: 5866: 5857: 5856: 5843: 5833: 5832: 5780:Self-referential 5397:Comedy of menace 5249: 5248: 5242: 5241: 5105: 5104: 4984: 4977: 4970: 4961: 4960: 4921: 4911: 4886: 4884: 4882: 4861: 4859: 4858: 4837: 4820:(332): 201–217. 4808: 4796: 4786: 4761: 4738:Western Folklore 4732: 4723: 4700:Western Folklore 4694: 4685: 4676: 4670: 4659: 4630: 4621: 4604: 4595: 4572:Western Folklore 4566: 4541:(332): 195–210. 4529: 4520: 4514: 4503: 4486:(448): 220–221. 4474: 4457:(397): 276–286. 4445: 4433: 4422: 4413: 4411: 4409: 4403: 4396: 4386: 4380: 4369: 4363: 4352: 4350: 4349: 4328: 4319: 4317: 4316: 4310: 4303: 4291: 4282: 4265:(401): 324–334. 4253: 4242: 4233: 4216:(370): 454–458. 4204: 4202: 4200: 4177: 4168: 4155: 4132:Western Folklore 4126: 4109:(370): 441–448. 4097: 4068: 4062: 4051: 4032: 4026: 4018: 4009: 3996: 3987: 3966: 3963:Psychology Today 3953: 3942: 3936: 3928: 3919: 3913: 3902: 3900: 3899: 3878: 3876: 3875: 3854: 3831:Western Folklore 3825: 3816: 3793:Western Folklore 3787: 3766: 3747: 3738: 3721:(390): 456–475. 3709: 3686:Western Folklore 3680: 3671: 3640:Western Folklore 3634: 3625: 3608:(332): 186–203. 3596: 3567: 3558: 3545: 3539: 3528: 3515:Mirth of Nations 3509: 3490: 3471: 3462: 3425: 3412: 3403: 3401: 3400: 3394: 3383: 3373: 3361: 3350: 3341: 3338:Psychology Today 3328: 3318: 3293: 3273: 3264: 3247:(1/2): 165–176. 3235: 3233: 3218: 3209: 3200: 3198: 3196: 3179: 3142: 3133: 3117: 3106: 3104: 3103: 3073: 3067: 3061: 3055: 3049: 3043: 3037: 3031: 3025: 3015: 3009: 3003: 2997: 2991: 2985: 2979: 2973: 2967: 2961: 2955: 2949: 2943: 2937: 2931: 2925: 2919: 2913: 2907: 2901: 2895: 2889: 2883: 2877: 2871: 2865: 2859: 2853: 2847: 2841: 2835: 2829: 2823: 2817: 2811: 2805: 2799: 2793: 2787: 2781: 2775: 2766: 2760: 2754: 2748: 2742: 2736: 2730: 2724: 2718: 2712: 2703: 2697: 2691: 2685: 2679: 2673: 2667: 2661: 2655: 2649: 2643: 2637: 2631: 2625: 2619: 2613: 2607: 2601: 2595: 2589: 2583: 2573: 2567: 2561: 2555: 2549: 2543: 2542:, pp. 3–14. 2537: 2531: 2525: 2519: 2513: 2507: 2501: 2495: 2489: 2483: 2477: 2471: 2465: 2459: 2449: 2443: 2437: 2431: 2417: 2411: 2405: 2399: 2389: 2383: 2377: 2371: 2365: 2359: 2353: 2347: 2341: 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in print 107:shaggy dog story 56:is a display of 32: 25: 6269: 6268: 6264: 6263: 6262: 6260: 6259: 6258: 6234: 6233: 6232: 6227: 6162: 6126: 6102:Folk instrument 6073: 6054:Old wives' tale 6039:Legend tripping 6003: 5948: 5890: 5884: 5854: 5849: 5821: 5686: 5668:Animated sitcom 5590: 5556:Musical theatre 5506: 5500: 5476:Stand-up comedy 5422:One-person show 5412:Improvisational 5361: 5283: 5227: 5181:Science fiction 5134: 5094: 5015:Comedy festival 4993: 4988: 4929: 4927:Further reading 4924: 4880: 4878: 4856: 4854: 4826:10.2307/3813856 4750:10.2307/1499820 4712:10.2307/1499821 4584:10.2307/1500468 4547:10.2307/1156093 4442: 4407: 4405: 4401: 4394: 4347: 4345: 4338:Oral Traditions 4325:Healingwell.com 4314: 4312: 4308: 4301: 4198: 4196: 4144:10.2307/1498259 4048: 4020: 4019: 3930: 3929: 3897: 3895: 3873: 3871: 3843:10.2307/1499881 3805:10.2307/1499500 3763: 3698:10.2307/1499697 3652:10.2307/1499238 3579:(296): 95–105. 3525: 3506: 3487: 3398: 3396: 3392: 3381: 3370: 3291: 3194: 3192: 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211:Westcar Papyrus 173:Westcar Papyrus 165: 125:and anecdotes. 119:practical jokes 48:enjoying a joke 33: 26: 19: 17: 12: 11: 5: 6267: 6257: 6256: 6251: 6246: 6229: 6228: 6226: 6225: 6220: 6219: 6218: 6213: 6208: 6198: 6193: 6186: 6181: 6176: 6170: 6168: 6164: 6163: 6161: 6160: 6155: 6150: 6145: 6140: 6134: 6132: 6128: 6127: 6125: 6124: 6119: 6117:Folk wrestling 6114: 6109: 6104: 6099: 6094: 6089: 6083: 6081: 6075: 6074: 6072: 6071: 6066: 6061: 6056: 6051: 6046: 6041: 6036: 6031: 6030: 6029: 6019: 6013: 6011: 6005: 6004: 6002: 6001: 5996: 5991: 5986: 5981: 5976: 5971: 5970: 5969: 5962:Folk etymology 5958: 5956: 5954:Oral tradition 5950: 5949: 5947: 5946: 5941: 5936: 5931: 5926: 5921: 5920: 5919: 5909: 5904: 5898: 5896: 5892: 5891: 5883: 5882: 5875: 5868: 5860: 5851: 5850: 5848: 5847: 5837: 5826: 5823: 5822: 5820: 5819: 5814: 5809: 5804: 5803: 5802: 5792: 5787: 5782: 5777: 5772: 5767: 5762: 5757: 5752: 5743: 5738: 5732: 5727: 5722: 5717: 5712: 5707: 5702: 5696: 5694: 5688: 5687: 5685: 5684: 5683: 5682: 5681: 5680: 5675: 5670: 5660: 5655: 5645: 5640: 5635: 5634: 5633: 5628: 5623: 5618: 5613: 5602: 5600: 5596: 5595: 5592: 5591: 5589: 5588: 5583: 5578: 5573: 5568: 5563: 5558: 5553: 5548: 5543: 5538: 5536:Comédie-ballet 5533: 5532: 5531: 5526: 5516: 5510: 5508: 5502: 5501: 5499: 5498: 5493: 5488: 5483: 5481:Street theatre 5478: 5473: 5468: 5463: 5458: 5453: 5452: 5451: 5441: 5436: 5435: 5434: 5424: 5419: 5414: 5409: 5404: 5399: 5394: 5389: 5384: 5379: 5373: 5371: 5367: 5366: 5363: 5362: 5360: 5359: 5358: 5357: 5352: 5347: 5342: 5337: 5329: 5328: 5327: 5322: 5314: 5313: 5312: 5304: 5303: 5302: 5291: 5289: 5285: 5284: 5282: 5281: 5276: 5271: 5266: 5261: 5255: 5253: 5246: 5239: 5233: 5232: 5229: 5228: 5226: 5225: 5220: 5215: 5210: 5205: 5204: 5203: 5198: 5188: 5183: 5178: 5173: 5168: 5163: 5158: 5153: 5148: 5142: 5140: 5136: 5135: 5133: 5132: 5127: 5122: 5117: 5111: 5109: 5102: 5096: 5095: 5093: 5092: 5087: 5082: 5077: 5072: 5067: 5062: 5057: 5052: 5047: 5042: 5037: 5032: 5027: 5022: 5017: 5012: 5010:Comedic device 5007: 5001: 4999: 4995: 4994: 4987: 4986: 4979: 4972: 4964: 4958: 4957: 4928: 4925: 4923: 4922: 4887: 4862: 4838: 4809: 4801:Toelken, Barre 4797: 4777:(1): 188–193. 4773:. New Series. 4762: 4744:(4): 243–260. 4733: 4724: 4706:(4): 261–277. 4695: 4686: 4677: 4660: 4631: 4622: 4605: 4596: 4567: 4530: 4521: 4504: 4492:10.2307/541299 4475: 4463:10.2307/540324 4446: 4440: 4423: 4414: 4387: 4370: 4353: 4329: 4320: 4292: 4283: 4271:10.2307/540473 4254: 4243: 4234: 4222:10.2307/539876 4205: 4178: 4169: 4156: 4138:(2): 107–110. 4127: 4115:10.2307/539874 4098: 4069: 4052: 4046: 4033: 4010: 3997: 3988: 3967: 3954: 3943: 3920: 3903: 3879: 3855: 3837:(3): 303–322. 3826: 3817: 3799:(4): 249–260. 3788: 3767: 3761: 3748: 3739: 3727:10.2307/540367 3710: 3692:(3): 261–266. 3681: 3672: 3646:(3): 145–157. 3635: 3626: 3614:10.2307/538989 3597: 3585:10.2307/538171 3568: 3559: 3546: 3529: 3523: 3510: 3504: 3491: 3485: 3472: 3463: 3426: 3413: 3404: 3374: 3368: 3351: 3342: 3329: 3309:(2): 290–311. 3305:. New Series. 3294: 3289: 3274: 3265: 3236: 3219: 3210: 3201: 3180: 3143: 3134: 3128: 3107: 3082: 3080: 3077: 3075: 3074: 3072:, p. 354. 3062: 3050: 3038: 3026: 3010: 2998: 2986: 2974: 2972:, p. 250. 2962: 2960:, p. vii. 2950: 2938: 2936:, p. 114. 2926: 2914: 2902: 2890: 2878: 2866: 2854: 2842: 2830: 2828:, p. 224. 2818: 2806: 2794: 2792:, p. 304. 2782: 2767: 2755: 2753:, p. 172. 2743: 2731: 2729:, p. 223. 2719: 2704: 2702:, p. 111. 2692: 2690:, p. 198. 2680: 2668: 2656: 2644: 2632: 2620: 2608: 2596: 2584: 2568: 2566:, p. 194. 2556: 2544: 2532: 2520: 2508: 2496: 2484: 2472: 2460: 2452:Kitchener 1991 2444: 2432: 2412: 2400: 2384: 2372: 2360: 2348: 2336: 2324: 2312: 2300: 2284: 2272: 2265: 2245: 2233: 2218: 2216:, p. 183. 2206: 2194: 2182: 2170: 2158: 2143: 2141:, p. 196. 2131: 2119: 2117:, p. 201. 2103: 2091: 2079: 2077:, p. 350. 2067: 2055: 2043: 2031: 2019: 2017:, p. 312. 2003: 1991: 1989:, p. 308. 1979: 1967: 1951: 1939: 1937:, p. 141. 1927: 1915: 1903: 1891: 1879: 1877:, p. 103. 1867: 1855: 1843: 1831: 1816: 1814:, p. 188. 1801: 1789: 1787:, p. 185. 1777: 1760: 1713: 1683:(2): 138–141. 1663: 1648: 1633: 1621: 1580: 1566:. 2023-06-11. 1550: 1548: 1545: 1543: 1540: 1537: 1536: 1527: 1514: 1502: 1493: 1474: 1452: 1439: 1438: 1436: 1433: 1432: 1431: 1426: 1420: 1419: 1403: 1400: 1395: 1392: 1351: 1348: 1318:Charles Darwin 1305: 1302: 1242: 1239: 1194: 1191: 1179:Willibald Ruch 1111: 1108: 1094:Main article: 1091: 1088: 1083: 1082: 1079:Language (LA) 1076: 1069: 1063: 1060:Situation (SI) 1057: 1051: 1002:story elements 987:Stith Thompson 975:Brothers Grimm 970: 967: 951: 948: 935:Main article: 932: 929: 905:Main article: 902: 899: 897: 896: 890: 884: 879: 873: 870:Sardarji jokes 867: 862: 857: 852: 846: 843: 837: 831: 825: 822: 817: 812: 809: 806: 801: 796: 793: 787: 781: 776: 771: 766: 763: 760: 754: 748: 745:Microsoft joke 734: 729: 724: 718: 663:elephant jokes 648: 645: 604:bulletin board 594:The advent of 591: 588: 569:Main article: 566: 563: 547: 544: 530: 527: 485: 482: 468: 465: 448: 445: 427: 424: 415:The New Yorker 384:Master Skelton 225: 1600 BC 164: 161: 90:Robert Hetzron 15: 9: 6: 4: 3: 2: 6266: 6255: 6252: 6250: 6247: 6245: 6242: 6241: 6239: 6224: 6221: 6217: 6214: 6212: 6209: 6207: 6204: 6203: 6202: 6199: 6197: 6194: 6192: 6191: 6187: 6185: 6182: 6180: 6177: 6175: 6172: 6171: 6169: 6165: 6159: 6156: 6154: 6151: 6149: 6146: 6144: 6141: 6139: 6136: 6135: 6133: 6129: 6123: 6120: 6118: 6115: 6113: 6110: 6108: 6105: 6103: 6100: 6098: 6095: 6093: 6090: 6088: 6085: 6084: 6082: 6080: 6076: 6070: 6067: 6065: 6064:Silver bullet 6062: 6060: 6057: 6055: 6052: 6050: 6047: 6045: 6042: 6040: 6037: 6035: 6032: 6028: 6025: 6024: 6023: 6022:Folk religion 6020: 6018: 6015: 6014: 6012: 6010: 6006: 6000: 5997: 5995: 5992: 5990: 5987: 5985: 5982: 5980: 5979:Nursery rhyme 5977: 5975: 5972: 5968: 5965: 5964: 5963: 5960: 5959: 5957: 5955: 5951: 5945: 5942: 5940: 5937: 5935: 5932: 5930: 5927: 5925: 5922: 5918: 5915: 5914: 5913: 5910: 5908: 5905: 5903: 5900: 5899: 5897: 5893: 5888: 5881: 5876: 5874: 5869: 5867: 5862: 5861: 5858: 5846: 5842: 5838: 5836: 5828: 5827: 5824: 5818: 5815: 5813: 5812:Ventriloquism 5810: 5808: 5805: 5801: 5798: 5797: 5796: 5793: 5791: 5788: 5786: 5783: 5781: 5778: 5776: 5773: 5771: 5768: 5766: 5765:Observational 5763: 5761: 5758: 5756: 5753: 5751: 5747: 5744: 5742: 5739: 5736: 5733: 5731: 5728: 5726: 5723: 5721: 5718: 5716: 5713: 5711: 5708: 5706: 5703: 5701: 5698: 5697: 5695: 5693: 5689: 5679: 5676: 5674: 5671: 5669: 5666: 5665: 5664: 5661: 5659: 5656: 5654: 5651: 5650: 5649: 5646: 5644: 5641: 5639: 5636: 5632: 5629: 5627: 5624: 5622: 5619: 5617: 5614: 5612: 5609: 5608: 5607: 5604: 5603: 5601: 5597: 5587: 5584: 5582: 5579: 5577: 5576:Opéra comique 5574: 5572: 5569: 5567: 5566:Opéra bouffon 5564: 5562: 5559: 5557: 5554: 5552: 5549: 5547: 5544: 5542: 5539: 5537: 5534: 5530: 5527: 5525: 5524:Café-chantant 5522: 5521: 5520: 5517: 5515: 5512: 5511: 5509: 5503: 5497: 5494: 5492: 5489: 5487: 5484: 5482: 5479: 5477: 5474: 5472: 5469: 5467: 5466:Sketch comedy 5464: 5462: 5459: 5457: 5454: 5450: 5447: 5446: 5445: 5442: 5440: 5437: 5433: 5430: 5429: 5428: 5425: 5423: 5420: 5418: 5415: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5393: 5390: 5388: 5385: 5383: 5380: 5378: 5375: 5374: 5372: 5368: 5356: 5353: 5351: 5348: 5346: 5343: 5341: 5338: 5336: 5333: 5332: 5330: 5326: 5323: 5321: 5318: 5317: 5315: 5311: 5308: 5307: 5305: 5301: 5298: 5297: 5296: 5293: 5292: 5290: 5286: 5280: 5277: 5275: 5272: 5270: 5267: 5265: 5262: 5260: 5257: 5256: 5254: 5250: 5247: 5243: 5240: 5238: 5234: 5224: 5221: 5219: 5216: 5214: 5211: 5209: 5206: 5202: 5199: 5197: 5194: 5193: 5192: 5189: 5187: 5184: 5182: 5179: 5177: 5174: 5172: 5169: 5167: 5164: 5162: 5159: 5157: 5154: 5152: 5149: 5147: 5144: 5143: 5141: 5137: 5131: 5128: 5126: 5123: 5121: 5118: 5116: 5113: 5112: 5110: 5106: 5103: 5101: 5097: 5091: 5088: 5086: 5083: 5081: 5078: 5076: 5073: 5071: 5068: 5066: 5063: 5061: 5058: 5056: 5053: 5051: 5050:Impressionist 5048: 5046: 5043: 5041: 5038: 5036: 5033: 5031: 5028: 5026: 5023: 5021: 5020:Comedy troupe 5018: 5016: 5013: 5011: 5008: 5006: 5003: 5002: 5000: 4996: 4992: 4985: 4980: 4978: 4973: 4971: 4966: 4965: 4962: 4956: 4952: 4948: 4947:9780393066739 4944: 4940: 4939: 4934: 4931: 4930: 4919: 4915: 4910: 4905: 4901: 4897: 4893: 4888: 4876: 4872: 4868: 4863: 4852: 4848: 4844: 4839: 4835: 4831: 4827: 4823: 4819: 4815: 4810: 4806: 4802: 4798: 4794: 4790: 4785: 4780: 4776: 4772: 4768: 4763: 4759: 4755: 4751: 4747: 4743: 4739: 4734: 4730: 4725: 4721: 4717: 4713: 4709: 4705: 4701: 4696: 4692: 4687: 4683: 4678: 4674: 4669: 4668: 4661: 4657: 4653: 4649: 4645: 4641: 4637: 4632: 4628: 4623: 4619: 4615: 4611: 4606: 4602: 4597: 4593: 4589: 4585: 4581: 4577: 4573: 4568: 4564: 4560: 4556: 4552: 4548: 4544: 4540: 4536: 4531: 4527: 4522: 4518: 4513: 4512: 4505: 4501: 4497: 4493: 4489: 4485: 4481: 4476: 4472: 4468: 4464: 4460: 4456: 4452: 4447: 4443: 4441:9780812279108 4437: 4432: 4431: 4424: 4420: 4415: 4400: 4393: 4388: 4384: 4379: 4378: 4371: 4367: 4362: 4361: 4354: 4343: 4339: 4335: 4330: 4326: 4321: 4311:on 2015-09-24 4307: 4300: 4299: 4293: 4289: 4284: 4280: 4276: 4272: 4268: 4264: 4260: 4255: 4251: 4250: 4244: 4240: 4235: 4231: 4227: 4223: 4219: 4215: 4211: 4206: 4194: 4190: 4189: 4184: 4179: 4175: 4170: 4166: 4162: 4157: 4153: 4149: 4145: 4141: 4137: 4133: 4128: 4124: 4120: 4116: 4112: 4108: 4104: 4099: 4095: 4091: 4087: 4083: 4080:(1): 61–108. 4079: 4075: 4070: 4066: 4061: 4060: 4053: 4049: 4043: 4039: 4034: 4030: 4024: 4016: 4011: 4007: 4003: 3998: 3994: 3989: 3985: 3981: 3977: 3973: 3968: 3964: 3960: 3955: 3951: 3950: 3944: 3940: 3934: 3926: 3921: 3917: 3912: 3911: 3904: 3894:on 2016-10-22 3893: 3889: 3885: 3880: 3869: 3865: 3861: 3856: 3852: 3848: 3844: 3840: 3836: 3832: 3827: 3823: 3818: 3814: 3810: 3806: 3802: 3798: 3794: 3789: 3785: 3781: 3777: 3773: 3768: 3764: 3758: 3754: 3749: 3745: 3740: 3736: 3732: 3728: 3724: 3720: 3716: 3711: 3707: 3703: 3699: 3695: 3691: 3687: 3682: 3678: 3673: 3669: 3665: 3661: 3657: 3653: 3649: 3645: 3641: 3636: 3632: 3627: 3623: 3619: 3615: 3611: 3607: 3603: 3598: 3594: 3590: 3586: 3582: 3578: 3574: 3569: 3565: 3560: 3556: 3552: 3547: 3543: 3538: 3537: 3530: 3526: 3520: 3516: 3511: 3507: 3501: 3497: 3492: 3488: 3482: 3478: 3473: 3469: 3464: 3460: 3456: 3452: 3448: 3444: 3440: 3436: 3432: 3427: 3423: 3419: 3414: 3410: 3405: 3391: 3387: 3380: 3375: 3371: 3369:9780393098037 3365: 3360: 3359: 3352: 3348: 3343: 3339: 3335: 3330: 3326: 3322: 3317: 3312: 3308: 3304: 3300: 3295: 3292: 3286: 3282: 3281: 3275: 3271: 3266: 3262: 3258: 3254: 3250: 3246: 3242: 3237: 3232: 3231: 3225: 3220: 3216: 3211: 3207: 3202: 3190: 3186: 3181: 3177: 3173: 3169: 3165: 3161: 3157: 3153: 3149: 3144: 3140: 3135: 3131: 3129:9780874369861 3125: 3121: 3116: 3115: 3108: 3097: 3093: 3092:The Telegraph 3089: 3084: 3083: 3071: 3066: 3059: 3054: 3048:, p. 46. 3047: 3042: 3035: 3030: 3023: 3019: 3014: 3008:, p. 24. 3007: 3002: 2995: 2990: 2983: 2978: 2971: 2966: 2959: 2954: 2947: 2942: 2935: 2930: 2923: 2918: 2912:, p. 25. 2911: 2906: 2900:, p. 19. 2899: 2894: 2888:, p. 91. 2887: 2882: 2875: 2870: 2863: 2858: 2852:, p. 58. 2851: 2846: 2840:, p. 47. 2839: 2834: 2827: 2826:Morreall 2008 2822: 2815: 2810: 2803: 2798: 2791: 2786: 2779: 2774: 2772: 2764: 2759: 2752: 2747: 2741:, p. 27. 2740: 2735: 2728: 2723: 2716: 2711: 2709: 2701: 2696: 2689: 2684: 2677: 2672: 2665: 2660: 2653: 2648: 2641: 2640:Azzolina 1987 2636: 2629: 2624: 2617: 2612: 2605: 2604:Goldberg 1998 2600: 2593: 2588: 2581: 2577: 2576:Brunvand 1968 2572: 2565: 2560: 2553: 2548: 2541: 2536: 2529: 2524: 2517: 2512: 2505: 2500: 2493: 2488: 2481: 2476: 2469: 2468:Rahkonen 2000 2464: 2457: 2453: 2448: 2441: 2436: 2429: 2425: 2421: 2416: 2409: 2404: 2397: 2393: 2388: 2381: 2376: 2369: 2364: 2357: 2352: 2345: 2340: 2333: 2328: 2321: 2316: 2309: 2304: 2297: 2293: 2288: 2281: 2276: 2268: 2262: 2258: 2257: 2249: 2242: 2237: 2230: 2225: 2223: 2215: 2210: 2203: 2198: 2191: 2186: 2179: 2174: 2167: 2162: 2155: 2150: 2148: 2140: 2135: 2129:, p. 39. 2128: 2123: 2116: 2112: 2107: 2100: 2095: 2089:, p. 23. 2088: 2083: 2076: 2071: 2064: 2059: 2052: 2047: 2040: 2035: 2028: 2023: 2016: 2012: 2007: 2001:, p. 99. 2000: 1995: 1988: 1983: 1977:, p. 55. 1976: 1971: 1964: 1961:, p. 3; 1960: 1955: 1948: 1943: 1936: 1931: 1924: 1919: 1912: 1907: 1900: 1895: 1888: 1883: 1876: 1871: 1864: 1859: 1852: 1847: 1840: 1835: 1828: 1823: 1821: 1813: 1808: 1806: 1798: 1793: 1786: 1781: 1774: 1769: 1767: 1765: 1756: 1752: 1748: 1744: 1740: 1736: 1732: 1728: 1724: 1717: 1702: 1698: 1694: 1690: 1686: 1682: 1678: 1674: 1667: 1660: 1655: 1653: 1645: 1640: 1638: 1630: 1625: 1606: 1602: 1598: 1591: 1584: 1569: 1565: 1561: 1555: 1551: 1531: 1524: 1518: 1511: 1506: 1497: 1491: 1487: 1484: 1478: 1472: 1468: 1464: 1463: 1456: 1450: 1444: 1440: 1430: 1427: 1425: 1422: 1421: 1417: 1416:Comedy portal 1411: 1406: 1399: 1391: 1388: 1383: 1380: 1375: 1371: 1366: 1364: 1360: 1356: 1347: 1344: 1343:physiological 1340: 1339:psychological 1336: 1332: 1330: 1324: 1319: 1310: 1301: 1299: 1298: 1291: 1289: 1284: 1282: 1281:Elliott Oring 1276: 1271: 1267: 1263: 1261: 1256: 1251: 1247: 1238: 1235: 1231: 1226: 1224: 1219: 1217: 1213: 1207: 1205: 1200: 1190: 1185: 1180: 1175: 1172: 1168: 1164: 1160: 1154: 1151: 1147: 1143: 1138: 1137: 1130: 1127: 1126: 1118:Sigmund Freud 1116: 1107: 1104: 1097: 1087: 1080: 1077: 1073: 1070: 1067: 1064: 1061: 1058: 1055: 1052: 1049: 1046: 1045: 1044: 1042: 1038: 1037:Victor Raskin 1034: 1029: 1024: 1020: 1017: 1013: 1011: 1005: 1003: 999: 994: 992: 988: 984: 980: 976: 966: 964: 957: 947: 944: 938: 928: 926: 922: 918: 914: 908: 894: 891: 888: 885: 883: 880: 877: 874: 871: 868: 866: 863: 861: 860:Redneck jokes 858: 856: 853: 850: 847: 844: 841: 838: 835: 832: 829: 826: 823: 821: 818: 816: 813: 810: 807: 805: 802: 800: 797: 794: 791: 788: 785: 782: 780: 777: 775: 774:Two cow jokes 772: 770: 769:Chicken jokes 767: 764: 761: 759:jokes (Italy) 758: 755: 752: 749: 746: 742: 738: 735: 733: 732:Bellman jokes 730: 728: 725: 723: 720: 719: 717: 710: 706: 704: 700: 696: 692: 688: 684: 683:wind-up dolls 680: 676: 672: 668: 664: 660: 654: 644: 640: 635: 631: 629: 628:topical jokes 624: 620: 617: 613: 609: 605: 601: 597: 587: 582: 577: 572: 565:Relationships 562: 558: 553: 543: 540: 539:toilet humour 536: 526: 523: 519: 514: 510: 506: 501: 499: 495: 494:Victor Raskin 491: 481: 478: 473: 464: 461: 456: 453: 444: 442: 437: 433: 426:Telling jokes 423: 421: 417: 416: 411: 410: 403: 400: 396: 391: 389: 385: 382:in Spain and 381: 377: 373: 369: 365: 361: 360: 355: 351: 347: 343: 339: 335: 328: 323: 319: 317: 313: 309: 305: 300: 296: 292: 291: 286: 282: 281:ancient Greek 278: 274: 273: 267: 265: 261: 257: 253: 249: 248:Julius Caesar 245: 240: 238: 234: 230: 220: 219:Ancient Egypt 216: 212: 208: 204: 203:toilet humour 200: 197: 193: 188: 186: 174: 169: 160: 157: 153: 149: 145: 141: 137: 135: 131: 126: 124: 120: 116: 112: 108: 104: 98: 93: 91: 87: 83: 79: 75: 71: 67: 63: 59: 55: 47: 43: 42:Boris Yeltsin 39: 35: 30: 23: 6196:Storytelling 6188: 6138:Cunning folk 6069:Weather lore 5973: 5944:Urban legend 5673:Black sitcom 5653:Mockumentary 5561:Opéra bouffe 5529:Café-théâtre 5514:Ballad opera 5432:Harlequinade 5382:Comedy-drama 5161:Mockumentary 5059: 5045:Impersonator 5025:Comic timing 4936: 4899: 4895: 4879:. 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