511:. 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.
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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.
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938:. 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".
1217:. 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.
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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.
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976:, 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.
548:. 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
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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.
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1480:, 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."
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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.
1301:, 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.
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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.
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1376:. 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.
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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.
1004:, 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.
641:, "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.
1054:, 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:
1034:…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.
1208:"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.
246:. 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
1015:. 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.
1236:, 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.
1023:. 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.
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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.
143:, 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,
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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
377:, 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
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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
124:; 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
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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.
1229:(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.
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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
238:: "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
716:. 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.
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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
531:, 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
401:, 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.
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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
198:, 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.
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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.
1092:"…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."
108:"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.
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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
1294:'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.
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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".
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3099:"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"
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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
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216:: "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
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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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1117:"multidisciplinary, interdisciplinary, and cross-disciplinary field of inquiry" to truly appreciate these nuggets of cultural insight.
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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.
989:
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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
454:, a term coined by anthropologists to refer to social groups within a culture who engage in institutionalised banter and joking.
4352:
4170:
Jason, Heda (2000). "Motif, type, and genre: a manual for compilation of indices & a bibliography of indices and indexing".
1248:
single joke. Discourse analysis emphasises the entire context of social joking, the social interaction which cradles the words.
3440:
Coulson, Seana; Kutas, Marta (2001). "Getting it: Human event-related brain response to jokes in good and poor comprehenders".
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and is usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends in a
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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
1008:
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The punny phrase, "tertia deducta", can be translated as "with one-third off (in price)", or "with Tertia putting out."
6194:
5888:
4645:
Raskin, Victor; Attardo, Salvatore (1991). "Script theory revis(it)ed: joke similarity and joke representation model".
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Giles, H.; Oxford, G.S. (1970). "Towards a multidimensional theory of laughter causation and its social implications".
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was first published in 1925 with the stated goal of being a "sophisticated humour magazine" and is still known for
3970:"The Surprising Psychology of Smiling: Natural or fake, each smile tells you something important about its wearer"
1711:
5810:
1020:
4334:
Marcus, Adam (2001). "Laughter Shelved in Medicine Cabinet: America's sense of humor blunted by week of shock".
1600:
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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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17:
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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 (
684:, which describe all kinds of operational stupidity. Joke cycles can centre on ethnic groups, professions (
4985:
1477:
1173:
1144:
the jokes an individual laughs at? What is a "sense of humour"? A current review of the popular magazine
262:
3505:
Davies, Christie (1999). "Jokes on the Death of Diana". In Walter, Julian Anthony; Walter, Tony (eds.).
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239:
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Dundes, Alan (1972). "Folk ideas as units of World View". In Bauman, Richard; Paredes, Americo (eds.).
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disaster discussed above, cycles attach themselves to celebrities or national catastrophes such as the
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More sophisticated computer joke programs have yet to be developed. Based on our understanding of the
352:
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Frank, Russel (2009). "The Forward as Folklore: Studying E-Mailed Humor". In Blank, Trevor J. (ed.).
1369:
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The folklorist Robert Georges has summed up the concerns with these existing classification systems:
1007:
A more granular classification system used widely by folklorists and cultural anthropologists is the
4193:
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Hempelmann, Christian; Samson, Andrea C. (2008). "Cartoons: Drawn jokes?". In Raskin, Victor (ed.).
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Dundes, Alan (1981). "Many Hands Make Light Work or Caught in the Act of Screwing in Light Bulbs".
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Apte, Mahadev L. (1988). "Disciplinary boundaries in humorology: An anthropologist's ruminations".
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Raskin, Victor (1992). "Humor as a Non-Bona-Fide Mode of Communication". In E. L. Pedersen (ed.).
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Oring, Elliott (Spring 2000). "Review of Jokes and Their Relation to Society by Christie Davies".
4187:. Halle (Saale): Forschungsinstitut fĂĽr Neuere Philologie Leipzig: Neugermanistische Abteilung; 2.
3289:
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et al.), folklorists and anthropologists of the time needed a system to organise these items. The
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at the end of the 20th century introduced new traditions into jokes. A verbal joke or cartoon is
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Davies, Christie (2008). "Undertaking the Comparative Study of Humor". In Raskin, Victor (ed.).
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Catalogue of English and American chapbooks and broadside ballads in Harvard University Library
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4683:
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Laszlo, Kurti (July–September 1988). "The Politics of Joking: Popular Response to Chernobyl".
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Dorst, John (1990). "Tags and Burners, Cycles and Networks: Folklore in the Telectronic Age".
1290:
A stimulating generation of new humour theories flourishes like mushrooms in the undergrowth:
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The practice of printers using jokes and cartoons as page fillers was also widely used in the
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in which words are used within a specific and well-defined narrative structure to make people
6216:
5496:
5412:
5125:
4219:
Kerman, Judith B. (1980). "The Light-Bulb Jokes: Americans Look at Social Action Processes".
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Mother Wit from the Laughing Barrel: Readings in the Interpretation of Afro-American Folklore
3611:
Dundes, Alan (1971). "A Study of Ethnic Slurs: The Jew and the Polack in the United States".
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32:
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Dundes, Alan (October–December 1985). "The J. A. P. and the J. A. M. in American Jokelore".
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is a new field of study which uses computers to model humour; it bridges the disciplines of
1176:(FACS) is one of several tools used to identify any one of multiple types of smiles. Or the
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and the joke may go as far back as 2300 BC. The second oldest joke found, discovered on the
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405:
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Walle, Alf H. (1976). "Getting Picked up without Being Put down: Jokes and the Bar Rush".
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Rahkonen, Carl (2000). "No Laughing Matter: The Viola Joke Cycle as Musicians' Folklore".
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355:. This was coupled with the growth of literacy in all social classes. Printers turned out
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Nilsen, Alleen; Nilsen, Don C. (2008). "Literature and Humor". In Raskin, Victor (ed.).
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friendliness. To put it in another way, the relationship is one of permitted disrespect.
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Jokes can be notoriously difficult to translate from language to language; particularly
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Simons, Elizabeth Radin (1986). "The NASA Joke Cycle: The Astronauts and the Teacher".
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Einfache Formen. Legende, Sage, Mythe, Rätsel, Spruch, Kasus, Memorabile, Märchen, Witz
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How do we know that ___ had dandruff? They found his/her head and shoulders on the ___.
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Oring, Elliott (2008). "Humor in Anthropology and Folklore". In Raskin, Victor (ed.).
4408:. University of Twente, Netherlands: Center of Telematics and Information Technology.
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Linguistics has developed further methodological tools which can be applied to jokes:
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3767:
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3545:
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250:), has not survived intact, though legible fragments suggest it was bawdy in nature.
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3309:
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79:, whereby the humorous element of the story is revealed; this can be done using a
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Mintz, Lawrence E. (2008). "Humor and Popular Culture". In Raskin, Victor (ed.).
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1500:
1225:, it is the first theory to identify its approach as exclusively linguistic. The
1160:
953:
903:
789:
700:). A joke can be reused in different joke cycles; an example of this is the same
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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
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257:, which depend on specific words and not just on their meanings. For instance,
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Identified as one of the simple forms of oral literature by the Dutch linguist
100:
3573:
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
1601:"The Butt of the Joke?: Laughter and Potency in the Becoming of Good Soldiers"
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commissioned a team of academics, led by humour expert Paul McDonald from the
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can include objects, activities, instruments, props needed to tell the story.
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1600 BC, contains an example of one of the earliest surviving jokes.
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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
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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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3074:
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interests of the populace. One early anthology of jokes was the
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5673:
5360:
5355:
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Stop Me If You've Heard This: A History and Philosophy of Jokes
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This article is about the form of humour. For other uses, see
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5065:
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How Many Zen Buddhists Does It Take to Screw In a Light Bulb?
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1344:, meaning laughter) has been established; it is the study of
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Why did the chicken cross the road? To get to the other side.
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Various kinds of jokes have been identified in ancient pre-
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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,
5095:
4970:
4049:
The Game of Humor: A Comprehensive Theory of Why We Laugh
4006:. Bloomington and Indianapolis: Indiana University Press.
3435:(3–4). San Diego, CA: Technical Report CogSci.UCSD-98.03.
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2520:
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were first approved for use in the United States in 1960.
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317:, the eunuch, and people with hernias or bad breath. The
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80:
4299:
Rationale of the Dirty Joke: an Analysis of Sexual Humor
2194:
2031:
1903:
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4623:. Provo, UT: Brigham Young University. pp. 87–92.
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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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2878:
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2721:
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2704:
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Jewish American Princess and Jewish Mother joke cycles
351:
spread across Europe following the development of the
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3644:. Bloomington, IN: Trickster Press. pp. 120–134.
3479:
Ethnic Humor Around the World: A comparative Analysis
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696:), or logical mechanisms which generate the humour (
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727:Joke cycles circulated in the recent past include:
265:, who was rumoured to be prostituting her daughter
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3686:Dundes, Alan (1980). "Texture, text and context".
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1951:
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397:in England. There is also a jest book ascribed to
3226:Humorous Texts: A Semantic and Pragmatic Analysis
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4526:. Berlin, New York: Mouton de Gruyter. pp.
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3766:. University Press of Mississippi. p. 612.
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650:moment, when attempts at humour are unsuccessful
275:conparavit Servilia hunc fundum tertia deducta."
205:texts. The oldest identified joke is an ancient
4778:"Joking Relationships in an Industrial Setting"
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3933:
3801:
3249:
3150:Humor and Laughter: An Anthropological Approach
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1897:
1299:Humor and Laughter: An Anthropological Approach
4647:Humor: International Journal of Humor Research
4546:Journal of the International African Institute
4085:Humor: International Journal of Humor Research
4026:Medieval & Renaissance Texts & Studies
3252:Humor: International Journal of Humor Research
3159:Humor: International Journal of Humor Research
1308:Humor: International Journal of Humor Research
1011:, which separates tales into their individual
290:), a collection of 265 jokes written in crude
5896:
5882:
4986:
4644:
4400:
4111:
3417:
3044:
2354:
1861:
1598:
911:
340:, author of one of the first joke anthologies
4737:
4427:
4401:Mulder, M.P.; Nijholt, A. (September 2002).
4194:"World's oldest joke traced back to 1900 BC"
4001:
3839:
3830:
3439:
3426:
2968:
2466:
2137:
2049:
2037:
1945:
1251:
4693:Explorations in the Ethnography of Speaking
4010:
3960:Der Witz und seine Beziehung zum UnbewuĂźten
3028:
2257:
1136:Jokes and their Relation to the Unconscious
1100:
5889:
5875:
4993:
4979:
4903:"Neural correlates of laughter and humour"
4851:
4678:Primer of Humor Research: Humor Research 8
4638:Primer of Humor Research: Humor Research 8
4614:. Dordrecht, Boston, Lancaster: D. Reidel.
4522:Primer of Humor Research: Humor Research 8
4430:Primer of Humor Research: Humor Research 8
4388:Primer of Humor Research: Humor Research 8
4371:Primer of Humor Research: Humor Research 8
4070:Primer of Humor Research: Humor Research 8
4051:. Piscataway, NJ: Transaction Publishers.
4038:: CS1 maint: location missing publisher (
3948:: CS1 maint: location missing publisher (
3547:Primer of Humor Research: Humor Research 8
3397:Primer of Humor Research: Humor Research 8
1837:
835:Little Willie and Quadriplegic joke cycles
38:"Jest" redirects here. For the horse, see
4918:
4878:"The Secret History Of Knock-Knock Jokes"
4818:. Logan, UT: Utah State University Press.
4793:
4742:. Logan, UT: Utah State University Press.
4247:
3577:. Berkeley, CA: University of California.
3360:. Logan, UT: Utah State University Press.
3325:
2462:
1404:
1314:
979:
617:; reactions include a replied email with
381:. Examples of this are the characters of
4738:Sims, Martha; Stephens, Martine (2005).
4580:
4383:
4023:
3835:. Detroit: Wayne State University Press.
3762:Dundes, Alan, ed. (1991). "Folk Humor".
3481:. Bloomington: Indiana University Press.
3418:Cathcart, Thomas; Klein, Daniel (2007).
3364:
3278:
3129:. Santa Barbara, CA: ABC-CLIO. pp.
2836:
2650:
2614:
2586:
2478:
1348:and its effects on the body from both a
1318:
1155:developed by the American psychologists
1124:
718:
514:This is the point at which the field of
331:
177:
47:
4852:Ward, A.W.; Waller, A.R., eds. (2000).
4810:
4534:
4141:Hirsch, Robin (1964). "Wind-Up Dolls".
4082:
3980:
3967:
3572:
3490:. Walter de Gruyter. pp. 186–189.
3429:USCD Cognitive Science Technical Report
3387:
3355:
3235:"A primer for the linguistics of humor"
3232:
3223:
3214:
3152:. Ithaca, NY: Cornell University Press.
3032:
2944:
2872:
2800:
2749:
2737:
2725:
2710:
2061:
2025:
1997:
1985:
1639:
1360:
269:to Caesar in order to keep his favour.
14:
6247:
4708:
4699:
4640:. Berlin, New York: Mouton de Gruyter.
4635:
4618:
4609:
4333:
4296:
4267:
4218:
4191:
4182:
4178:. Helsinki: Suomalainen Tiedeakatemia.
4140:
4046:
4013:Bulletin of British Psychology Society
3934:Freedman, Matt; Hoffman, Paul (1980).
3831:Dundes, Alan; Pagter, Carl R. (1987).
3780:
3761:
3752:
3723:
3694:
3685:
3648:
3639:
3610:
3581:
3542:
3523:
3504:
3485:
3476:
3307:
3219:. Berlin, New York: Mouton de Gruyter.
3068:
3056:
2932:
2896:
2788:
2698:
2686:
2638:
2602:
2590:
2562:
2550:
2526:
2514:
2490:
2450:
2430:
2418:
2406:
2402:
2378:
2366:
2342:
2330:
2318:
2290:
2109:
2097:
2021:
2009:
1973:
1957:
1933:
1921:
1885:
1681:
1669:
1654:
1481:
1227:Script-based Semantic Theory of Humour
509:Script-based Semantic Theory of Humour
5870:
4974:
4875:
4822:
4775:
4746:
4690:
4517:
4488:
4459:
4436:
4366:
4342:
4169:
3956:
3916:
3892:
3868:
3559:
3342:
3287:
3096:
2956:
2824:
2812:
2662:
2574:
2538:
2502:
2438:
2434:
2390:
2306:
2302:
2251:
2239:
2224:
2212:
2200:
2188:
2176:
2125:
2121:
2085:
1969:
1909:
1873:
1822:
1807:
1795:
1783:
280:The earliest extant joke book is the
4673:
4415:from the original on 20 October 2016
4263:. Cambridge, MA: Harvard University.
4257:Lane, William Coolidge, ed. (1905).
4256:
4004:Folkloristics : an Introduction
3193:
3156:
3147:
3016:
3004:
2992:
2920:
2908:
2884:
2860:
2848:
2773:
2164:
1849:
1621:from the original on 9 February 2021
1435:List of humour research publications
1046:or GTVH, developed by the linguists
990:Aarne–Thompson classification system
4403:"Humour Research: State of the Art"
4305:
4206:from the original on August 2, 2023
3642:Toward New Perspectives in Folklore
3488:Jokes and Their Relation to Society
3120:
2674:
2626:
2270:. Walter de Gruyter. pp. 69–.
1731:
304:, "Philistion". British classicist
173:
24:
4937:
3963:. Leipzig, Vienna: Franz Deuticke.
704:joke refitted to the tragedies of
458:Framing: "Have you heard the one…"
25:
6276:
4825:Journal of the Folklore Institute
4301:. New York: Simon & Schuster.
3373:. New York, London: W.W. Norton.
3202:from the original on 5 March 2016
1323:Charles Darwin in his later years
936:Space Shuttle Challenger disaster
928:death of Diana, Princess of Wales
557:Shifting contexts, shifting texts
5850:
5841:
5840:
4888:from the original on May 8, 2015
4491:The Journal of American Folklore
4462:The Journal of American Folklore
4270:The Journal of American Folklore
3968:Furnham, Adrian (Oct 30, 2014).
3726:The Journal of American Folklore
3509:. Berg Publishers. p. 255.
1539:
1419:
773:Challenger (space shuttle) jokes
680:incorporating black humour, and
575:
436:
321:even contains a joke similar to
298:", just "Hierokles", or, in the
4876:Weeks, Linton (March 3, 2015).
4864:from the original on 2015-09-23
4355:from the original on 2016-08-11
3881:from the original on 2021-09-29
3406:from the original on 2015-09-24
3356:Bronner, Simon J., ed. (2007).
3109:from the original on 2018-05-28
3089:
1714:from the original on 2022-08-29
1581:from the original on 2023-05-26
1526:
1514:
1505:
1486:
1234:General Theory of Verbal Humour
1044:General Theory of Verbal Humour
992:was first published in 1910 by
941:
544:Expected response to a joke is
359:along with Bibles to meet both
6201:Motif-Index of Folk-Literature
4539:. Santa Barbara, CA: ABC-CLIO.
4192:Joseph, John (July 31, 2008).
3369:The Study of American Folklore
1732:Low, Peter Alan (2011-03-01).
1725:
1675:
1592:
1563:
1464:
1452:
1203:
961:Absurdities and gallows humour
887:Said the actress to the bishop
657:
13:
1:
4952:New York: W.W. Norton, 2008.
4795:10.1525/aa.1966.68.1.02a00250
3875:International Folklore Review
3454:10.1016/s0304-3940(01)02387-4
3365:Brunvand, Jan Harald (1968).
3327:10.1525/aa.1975.77.2.02a00030
1599:Sløk-Andersen, Beate (2019).
1552:
1120:
600:
232:
187:
4704:. London: John Wiley: 11–36.
4636:Raskin, Victor, ed. (2008).
4612:Semantic Mechanisms of Humor
4343:Mason, Bruce Lionel (1998).
4221:Journal of American Folklore
4114:Journal of American Folklore
3983:Journal of Folklore Research
3895:"Making a Big Apple Crumble"
3783:Journal of Folklore Research
3757:. Berkeley: Ten Speed Press.
3613:Journal of American Folklore
3584:Journal of American Folklore
3562:Journal of Folklore Research
3228:. Berlin: Walter de Gruyter.
3217:Linguistic Theories of Humor
3081:Hempelmann & Samson 2008
1750:10.1080/0907676X.2010.493219
1734:"Translating jokes and puns"
1557:
1470:In 2008, British TV channel
1223:incongruity theory of humour
494:
27:Display of humor using words
7:
4659:10.1515/humr.1991.4.3-4.293
4047:Gruner, Charles R. (1997).
3395:. In Raskin, Victor (ed.).
3390:"Historical Views of Humor"
3310:"Verbal Art as Performance"
3264:10.1515/humr.1992.5.1-2.165
3237:. In Raskin, Victor (ed.).
3233:Attardo, Salvatore (2008).
3224:Attardo, Salvatore (2001).
3215:Attardo, Salvatore (1994).
2981:Dundes & Hauschild 1983
2762:Attardo & Chabanne 1992
1898:Attardo & Chabanne 1992
1478:University of Wolverhampton
1412:
1174:Facial Action Coding System
803:joke cycle (United Kingdom)
688:), catastrophes, settings (
613:to a friend or posted on a
539:
353:movable type printing press
99:, or other means. Linguist
95:, logical incompatibility,
10:
6281:
6195:Aarne–Thompson–Uther Index
6190:Morphology (folkloristics)
5000:
4860:. New York: BARTLEBY.COM.
4306:Lew, Robert (April 1996).
3899:New Directions in Folklore
3528:. Transaction Publishers.
3422:. New York: Penguin Books.
2264:Salvatore Attardo (2001).
1153:Values in Action Inventory
1104:
964:
945:
915:
912:Tragedies and catastrophes
819:Jew and Polack joke cycles
661:
579:
560:
477:
29:
6177:
6141:
6088:
6018:
5963:
5905:
5836:
5701:
5609:
5515:
5380:
5298:
5262:
5255:
5246:
5149:
5118:
5109:
5008:
4252:. Unpublished Manuscript.
3921:Folklore and the Internet
3486:Davies, Christie (1998).
3477:Davies, Christie (1990).
3194:Apte, Mahadev L. (2002).
3148:Apte, Mahadev L. (1985).
3045:Mulder & Nijholt 2002
2355:Hirsch & Barrick 1980
1862:Cathcart & Klein 2007
1370:computational linguistics
1252:Folklore and anthropology
1114:blind men and an elephant
607:electronic communications
224:and believed to be about
4816:The Dynamics of Folklore
4297:Legman, Gershon (1968).
4097:10.1515/humr.1991.4.1.61
3308:Bauman, Richard (1975).
3279:Azzolina, David (1987).
3241:Primer of Humor Research
2969:Dundes & Pagter 1987
2467:Dundes & Pagter 1991
2138:Sims & Stephens 2005
2050:Coulson & Kutas 2001
2038:Coulson & Kutas 1998
1946:Sims & Stephens 2005
1458:Generally attributed to
1445:
1101:Joke and humour research
996:, and later expanded by
932:death of Michael Jackson
714:Challenger space shuttle
645:responses to the jokes.
212:from 1900 BC containing
5290:Theatre of ancient Rome
4782:American Anthropologist
4610:Raskin, Victor (1985).
4437:Oring, Elliott (1984).
4248:Kitchener, Amy (1991).
3957:Freud, Sigmund (1905).
3343:Berry, William (2013).
3314:American Anthropologist
3171:10.1515/humr.1988.1.1.5
3097:Adams, Stephen (2008).
3029:Giles & Oxford 1970
1575:www.merriam-webster.com
1374:artificial intelligence
1339:
1083:Narrative strategy (NS)
806:Helen Keller joke cycle
676:using nonsense humour,
345:During the 15th century
315:absent-minded professor
242:dating back to 1200 BC
103:offers the definition:
4776:Sykes, A.J.M. (1966).
4183:Jolles, André (1930).
3877:(8). London: 110–124.
3507:The Mourning for Diana
1838:Ward & Waller 2000
1682:Sadler, J. D. (1982).
1405:International Joke Day
1324:
1315:Physiology of laughter
1288:
1130:
1065:Logical Mechanism (LM)
1059:Script Opposition (SO)
1036:
980:Classification systems
856:Persian Gulf War jokes
724:
692:), absurd characters (
652:
594:
341:
191:
110:
60:
5497:Theatre of the Absurd
3753:Dundes, Alan (1987).
3688:Interpreting Folklore
3388:Carrell, Amy (2008).
1688:The Classical Journal
1322:
1283:
1261:cultural anthropology
1245:conversation analysis
1128:
1032:
722:
647:
589:
443:conversation analysis
335:
218:Old Babylonian period
181:
105:
51:
33:Joke (disambiguation)
5472:Shakespearean comedy
5270:Ancient Greek comedy
4920:10.1093/brain/awg226
3893:Ellis, Bill (2002).
3869:Ellis, Bill (1991).
3442:Neuroscience Letters
3345:"The Joke's On Who?"
3288:Beard, Mary (2014),
3283:. New York: Garland.
2150:Radcliffe-Brown 1940
1571:"Definition of JOKE"
1398:ontological semantic
1366:Computational humour
1361:Computational humour
1157:Christopher Peterson
1009:Thompson Motif Index
712:and the crew of the
702:Head & Shoulders
452:joking relationships
145:through the internet
120:is an example of an
6265:Traditional stories
3901:(6). Archived from
3035:, pp. 116–117.
2529:, pp. 163–165.
2293:, pp. 142–143.
2203:, pp. 180–181.
2064:, pp. 125–126.
1912:, pp. 337–353.
1810:, pp. 186–188.
1684:"Latin Paronomasia"
1521:Contraceptive pills
1440:Index of joke types
1271:Anecdotes and jokes
1021:other motif indices
1002:anecdotes and jokes
853:joke cycle (Canada)
815:Desert island jokes
710:Admiral Mountbatten
582:Joking relationship
399:William Shakespeare
391:Lazarillo de Tormes
349:printing revolution
6055:Luminous gemstones
5950:Personal narrative
5460:Comédie larmoyante
5455:Sentimental comedy
5450:Restoration comedy
5413:Commedia dell'arte
5285:Corral de comedias
2179:, pp. 99–100.
2024:, pp. 12–13;
1499:2023-01-16 at the
1390:lexical definition
1325:
1241:discourse analysis
1131:
795:East Frisian jokes
725:
445:, the sociologist
375:Poggio Bracciolini
342:
338:Poggio Bracciolini
336:1597 engraving of
327:Dead Parrot Sketch
288:The Laughter-Lover
192:
61:
6242:
6241:
5864:
5863:
5642:Musical comedians
5605:
5604:
5403:Comedy of manners
5398:Comedy of humours
5388:Boulevard theatre
5376:
5375:
5280:Comédie-Italienne
5275:Comédie-Française
5242:
5241:
4913:(10): 2121–2138.
4172:FF Communications
4058:978-0-7658-0659-8
3773:978-0-87805-478-7
3535:978-0-7658-0096-1
3516:978-1-85973-238-0
3497:978-3-11-016104-5
3301:978-0-520-95820-3
3071:, p. 17/349.
2887:, pp. 40–45.
2565:, pp. 41–54.
2277:978-3-11-017068-9
2112:, pp. 23–24.
2052:, pp. 71–74.
1924:, pp. 20–32.
1642:, pp. 65–66.
1608:Cultural Analysis
1534:theories of humor
1388:further than the
1188:The psychologist
1182:types of laughter
1107:Theories of humor
1052:Salvatore Attardo
898:Wind-up doll joke
826:Knock-knock jokes
733:Conditional jokes
698:knock-knock jokes
690:…walks into a bar
387:Till Eulenspiegel
83:or other type of
16:(Redirected from
6272:
6185:Folklore studies
5900:genres and types
5891:
5884:
5877:
5868:
5867:
5854:
5844:
5843:
5791:Self-referential
5408:Comedy of menace
5260:
5259:
5253:
5252:
5116:
5115:
4995:
4988:
4981:
4972:
4971:
4932:
4922:
4897:
4895:
4893:
4872:
4870:
4869:
4848:
4831:(332): 201–217.
4819:
4807:
4797:
4772:
4749:Western Folklore
4743:
4734:
4711:Western Folklore
4705:
4696:
4687:
4681:
4670:
4641:
4632:
4615:
4606:
4583:Western Folklore
4577:
4552:(332): 195–210.
4540:
4531:
4525:
4514:
4497:(448): 220–221.
4485:
4468:(397): 276–286.
4456:
4444:
4433:
4424:
4422:
4420:
4414:
4407:
4397:
4391:
4380:
4374:
4363:
4361:
4360:
4339:
4330:
4328:
4327:
4321:
4314:
4302:
4293:
4276:(401): 324–334.
4264:
4253:
4244:
4227:(370): 454–458.
4215:
4213:
4211:
4188:
4179:
4166:
4143:Western Folklore
4137:
4120:(370): 441–448.
4108:
4079:
4073:
4062:
4043:
4037:
4029:
4020:
4007:
3998:
3977:
3974:Psychology Today
3964:
3953:
3947:
3939:
3930:
3924:
3913:
3911:
3910:
3889:
3887:
3886:
3865:
3842:Western Folklore
3836:
3827:
3804:Western Folklore
3798:
3777:
3758:
3749:
3732:(390): 456–475.
3720:
3697:Western Folklore
3691:
3682:
3651:Western Folklore
3645:
3636:
3619:(332): 186–203.
3607:
3578:
3569:
3556:
3550:
3539:
3526:Mirth of Nations
3520:
3501:
3482:
3473:
3436:
3423:
3414:
3412:
3411:
3405:
3394:
3384:
3372:
3361:
3352:
3349:Psychology Today
3339:
3329:
3304:
3284:
3275:
3258:(1/2): 165–176.
3246:
3244:
3229:
3220:
3211:
3209:
3207:
3190:
3153:
3144:
3128:
3117:
3115:
3114:
3084:
3078:
3072:
3066:
3060:
3054:
3048:
3042:
3036:
3026:
3020:
3014:
3008:
3002:
2996:
2990:
2984:
2978:
2972:
2966:
2960:
2954:
2948:
2942:
2936:
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2924:
2918:
2912:
2906:
2900:
2894:
2888:
2882:
2876:
2870:
2864:
2858:
2852:
2846:
2840:
2834:
2828:
2822:
2816:
2810:
2804:
2798:
2792:
2786:
2777:
2771:
2765:
2759:
2753:
2747:
2741:
2735:
2729:
2723:
2714:
2708:
2702:
2696:
2690:
2684:
2678:
2672:
2666:
2660:
2654:
2648:
2642:
2636:
2630:
2624:
2618:
2612:
2606:
2600:
2594:
2584:
2578:
2572:
2566:
2560:
2554:
2553:, pp. 3–14.
2548:
2542:
2536:
2530:
2524:
2518:
2512:
2506:
2500:
2494:
2488:
2482:
2476:
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2442:
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2416:
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2400:
2394:
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2376:
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2364:
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2346:
2340:
2334:
2328:
2322:
2316:
2310:
2300:
2294:
2288:
2282:
2281:
2261:
2255:
2249:
2243:
2237:
2228:
2222:
2216:
2210:
2204:
2198:
2192:
2186:
2180:
2174:
2168:
2162:
2153:
2147:
2141:
2135:
2129:
2119:
2113:
2107:
2101:
2095:
2089:
2083:
2077:
2074:Wild et al. 2003
2071:
2065:
2059:
2053:
2047:
2041:
2035:
2029:
2019:
2013:
2007:
2001:
1995:
1989:
1983:
1977:
1967:
1961:
1955:
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1937:
1931:
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1901:
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1567:
1546:
1543:
1537:
1530:
1524:
1518:
1512:
1509:
1503:
1490:
1484:
1468:
1462:
1456:
1429:
1424:
1423:
1342:
1336:(from the Greek
1198:
1147:Psychology Today
952:The sociologist
682:light bulb jokes
516:neurolinguistics
379:picaresque novel
308:states that the
237:
234:
189:
174:History in print
118:shaggy dog story
67:is a display of
43:
36:
21:
6280:
6279:
6275:
6274:
6273:
6271:
6270:
6269:
6245:
6244:
6243:
6238:
6173:
6137:
6113:Folk instrument
6084:
6065:Old wives' tale
6050:Legend tripping
6014:
5959:
5901:
5895:
5865:
5860:
5832:
5697:
5679:Animated sitcom
5601:
5567:Musical theatre
5517:
5511:
5487:Stand-up comedy
5433:One-person show
5423:Improvisational
5372:
5294:
5238:
5192:Science fiction
5145:
5105:
5026:Comedy festival
5004:
4999:
4940:
4938:Further reading
4935:
4891:
4889:
4867:
4865:
4837:10.2307/3813856
4761:10.2307/1499820
4723:10.2307/1499821
4595:10.2307/1500468
4558:10.2307/1156093
4453:
4418:
4416:
4412:
4405:
4358:
4356:
4349:Oral Traditions
4336:Healingwell.com
4325:
4323:
4319:
4312:
4209:
4207:
4155:10.2307/1498259
4059:
4031:
4030:
3941:
3940:
3908:
3906:
3884:
3882:
3854:10.2307/1499881
3816:10.2307/1499500
3774:
3709:10.2307/1499697
3663:10.2307/1499238
3590:(296): 95–105.
3536:
3517:
3498:
3409:
3407:
3403:
3392:
3381:
3302:
3205:
3203:
3141:
3112:
3110:
3092:
3087:
3079:
3075:
3067:
3063:
3055:
3051:
3043:
3039:
3027:
3023:
3015:
3011:
3003:
2999:
2991:
2987:
2979:
2975:
2967:
2963:
2955:
2951:
2943:
2939:
2931:
2927:
2919:
2915:
2907:
2903:
2895:
2891:
2883:
2879:
2871:
2867:
2859:
2855:
2847:
2843:
2835:
2831:
2823:
2819:
2811:
2807:
2799:
2795:
2787:
2780:
2772:
2768:
2760:
2756:
2748:
2744:
2736:
2732:
2724:
2717:
2709:
2705:
2697:
2693:
2685:
2681:
2673:
2669:
2661:
2657:
2649:
2645:
2637:
2633:
2625:
2621:
2613:
2609:
2601:
2597:
2589:, p. 238;
2585:
2581:
2573:
2569:
2561:
2557:
2549:
2545:
2537:
2533:
2525:
2521:
2513:
2509:
2501:
2497:
2489:
2485:
2477:
2473:
2461:
2457:
2449:
2445:
2429:
2425:
2417:
2413:
2401:
2397:
2389:
2385:
2377:
2373:
2365:
2361:
2353:
2349:
2341:
2337:
2329:
2325:
2317:
2313:
2301:
2297:
2289:
2285:
2278:
2262:
2258:
2250:
2246:
2238:
2231:
2223:
2219:
2211:
2207:
2199:
2195:
2187:
2183:
2175:
2171:
2163:
2156:
2148:
2144:
2136:
2132:
2120:
2116:
2108:
2104:
2096:
2092:
2084:
2080:
2072:
2068:
2060:
2056:
2048:
2044:
2036:
2032:
2020:
2016:
2008:
2004:
1996:
1992:
1984:
1980:
1968:
1964:
1956:
1952:
1944:
1940:
1932:
1928:
1920:
1916:
1908:
1904:
1896:
1892:
1884:
1880:
1872:
1868:
1860:
1856:
1848:
1844:
1836:
1829:
1821:
1814:
1806:
1802:
1794:
1790:
1782:
1773:
1730:
1726:
1717:
1715:
1680:
1676:
1668:
1661:
1653:
1646:
1638:
1634:
1624:
1622:
1618:
1603:
1597:
1593:
1584:
1582:
1569:
1568:
1564:
1560:
1555:
1550:
1549:
1544:
1540:
1531:
1527:
1519:
1515:
1510:
1506:
1501:Wayback Machine
1491:
1487:
1469:
1465:
1457:
1453:
1448:
1425:
1418:
1415:
1407:
1363:
1317:
1254:
1206:
1192:
1161:Martin Seligman
1123:
1109:
1103:
982:
969:
963:
954:Christie Davies
950:
944:
920:
914:
909:
862:jokes (Hungary)
831:Lightbulb jokes
790:Dead baby jokes
776:Chernobyl jokes
764:jokes (Austria)
678:dead baby jokes
666:
662:Main category:
660:
634:Internet joking
603:
584:
578:
565:
559:
542:
497:
480:
460:
439:
420:Reader's Digest
373:by the Italian
273:remarked that "
235:
222:Westcar Papyrus
184:Westcar Papyrus
176:
136:and anecdotes.
130:practical jokes
59:enjoying a joke
44:
37:
30:
28:
23:
22:
15:
12:
11:
5:
6278:
6268:
6267:
6262:
6257:
6240:
6239:
6237:
6236:
6231:
6230:
6229:
6224:
6219:
6209:
6204:
6197:
6192:
6187:
6181:
6179:
6175:
6174:
6172:
6171:
6166:
6161:
6156:
6151:
6145:
6143:
6139:
6138:
6136:
6135:
6130:
6128:Folk wrestling
6125:
6120:
6115:
6110:
6105:
6100:
6094:
6092:
6086:
6085:
6083:
6082:
6077:
6072:
6067:
6062:
6057:
6052:
6047:
6042:
6041:
6040:
6030:
6024:
6022:
6016:
6015:
6013:
6012:
6007:
6002:
5997:
5992:
5987:
5982:
5981:
5980:
5973:Folk etymology
5969:
5967:
5965:Oral tradition
5961:
5960:
5958:
5957:
5952:
5947:
5942:
5937:
5932:
5931:
5930:
5920:
5915:
5909:
5907:
5903:
5902:
5894:
5893:
5886:
5879:
5871:
5862:
5861:
5859:
5858:
5848:
5837:
5834:
5833:
5831:
5830:
5825:
5820:
5815:
5814:
5813:
5803:
5798:
5793:
5788:
5783:
5778:
5773:
5768:
5763:
5754:
5749:
5743:
5738:
5733:
5728:
5723:
5718:
5713:
5707:
5705:
5699:
5698:
5696:
5695:
5694:
5693:
5692:
5691:
5686:
5681:
5671:
5666:
5656:
5651:
5646:
5645:
5644:
5639:
5634:
5629:
5624:
5613:
5611:
5607:
5606:
5603:
5602:
5600:
5599:
5594:
5589:
5584:
5579:
5574:
5569:
5564:
5559:
5554:
5549:
5547:Comédie-ballet
5544:
5543:
5542:
5537:
5527:
5521:
5519:
5513:
5512:
5510:
5509:
5504:
5499:
5494:
5492:Street theatre
5489:
5484:
5479:
5474:
5469:
5464:
5463:
5462:
5452:
5447:
5446:
5445:
5435:
5430:
5425:
5420:
5415:
5410:
5405:
5400:
5395:
5390:
5384:
5382:
5378:
5377:
5374:
5373:
5371:
5370:
5369:
5368:
5363:
5358:
5353:
5348:
5340:
5339:
5338:
5333:
5325:
5324:
5323:
5315:
5314:
5313:
5302:
5300:
5296:
5295:
5293:
5292:
5287:
5282:
5277:
5272:
5266:
5264:
5257:
5250:
5244:
5243:
5240:
5239:
5237:
5236:
5231:
5226:
5221:
5216:
5215:
5214:
5209:
5199:
5194:
5189:
5184:
5179:
5174:
5169:
5164:
5159:
5153:
5151:
5147:
5146:
5144:
5143:
5138:
5133:
5128:
5122:
5120:
5113:
5107:
5106:
5104:
5103:
5098:
5093:
5088:
5083:
5078:
5073:
5068:
5063:
5058:
5053:
5048:
5043:
5038:
5033:
5028:
5023:
5021:Comedic device
5018:
5012:
5010:
5006:
5005:
4998:
4997:
4990:
4983:
4975:
4969:
4968:
4939:
4936:
4934:
4933:
4898:
4873:
4849:
4820:
4812:Toelken, Barre
4808:
4788:(1): 188–193.
4784:. New Series.
4773:
4755:(4): 243–260.
4744:
4735:
4717:(4): 261–277.
4706:
4697:
4688:
4671:
4642:
4633:
4616:
4607:
4578:
4541:
4532:
4515:
4503:10.2307/541299
4486:
4474:10.2307/540324
4457:
4451:
4434:
4425:
4398:
4381:
4364:
4340:
4331:
4303:
4294:
4282:10.2307/540473
4265:
4254:
4245:
4233:10.2307/539876
4216:
4189:
4180:
4167:
4149:(2): 107–110.
4138:
4126:10.2307/539874
4109:
4080:
4063:
4057:
4044:
4021:
4008:
3999:
3978:
3965:
3954:
3931:
3914:
3890:
3866:
3848:(3): 303–322.
3837:
3828:
3810:(4): 249–260.
3799:
3778:
3772:
3759:
3750:
3738:10.2307/540367
3721:
3703:(3): 261–266.
3692:
3683:
3657:(3): 145–157.
3646:
3637:
3625:10.2307/538989
3608:
3596:10.2307/538171
3579:
3570:
3557:
3540:
3534:
3521:
3515:
3502:
3496:
3483:
3474:
3437:
3424:
3415:
3385:
3379:
3362:
3353:
3340:
3320:(2): 290–311.
3316:. New Series.
3305:
3300:
3285:
3276:
3247:
3230:
3221:
3212:
3191:
3154:
3145:
3139:
3118:
3093:
3091:
3088:
3086:
3085:
3083:, p. 354.
3073:
3061:
3049:
3037:
3021:
3009:
2997:
2985:
2983:, p. 250.
2973:
2971:, p. vii.
2961:
2949:
2947:, p. 114.
2937:
2925:
2913:
2901:
2889:
2877:
2865:
2853:
2841:
2839:, p. 224.
2829:
2817:
2805:
2803:, p. 304.
2793:
2778:
2766:
2764:, p. 172.
2754:
2742:
2740:, p. 223.
2730:
2715:
2713:, p. 111.
2703:
2701:, p. 198.
2691:
2679:
2667:
2655:
2643:
2631:
2619:
2607:
2595:
2579:
2577:, p. 194.
2567:
2555:
2543:
2531:
2519:
2507:
2495:
2483:
2471:
2463:Kitchener 1991
2455:
2443:
2423:
2411:
2395:
2383:
2371:
2359:
2347:
2335:
2323:
2311:
2295:
2283:
2276:
2256:
2244:
2229:
2227:, p. 183.
2217:
2205:
2193:
2181:
2169:
2154:
2152:, p. 196.
2142:
2130:
2128:, p. 201.
2114:
2102:
2090:
2088:, p. 350.
2078:
2066:
2054:
2042:
2030:
2028:, p. 312.
2014:
2002:
2000:, p. 308.
1990:
1978:
1962:
1950:
1948:, p. 141.
1938:
1926:
1914:
1902:
1890:
1888:, p. 103.
1878:
1866:
1854:
1842:
1827:
1825:, p. 188.
1812:
1800:
1798:, p. 185.
1788:
1771:
1724:
1694:(2): 138–141.
1674:
1659:
1644:
1632:
1591:
1577:. 2023-06-11.
1561:
1559:
1556:
1554:
1551:
1548:
1547:
1538:
1525:
1513:
1504:
1485:
1463:
1450:
1449:
1447:
1444:
1443:
1442:
1437:
1431:
1430:
1414:
1411:
1406:
1403:
1362:
1359:
1329:Charles Darwin
1316:
1313:
1253:
1250:
1205:
1202:
1190:Willibald Ruch
1122:
1119:
1105:Main article:
1102:
1099:
1094:
1093:
1090:Language (LA)
1087:
1080:
1074:
1071:Situation (SI)
1068:
1062:
1013:story elements
998:Stith Thompson
986:Brothers Grimm
981:
978:
962:
959:
946:Main article:
943:
940:
916:Main article:
913:
910:
908:
907:
901:
895:
890:
884:
881:Sardarji jokes
878:
873:
868:
863:
857:
854:
848:
842:
836:
833:
828:
823:
820:
817:
812:
807:
804:
798:
792:
787:
782:
777:
774:
771:
765:
759:
756:Microsoft joke
745:
740:
735:
729:
674:elephant jokes
659:
656:
615:bulletin board
605:The advent of
602:
599:
580:Main article:
577:
574:
558:
555:
541:
538:
496:
493:
479:
476:
459:
456:
438:
435:
426:The New Yorker
395:Master Skelton
236: 1600 BC
175:
172:
101:Robert Hetzron
26:
18:Political joke
9:
6:
4:
3:
2:
6277:
6266:
6263:
6261:
6258:
6256:
6253:
6252:
6250:
6235:
6232:
6228:
6225:
6223:
6220:
6218:
6215:
6214:
6213:
6210:
6208:
6205:
6203:
6202:
6198:
6196:
6193:
6191:
6188:
6186:
6183:
6182:
6180:
6176:
6170:
6167:
6165:
6162:
6160:
6157:
6155:
6152:
6150:
6147:
6146:
6144:
6140:
6134:
6131:
6129:
6126:
6124:
6121:
6119:
6116:
6114:
6111:
6109:
6106:
6104:
6101:
6099:
6096:
6095:
6093:
6091:
6087:
6081:
6078:
6076:
6075:Silver bullet
6073:
6071:
6068:
6066:
6063:
6061:
6058:
6056:
6053:
6051:
6048:
6046:
6043:
6039:
6036:
6035:
6034:
6033:Folk religion
6031:
6029:
6026:
6025:
6023:
6021:
6017:
6011:
6008:
6006:
6003:
6001:
5998:
5996:
5993:
5991:
5990:Nursery rhyme
5988:
5986:
5983:
5979:
5976:
5975:
5974:
5971:
5970:
5968:
5966:
5962:
5956:
5953:
5951:
5948:
5946:
5943:
5941:
5938:
5936:
5933:
5929:
5926:
5925:
5924:
5921:
5919:
5916:
5914:
5911:
5910:
5908:
5904:
5899:
5892:
5887:
5885:
5880:
5878:
5873:
5872:
5869:
5857:
5853:
5849:
5847:
5839:
5838:
5835:
5829:
5826:
5824:
5823:Ventriloquism
5821:
5819:
5816:
5812:
5809:
5808:
5807:
5804:
5802:
5799:
5797:
5794:
5792:
5789:
5787:
5784:
5782:
5779:
5777:
5776:Observational
5774:
5772:
5769:
5767:
5764:
5762:
5758:
5755:
5753:
5750:
5747:
5744:
5742:
5739:
5737:
5734:
5732:
5729:
5727:
5724:
5722:
5719:
5717:
5714:
5712:
5709:
5708:
5706:
5704:
5700:
5690:
5687:
5685:
5682:
5680:
5677:
5676:
5675:
5672:
5670:
5667:
5665:
5662:
5661:
5660:
5657:
5655:
5652:
5650:
5647:
5643:
5640:
5638:
5635:
5633:
5630:
5628:
5625:
5623:
5620:
5619:
5618:
5615:
5614:
5612:
5608:
5598:
5595:
5593:
5590:
5588:
5587:Opéra comique
5585:
5583:
5580:
5578:
5577:Opéra bouffon
5575:
5573:
5570:
5568:
5565:
5563:
5560:
5558:
5555:
5553:
5550:
5548:
5545:
5541:
5538:
5536:
5535:Café-chantant
5533:
5532:
5531:
5528:
5526:
5523:
5522:
5520:
5514:
5508:
5505:
5503:
5500:
5498:
5495:
5493:
5490:
5488:
5485:
5483:
5480:
5478:
5477:Sketch comedy
5475:
5473:
5470:
5468:
5465:
5461:
5458:
5457:
5456:
5453:
5451:
5448:
5444:
5441:
5440:
5439:
5436:
5434:
5431:
5429:
5426:
5424:
5421:
5419:
5416:
5414:
5411:
5409:
5406:
5404:
5401:
5399:
5396:
5394:
5391:
5389:
5386:
5385:
5383:
5379:
5367:
5364:
5362:
5359:
5357:
5354:
5352:
5349:
5347:
5344:
5343:
5341:
5337:
5334:
5332:
5329:
5328:
5326:
5322:
5319:
5318:
5316:
5312:
5309:
5308:
5307:
5304:
5303:
5301:
5297:
5291:
5288:
5286:
5283:
5281:
5278:
5276:
5273:
5271:
5268:
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5061:Impressionist
5059:
5057:
5054:
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5049:
5047:
5044:
5042:
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5031:Comedy troupe
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4341:
4337:
4332:
4322:on 2015-09-24
4318:
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4115:
4110:
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4102:
4098:
4094:
4091:(1): 61–108.
4090:
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3922:
3915:
3905:on 2016-10-22
3904:
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3380:9780393098037
3376:
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3363:
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3346:
3341:
3337:
3333:
3328:
3323:
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3306:
3303:
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3277:
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3257:
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3151:
3146:
3142:
3140:9780874369861
3136:
3132:
3127:
3126:
3119:
3108:
3104:
3103:The Telegraph
3100:
3095:
3094:
3082:
3077:
3070:
3065:
3059:, p. 46.
3058:
3053:
3046:
3041:
3034:
3030:
3025:
3019:, p. 24.
3018:
3013:
3006:
3001:
2994:
2989:
2982:
2977:
2970:
2965:
2958:
2953:
2946:
2941:
2934:
2929:
2923:, p. 25.
2922:
2917:
2911:, p. 19.
2910:
2905:
2899:, p. 91.
2898:
2893:
2886:
2881:
2874:
2869:
2863:, p. 58.
2862:
2857:
2851:, p. 47.
2850:
2845:
2838:
2837:Morreall 2008
2833:
2826:
2821:
2814:
2809:
2802:
2797:
2790:
2785:
2783:
2775:
2770:
2763:
2758:
2752:, p. 27.
2751:
2746:
2739:
2734:
2727:
2722:
2720:
2712:
2707:
2700:
2695:
2688:
2683:
2676:
2671:
2664:
2659:
2652:
2651:Azzolina 1987
2647:
2640:
2635:
2628:
2623:
2616:
2615:Goldberg 1998
2611:
2604:
2599:
2592:
2588:
2587:Brunvand 1968
2583:
2576:
2571:
2564:
2559:
2552:
2547:
2540:
2535:
2528:
2523:
2516:
2511:
2504:
2499:
2492:
2487:
2480:
2479:Rahkonen 2000
2475:
2468:
2464:
2459:
2452:
2447:
2440:
2436:
2432:
2427:
2420:
2415:
2408:
2404:
2399:
2392:
2387:
2380:
2375:
2368:
2363:
2356:
2351:
2344:
2339:
2332:
2327:
2320:
2315:
2308:
2304:
2299:
2292:
2287:
2279:
2273:
2269:
2268:
2260:
2253:
2248:
2241:
2236:
2234:
2226:
2221:
2214:
2209:
2202:
2197:
2190:
2185:
2178:
2173:
2166:
2161:
2159:
2151:
2146:
2140:, p. 39.
2139:
2134:
2127:
2123:
2118:
2111:
2106:
2100:, p. 23.
2099:
2094:
2087:
2082:
2075:
2070:
2063:
2058:
2051:
2046:
2039:
2034:
2027:
2023:
2018:
2012:, p. 99.
2011:
2006:
1999:
1994:
1988:, p. 55.
1987:
1982:
1975:
1972:, p. 3;
1971:
1966:
1959:
1954:
1947:
1942:
1935:
1930:
1923:
1918:
1911:
1906:
1899:
1894:
1887:
1882:
1875:
1870:
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1809:
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1474:
1467:
1461:
1455:
1451:
1441:
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1433:
1432:
1428:
1427:Comedy portal
1422:
1417:
1410:
1402:
1399:
1394:
1391:
1386:
1382:
1377:
1375:
1371:
1367:
1358:
1355:
1354:physiological
1351:
1350:psychological
1347:
1343:
1341:
1335:
1330:
1321:
1312:
1310:
1309:
1302:
1300:
1295:
1293:
1292:Elliott Oring
1287:
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1278:
1274:
1272:
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1262:
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1149:
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1141:
1138:
1137:
1129:Sigmund Freud
1127:
1118:
1115:
1108:
1098:
1091:
1088:
1084:
1081:
1078:
1075:
1072:
1069:
1066:
1063:
1060:
1057:
1056:
1055:
1053:
1049:
1048:Victor Raskin
1045:
1040:
1035:
1031:
1028:
1024:
1022:
1016:
1014:
1010:
1005:
1003:
999:
995:
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987:
977:
975:
968:
958:
955:
949:
939:
937:
933:
929:
925:
919:
905:
902:
899:
896:
894:
891:
888:
885:
882:
879:
877:
874:
872:
871:Redneck jokes
869:
867:
864:
861:
858:
855:
852:
849:
846:
843:
840:
837:
834:
832:
829:
827:
824:
821:
818:
816:
813:
811:
808:
805:
802:
799:
796:
793:
791:
788:
786:
785:Two cow jokes
783:
781:
780:Chicken jokes
778:
775:
772:
770:jokes (Italy)
769:
766:
763:
760:
757:
753:
749:
746:
744:
743:Bellman jokes
741:
739:
736:
734:
731:
730:
728:
721:
717:
715:
711:
707:
703:
699:
695:
694:wind-up dolls
691:
687:
683:
679:
675:
671:
665:
655:
651:
646:
642:
640:
639:topical jokes
635:
631:
628:
624:
620:
616:
612:
608:
598:
593:
588:
583:
576:Relationships
573:
569:
564:
554:
551:
550:toilet humour
547:
537:
534:
530:
525:
521:
517:
512:
510:
506:
505:Victor Raskin
502:
492:
489:
484:
475:
472:
467:
464:
455:
453:
448:
444:
437:Telling jokes
434:
432:
428:
427:
422:
421:
414:
411:
407:
402:
400:
396:
393:in Spain and
392:
388:
384:
380:
376:
372:
371:
366:
362:
358:
354:
350:
346:
339:
334:
330:
328:
324:
320:
316:
311:
307:
303:
302:
297:
293:
292:ancient Greek
289:
285:
284:
278:
276:
272:
268:
264:
260:
259:Julius Caesar
256:
251:
249:
245:
241:
231:
230:Ancient Egypt
227:
223:
219:
215:
214:toilet humour
211:
208:
204:
199:
197:
185:
180:
171:
168:
164:
160:
156:
152:
148:
146:
142:
137:
135:
131:
127:
123:
119:
115:
109:
104:
102:
98:
94:
90:
86:
82:
78:
74:
70:
66:
58:
54:
53:Boris Yeltsin
50:
46:
41:
34:
19:
6207:Storytelling
6199:
6149:Cunning folk
6080:Weather lore
5984:
5955:Urban legend
5684:Black sitcom
5664:Mockumentary
5572:Opéra bouffe
5540:Café-théâtre
5525:Ballad opera
5443:Harlequinade
5393:Comedy-drama
5172:Mockumentary
5070:
5056:Impersonator
5036:Comic timing
4947:
4910:
4906:
4890:. Retrieved
4881:
4866:. Retrieved
4857:
4828:
4824:
4815:
4785:
4781:
4752:
4748:
4739:
4714:
4710:
4701:
4692:
4677:
4650:
4646:
4637:
4620:
4611:
4589:(1): 49–63.
4586:
4582:
4549:
4545:
4536:
4521:
4494:
4490:
4465:
4461:
4440:
4429:
4417:. Retrieved
4387:
4370:
4357:. Retrieved
4348:
4335:
4324:. Retrieved
4317:the original
4308:
4298:
4273:
4269:
4259:
4249:
4224:
4220:
4208:. Retrieved
4197:
4184:
4175:
4171:
4146:
4142:
4117:
4113:
4088:
4084:
4069:
4048:
4028:. Tempe, AZ.
4025:
4016:
4012:
4003:
3986:
3982:
3973:
3959:
3935:
3920:
3907:. Retrieved
3903:the original
3898:
3883:. Retrieved
3874:
3845:
3841:
3832:
3807:
3803:
3786:
3782:
3763:
3754:
3729:
3725:
3700:
3696:
3687:
3654:
3650:
3641:
3616:
3612:
3587:
3583:
3574:
3565:
3561:
3546:
3525:
3506:
3487:
3478:
3448:(2): 71–74.
3445:
3441:
3432:
3428:
3419:
3408:. Retrieved
3396:
3368:
3357:
3348:
3317:
3313:
3290:
3280:
3255:
3251:
3240:
3225:
3216:
3204:. Retrieved
3162:
3158:
3149:
3124:
3111:. Retrieved
3102:
3090:Bibliography
3076:
3064:
3052:
3040:
3033:Attardo 2008
3024:
3012:
3000:
2988:
2976:
2964:
2952:
2945:Attardo 2001
2940:
2928:
2916:
2904:
2892:
2880:
2873:Furnham 2014
2868:
2856:
2844:
2832:
2820:
2808:
2801:Carrell 2008
2796:
2776:, p. 7.
2769:
2757:
2750:Attardo 2001
2745:
2738:Attardo 1994
2733:
2726:Attardo 2001
2711:Georges 1997
2706:
2694:
2682:
2670:
2658:
2646:
2634:
2622:
2610:
2598:
2582:
2570:
2558:
2546:
2534:
2522:
2510:
2498:
2486:
2474:
2458:
2446:
2426:
2414:
2398:
2386:
2374:
2362:
2350:
2338:
2326:
2314:
2298:
2286:
2266:
2259:
2254:, p. 2.
2247:
2220:
2208:
2196:
2184:
2172:
2145:
2133:
2117:
2105:
2093:
2081:
2069:
2062:Attardo 2008
2057:
2045:
2033:
2026:Carrell 2008
2017:
2005:
1998:Carrell 2008
1993:
1986:Toelken 1996
1981:
1965:
1953:
1941:
1929:
1917:
1905:
1893:
1881:
1869:
1857:
1845:
1803:
1791:
1744:(1): 59–70.
1741:
1738:Perspectives
1737:
1727:
1716:. Retrieved
1691:
1687:
1677:
1640:Hetzron 1991
1635:
1623:. Retrieved
1611:
1607:
1594:
1583:. Retrieved
1574:
1565:
1541:
1528:
1516:
1507:
1488:
1472:
1466:
1454:
1408:
1395:
1378:
1364:
1337:
1326:
1306:
1303:
1298:
1297:In his book
1296:
1289:
1284:
1279:
1275:
1266:André Jolles
1255:
1238:
1231:
1219:
1207:
1187:
1166:
1145:
1142:
1134:
1132:
1110:
1095:
1089:
1082:
1076:
1070:
1064:
1058:
1041:
1037:
1033:
1029:
1025:
1017:
1006:
983:
970:
951:
942:Ethnic jokes
922:As with the
921:
918:Black comedy
876:Riddle jokes
866:Polish jokes
726:
669:
667:
653:
648:
643:
632:
604:
595:
590:
585:
570:
566:
563:Humor styles
543:
529:neuroscience
513:
498:
485:
481:
468:
461:
447:Harvey Sacks
440:
431:its cartoons
424:
418:
415:
403:
389:in Germany,
368:
343:
323:Monty Python
318:
309:
299:
295:
287:
281:
279:
274:
252:
240:comic triple
200:
193:
186:, dating to
163:comic timing
149:
141:André Jolles
138:
125:
114:riddle jokes
111:
106:
64:
62:
57:Bill Clinton
45:
40:Jest (horse)
6164:Folk healer
6020:Folk belief
5913:Animal tale
5752:Documentary
5748:(dry humor)
5711:Alternative
5689:Teen sitcom
5582:Opera buffa
5557:Light music
5552:Comedy club
5502:Tragicomedy
5467:Shadow play
4338:(Sept. 19).
3938:. New York.
3351:(Feb 2013).
3165:(1): 5–25.
3069:Raskin 2008
3057:Raskin 1985
2933:Raskin 1985
2897:Raskin 1992
2789:Dundes 1972
2699:Dundes 1997
2687:Dundes 1962
2639:Legman 1968
2603:Dundes 1997
2591:Dundes 1997
2563:Dundes 1987
2551:Dundes 1987
2527:Davies 2008
2515:Davies 1990
2491:Hirsch 1964
2451:Davies 2002
2431:Simons 1986
2419:Davies 1999
2407:Kerman 1980
2403:Dundes 1981
2379:Dundes 1985
2367:Dundes 1971
2343:Davies 1998
2331:Dundes 1979
2319:Laszlo 1988
2291:Gruner 1997
2110:Dundes 1980
2098:Dundes 1980
2022:Shultz 1976
2010:Raskin 1985
1974:Marcus 2001
1958:Raskin 1992
1934:Bauman 1975
1922:Dundes 1980
1886:Raskin 1985
1670:Joseph 2008
1655:Jolles 1930
1482:Joseph 2008
1204:Linguistics
1193: [
1077:Target (TA)
994:Antti Aarne
974:Alan Dundes
948:Ethnic joke
893:Viola jokes
839:Manta jokes
810:Irish jokes
768:Carabinieri
752:lawyer joke
748:Blonde joke
686:viola jokes
664:Joke cycles
658:Joke cycles
488:stereotypes
385:in France,
296:grammatikos
286:(Greek for
228:, was from
6249:Categories
6234:Vernacular
6159:Folk devil
6118:Folk music
6108:Folk dance
6038:Folk saint
6028:Birthstone
5940:Tall tales
5923:Fairy tale
5659:Television
5562:Music hall
5507:Vaudeville
5428:Macchietta
5418:Double act
5327:Indonesia
5321:Mo lei tau
5317:Hong Kong
5311:Xiangsheng
5182:Remarriage
5091:Visual gag
5081:Punch line
5076:Prank call
4868:2015-09-08
4359:2015-09-08
4326:2015-09-08
3909:2015-08-18
3885:2015-09-08
3410:2015-09-08
3113:2018-04-05
2957:Sacks 1974
2825:Oring 1984
2813:Freud 1905
2663:Jason 2000
2575:Oring 2008
2539:Oring 2000
2503:Ellis 1991
2439:Oring 1987
2435:Smyth 1986
2391:Weeks 2015
2307:Oring 1987
2303:Smyth 1986
2252:Ellis 2002
2240:Ellis 2002
2225:Dorst 1990
2213:Dorst 1990
2201:Dorst 1990
2189:Mason 1998
2177:Frank 2009
2126:Oring 2008
2122:Walle 1976
2086:Sacks 1974
1970:Ellis 2002
1910:Sacks 1974
1874:Berry 2013
1823:Beard 2014
1808:Beard 2014
1796:Beard 2014
1784:Adams 2008
1718:2022-08-29
1585:2023-06-15
1553:References
1334:gelotology
1121:Psychology
967:Anti-humor
965:See also:
934:, and the
847:joke cycle
801:Essex girl
762:Burgenland
706:Vic Morrow
670:joke cycle
619:a :-)
601:Electronic
561:See also:
533:off-colour
406:broadsides
319:Philogelos
310:Philogelos
306:Mary Beard
283:Philogelos
248:punch line
161:work with
77:punch line
6217:Knowledge
6212:Tradition
6169:Folk hero
6123:Folk play
6103:Folk epic
6090:Folk arts
6060:Mythology
6045:Ghostlore
6010:Word game
5906:Narrative
5806:Slapstick
5731:Christian
5726:Character
5703:Subgenres
5518:and dance
5438:Pantomime
5224:Slapstick
5197:Screwball
5101:Word play
4966:181139422
4667:144593170
4629:152033221
4419:10 August
4105:143907462
4034:cite book
4019:: 97–105.
3944:cite book
3272:144805109
3206:10 August
3187:143869276
3179:0933-1719
3017:Ruch 2008
3005:Apte 1988
2993:Apte 2002
2921:Ruch 2008
2909:Ruch 2008
2885:Ruch 2008
2861:Ruch 2008
2849:Ruch 2008
2774:Apte 1988
2165:Apte 1985
1850:Lane 1905
1766:145706281
1758:0907-676X
1700:0009-8353
1625:1 January
1558:Footnotes
1327:In 1872,
1215:discourse
1210:Linguists
860:Policeman
841:(Germany)
797:(Germany)
738:Bar jokes
501:punchline
495:Punchline
410:chapbooks
357:Jestbooks
203:classical
159:slapstick
155:comedians
134:slapstick
122:anti-joke
97:hyperbole
85:word play
6222:Medicine
6178:See also
6154:Fakelore
6133:Foodways
6098:Folk art
5898:Folklore
5846:Category
5781:Physical
5592:Operetta
5366:Sarugaku
5234:Thriller
5126:American
5046:Humorist
5016:Comedian
4944:Jim Holt
4929:12902310
4892:April 5,
4886:Archived
4862:Archived
4814:(1996).
4574:11011777
4410:Archived
4353:Archived
4204:Archived
3879:Archived
3679:11633558
3470:14789987
3462:11742718
3401:Archived
3200:Archived
3107:Archived
2675:Apo 1997
2627:Lew 1996
1712:Archived
1616:Archived
1579:Archived
1497:Archived
1413:See also
1346:laughter
1257:Folklore
546:laughter
540:Response
383:Rabelais
370:Facetiae
365:highbrow
263:Servilia
207:Sumerian
196:ephemera
153:comics,
151:Stand-up
6142:Society
5995:Proverb
5945:Parable
5818:Surreal
5746:Deadpan
5632:Hip hop
5530:Cabaret
5256:Country
5248:Theatre
5212:Mexican
5207:Italian
5187:Romance
5162:Fantasy
5141:Italian
5131:British
5119:Country
4882:npr.org
4845:3813856
4769:1499820
4731:1499821
4603:1500468
4566:1156093
4210:May 21,
4199:Reuters
4163:1498259
3995:3814885
3862:1499881
3824:1499500
3795:3814885
3717:1499697
3671:1499238
1708:3297064
1460:Ed Wynn
904:Yo Mama
883:(India)
627:forward
625:, or a
611:emailed
520:Coulson
507:in his
478:Telling
463:Framing
361:lowbrow
226:Sneferu
210:proverb
93:sarcasm
6260:Humour
6070:Ritual
6005:Saying
6000:Riddle
5935:Legend
5856:Portal
5828:Zombie
5811:Topics
5771:Insult
5766:Horror
5741:Cringe
5674:Sitcom
5637:Parody
5361:Rakugo
5356:Owarai
5351:Manzai
5346:KyĹŤgen
5342:Japan
5336:Ludruk
5331:Lenong
5263:Europe
5229:Stoner
5219:Silent
5177:Parody
5167:Horror
5157:Action
5136:French
5086:Satire
5051:Humour
5009:Topics
5002:Comedy
4964:
4956:
4927:
4843:
4804:668081
4802:
4767:
4729:
4665:
4627:
4601:
4572:
4564:
4511:541299
4509:
4482:540324
4480:
4449:
4290:540473
4288:
4241:539876
4239:
4161:
4134:539874
4132:
4103:
4055:
3993:
3860:
3822:
3793:
3770:
3746:540367
3744:
3715:
3677:
3669:
3633:538989
3631:
3604:538171
3602:
3532:
3513:
3494:
3468:
3460:
3377:
3336:674535
3334:
3298:
3270:
3185:
3177:
3137:
3133:–564.
2274:
1764:
1756:
1706:
1698:
1172:; the
1086:jokes.
930:, the
851:Newfie
758:cycles
471:marked
347:, the
271:Cicero
267:Tertia
167:rhythm
69:humour
6255:Jokes
6227:Story
5978:False
5918:Fable
5796:Shock
5736:Clown
5716:Black
5669:Roast
5654:Radio
5649:Novel
5622:Album
5617:Music
5610:Media
5597:Revue
5516:Music
5381:Genre
5306:China
5150:Genre
5066:Irony
5041:Farce
4907:Brain
4841:JSTOR
4800:JSTOR
4765:JSTOR
4727:JSTOR
4686:–100.
4663:S2CID
4625:S2CID
4599:JSTOR
4570:S2CID
4562:JSTOR
4530:–210.
4507:JSTOR
4478:JSTOR
4413:(PDF)
4406:(PDF)
4396:–242.
4379:–302.
4320:(PDF)
4313:(PDF)
4286:JSTOR
4237:JSTOR
4159:JSTOR
4130:JSTOR
4101:S2CID
4078:–640.
3991:JSTOR
3929:–122.
3858:JSTOR
3820:JSTOR
3791:JSTOR
3742:JSTOR
3713:JSTOR
3667:JSTOR
3629:JSTOR
3600:JSTOR
3555:–182.
3466:S2CID
3404:(PDF)
3393:(PDF)
3332:JSTOR
3268:S2CID
3183:S2CID
1762:S2CID
1704:JSTOR
1619:(PDF)
1604:(PDF)
1446:Notes
1340:gelos
1286:them.
1197:]
1178:laugh
1170:smile
906:jokes
900:cycle
889:jokes
524:Kutas
89:irony
73:laugh
5985:Joke
5928:list
5801:Sick
5786:Prop
5757:High
5721:Blue
5627:Rock
5482:Spex
5299:Asia
5111:Film
5071:Joke
4962:OCLC
4954:ISBN
4925:PMID
4894:2018
4447:ISBN
4421:2015
4212:2017
4053:ISBN
4040:link
3950:link
3768:ISBN
3675:PMID
3530:ISBN
3511:ISBN
3492:ISBN
3458:PMID
3375:ISBN
3296:ISBN
3208:2015
3175:ISSN
3135:ISBN
2272:ISBN
1754:ISSN
1696:ISSN
1627:2021
1473:Dave
1385:GTVH
1381:SSTH
1372:and
1352:and
1259:and
1243:and
1159:and
1050:and
1042:The
924:9/11
845:NASA
754:and
522:and
499:The
408:and
363:and
325:'s "
301:Suda
255:puns
244:Adab
182:The
165:and
157:and
65:joke
55:and
5761:low
5202:Sex
5096:Wit
4946:,
4915:doi
4911:126
4833:doi
4790:doi
4757:doi
4719:doi
4655:doi
4591:doi
4554:doi
4528:183
4499:doi
4495:113
4470:doi
4466:100
4394:211
4377:281
4278:doi
4274:101
4229:doi
4176:273
4151:doi
4122:doi
4093:doi
4076:609
3850:doi
3812:doi
3734:doi
3705:doi
3659:doi
3621:doi
3592:doi
3553:157
3450:doi
3446:316
3322:doi
3260:doi
3167:doi
3131:563
1746:doi
623:LOL
621:or
329:".
126:not
91:or
81:pun
6251::
5759:/
4960:,
4923:.
4909:.
4905:.
4884:.
4880:.
4856:.
4839:.
4829:13
4827:.
4798:.
4786:68
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4753:45
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4684:17
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