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Punch Line
A punch line (also punch-line or punchline) concludes a joke; it is intended to make people Laughter, laugh. It is the third and final part of the Joke#Telling jokes, typical joke structure. It follows the introductory framing of the joke and the narrative which sets up for the punch line. In a broader sense, "punch line" can also refer to the unexpected and funny conclusion of any performance, situation or story. Etymology The origin of the term Punch (magazine), is unknown. Even though the comedic formula using the classic "set-up, premise, punch line" format was well-established in Vaudeville by the beginning of the 20th century, the actual term "punch line" is first documented in the 1910s; the Merriam-Webster dictionary pegs the first use in 1916. Linguistic analysis A linguistic interpretation of the mechanics of the punch line response is posited by Victor Raskin in his Theories of humor#Script-based semantic theory of humor, script-based semantic theory of humor. Hu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Structure Of Humor (3 Panel Verison)
''The'' is a grammatical article in English, denoting nouns that are already or about to be mentioned, under discussion, implied or otherwise presumed familiar to listeners, readers, or speakers. It is the definite article in English. ''The'' is the most frequently used word in the English language; studies and analyses of texts have found it to account for seven percent of all printed English-language words. It is derived from gendered articles in Old English which combined in Middle English and now has a single form used with nouns of any gender. The word can be used with both singular and plural nouns, and with a noun that starts with any letter. This is different from many other languages, which have different forms of the definite article for different genders or numbers. Pronunciation In most dialects, "the" is pronounced as (with the voiced dental fricative followed by a schwa) when followed by a consonant sound, and as (homophone of the archaic pronoun ''thee' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Loudness
In acoustics, loudness is the subjectivity, subjective perception of sound pressure. More formally, it is defined as the "attribute of auditory sensation in terms of which sounds can be ordered on a scale extending from quiet to loud". The relation of physical attributes of sound to perceived loudness consists of physical, physiological and psychological components. The study of apparent loudness is included in the topic of psychoacoustics and employs methods of psychophysics. In different industries, loudness may have different meanings and different measurement standards. Some definitions, such as ITU-R BS.1770 refer to the relative loudness of different segments of electronically reproduced sounds, such as for broadcasting and cinema. Others, such as ISO 532A (Stevens loudness, measured in sones), ISO 532B (Eberhard Zwicker, Zwicker loudness), DIN 45631 and ASA/ANSI S3.4, have a more general scope and are often used to characterize loudness of environmental noise. More modern ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Writing Drama
''Writing Drama'' (French: La dramaturgie) is a treatise by French writer and filmmaker Yves Lavandier, originally published in 1994, revised in 1997, 2004, 2008, 2011 and 2014. The English version was translated from the French by Bernard Besserglik and published in 2005. The book exists also in Italian, Spanish and Portuguese. Content ''Writing Drama'' explores the mechanisms of dramatic story telling. The author makes a clear distinction between what is written to be seen and/or heard (theater, Film, cinema, television, radio, opera and to a lesser extent comic books) and what is written to be read (literature). The book's principle is the same as Aristotle's Poetics (Aristotle), ''Poetics''. Yves Lavandier examines works by major scriptwriters and playwrights (Samuel Beckett, Bertolt Brecht, Charles Chaplin, Hergé, Alfred Hitchcock, Henrik Ibsen, Ernst Lubitsch, Molière, Dino Risi, William Shakespeare, Sophocles, Orson Welles, Billy Wilder, etc.) in order to answer three qu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Narratology
Narratology is the study of narrative and narrative structure and the ways that these affect human perception. The term is an anglicisation of French ''narratologie'', coined by Tzvetan Todorov (''Grammaire du Décaméron'', 1969). Its theoretical lineage is traceable to Aristotle (''Poetics (Aristotle), Poetics'') but modern narratology is agreed to have begun with the Russian formalism, Russian formalists, particularly Vladimir Propp (''Morphology of the Folktale'', 1928), and Mikhail Bakhtin's theories of heteroglossia, dialogism, and the chronotope first presented in ''The Dialogic Imagination'' (1975). Cognitive narratology is a more recent development that allows for a broader understanding of narrative. Rather than focus on the structure of the story, cognitive narratology asks "how humans make sense of stories" and "how humans use stories as sense-making instruments". Defining narrative Structuralist narratologists like Rimmon-Kenan define narrative fiction as "the nar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
No Soap Radio
"No soap radio" is a form of practical joke and an example of surreal comedy. The joke is a prank whereby the punch line has no relation to the body of the joke, but participants in the prank pretend otherwise. The effect is either to trick someone into laughing along as if they "get it" or to ridicule them for not understanding. The joke became popular in New York in the 1950s. The punch line is known for its use as a basic sociological and psychological experiment, specifically relating to mob mentality and the pressure to conform. The basic setup is similar to the Asch conformity experiments, in which people showed a proclivity to agree with a group despite their own judgments. Execution of the prank This prank usually requires a teller and two listeners, one of whom is an accomplice who already knows the joke and secretly plays along with the teller. The joke teller says something like, "The elephant and the hippopotamus were taking a bath. And the elephant said to the hipp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anti-humor
Anti-humor or anti-comedy is a type of alternative humor that is based on the surprise factor of absence of an expected joke or of a punch line in a narration that is set up as a joke, which in turn can have a humorous effect to some. This kind of anticlimax is similar to that of the shaggy dog story. Warren A. ShiblesHumor Reference Guide: A Comprehensive Classification and Analysis (Hardcover) 1998 In fact, some researchers see the "shaggy dog story" as a type of anti-joke. Anti-humor is described as a form of irony or reversal of expectations that may provoke an emotion opposite to humor, such as fear, pain, embarrassment, disgust, awkwardness, or discomfort. Examples The yarn, also called a shaggy dog story, is a type of anti-humor that involves telling an extremely long joke with an intricate (and sometimes grisly) back story and surreal or repetitive plotline, before ending the story with either a weak spoonerism, or abruptly stopping with no real punchline at all, o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shaggy Dog Story
In its original sense, a shaggy-dog story or yarn is an extremely long-winded anecdote characterized by extensive narration of typically irrelevant incidents and terminated by an anticlimax. In other words, it is a long story that is intended to be amusing and that has an intentionally silly or meaningless ending. Shaggy-dog stories play upon the audience's preconceptions of joke-telling. The audience listens to the story with certain expectations, which are either simply not met or met in some entirely unexpected manner. A lengthy shaggy-dog story derives its humour from the fact that the joke-teller held the attention of the listeners for a long time (such jokes can take five minutes or more to tell) for no reason at all, as the long-awaited resolution is essentially meaningless, with the joke as a whole playing upon people's search for meaning. The nature of their delivery is reflected in the English idiom '' spin a yarn'', by way of analogy with the production of yarn. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch (music)
Pitch is a perception, perceptual property that allows sounds to be ordered on a frequency-related scale (music), scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melody, melodies. Pitch is a major auditory system, auditory attribute of musical tones, along with duration (music), duration, loudness, and timbre. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property; it is a subjective Psychoacoustics, psychoacoustical attribute of sound. Historically, the study of pitch and pitch perception has been a central problem in psychoacoustics, and has been instrumental in forming and testing theories of sound representation, processing, and perception in the auditory system. Perception Pitch and frequency Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their percep ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theories Of Humor
Although humor is a phenomenon experienced by most humans, its exact cause is a topic of heavy debate. There are many theories of humor which attempt to explain what it is, what social functions it serves, and what would be considered humorous. Although various classical theories of humor and laughter may be found, in contemporary academic literature, three theories of humor appear repeatedly: relief theory, superiority theory, and incongruity theory. Among current humor researchers, there is yet no consensus about which of these three theories of humor is most viable, though the incongruity theory is very often considered the most dominant. Some proponents of each of these most commonly known theories originally claimed that theirs and theirs alone explained all humor. There is, however, consensus that these theories, especially incongruity, have been building blocks for some later ones. Many theorists also now hold that the three main theories are of narrower focus than origin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joke
A joke is a display of humour in which words are used within a specific and well-defined narrative structure to make people laugh and is usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends in a punch line, whereby the humorous element of the story is revealed; this can be done using a pun or other type of word play, irony or sarcasm, logical incompatibility, hyperbole, or other means. Linguist Robert Hetzron offers the definition: 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 riddle jokes 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 shaggy dog story is an example of an anti-joke; although presented as a joke, it contains a long drawn-out narr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Victor Raskin
Victor Raskin (born April 17, 1944) is a distinguished professor of linguistics at Purdue University. He is the author of ''Semantic Mechanisms of Humor'' (1985) and ''Ontological Semantics'' (2004) with Sergei Nirenburg and served as the founding editor of '' Humor'', the journal for the International Society for Humor Studies. Biography Victor Raskin was born in Irbit, USSR (now Russian Federation) in 1944. He obtained a doctorate in linguistics from Moscow State University in 1970. He has been married to Marina Bergelson since 1965; his daughter Sarah was born in 1982. He and his wife emigrated from the U.S.S.R. to Israel in 1973, and have been Israeli citizens since 1973. They moved to the United States in 1978, became permanent residents of the United States in 1979, and became U.S. citizens in 1984. Academic Career At Purdue University, Raskin was a professor in the Department of English and the Department of Linguistics. He is also a founding faculty member and associat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Merriam-Webster Dictionary
''Webster's Dictionary'' is any of the US English language dictionaries edited in the early 19th century by Noah Webster (1758–1843), a US lexicographer, as well as numerous related or unrelated dictionaries that have adopted the Webster's name in his honor. "''Webster's''" has since become a genericized trademark in the United States for US English dictionaries, and is widely used in dictionary titles. Merriam-Webster is the corporate heir to Noah Webster's original works, which are in the public domain. Noah Webster's ''American Dictionary of the English Language'' Noah Webster (1758–1843), the author of the readers and spelling books which dominated the American market at the time, spent decades of research in compiling his dictionaries. His first dictionary, ''A Compendious Dictionary of the English Language'', appeared in 1806. In it, he popularized features which would become a hallmark of American English spelling (''center'' rather than ''centre'', ''honor'' rat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
