GOAL This is the funniest book I have ever written - and the ambiguity here is deliberate. Much of this book is about deliberate ambiguity, described as unambiguously as possible, so the previous sentence is probably the fIrst, last, and only deliberately ambiguous sentence in the book. Deliberate ambiguity will be shown to underlie much, if not all, of verbal humor. Some of its forms are simple enough to be perceived as deliberately ambiguous on the surface; in others, the ambiguity results from a deep semantic analysis. Deep semantic analysis is the core of this approach to humor. The book is the fIrst ever application of modem linguistic theory to the study of humor and it puts forward a formal semantic theory of verbal humor. The goal of the theory is to formulate the necessary and sufficient conditions, in purely semantic terms, for a text to be funny. In other words, if a formal semantic analysis of a text yields a certain set of semantic proptrties which the text possesses, then the text is recognized as a joke. As any modem linguistic theory, this semantic theory of humor attempts to match a natural intuitive ability which the native speaker has, in this particular case, the ability to perceive a text as funny, i. e. , to distinguish a joke from a non-joke.

GOAL This is the funniest book I have ever written - and the ambiguity here is deliberate. Much of this book is about deliberate ambiguity, described as unambiguously as possible, so the previous sentence is probably the fIrst, last, and only deliberately ambiguous sentence in the book. Deliberate ambiguity will be shown to underlie much, if not all, of verbal humor. Some of its forms are simple enough to be perceived as deliberately ambiguous on the surface; in others, the ambiguity results from a deep semantic analysis. Deep semantic analysis is the core of this approach to humor. The book is the fIrst ever application of modem linguistic theory to the study of humor and it puts forward a formal semantic theory of verbal humor. The goal of the theory is to formulate the necessary and sufficient conditions, in purely semantic terms, for a text to be funny. In other words, if a formal semantic analysis of a text yields a certain set of semantic proptrties which the text possesses, then the text is recognized as a joke. As any modem linguistic theory, this semantic theory of humor attempts to match a natural intuitive ability which the native speaker has, in this particular case, the ability to perceive a text as funny, i. e. , to distinguish a joke from a non-joke.

This book presents a theory of long humorous texts based on a revision and an upgrade of the General Theory of Verbal Humour (GTVH), a decade after its first proposal. The theory is informed by current research in psycholinguistics and cognitive science. It is predicated on the fact that there are humorous mechanisms in long texts that have no counterpart in jokes. The book includes a number of case studies, among them Oscar Wilde's Lord Arthur Savile's Crime and Allais' story Han Rybeck. A ground-breaking discussion of the quantitative distribution of humor in select texts is presented.

The book is intended to provide a definitive view of the field of humor research for both beginning and established scholars in a variety of fields who are developing an interest in humor and need to familiarize themselves with the available body of knowledge. Each chapter of the book is devoted to an important aspect of humor research or to a disciplinary approach to the field, and each is written by the leading expert or emerging scholar in that area. There are two primary motivations for the book. The positive one is to collect and summarize the impressive body of knowledge accumulated in humor research in and around Humor: The International Journal of Humor Research. The negative motivation is to prevent the embarrassment to and from the "first-timers," often established experts in their own field, who venture into humor research without any notion that there already exists a body of knowledge they need to acquire before publishing anything on the subject-unless they are in the business of reinventing the wheel and have serious doubts about its being round! The organization of the book reflects the main groups of scholars participating in the increasingly popular and high-powered humor research movement throughout the world, an 800 to 1,000-strong contingent, and growing. The chapters are organized along the same lines: History, Research Issues, Main Directions, Current Situation, Possible Future, Bibliography-and use the authors' definitive credentials not to promote an individual view, but rather to give the reader a good comprehensive and condensed view of the area.

This book attempts to discuss selected but thorny issues of humor research that form the major stumbling blocks as well as challenges in humor studies at large and thus merit insightful discussion. Any discourse is action, so the text-creation process is always set in a non-verbal context, built of a social and communicative situation, and against the background of relevant culture. On the other hand, humor scholars claim that humorous discourse has its special, essential features that distinguish it from other discourses. The pragmatic solution to the issue of potential circularity of humor defined in terms of discourse and discourse in terms of humor seems only feasible, and thus there is a need to discuss the structure and mechanisms of humorous texts and humorous performances. The chapters in the present volume, contributed by leading scholars in the field of humor studies, address the issues from various theoretical perspectives, from contextual semantics through General Theory of Verbal Humor, cognitive linguistics, discourse studies, sociolinguistics, to Ontological Semantic Theory of Humor, providing an excellent overview of the field to novices and experts alike.

So this English professor comes into class and starts talking about the textual organization of jokes, the taxonomy of puns, the relations between the linguistic form and the content of humorous texts, and other past and current topics in language- based research into humor. At the end he stuffs all the various approaches to verbal humor into linguistic theory as a whole. Nobody gets it, see, so he tells them to buy the book.

The Routledge Handbook of Language and Humor presents the first ever comprehensive, in-depth treatment of all the sub-fields of the linguistics of humor, broadly conceived as the intersection of the study of language and humor. The reader will find a thorough historical, terminological, and theoretical introduction to the field, as well as detailed treatments of the various approaches to language and humor. Deliberately comprehensive and wide-ranging, the handbook includes chapter-long treatments on the traditional topics covered by language and humor (e.g., teasing, laughter, irony, psycholinguistics, discourse analysis, the major linguistic theories of humor, translation) but also cutting-edge treatments of internet humor, cognitive linguistics, relevance theoretic, and corpus-assisted models of language and humor. Some chapters, such as the variationist sociolinguistcs, stylistics, and politeness are the first-ever syntheses of that particular subfield. Clusters of related chapters, such as conversation analysis, discourse analysis and corpus-assisted analysis allow multiple perspectives on complex trans-disciplinary phenomena. This handbook is an indispensable reference work for all researchers interested in the interplay of language and humor, within linguistics, broadly conceived, but also in neighboring disciplines such as literary studies, psychology, sociology, anthropology, etc. The authors are among the most distinguished scholars in their fields.