Volume 9, Issue 42 (2022)
CFL 2022, 9(42): 315-342 |
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Horri A. An Analysis of Juhi’s Anecdotes Based on Tripartite Narrative Model of Humorology. CFL 2022; 9 (42) :315-342
URL: http://cfl.modares.ac.ir/article-11-58785-en.html
URL: http://cfl.modares.ac.ir/article-11-58785-en.html
Assistant Professor of English Language and Literature Department, Faculty of Literature and Languages, Arak University, Arak-Iran. , a-horri@araku.ac.ir
Abstract: (1144 Views)
Introduction
Research background
Numerous articles, dissertations, and books have reviewed the history and background of humour in Iran, and several books have been translated. Horri (2008; 2011; 2018) has studied some issues related to the field of humour. However, the level of generating humor in humorous texts, including fictional and non-fictional jokes, has been studied less.
Goals, questions, and assumption
First, laughter and its manifestations have usually been presented in three forms: situation-oriented, word-oriented, or a combination of both. Second, the narrative can be divided into two categories, serious and non-serious. Non-serious narratives are divided into humorous, nonsensical, and absurd narratives. However, generating humor in some humorous texts is not known. Also, the boundary between fictional and non-fictional texts is not clear. In other words, it is not possible to make a distinction between the non-fictional and fictional jokes. In fact, what are the criteria for recognizing a non-fictional joke from a fictional joke? How can the amount of generating humor and jokes of fictional jokes be determined from non-fictional? Is the amount of narrative the same in different types of humorous fictional and non-fictional texts? Is the structure of non-fictional jokes the same as or different from the structure of fictional texts?
Discussion
In Persian, “Fokahiyat” is synonymous with the English word "humour" and it is a narrow saying that expands the mind, corresponding to the types of jokes, funny short stories, jokes, and verbal jokes. A joke has also been defined as a kind of linguistic expression that sometimes finds a narrative form and sometimes retains its expressive form and appears non-fictional. The former is referred to as a fictional or narrative joke and the latter as a non-fictional joke. Of course, the boundary between the two types of jokes is not very clear, raising problems. Attardo (1994) uses the terms "artificial joke" and "conversational joke" to distinguish between these two types of jokes. A non-fictional joke is a joke that does not necessarily tell a story; rather, it expresses a state and typically consists of four stages: set-up; paradox; denouement, and release. Morin (1966) believes in the same structure or three narrative elements: normalization, interlocking, and dis-junction. Oring (1989) uses the word "story" instead of "narrative." In humourous texts, it seems that we are dealing with a more extended narrative, not with the punch-line, but with some jab-lines, which do not necessarily end at the end of the text and are scattered throughout the text. Hence, what distinguishes a short joke from a humorous narrative or a funny anecdote is the change from punch-line to jab-line. Examining different humourous samples, it can be concluded that it is the punch-line than the jab-line that separates a narrative joke from a humorous narrative. Juhi’s anecdotes that have been rewritten in different books in different ways, on the one hand, provide a clear picture of the difference between a narrative joke and a humorous anecdote, and on the other hand, are examples of the transition from the artificial jokes to the conversational jokes or vice versa. Having analyzed more than 50 Juhi’s anecdotes, it was revealed that different versions and sources of similar anecdotes do not provide a solid reason for the transition from an artificial joke to a conversational joke, but as the narratives are delayed and sometimes replaced by the narrators, the level of generating humor in these anecdotes change from short anecdotes to humorous narratives or versified versions.
Results and conclusion
The results of the present research can be concluded as:
Research background
Numerous articles, dissertations, and books have reviewed the history and background of humour in Iran, and several books have been translated. Horri (2008; 2011; 2018) has studied some issues related to the field of humour. However, the level of generating humor in humorous texts, including fictional and non-fictional jokes, has been studied less.
Goals, questions, and assumption
First, laughter and its manifestations have usually been presented in three forms: situation-oriented, word-oriented, or a combination of both. Second, the narrative can be divided into two categories, serious and non-serious. Non-serious narratives are divided into humorous, nonsensical, and absurd narratives. However, generating humor in some humorous texts is not known. Also, the boundary between fictional and non-fictional texts is not clear. In other words, it is not possible to make a distinction between the non-fictional and fictional jokes. In fact, what are the criteria for recognizing a non-fictional joke from a fictional joke? How can the amount of generating humor and jokes of fictional jokes be determined from non-fictional? Is the amount of narrative the same in different types of humorous fictional and non-fictional texts? Is the structure of non-fictional jokes the same as or different from the structure of fictional texts?
Discussion
In Persian, “Fokahiyat” is synonymous with the English word "humour" and it is a narrow saying that expands the mind, corresponding to the types of jokes, funny short stories, jokes, and verbal jokes. A joke has also been defined as a kind of linguistic expression that sometimes finds a narrative form and sometimes retains its expressive form and appears non-fictional. The former is referred to as a fictional or narrative joke and the latter as a non-fictional joke. Of course, the boundary between the two types of jokes is not very clear, raising problems. Attardo (1994) uses the terms "artificial joke" and "conversational joke" to distinguish between these two types of jokes. A non-fictional joke is a joke that does not necessarily tell a story; rather, it expresses a state and typically consists of four stages: set-up; paradox; denouement, and release. Morin (1966) believes in the same structure or three narrative elements: normalization, interlocking, and dis-junction. Oring (1989) uses the word "story" instead of "narrative." In humourous texts, it seems that we are dealing with a more extended narrative, not with the punch-line, but with some jab-lines, which do not necessarily end at the end of the text and are scattered throughout the text. Hence, what distinguishes a short joke from a humorous narrative or a funny anecdote is the change from punch-line to jab-line. Examining different humourous samples, it can be concluded that it is the punch-line than the jab-line that separates a narrative joke from a humorous narrative. Juhi’s anecdotes that have been rewritten in different books in different ways, on the one hand, provide a clear picture of the difference between a narrative joke and a humorous anecdote, and on the other hand, are examples of the transition from the artificial jokes to the conversational jokes or vice versa. Having analyzed more than 50 Juhi’s anecdotes, it was revealed that different versions and sources of similar anecdotes do not provide a solid reason for the transition from an artificial joke to a conversational joke, but as the narratives are delayed and sometimes replaced by the narrators, the level of generating humor in these anecdotes change from short anecdotes to humorous narratives or versified versions.
Results and conclusion
The results of the present research can be concluded as:
- An artificial joke is recognizable from a conversational joke.
- The narrative joke usually has a narrator, but the non-fictional joke has no narrator.
- A narrative joke is usually pre-fabricated, but an oral narrative is made here and now.
- The artificial joke is not context-oriented, but the oral narration is mainly context-oriented.
- The punch-line is one of the most important factors distinguishing a joke from a humourous narrative.
- A more extended humourous narrative does not have one punch-line but several punch-lines or jab-lines.
- Non-fictional and fictional jokes usually follow the three-part pattern of set-up, paradox, and release.
- Sometimes, a short narrative joke becomes an extended one due to the scattering of the punch-line.
- Juhi’s anecdotes can be examined from various aspects, including distinction between fictional and non-fictional jokes.
References
Attardo, S. (1994). Linguistic theories of humor. Mouton de Gruyter.
Horri A. (2011). Linguistic mechanisms of humor: Pun and/or ambiguity. Language Related Research (Comparative language and literature research), 2(6), 19-40.
Horri A. (2018). An application of script-based semantic theory to Zakani’s Risala-ye Delgosha's regional anecdotes. Language Related Research (Comparative language and Literature Research), 9(2), 63-78.
Horri, A. (2009). About humour: New approaches to humour and humorology (in Farsi). Hozeh-ye Honari Pub.
Oring, E. (1989). Between jokes and tales: On the nature of punch lines. Humor, 2-4, 349-364.
Attardo, S. (1994). Linguistic theories of humor. Mouton de Gruyter.
Horri A. (2011). Linguistic mechanisms of humor: Pun and/or ambiguity. Language Related Research (Comparative language and literature research), 2(6), 19-40.
Horri A. (2018). An application of script-based semantic theory to Zakani’s Risala-ye Delgosha's regional anecdotes. Language Related Research (Comparative language and Literature Research), 9(2), 63-78.
Horri, A. (2009). About humour: New approaches to humour and humorology (in Farsi). Hozeh-ye Honari Pub.
Oring, E. (1989). Between jokes and tales: On the nature of punch lines. Humor, 2-4, 349-364.
Article Type: Original Research |
Subject:
Folklore literature
Received: 2021/10/24 | Accepted: 2022/01/9 | Published: 2022/01/7
Received: 2021/10/24 | Accepted: 2022/01/9 | Published: 2022/01/7
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