[硕士论文精品]《老友记》和《我爱我家》的幽默语用比较研究

III老友记和我爱我家的幽默语用比较研究摘要作为幽默的主要表现形式，幽默语言在我们的生活中很常见。因为幽默语言常以生活中的会话形式出现,这就使它带有鲜明的语用特征。在与语用学相关的许多书籍和论文中，我们经常可以见到以会话式幽默为例的语用分析，可见幽默与语用学有着非常密切的关系。幽默语言常常具有一种或几种语用特征。幽默作为一种极其普遍的语言现象，引起了许多领域的研究者们的重视，例如语言学、修辞学、美学、哲学及社会学等等。回顾以往对情景喜剧中幽默所做的研究，我们发现这些研究大多局限于语篇分析、语言翻译、跨文化研究等领域。目前国内外对中英文幽默的比较研究较少，以美国情景剧老友记和中国情景剧我爱我家的幽默语用比较作为研究对象在这个领域还是一个新的课题。本论文在目前国内外研究的基础上，以语用学理论合作原则、礼貌原则、语境理论等为理论框架，以美国情景喜剧老友记和我爱我家为分析样本，对其中幽默会话的生成与理解进行比较分析，旨在从中发现中英文幽默在交际过程中生成的趋同以及在不同的语境中，不同的语言与文化差异中如何去理解幽默，旨在指导人们更好地欣赏幽默,使用幽默。本论文运用语用理论，对风靡全球的美国情景喜剧老友记及深受中国观众喜爱的情景喜剧我爱我家其中的幽默进行了较为系统的比较研究。研究的问题主要包括第一，运用语用学理论阐释情景喜剧老友记和我爱我家中的幽默生成，并探求幽默形成机制的趋同和幽默在不同语境下的理解。为此，作者从老友记和我爱我家随机抽取语料，并对它们进行分类，比较分析。发现无论是在英语，还是在汉语中，言语幽默的产生都具有相似的语用机制，即违反了人们须遵守的会话原则。第二，从语境理论角度解释中国观众观看美国情景喜剧老友记和外国观众观看我爱我家时出现的无法理解喜剧中对话幽默的现象。就这一问题，文章通过一定量的语料分析，用语境理论尤其是文化语境对情景喜剧中的幽默效果的产生与理解进行了阐释，并发现对于不同文化背景的观众，影响其幽默理解的文化及语境因素有很多，例如风俗，历史、价值、信仰等等。本论文具有一定的理论意义及实践意义。其理论意义是，第一，论文对两种不同语言的情景喜剧老友记和我爱我家中出现的幽默进行了较为全面和细致的分析，进一步验证并发展了语用理论框架下关于幽默的制笑机制；第二，IV本论文对跨文化交际情境中的幽默理解空白现象的原因从语境及文化角度进行了阐释，从而将语用理论的应用范围进一步扩展到跨文化交际领域。其实践意义在于通过掌握幽默产生的机制及理解幽默背后的文化因素，对研究幽默的语言，幽默在跨文化交际中的运用以及幽默在语言教学和学习中都是有益的帮助。关键词幽默；合作原则；礼貌原则；语境理论；情景喜剧；老友记；我爱我家IAPRAGMATICCOMPARATIVESTUDYOFHUMORINFIENDSANDILOVEMYFAMILYABSTRACTHUMOROUSLANGUAGE,ASTHEMAINFORMTOEXPRESSHUMOR,PERVADESOURLIVESITEXISTSINALMOSTEVERYPARTOFTHEWORLDEXPLANATIONSANDSTUDIESOFHUMORCANBETRACEDBACKTOTHEEARLYGREEKS,FROMPLATOANDARISTOTLE,THROUGHKANTTOFREUD,AHISTORYPROBABLYASLONGASTHATOFCULTUREHUMORISOBSERVABLEINMANYASPECTSOFLIFEITHASBEENSTUDIEDFROMAMULTIDISCIPLINARYVIEWPOINT,INCLUDINGFIELDSLIKELINGUISTICS,RHETORIC,ESTHETICS,PHILOSOPHY,SOCIOLOGY,ETCHUMOROUSLANGUAGEHASOBVIOUSPRAGMATICCHARACTERISTICS,BECAUSEITISUSUALLYEXPRESSEDINTHEFORMOFCONVERSATIONSINDAILYLIFEWECANFINDTHATTHEREARELOTSOFHUMOROUSCONVERSATIONSFREQUENTLYTAKENASEXAMPLESFORPRAGMATICANALYSISORSTUDIESINDIVERSEBOOKSANDARTICLESCONCERNINGPRAGMATICSTHEREFORE,ITISEVIDENTTHATTHEREEXISTSCLOSERELATIONSHIPBETWEENHUMORANDPRAGMATICSSOMEHUMOROUSLANGUAGEOFTENREVEALSONEORMOREPRAGMATICFEATURESSITUATIONCOMEDYORSITCOMISAGENREOFCOMEDYPERFORMANCETHEHUMORINSITCOMHASITSOWNCHARACTERISTICSALTHOUGHHUMORHASRECEIVEDENOUGHATTENTION,BUTTHELINGUISTICSTUDIESONHUMORINSITCOMARESTILLSOMEWHATLIMITEDWITHINTHEFIELDOFDISCOURSEANALYSIS,LANGUAGETRANSLATIONANDCROSSCULTURALSTUDY,ETCTHEPRAGMATICCOMPARATIVESTUDYOFHUMORINAMERICANSITCOMFRIENDSANDCHINESESITCOMILMFISSTILLANEWTOPICINTHERESEARCHFIELDTHETHESISPRESENTSACOMPARATIVESTUDYOFHUMORINFRIENDSANDILMFFROMTHEPERSPECTIVEOFPRAGMATICS,WITHTHEHOPEOFFINDINGTHESIMILARITIESINHUMORPRODUCTIONANDAPPRECIATINGHUMORBETWEENTHETWOLANGUAGESSOMEOFTHEMAJORTHEORIES,NAMELY,COOPERATIVEPRINCIPLE,POLITENESSPRINCIPLEANDCONTEXTTHEORYAREAPPLIEDTOSTUDYTHEPRODUCTIONANDAPPRECIATIONOFHUMORTHEMAINAIMISTOADDRESSTHEFOLLOWINGRESEARCHQUESTIONSFIRSTLY,HOWCANWEEXPLAINTHECREATIONOFHUMORINTHESPECIFICCONTEXTSITCOMWITHINTHEFRAMEWORKOFPRAGMATICS,ESPECIALLYTOFINDWHATSIMILARITIESAREINTHEHUMORPRODUCTIONANDHOWTOAPPRECIATEHUMORBETWEENFRIENDSANDILMFTOADDRESSTHISQUESTION,APRAGMATICCOMPARATIVESTUDYOFHUMOROUSEFFECTINTHEHUMORCASESTAKENFROMTHESITCOMSFRIENDSANDILMFISIIPRESENTEDSECONDLY,HOWCANWEACCOUNTFORHUMORAPPRECIATIONFAILURESOFENGLISHANDCHINESEMEANWHILE,THROUGHTHECOMPARATIVESTUDY,SOMECONTEXTUALFACTORS,ESPECIALLYTHECULTURALCONTEXTFACTORS,AREREVEALEDTHESECONTEXUALFATORSHAVEGREATIMPACTONTHEAPPRECIATIONOFHUMORPEOPLECOMINGFROMDIFFERENTCULTURESUSUALLYPOSSESSDIFFERENTCUSTOMS,HISTORY,VALUES,BELIEFS,ETCTHUS,BECAUSEOFTHEINACCESSIBILITYOFCERTAINCULTURESPECIFICCONTEXTUALASSUMPTIONSDUETOTHEGREATDIFFERENCESBETWEENCHINESECULTUREANDAMERICANCULTURE,BOTHAUDIENCESOMETIMESCANNOTCATCHTHEHUMORINTENDEDSOTHATTHEYCANNOTGETTHEPLEASUREANDCONSEQUENTLY,FAILTOAPPRECIATETHEHUMORTHEHUMORISTINTENDSTOCONVEYTHISSTUDYONHUMORINTHESITCOMSFRIENDSANDILMFHASBOTHTHEORETICALANDPRACTICALSIGNIFICANCETHEORETICALLY,ALTHOUGHTHEPRAGMATICAPPROACHTOTHEEXPLANATIONOFTHEMECHANISMOFHUMORPRODUCTIONANDAPPRECIATIONHASBEENUSEDFORAFEWYEARS,THISGENERALIZEDTHEORETICALEXPLANATIONOFTHEMECHANISMOFHUMORISSELDOMUTILIZEDINTHESTUDYOFHUMORCONTEXTSOFDIFFERENTLANGUAGESANDHASSELDOMBEENTESTIFIEDSOBYAPPLYINGTHEPRAGMATICAPPROACHTOTHEEXPLANATIONOFTHEMECHANISMOFHUMORTOTHESPECIFICCONTEXTSITCOMSINBOTHENGLISHANDCHINESELANGUAGE,THECORRESPONDINGTHEORETICALHYPOTHESISISFURTHERVERIFIEDANDDEVELOPEDTHESECONDTHEORETICALSIGNIFICANCEISTHATTHETHESISPROVIDESTHEANALYSISWITHTHEEXPLANATIONOFHUMORAPPRECIATIONFAILURESINACROSSCULTURALCONTEXTSOTHATITWILLFURTHEREXTENDTHEBOUNDARYOFAPPLICABILITYOFPRAGMATICTHEORIESTOTHEAREAOFCROSSCULTURALCOMMUNICATIONTHEPRACTICALSIGNIFICANCEISTHATMASTERINGTHEMECHANISMOFHUMORANDTHECULTURALELEMENTSBEHINDHUMORAPPRECIATIONWILLBEOFSOMEHELPINTHESTUDYOFTHELANGUAGEOFHUMOR,CROSSCULTURALCOMMUNICATIONANDLANGUAGETEACHINGANDLEARNINGKEYWORDSHUMORCOOPERATIVEPRINCIPLEPOLITENESSPRINCIPLECONTEXTTHEORYSITCOMFRIENDSILMF独创性声明本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得的研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其他人已经发表或撰写过的研究成果，也不包含为获得成都理工大学或其他教育机构的学位或证书而使用过的材料。与我一同工作的人员对本研究所做的任何贡献均已在论文中作了明确的说明并表示谢意。学位论文作者签名年月日学位论文版权使用授权书本学位论文作者完全了解成都理工大学有关保留、使用学位论文的规定，有权保留并向国家有关部门或机构送交论文的复印件和磁盘，允许论文被查阅和借阅。本人授权成都理工大学可以将学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存、汇编学位论文。（保密的学位论文在解密后适用本授权书）学位论文作者签名学位论文作者导师签名年月日ACKNOWLEDGEMENTSMYSINCEREGRATITUDEFIRSTANDFOREMOSTGOESTOMYSUPERVISORS,PROFESSORLUOYIJUN,PROFESSORZHENGHUANFORTHEIREXPERTASSISTANCEANDEXTRAORDINARYENCOURAGEMENTIWISHTOTHANKTHEMFORPATIENTLYREADINGTHETHESISANDOFFERINGCONSTRUCTIVEFEEDBACKSWITHOUTTHEIRGENEROUSHELPANDINVALUABLEGUIDANCE,THEFULFILLMENTOFTHEPRESENTTHESISCOULDHAVEBEENIMPOSSIBLEIDALSOLIKETOEXPRESSMYTHANKSTOALLTHERESPECTEDTEACHERSWHOHAVETAUGHTMEDURINGTHEPASTYEARSINFOREIGNLANGUAGESCHOOLIAMGREATLYINDEBTEDTOMYCLASSMATESDURINGMYSTUDYINCHENGDUUNIVERSITYOFTECHNOLOGY,FORYOUHAVEBEENACCOMPANYINGMETHROUGHTHETHICKANDTHINANDIWOULDLIKETOTHANKRYNE,ANAMERICANFRIENDOFMINE,WHOHAVEGIVENMEGREATSUPPORTINTHEWHOLEPROCESSOFTHESISWRITINGMYGRATITUDEWOULDGOTOMYPARENTSANDHUSBANDFORTHEIRUNCONDITIONALSUPPORTSWHICHHASCONSISTENTLYBEENASOURCEOFLOVE,ENCOURAGEMENTFINALLY,IWISHTOEXPRESSMYSPECIALTHANKSTOMYBELOVEDSONBECAUSETHETHESISTAKESUPTHEPRECIOUSTIMEHEISSUPPOSEDTOSPENDTOGETHERWITHHISMOTHERINTRODUCTION1APRAGMATICCOMPARATIVESTUDYOFHUMORINFRIENDSANDILOVEMYFAMILYINTRODUCTIONHUMOREXISTSINEVERYNATIONANDEVERYCULTURE,NOMATTERWHATLANGUAGEONESPEAKS,HUMORISALWAYSCOMMONINEACHLANGUAGEASALANGUAGEPHENOMENON,HUMORISPERVASIVEINLITERATURE,INMOVIES,ONTELEVISIONS,INOURLIFE,ETCASASPECIALKINDOFHUMANCOMMUNICATION,HUMORISALWAYSTHEMOSTWELCOMEDONEHUMORAMELIORATESHUMANRELATIONS,IMPROVESTHECOMMUNICATIVEATMOSPHERE,ANDBRINGSHAPPINESSANDPLEASANTFEELINGTOAPERSONINDEPRESSIONITISREGARDEDASAPOWERFULWEAPONAGAINSTHARDSHIPANDMISFORTUNEACTUALLY,HUMORISTHEWAYTOAHAPPYANDCOLORFULLIFEMANYSCHOLARSHAVEPAIDMUCHATTENTIONTOTHESPECIALFUNCTIONOFHUMORFORCENTURIES,SCHOLARSFROMVARIOUSDISCIPLINESHAVEBEENWORKINGONHUMOR,SUCHASLINGUISTICS,RHETORIC,SOCIOLOGYANDPHILOSOPHY,ETCTHEIRRESEARCHESOFHUMORRANGEFROMTHEFORMATION,THEFUNCTIONS,THECLASSIFICATIONS,THEFEATURES,TOTHERELEVANTTOPICSCONCERNEDWITHHUMORSITUATIONCOMEDYBELONGSTOTHEVERBALVISUALMODELOFCOMMUNICATIONANDTHEHUMORINITISBROUGHTOUTBOTHTHROUGHVERBALANDNONVERBALHUMOROUSSTRATEGIESASAKINDOFTVPROGRAM,SITCOM,ESPECIALLYAMERICANSITCOM,HASBECOMESOPOPULARTHROUGHOUTTHEWORLD,AMONGWHICHFRIENDSISATYPICALEXAMPLEILOVEMYFAMILYISACHINESESITCOMITISCHINASFIRSTMULTICAMERASITCOMANDITORIGINALLYAIREDFROM1993TO1994WITH120EPISODESITISALSOTHEFIRSTMANDARINLANGUAGESITCOMUNTILNOW,THELINGUISTICRESEARCHESONHUMORINSITCOMSARESTILLLIMITEDWITHINTHEFIELDOFDISCOURSEANALYSIS,LANGUAGETRANSLATION,ANDCROSSCULTURALSTUDY,ETCWHILETHECOMPARATIVESTUDYOFENGLISHHUMORANDCHINESEHUMORINSITUATIONCOMEDYISRARE,WHICHGIVESTHEAUTHORGREATINSPIRATIONINSELECTINGTHEPRESENTSUBJECTFORFURTHERSTUDYMOTIVATEDBYTHISRESEARCHGAP,THISSTUDYATTEMPTSTOEXPLORETHECOMPARATIVESTUDYOFHUMORFROMTHEPERSPECTIVEOFPRAGMATICSTHISTHESISTAKESPRAGMATICTHEORIESASITSTHEORETICALFOUNDATIONSFORTHECOMPARATIVESTUDYOFHUMORINTHESITCOMFRIENDSANDILMFTHEMAJORTHEORIES,NAMELY,ARECOOPERATIVEPRINCIPLE,POLITENESSPRINCIPLEANDCONTEXTTHEORYESPECIALLYTHECULTURALCONTEXTBECAUSEHUMORISNOTONLYASPECIALFORMOFLANGUAGE,BUTALSOA成都理工大学硕士学位论文2COMPONENTOFCULTURE,IFONECANNOTKNOWTHECULTUREWELL,ONECANNOTFULLYUNDERSTANDTHECONNOTATIVEMEANINGINTHEHUMORINTHISTHESIS,THEAUTHORALSOUNDERTAKESTOILLUSTRATETHECULTURALFACTORSTOREALLYCOMPREHENDANDAPPRECIATEHUMORFROMTHEPERSPECTIVEOFMETHODOLOGY,THEAUTHORINTEGRATESBOTHQUANTITATIVEANDQUALITATIVEANALYSISSOASTOACHIEVEMAXIMALRELIABILITYANDMINIMIZESUBJECTIVITYTHEAUTHORTAKESBOTHTHESCRIPTSOFTHEAMERICANSITCOMFRIENDSANDCHINESESITCOMILMFASTHEDATASOURCESFORTHECOMPARATIVESTUDYITISSINCERELYHOPEDTHATTHEDISCUSSIONANDANALYSISWILLHELPPEOPLEEXPRESSHUMORANDUNDERSTANDHUMOREFFECTIVELY,ANDATTHESAMETIMEITWILLBEHELPFULINCULTURALCOMMUNICATIONANDLANGUAGETEACHINGANDLEARNINGTHROUGHITSTHOROUGHANDDETAILEDANALYSISANDDISCUSSION,THEFINDINGSOFTHESTUDYCANBECONSIDEREDRELIABLEINPROVIDINGINSIGHTSINTOBOTHTHEUNDERSTANDINGANDFURTHERSTUDIESOFENGLISHANDCHINESEHUMORTHETHESISISCOMPOSEDOFFIVECHAPTERSTHEFIRSTCHAPTERPROVIDESAREVIEWOFTHEPREVIOUSSTUDIESONHUMORTHESECONDCHAPTEROFFERSATHEORETICALFRAMEWORKFORTHISSTUDYTHETHIRDCHAPTERISACOMPARATIVESTUDYOFHUMORINFRIENDSANDILMFFROMTHEPERSPECTIVESOFCOOPERATIVEPRINCIPLEANDPOLITENESSPRINCIPLETHEFOURTHCHAPTERISACOMPARATIVESTUDYOFHUMORCOMPREHENSIONINFRIENDSANDILMFFROMTHEPERSPECTIVEOFCONTEXTTHEORYANDTHELASTCHAPTERPRESENTSWHATAPPLICATIONSCANBEMADEFROMTHISSTUDYCHAPTERONELITERATUREREVIEW3CHAPTERONELITERATUREREVIEWTHEFIRSTSECTIONOFTHISCHAPTERINTRODUCESTHREEMAJORCONVENTIONALTHEORIESOFHUMORANDSOMEMODERNLINGUISTICTHEORIESOFHUMORTHESECONDSECTIONISABOUTREVIEWSOFSITUATIONCOMEDYTHETHIRDSECTIONISABRIEFINTRODUCTIONTOFRIENDSANDILMF11REVIEWOFSTUDIESOFHUMORTHROUGHOUTHISTORYFROMARISTOTLETOFREUD,ANDACROSSALLTHEINTELLECTUALDISCIPLINESOFTHEHUMANITIESANDHUMANSCIENCES,THOUGHTFULANDSENSITIVEPEOPLEHAVEALWAYSSOUGHTANUNDERSTANDINGOFTHEPROBLEMOFHUMORWHATISHUMORTHETERMDERIVESFROMTHEHUMORALMEDICINEOFTHEANCIENTGREEKS,WHICHTAUGHTTHATTHEBALANCEOFFLUIDSINTHEHUMANBODY,KNOWNASHUMOURS,CONTROLHUMANHEALTHANDEMOTIONASTIMEGOESBY,HUMORGRADUALLYLOSESITSORIGINALMEANINGITSANOTHERDENIFITION“AQUALITYOFBEINGAMUSINGORCOMIC”OXFORDADVANCEDLEARNER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CRIPTTHEORYOFHUMORSSTHISTHEFIRSTINFLUENTIALSEMANTICTHEORYOFVERBALHUMORITWASFIRSTOUTLINEDINRASKIN1979,BUTDETAILEDINHIS成都理工大学硕士学位论文6SEMANTICMECHANISMOFHUMOR1985RASKININTRODUCESAMAINHYPOTHESISTHESEMANTICSCRIPTTHEORY,WHICHISTHEFIRSTAPPLICATIONOFMODERNLINGUISTICTHEORYTOSTUDYHUMORTHECONCEPTOFSCRIPTOPPOSITIONISTHECOREOFSSTHAFUNNYTEXTISCOMPATIBLEWITHTWOOPPOSITESCRIPTS,ANDTHESWITCHFROMTHEONESCRIPTTOTHEOTHERISREALIZEDTHROUGHATRIGGERTHETRIGGERCANBEAWORD,APHRASEOREVENASENTENCEITISUSUALLYFOUNDINTHEPUNCHLINEOFAJOKERASKIN,1985THEOVERALLCONTENTOFTHETHEORYISTHATAJOKECONSISTSOFTWOPARTSTHEINITIALANDTHELASTPARTTHEINITIALPARTHASTWOPOSSIBLEINTERPRETATIONSHOWEVER,ONEOFTHESEPOSSIBLEINTERPRETATIONSISMOREOBVIOUSANDCANBENATURALLYPERCEIVEDBYTHEREADER/HEARER,WITHTHEOTHERMEANINGUNNOTICEDTHEFINALPARTOFTHEJOKEMAKESTHISOTHERINTERPRETATIONDRAWNTOTHEREADER/HEARERSNOTICE,SUDDENLYANDINAPOTENTIALLYSURPRISINGMANNERTHEOVERLAPPINGOFTHETWOINTERPRETATIONSISTHESOURCEOFHUMORFOREXAMPLE,“ISTHEDOCTORATHOME”THEPATIENTASKEDINHISBRONCHIALWHISPER“NO,”THEDOCTORSYOUNGANDPRETTYWIFEWHISPEREDINREPLY“COMERIGHTIN”RASKIN,1985THISEXAMPLEISPARTIALLYCOMPATIBLEWITHTWOSCRIPTS“DOCTOR”AND“LOVER”INTHETWOPARTSOFTHEHUMOR,THEINITIALPARTOFTHEHUMORISFROMTHEVERYBEGINNINGTOTHEWORDOF“NO”BASEDONTHISPART,AUDIENCEWILLNATURALLYRECALLTHEIRFIRSTSCRIPTOFTHE“DOCTOR”INTHEFOLLOWINGPART,THEDOCTORSWIFEWHISPEREDTHEPATIENTTOCOMEINWHICHGIVESTHEFORMERPARTANOTHERSCRIPTOF“LOVER”THEOVERLAPPINGPARTOFTHETWOSCRIPTSISTHETWOFEASIBLEEXPLANATIONSOFTHEWORD“NO”SINCEJOKEFULFILLSTHETWOCONDITIONSREQUIREDBYTHEMAINHYPOTHESISOFSSTH,THEAUDIENCEFEELSTHEHUMORSSTHALSOHASITSWEAKNESSDEVELOPEDTHROUGHTHEANALYSISOFJOKES,ITHASLIMITEDEXPLANATORYPOWERWITHINJOKESORBRIEFTEXTS,FAILINGTOBEEMPLOYEDINTHEANALYSISOFOTHERGENRESOFHUMORDESPITEITSIMPERFECTIONS,RASKINSWORKHASSTIMULATEDINTERESTSAMONGSCHOLARSFROMVARIOUSDISCIPLINES,ANDISEXPANDEDANDREVISEDFROMDIFFERENTASPECTS1122GENERALTHEORYOFVERBALHUMORGTVHTOEXTENDANDREVISESSTH,ATTARDO,COAUTHORINGWITHRASKININ1991,REVISEDANDEXPANDEDSSTHINTOTHEGENERALTHEORYOFVERBALHUMORGTVHWHICHISTHECHAPTERONELITERATUREREVIEW7MOSTINFLUENTIALFOLLOWUPSTHEGTVHCOVERSAREASOFLINGUISTICSABOVEANDBEYONDJOKESBUTSTILLJOKESASWELLGTVHINCORPORATESMOREITEMSTHANSSTHDOES,INTRODUCESSIXKNOWLEDGERESOURCESCONTRIBUTINGTOTHEHUMOROFAJOKE,CONSISTINGOFTHESCRIPTOPPOSTIONSOFROMSSTHANDOTHERFIVENEWELEMENTSLOGICALMECHANISM,TARGET,NARRATIVESTRATEGY,LANGUAGE,ANDSITUATIONLOGICALMECHANISMLMREPRESENTSTHEMECHANISMTHATACCOUNTSFORTHEWAYINWHICHTHETWOSCRIPTSINTHEJOKEAREBROUGHTTOGETHERTHETARGETTAREPRESENTSTHETARGETTHELANGUAGEISMOCKINGATNARRATIVESTRATEGYNSISTHENARRATIVESTRUCTURETHATHOWTHEHUMORISTOLD,INADIALOGUE,INARIDDLEOROTHERFORMSLANGUAGELACONTAINSALLTHEINFORMATIONNECESSARYFORTHEVERBALIZATIONOFATEXTSITUATIONSIREPRESENTSWHATTHEJOKEISABOUT,ORTHEPROPSITCONTAINSTHEOBJECTS,PARTICIPANTS,ACTIVITIES,ETCATTARDO,1994SSTHISASEMANTICTHEORYOFHUMOR,WHILEGVTHISASEMANTICPRAGMATICTHEORYOFHUMOR,WHICHAPPLIESTOALLOTHERHUMOROUSTEXTSBEYONDJOKESATTARDO,2001THESSTHHASBEENTHEMOSTINFLUENTIALWORKINH