This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized (...) scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analyzed. (shrink)

Humor plays an essential role in human interactions. Precisely what makes something funny, however, remains elusive. While research on natural language understanding has made significant advancements in recent years, there has been little direct integration of humor research with computational models of language understanding. In this paper, we propose two information-theoretic measures—ambiguity and distinctiveness—derived from a simple model of sentence processing. We test these measures on a set of puns and regular sentences and show that they correlate significantly with human (...) judgments of funniness. Moreover, within a set of puns, the distinctiveness measure distinguishes exceptionally funny puns from mediocre ones. Our work is the first, to our knowledge, to integrate a computational model of general language understanding and humor theory to quantitatively predict humor at a fine-grained level. We present it as an example of a framework for applying models of language processing to understand higher level linguistic and cognitive phenomena. (shrink)

The currently dominant view concerning humor ethics is punching up/punching down. According to this view, members of one community with less social capital are allowed to make jokes at the expense of another with more social capital as a means of achieving social justice, while those in a community with more social capital are forbidden from making jokes about those with less. The latter is considered an act of bullying, which further entrenches pre-existing social injustice. While there is value in (...) the moral intuitions that underlay this view, it falls prey to several problems. A new approach, the joke capital approach, is introduced which has the virtue of accounting for the cases in which punching up/punching down is effective but also is capable of handling the problematic cases. (shrink)

There Is Method in the Humorous Speaker's Madness: Humour and Grice's Model The interdependence between humour and the Cooperative Principle appears to be a bone of contention in pragmatic studies on verbal humour. The wellentrenched approach advocated by Raskin and Attardo is that jokes constitute the non-bona-fide mode of communication standing vis-à-vis the Gricean model and governed by a humour-CP, and that they violate, not merely flout, the maxims and even the CP. The aim of the article is to shed (...) new light on the interdependence between humour and the CP with a view to substantiating that the authors who regard humour as an independent communicative mode and as an intrinsic violation of maxims and the CP appear to labour under a serious misapprehension. It will be argued that the Gricean model of cooperative rationality does allow for humorous verbalisations, which normally rely on maxim flouts. (shrink)