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| {{Redirect2|Hilarity|Hilarious|the U.S. Navy ship|USS Hilarity (AM-241)|the stand-up special by Louis C.K.|Hilarious (film)|the Roman Catholic Pope Saint Hilarius|Pope Hilarius}} | |||
| ] can imply a sense of humour and a state of amusement, as in this painting of ] by ].]] | |||
| {{pp-pc1}} | |||
| {{Use British English|date=November 2010}} | |||
| '''Humour''' or '''humor''' (see ]) is the tendency of particular cognitive experiences to provoke ] and provide ]. The term derives from the ] of the ], which taught that the balance of fluids in the human body, known as humours (]: ''humor'', "body fluid"), controlled human health and emotion. | |||
| People of all ages and cultures respond to humour. Most people are able to experience humour—i.e., to be amused, to smile or laugh at something funny—and thus are considered to have a '''sense of humour'''. The hypothetical person lacking a sense of humour would likely find the behaviour induced by humour to be inexplicable, strange, or even irrational. Though ultimately decided by personal ], the extent to which a person finds something humorous depends on a host of variables, including ], ], ], level of ], ] and ]. For example, young children may favour ] such as ] puppet shows or cartoons such as '']'', whose purely physical nature makes it more accessible to them. By contrast, more sophisticated forms of humour such as ] require an understanding of its social meaning and context, and thus tend to appeal to more mature audiences. | |||
| ==Theories== | |||
| ] in Denmark, regarding Copenhagen's new subway.]] | |||
| ] | |||
| ].]] | |||
| ] | |||
| ] | |||
| {{main|Theories of humour}} | |||
| Many theories exist about what humour is and what social function it serves. The prevailing types of theories attempting to account for the existence of humour include ] theories, the vast majority of which consider humour-induced behaviour to be very healthy; spiritual theories, which may, for instance, consider humour to be a "gift from God"; and theories which consider humour to be an unexplainable mystery, very much like a ].<ref>], "The Planet Without Laughter", ''This Book Needs No Title''</ref> | |||
| The benign-violation theory, endorsed by ], attempts to explain humours' existence. The theory says 'humour only occurs when something seems wrong, unsettling, or threatening, but simultaneously seems okay, acceptable or safe’<ref>], "Too close for Comfort, or Too Far to care? Finding Humor in Distant Tragedies and Close Mishaps" </ref> Humor can be used as a method to easily engage in social interaction by taking away that awkward, uncomfortable, or uneasy feeling of social interactions. | |||
| Others believe that 'the appropriate use of humor can facilitate social interactions'.<ref>], "Prudence and Racial Humor: Troubling Epithets" </ref> | |||
| ==Views== | |||
| Some claim that humour cannot or should not be explained. Author ] once said, "Humor can be dissected as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind."<ref></ref>Counter to this argument, protests against "offensive" cartoons invite the dissection of humor or its lack by aggrieved individuals and communities. This process of dissecting humor does not necessarily banish a sense of humor but begs attention toward its politics and assumed universality (Khanduri 2014).<ref>Ritu Gairola Khanduri. 2014. . Cambridge: Cambridge University Press.</ref> | |||
| ] lamented the misuse of ''humour'' (a ] ] from ]) to mean any type of ]. However, both ''humour'' and ''comic'' are often used when theorising about the subject. The connotations of ''humour'' as opposed to ''comic'' are said to be that of response versus stimulus. Additionally, ''humour'' was thought to include a combination of ridiculousness and wit in an individual; the paradigmatic case being Shakespeare's Sir John Falstaff. The French were slow to adopt the term ''humour''; in French, ''humeur'' and ''humour'' are still two different words, the former referring to a person's ] or to the archaic concept of the four ].{{Citation needed|date=March 2012}} | |||
| Non-satirical humour can be specifically termed ''droll humor'' or ''recreational drollery''.<ref>Seth Benedict Graham '''' 2003 p.13</ref><ref>Bakhtin, Mikhail. ''Rabelais and His World'' . Trans. Hélène Iswolsky. Bloomington: Indiana University Press p.12</ref> | |||
| ==Sociological factors== | |||
| As with any art form, the acceptance of a particular style or incidence of humour depends on ] factors and varies from person to person. Throughout history, comedy has been used as a form of entertainment all over the world, whether in the courts of the Western kings or the villages of the Far East. Both a social etiquette and a certain intelligence can be displayed through forms of ] and ]. Eighteenth-century ] author ] said that "the more you know humour, the more you become demanding in fineness."{{Citation needed|date=March 2012}} | |||
| ===Ancient Greece=== | ===Ancient Greece=== | ||
| Western humour theory begins with ], who attributed to ] (as a semi-historical dialogue character) in the '']'' (p. 49b) the view that the essence of the ] is an ignorance in the weak, who are thus unable to retaliate when ridiculed. Later, in Greek philosophy, ], in the '']'' (1449a, pp. 34–35), suggested that an ugliness that does not disgust is fundamental to humour. | Western humour theory begins with ], who attributed to ] (as a semi-historical dialogue character) in the '']'' (p. 49b) the view that the essence of the ] is an ignorance in the weak, who are thus unable to retaliate when ridiculed. Later, in Greek philosophy, ], in the '']'' (1449a, pp. 34–35), suggested that an ugliness that does not disgust is fundamental to humour. | ||
| ===India=== | |||
| In ancient ], ]'s '']'' defined humour (''hāsyam'') as one of the nine '']'', or principle '']'' (emotional responses), which can be inspired in the audience by ''bhavas'', the imitations of emotions that the actors perform. Each ''rasa'' was associated with a specific '']s'' portrayed on stage. In the case of humour, it was associated with mirth (''hasya'').{{Citation needed|date=March 2012}} | |||
| ===In Arabic culture=== | |||
| The terms ] and ] became synonymous after Aristotle's ''Poetics'' was translated into ] in the ], where it was elaborated upon by ] and ] such as ], his pupil ], Persian ], and ]. Due to cultural differences, they disassociated comedy from ]tic representation, and instead identified it with Arabic poetic themes and forms, such as ''hija'' (satirical poetry). They viewed comedy as simply the "art of reprehension" and made no reference to light and cheerful events or troublesome beginnings and happy endings associated with classical Greek comedy. After the ], the term ''comedy'' thus gained a new semantic meaning in ].<ref>{{citation|title=Comedy as Satire in Hispano-Arabic Spain|first=Edwin J.|last=Webber|journal=Hispanic Review|volume=26|issue=1|date=January 1958|publisher=]|pages=1–11|doi=10.2307/470561|jstor=470561}}</ref> | |||
| ===Caribbean=== | |||
| ] star ], stated in an 1957 interview that he thought that: "] have the best sense of humour in the world. Even in the most solemn song, like ''Las Kean Fine'' , which tells of a boiler explosion on a sugar plantation that killed several of the workers, their natural wit and humor shine though."<ref>{{cite web|author=Michael Garnice|date=11 March 2012|accessdate=14 April 2013|url=http://www.mentomusic.com/flea.htm|title=Mento Music Lord Flea}}</ref> | |||
| ===China=== | |||
| ]'s ''Commentary on Growing a Beard'' was written in the manner of ], even citing historical examples. Yet, contextually, it was a lighthearted humorous work amongst close friends and literati—Zhao Mingyu, Zhou Zongdao, Yao Cundao, and Shen Zhou—about growing beards.<ref>. ''Four Great Masters of the Ming Dynasty: Shen Zhou''. National Palace Museum.</ref> | |||
| {{wide image|Commentary on Growing a Beard by Shen Zhou.jpg|1000px|]’s ''Commentary on Growing a Beard'' }} | |||
| ==Formula== | |||
| ] 1931.]] | |||
| ] ]] | |||
| Humour can be verbal, visual, or physical. Non-verbal forms of communication–for example, music or visual art–can also be humorous. | |||
| ===Root components=== | |||
| * ] of or imitative of ] | |||
| * ]/], ]/], ]. | |||
| ] is a component of humour.]] | |||
| ===Methods=== | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ]<!-- This is not about the NLP-type of reframing. Do not make this a wikilink to that ]. --> | |||
| * ] | |||
| ===Behaviour, place and size=== | |||
| ] explains in his lecture in the documentary '']''<ref>Rowan Atkinson/David Hinton, ''Funny Business'' (tv series), Episode 1 - aired 22 November 1992, UK, Tiger Television Productions</ref> that an object or a person can become funny in three ways: | |||
| * by behaving in an unusual way, | |||
| * by being in an unusual place, | |||
| * by being the wrong size. | |||
| Most ]s fit into one or more of these categories. | |||
| ===Exaggeration=== | |||
| {{Main|Exaggeration}} | |||
| "Some theoreticians of the comic consider exaggeration to be a universal comic device".<ref>Emil Draitser, ''Techniques of Satire'' (1994) p. 135</ref> It may take different forms in different genres, but all rely on the fact that "the easiest way to make things laughable is to exaggerate to the point of absurdity their salient traits".<ref>M. Eastman/W. Fry, ''Enjoyment of Laughter'' (2008) p. 156</ref> | |||
| ==Culture== | |||
| ] used for comic effect in front of the ]]] | |||
| Different cultures have different expectations of humour so comedy shows are not always successful when transplanted into another culture. For example, a 2004 ] article discusses a stereotype among ] that Americans and Germans do not understand ], and therefore UK ]s are not appreciated by them.<ref>{{cite web|url=http://news.bbc.co.uk/1/hi/magazine/3433375.stm|title=Do the Americans get irony?|publisher=]|date=27 January 2004|accessdate=2 April 2012}}</ref> | |||
| <!-- ]]] --> | |||
| ==See also== | |||
| * ] | |||
| * ] | |||
| * ], the study of laughing and laughter | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ==References== | |||
| {{reflist}} | |||
| ==Further reading== | |||
| *Alexander, Richard (1984), ''Verbal humor and variation in English: Sociolinguistic notes on a variety of jokes'' | |||
| *Alexander, Richard (1997), '''' | |||
| *{{citation | last = Basu | first =S | title= Dialogic ethics and the virtue of humor | journal =Journal of Political Philosophy | publisher =Blackwell Publishing Ltd | date= December 1999 | volume =Vol. 7 | issue =No. 4 | pages =378–403 | url=http://www.anthrosource.net/doi/abs/10.1525/var.2006.22.1.14 | doi =10.1111/1467-9760.00082 | accessdate =2007-07-06 }} (Abstract) | |||
| *Billig, M. (2005). ''Laughter and ridicule: Towards a social critique of humour''. London: Sage. ISBN 1-4129-1143-5 | |||
| *Bricker, Victoria Reifler (Winter, 1980) '''' Journal of Anthropological Research, Vol. 36, No. 4, pp. 411–418 | |||
| *{{Citation | last =Buijzen | first =Moniek | last2 =Valkenburg | first2 =Patti M. | title =Developing a Typology of Humor in Audiovisual Media | journal =Media Psychology | volume =Vol. 6 | issue =No. 2 | pages =147–167 | year= 2004 | url =http://www.leaonline.com/doi/abs/10.1207/s1532785xmep0602_2?prevSearch=allfield%3A(buijzen) | doi =10.1207/s1532785xmep0602_2 }}(Abstract) | |||
| *Carrell, Amy (2000), '''', University of Central Oklahoma. Retrieved on 2007-07-06. | |||
| *{{Citation | last =García-Barriocanal | first =Elena | last2 =Sicilia | first2 =Miguel-Angel | last3 =Palomar | first3 =David | title =A Graphical Humor Ontology for Contemporary Cultural Heritage Access | publisher =University of Alcalá | place =Ctra. Barcelona, km.33.6, 28871 Alcalá de Henares (Madrid), Spain, | year= 2005 | url=http://is2.lse.ac.uk/asp/aspecis/20050064.pdf | format=pdf | accessdate=2007-07-06}} | |||
| *Goldstein, Jeffrey H., et al. (1976) "Humour, Laughter, and Comedy: A Bibliography of Empirical and Nonempirical Analyses in the English Language." ''It's a Funny Thing, Humour''. Ed. Antony J. Chapman and Hugh C. Foot. Oxford and New York: Pergamon Press, 1976. 469-504. | |||
| * Hurley, Matthew M., Dennet, Daniel C., and Adams, Reginald B. Jr. (2011), ''Inside Jokes: Using Humor to Reverse-Engineer the Mind''. Cambridge, Massachusetts: The MIT Press. ISBN 978-0-262-01582-0 | |||
| *Holland, Norman. (1982) "Bibliography of Theories of Humor." ''Laughing; A Psychology of Humor''. Ithaca: Cornell U P, 209-223. | |||
| *Martin, Rod A. (2007). ''The Psychology Of Humour: An Integrative Approach.'' London, UK: Elsevier Academic Press. ISBN 978-0-12-372564-6 | |||
| *McGhee, Paul E. (1984) "Current American Psychological Research on Humor." Jahrbuche fur Internationale Germanistik 16.2: 37-57. | |||
| *Mintz, Lawrence E., ed. (1988) ''Humor in America: A Research Guide to Genres and Topics''. Westport, CT: Greenwood, 1988. ISBN 0-313-24551-7; OCLC: 16085479. | |||
| *{{Citation | last1 = Mobbs | first1 = D. | last2 = Greicius | first2 = M.D. | last3 = Abdel-Azim | first3 = E. | last4 = Menon | first4 = V. | last5 = Reiss | first5 = A. L. | year = 2003 | title = Humor modulates the mesolimbic reward centres | url = | journal = Neuron | pmid = 14659102 | volume = 40 | issue = 5| pages = 1041–1048 | postscript = . |doi = 10.1016/S0896-6273(03)00751-7}} | |||
| *Nilsen, Don L. F. (1992) "Satire in American Literature." ''Humor in American Literature: A Selected Annotated Bibliography.'' New York: Garland, 1992. 543-48. | |||
| *Pogel, Nancy, and Paul P. Somers Jr. (1988) "Literary Humor." ''Humor in America: A Research Guide to Genres and Topics''. Ed. Lawrence E. Mintz. London: Greenwood, 1988. 1-34. | |||
| *Roth, G., Yap, R, & Short, D. (2006). "Examining humour in HRD from theoretical and practical perspectives". ''Human Resource Development International, 9''(1), 121-127. | |||
| *Smuts, Aaron. "Humor". '''' | |||
| *{{citation | last = Wogan | first = Peter | title = Laughing At ''First Contact'' | journal = Visual Anthropology Review | date =Spring 2006 | volume = Vol. 22 | issue = No. 1 | pages =14–34 | publication-date = online December 12, 2006 | url=http://www.anthrosource.net/doi/abs/10.1525/var.2006.22.1.14 | doi = 10.1525/var.2006.22.1.14 | accessdate =2007-07-06 }} (Abstract) | |||
| ==External links== | |||
| {{Wiktionary|humor|humour}} | |||
| {{Commons category|Humor photos}} | |||
| {{Commons category|humor}} | |||
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Revision as of 03:17, 1 April 2015
Ancient Greece
Western humour theory begins with Plato, who attributed to Socrates (as a semi-historical dialogue character) in the Philebus (p. 49b) the view that the essence of the ridiculous is an ignorance in the weak, who are thus unable to retaliate when ridiculed. Later, in Greek philosophy, Aristotle, in the Poetics (1449a, pp. 34–35), suggested that an ugliness that does not disgust is fundamental to humour.