Developments in Linguistic Humour Theory -- Editorial page -- Title page -- LCC data -- Table of contents -- A view on humour theory -- 1. Introduction -- 2. This volume -- References -- I. New humour frameworks and extensions -- From perception of contraries to humorous incongruities -- 1. Incongruity: A multifaceted concept -- 1.1 Earlier definitions of incongruity inspired by perceptual phenomena -- 2. From the perception of contrarieties to the recognition of humorous incongruities -- 2.1 Where do the ideas of additive, global and intermediate incongruity come from? -- 2.2 Global contrariety and perceptually based jokes -- 3. In dialogue with the studies on humorous incongruity -- 3.1 Incongruity and contrariety -- 3.2 Various structures of humorous stimuli -- 4. Conclusion -- References -- Signals of humor: Encryption and laughter in social interaction -- 1. Introduction -- 1.1. Culture, cooperation, and signaling -- 1.2. Encryption -- 2. The encryption theory of humor -- 2.1. Relevance theory -- 2.2. Relevance and encryption -- 3. Encryption and laughter -- 4. The significance of encryption -- 4.1. Encryption and other theories of humor -- 5. Conclusion -- References -- Comic nescience: An experimental view of humour -- 1. Introduction -- 2. An experimental shift: Challenging the knowability framework -- 3. The qualifications: Theoretical interconnections and interpretive multiplicity -- 3.1 An example of comic nescience: Me wanna go home -- 3.2 A range of dynamic tension -- 3.3 Uncertainty, ambiguity, and multiplicity -- 4. America as a pluralistic comedy -- 4.1 American pluralism -- 4.2 Principles and practice -- 4.3 The comical as happily never after -- 5. Conclusion -- Sources -- References -- II. New theoretical issues in humour studies -- Impoliteness as disaffiliative humour in film talk -- 1. Introduction.

2. Issues in impoliteness research -- 3. Aggressive/disparagement humour and disaffiliative humour -- 4. Superiority/disparagement theories -- 5. The incongruity and resolution in disaffiliative humour -- 5.1 Incongruity as a structural feature -- 5.2 Cognitive incongruity -- 6. Facilitating humorous incongruity in disaffiliative humour -- 7. Conclusions and final comments -- Acknowledgements -- References -- Giving voice to the studio audience -- 1. Introduction -- 2. Audience as participant in non-dyadic talk -- 3. Methodology -- 4. Data analysis and discussion -- 4.1 Studio audience as third party -- 4.2 Studio audience as addressee -- 4.3 Studio audience as responders -- 4.4 Studio audience as recipient -- 5. Conclusions -- References -- Appendix A -- Negotiating humorous intent -- 1. Introduction -- 2. An example of controversial humour use: John Cleese's eulogy of Graham Chapman -- 2.1 Speaker and audience at risk -- 2.2 Cleese's delivery of his eulogy and the audience's response -- 3. Intent and mental models -- 3.1 Components -- 3.2 Local and global aspects of situations -- 3.3 People's own mental models and those of others -- 4. Behaviour games -- 4.1 John Cleese's behaviour game -- 5. Humour evaluation -- 5.1 Helpfulness -- 5.2 Expectancy violations theory -- 5.3 Communicator reward valence -- 5.4 Expectancies and expectancy violations in John Cleese's eulogy -- 5.5 Global schematic knowledge -- 5.6 Local schematic knowledge -- 5.7 Individual and role-related schematic knowledge: John Cleese's communicator reward valence -- 5.8 Individual-related and role-related knowledge: Relationship factors -- 5.9 Violation and valence -- 6. Conclusion -- Acknowledgements -- References -- Perspective clashing as a humour mechanism in narratives -- 1. Introduction -- 2. Perspective clashing -- 3. Mental spaces and higher order humour.

4. Irony as perspective clashing -- 5. Humorous vs. suspenseful perspective clashing -- 6. Conclusion -- Acknowledgements -- Sources -- References -- Phrasemes, parodies and the art of timing -- 1. Introduction: Music, language and humour -- 2. The power of phrasemes - Haydn's ingenious play with musical idioms -- 2.1 The structural power of phrasemes in language -- 2.2 The structural power of the cadences in Haydn's String Quartet Op. 33 No. 5 -- 2.3 Haydn's String Quartet Op. 33 No. 2 and the art of disorder -- 2.4 Extending structural disorder beyond the musical piece: Tuning humour in Haydn's Symphony No. -- 2.5 Extending an acoustical joke to a practical one: The farewell joke in Haydn's Symphony No. 45 -- 2.6 Further thoughts: Does universality do a joke any good? -- 3. Parody: Imitating the well-known for humorous purposes -- 3.1 A new dress for the familiar: The parody of a musical piece -- 3.2 Quotations and their embedding: The importance of context for parody construction -- 3.3 Quotations that became independent: Musical idioms -- 3.4 Burlesquing on a grand scale: Parody of a musical style -- 3.5 Are musical parodies comparable to parodies in language? -- 4. Music is sound evolving in time: A few mechanisms of humour construction in music -- 4.1 Music as an art of sound -- 4.2 Music as an art of time -- 5. Conclusions -- References -- III. New theoretical approaches to established forms of humour -- Decoding encoded (im)politeness: "Cause on my teasing you can depend" -- 1. Introduction -- 2. Approaches to teasing -- 3. Teasing in the BNC -- 3.1 Teasing how? Ways of doing teasing -- 3.2 Teasing why? Functions -- 3.3 Teasing and what then? After-teases -- 4. Production-evaluation model -- 4.1 Impolite teasing -- 4.2 Non-impolite teasing -- 4.3 Non-polite teasing -- 4.4 Polite teasing -- 5. Concluding remarks -- Acknowledgements.

References -- When does irony tickle the hearer? Towards capturing the characteristics of humorous irony -- 1. Introduction -- 2. Irony vs. non-ironic humour -- 3. Contrast and incongruity in irony -- 4. Irony types in the light of the incongruity-resolution model -- 4.1 Propositional negation irony -- 4.2 Ideational negation irony -- 4.3 Verisimilar irony -- 4.4 Surrealistic irony -- 5. What makes incongruity in irony humorous? -- 6. Sarcastic irony -- 6.1 Participants in an act of sarcastic irony -- 7. Sarcastic irony in the light of superiority theory -- 8. Conclusions -- References -- Strategies and tactics for ironic subversion -- 1. Readymade forms, and the soul of a new cliché -- 2. Stereotypes, similes and irony -- 2.1 Modeling stereotypical behaviors -- 3. Creative information retrieval -- 4. Strategies for ironic subversion -- 5. Tactics for ironic subversion -- 6. Conclusion: A middleware foundation for linguistic creativity -- References -- Salience, accessibility, and humorous potential in the comprehension of garden path jokes -- 1. Introduction -- 2. Probabilistic, non-monotonic models of discourse comprehension -- 3. Probabilistic salience -- 4. Discourse incoherence -- 5. Accessibility -- 6. Humorous potential -- 7. Empirical assumptions and evidence -- 8. Conclusion -- Acknowledgements -- References -- Televised political satire: New theoretical introspections -- 1. A brief introduction to satire -- 2. Televised political satire -- 3. A macro to micro multi-layer model of analysis: New theoretical introspections -- 3.1 The macro level: Satire as an institutionalised humorous genre -- 3.2 Micro level: Satire as a mode -- 3.3 Multi-layer micro level: Cartoons, metaphor and incongruity -- 4. The Animated Planet Show - A case study -- 4.1 The macro level: The Animated Planet Show as an institutionalised humorous genre.

4.2 Satire as a mode in The Animated Planet Show -- 4.3 Sample analysis -- 5. Concluding remarks -- Acknowledgements -- Data -- References -- "It's not funny out of context!": A cognitive stylistic approach to humorous narratives -- 1. Humorous worlds -- 1.1 Local humour -- 1.2 Extended humour -- 2. Disrupted elements -- 2.1 Knowledge and text comprehension -- 2.2 Schema disruption in humorous worlds -- 2.2.1 Disrupted objects -- 2.2.2 Disrupted characters -- 2.3 Making sense of disrupted elements -- 2.4 Schema refreshment and narrative humour -- 3. Repetition and variation -- 3.1 Patterns in humorous narratives -- 3.2 Local patterns -- 3.2.1 Local stylistic patterns -- 3.2.2 Local conceptual patterns -- 3.3 Extended patterns -- 3.3.1 Extended conceptual patterns -- 3.3.2 Extended stylistic patters -- 4. Humorous mode -- 4.1 Why establish a humorous mode? -- 4.2 How to establish a humorous mode -- 4.3 Manipulating distance -- 4.3.1 Establishing a joking relationship between the writer and the reader -- 4.3.2 Switching between multiple narrative worlds -- 4.3.3 Manipulating the point of view -- 5. Conclusion -- Data -- References -- Index.