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Jokes can be employed by workers as a way to identify with their jobs. For example, 9-1-1 operators often crack jokes about incongruous, threatening, or tragic situations they deal with on a daily basis.[5] This use of humour and cracking jokes helps employees differentiate themselves from the people they serve while also assisting them in identifying with their jobs.[6] In addition to employees, managers use joking, or jocularity, in strategic ways. Some managers attempt to suppress joking and humour use because they feel it relates to lower production, while others have attempted to manufacture joking through pranks, pajama or dress down days, and specific committees that are designed to increase fun in the workplace.
The rules of humour are analogous to those of poetry. These common rules are mainly timing, precision, synthesis, and rhythm. French philosopher Henri Bergson has said in an essay: "In every wit there is something of a poet."[8] In this essay Bergson views the essence of humour as the encrustation of the mechanical upon the living. He used as an instance a book by an English humorist, in which an elderly woman who desired a reputation as a philanthropist provided "homes within easy hail of her mansion for the conversion of atheists who have been specially manufactured for her, so to speak, and for a number of honest folk who have been made into drunkards so that she may cure them of their failing, etc." This idea seems funny because a genuine impulse of charity as a living, vital impulse has become encrusted by a mechanical conception of how it should manifest itself.
Precision[edit]
To reach precision, the comedian must choose the words in order to provide a vivid, in-focus image, and to avoid being generic as to confuse the audience, and provide no laughter. To properly arrange the words in the sentence is also crucial to get precision.
Main articles: Timing (linguistics) and Comic timing
The joke's content (meaning) is not what provokes the laugh, it just makes the salience of the joke and provokes a smile. What makes us laugh is the joke mechanism. Milton Berle demonstrated this with a classic theatre experiment in the 1950s: if during a series of jokes you insert phrases that are not jokes, but with the same rhythm, the audience laughs anyway[citation needed]. A classic is the ternary rhythm, with three beats: Introduction, premise, antithesis (with the antithesis being the punch line).
In regards to the Milton Berle experiment, they can be taken to demonstrate the concept of "breaking context" or "breaking the pattern". It is not necessarily the rhythm that caused the audience to laugh, but the disparity between the expectation of a "joke" and being instead given a non-sequitur "normal phrase." This normal phrase is, itself, unexpected, and a type of punchline—the anti-climax.
Comic[edit]
In the comic field plays the 'economy of ideative expenditure'; in other words excessive energy is wasted or action-essential energy is saved. The profound meaning of a comic gagor a comic joke is "I'm a child"; the comic deals with the clumsy body of the child.
Laurel and Hardy are a classic example. An individual laughs because he recognises the child that is in himself. In clowns stumbling is a childish tempo. In the comic, the visual gags may be translated into a joke. For example in Side Effects (By Destiny Denied story) by Woody Allen:
"My father used to wear loafers," she confessed. "Both on the same foot".
The typical comic technique is the disproportion.
Wit[edit]
In the wit field plays the "economy of censorship expenditure"[9] (Freud calls it "the economy of psychic expenditure"); usually censorship prevents some 'dangerous ideas' from reaching the conscious mind, or helps us avoid saying everything that comes to mind; adversely, the wit circumvents the censorship and brings up those ideas. Different wit techniques allow one to express them in a funny way. The profound meaning behind a wit joke is "I have dangerous ideas".
The rules of humour are analogous to those of poetry. These common rules are mainly timing, precision, synthesis, and rhythm. French philosopher Henri Bergson has said in an essay: "In every wit there is something of a poet."[8] In this essay Bergson views the essence of humour as the encrustation of the mechanical upon the living. He used as an instance a book by an English humorist, in which an elderly woman who desired a reputation as a philanthropist provided "homes within easy hail of her mansion for the conversion of atheists who have been specially manufactured for her, so to speak, and for a number of honest folk who have been made into drunkards so that she may cure them of their failing, etc." This idea seems funny because a genuine impulse of charity as a living, vital impulse has become encrusted by a mechanical conception of how it should manifest itself.
Precision[edit]
To reach precision, the comedian must choose the words in order to provide a vivid, in-focus image, and to avoid being generic as to confuse the audience, and provide no laughter. To properly arrange the words in the sentence is also crucial to get precision.
Main articles: Timing (linguistics) and Comic timing
The joke's content (meaning) is not what provokes the laugh, it just makes the salience of the joke and provokes a smile. What makes us laugh is the joke mechanism. Milton Berle demonstrated this with a classic theatre experiment in the 1950s: if during a series of jokes you insert phrases that are not jokes, but with the same rhythm, the audience laughs anyway[citation needed]. A classic is the ternary rhythm, with three beats: Introduction, premise, antithesis (with the antithesis being the punch line).
In regards to the Milton Berle experiment, they can be taken to demonstrate the concept of "breaking context" or "breaking the pattern". It is not necessarily the rhythm that caused the audience to laugh, but the disparity between the expectation of a "joke" and being instead given a non-sequitur "normal phrase." This normal phrase is, itself, unexpected, and a type of punchline—the anti-climax.
Comic[edit]
In the comic field plays the 'economy of ideative expenditure'; in other words excessive energy is wasted or action-essential energy is saved. The profound meaning of a comic gagor a comic joke is "I'm a child"; the comic deals with the clumsy body of the child.
Laurel and Hardy are a classic example. An individual laughs because he recognises the child that is in himself. In clowns stumbling is a childish tempo. In the comic, the visual gags may be translated into a joke. For example in Side Effects (By Destiny Denied story) by Woody Allen:
"My father used to wear loafers," she confessed. "Both on the same foot".
The typical comic technique is the disproportion.
Wit[edit]
In the wit field plays the "economy of censorship expenditure"[9] (Freud calls it "the economy of psychic expenditure"); usually censorship prevents some 'dangerous ideas' from reaching the conscious mind, or helps us avoid saying everything that comes to mind; adversely, the wit circumvents the censorship and brings up those ideas. Different wit techniques allow one to express them in a funny way. The profound meaning behind a wit joke is "I have dangerous ideas".
Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
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Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
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Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
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Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
Very Funny Jokes For Kids In Hidni For Facebook Status For Facebook For Friends For Girls In English In Urdu For Teenagers For kidsA
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