A punch line (also punch-line or punchline ) concludes a joke ; it is intended to make people laugh . It is the third and final part of the typical joke structure . It follows the introductory framing of the joke and the narrative which sets up for the punch line.
22-526: The Killing Joke may refer to: Books [ edit ] Batman: The Killing Joke , a Batman graphic novel published in 1988 The Killing Joke (novel) , a novel by Anthony Horowitz first published in 2004 Music [ edit ] Killing Joke , an English punk rock band formed in 1979 Killing Joke (1980 album) , their debut album Killing Joke (2003 album) , their 2003 album Film [ edit ] Batman: The Killing Joke (film) ,
44-463: A 2016 animated feature based on the 1988 graphic novel See also [ edit ] " The Funniest Joke in the World ", a Monty Python sketch Death from laughter Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title The Killing Joke . If an internal link led you here, you may wish to change the link to point directly to
66-488: A joke is made up of a set of three, the first two of which share some common attribute, and the third represents a deviation from that attribute. Under these conditions, the third item in the set—the B—is the punchline. Rozin gives the following example as exemplifying this structure: A Some men are about to be executed. The guard brings the first man forward, and the executioner asks if he has any last requests. He says no, and
88-517: A joke. At the end, the narrator has realised he has ruined the joke and decides to start again. The last chapter consists of the first seven words of the book. Denise Pickles of Reviewing the Evidence said while The Killing Joke was sometimes confusing, the book altogether was interesting. Punch line In a broader sense, "punch line" can also refer to the unexpected and funny conclusion of any performance, situation or story. The origin of
110-524: A small island just off the coast. At night, they steal a boat and travel there. They soon get captured and brought to speak with Rupert Liddy. He puts them in cells and, reveals that Sphinx creates and distributes jokes so that people will not take things, like politics, too seriously. He explains that their identity must be kept secret. If someone found out that jokes were created by a company, people wouldn't find them funny any more. Rupert then tries to find out who sent Guy and who else knows about them through
132-442: A statistically significant level in the production of humorous narratives . Rather, the pitch and loudness of the punchline are comparable to those of the ending of any narrative, humorous or not. In order to better elucidate the structure and function of the punch line, it is useful to look at some joke forms that purposely remove or avoid the punch line in their narrative. Shaggy dog stories are long-winded anti-jokes in which
154-409: Is a comedy thriller about a man called Guy Fletcher, who tries to track down the source of a joke. Guy Fletcher is an actor who overhears a joke about his mother, a famous and much loved actress (very few people know he is her son). The next day he wonders where jokes come from and embarks on a mission to track down the joke's origin. In the process, he falls in love with a woman called Sally. As he
176-444: Is conceptualized as a biphasic sequence involving first the discovery of incongruity followed by a resolution of the incongruity." Resolution generates laughter. There are many folk theories of how people deliver punchlines, such as punchlines being louder and at a higher pitch than the speech preceding it, or a dramatic pause before the punchline is delivered. In laboratory settings, however, none of these changes are employed at
198-406: Is evoked when a trigger, contained in the punch line, causes the audience to abruptly shift its understanding of the story from the primary (or more obvious) interpretation to a secondary, opposing interpretation. "The punch line is the pivot on which the joke text turns as it signals the shift between the [semantic] scripts necessary to interpret [re-interpret] the joke text." To produce the humor in
220-441: Is investigating, he is noticed by a mysterious group led by a man called Rupert Liddy. They attempt to stop Guy and eventually they frame him for his neighbor's murder, at which point Guy goes into hiding. He goes back to Sally, believing her to be the last chance he has of finding out what was going on. Sally decides to go with Guy to track down the joke. His only lead, a company called Sphinx that apparently makes vacuum cleaners ,
242-440: Is the no soap radio punch line: "Two elephants were taking a bath. One said, 'Please pass the soap.' The other replied, 'No soap, radio.'" Here the anticipated resolution to the joke is absent and the audience becomes the butt of the joke. A joke contains a single story with a single punch line at the end. In the analysis of longer humorous texts, an expanded model is needed to map the narratological structure . With this in mind,
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#1732779538885264-480: Is where one of the joke's trails ended. He tries to track down Sphinx but when he rings their number he is left holding for an hour before being redirected. At another attempt, he maps three of the trails he had followed and found they crossed near the coast of Suffolk . He and Sally travel there and after investigating various towns in the area, they stop at a village called Kelford. They find everyone there almost completely humourless, and that has something to do with
286-471: The general theory of verbal humor (GTVH) was expanded to include longer humorous texts together with jokes, using the GTVH narrative structure to categorize them. A new term "jab line" was introduced to designate humor within the body of a text, as opposed to the punch line, which is always placed at the end. The jab line is functionally identical to the punch line, except that it can be positioned anywhere within
308-404: The executioner shouts, "Ready! Aim!" Suddenly the man yells, "Earthquake!" Everyone is startled and looks around. In all the confusion, the first man escapes. A The guard brings the second man forward, and the executioner asks if he has any last requests. He says no, and the executioner shouts, "Ready! Aim!" Suddenly the man yells, "Tornado!" In the confusion, the second man escapes. B By now
330-498: The expanded narrative structure of the GTVH and this new terminology of jab lines, literature and humor researchers now have a single theoretical framework, with which they can analyze and map any kind of verbal humor, including novels, short stories, TV sitcoms, plays, movies as well as jokes. Felicitous jokes are often formatted in a style called AAB, (referred to as an A-A-A' triad by Yves Lavandier in Writing Drama ) where
352-460: The gas to be turned off before reaching a fatal level. Maintenance had not addressed the flaw because they were short staffed, causing Mr. Liddy to shout out the punchline of the book 'How many top-secret government technicians does it take to change a light bulb?' The penultimate chapter of the book describes with intentional clumsiness how Guy and Sally went to France to started a new life. It's written as if being spoken by someone badly describing
374-477: The intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=The_Killing_Joke&oldid=987629133 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages The Killing Joke (novel) The Killing Joke is a novel written by Anthony Horowitz , first published in 2004 by The Orion Publishing Group . It
396-453: The punch line is deliberately anticlimactic. The humor here lies in fooling the audience into expecting a typical joke with a punch line. Instead they listen and listen to nothing funny and end up themselves as the butt of the joke. Another type of anti-joke is the nonsense joke, defined as having "a surprising or incongruous punch line", which provides either no resolution at all or only a partial, unsatisfactory resolution. One example of this
418-588: The term is unknown . Even though the comedic formula using the classic "set-up, premise, punch line" format was well-established in Vaudeville by the beginning of the 20th century, the actual term "punch line" is first documented in the 1910s; the Merriam-Webster dictionary pegs the first use in 1916. A linguistic interpretation of the mechanics of the punch line response is posited by Victor Raskin in his script-based semantic theory of humor . Humor
440-428: The text, not just at the end. "Jab and punch lines are semantically indistinguishable (...), but they differ at a narratological level." Additionally, "jab lines are humorous elements fully integrated in the narrative in which they appear (i.e., they do not disrupt the flow of the narrative, because they either are indispensable to the development of the 'plot' or of the text, or they are not antagonistic to it)". Using
462-418: The torture of tickling his foot with a feather. He then places Guy and Sally in a cell together that fills up with poisonous gas. The light bulb illuminating the room will go dark when gas level in the room is fatal. Guy and Sally breathe in the gas and go unconscious. They then wake up on a small boat and knock the captain unconscious. It is revealed that the light bulb in the gas chamber malfunctioned, causing
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#1732779538885484-442: The verbal joke, the two interpretations (i.e., scripts) need to be both compatible with the joke text and opposite or incompatible with each other. Thomas R. Shultz, a psychologist, independently expands Raskin's linguistic theory to include "two stages of incongruity: perception and resolution". He explains that "incongruity alone is insufficient to account for the structure of humour. [...] Within this framework, humour appreciation
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