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punch line

n.
The climactic phrase or statement of a joke, producing a sudden humorous effect.

punch line

n
1. (Literary & Literary Critical Terms) the culminating part of a joke, funny story, etc, that gives it its humorous or dramatic point

punch′ line`


n.
the climactic phrase or sentence in a joke, speech, or humorous story that produces the desired effect.
Noun1.punch line - the point of a joke or humorous story
gag line, tag line, laugh line
gag, jape, jest, joke, laugh - a humorous anecdote or remark intended to provoke laughter; 'he told a very funny joke'; 'he knows a million gags'; 'thanks for the laugh'; 'he laughed unpleasantly at his own jest'; 'even a schoolboy's jape is supposed to have some ascertainable point'
line - text consisting of a row of words written across a page or computer screen; 'the letter consisted of three short lines'; 'there are six lines in every stanza'
pointe
csattanópoén
can alıcı son cümleesprili nokta

punch line

n (of joke) → battuta finale; (of story) → finalem

punch2

(pantʃ) verb
to hit with the fist. He punched him on the nose. slaan, moker يَلْكُم، يُسَدِّدُ لَكْمَةً удрям с юмрук esmurrar udeřit pěstí schlagen slå δίνω μπουνιά dar un puñetazo klobima مشت زدن lyödä nyrkillä donner un coup de poing à לְהַכּוֹת בְּאֶגרוֹף ב- मुक्का मारना (meg)üt meninju kÿla, reka hnefahögg colpire げんこで打つ 주먹으로 치다 trenkti kumščiu iesist ar dūri; iedunkāt menumbuk een vuistslag geven dra tiluderzyć pięścią سوك وهل dar um murro a da un pumn ударять кулаком udrieť päsťou mahniti s pestjo udariti pesnicom slå (klippa) till ชก yumruk atmak 用拳猛擊 бити кулаком مکا مارنا đấm 用拳猛击
noun
1. a blow with the fist. He gave him a punch. mokerhou لَكْمَه удар murro úder pěstí der Faustschlag slag γροθιά, μπουνιάpuñetazo rusikahoop مشت nyrkinisku coup de poing מַכָּת אגרוֹף बरतन जिस में पंच पिलाया जाता है ökölcsapás pukulan hnefahögg pugno げんこ打ち 펀치 smūgis kumščiu sitiens ar dūri tumbukan vuistslagslag, støt cios pięścią سوك murro (lovitură de) pumn удар кулаком úder päsťou udarec s pestjo udarac pesnicom knytnävsslag, smäll การชก yumruk 拳打 удар кулаком مکا، گھونسہ cú đấm 拳打
2. the quality of liveliness in speech, writing etc. lewendigheid حَيَوِيَّة أسْلوب الكَلام أو الكِتابَه ефект vigor břitkost der Durchschlag gennemslagskraft σφρίγοςpuñetazo särts گیرایی vaikuttavuus vigueur עוֹצמָה प्रभावी शक्ति energia kelincahan kraftur vigore 活気 힘, 활력 energija, jėga enerģija; spars berkesan; bernas pitkraft siła wyrazu جذابيت vigor forţă живость spád; nadšenie polet živahnost slagkraft, eftertryck, sting ความน่าสนใจของการพูดหรืองานเขียน canlılık 效力，活力 енергія زور، زندہ دلي sự hùng hồn 效力，活力
ˈpunch-drunk adjective
(of a boxer) dizzy from being continually hit. vuisvoos مُتَرَنِّح بِسَبَب اللكَمات المتواصِلَه зашеметен estonteado otupělý von Faustschlägen betäubt groggy ζαλισμένος από τις γροθιές (για πυγμάχο) grogui, aturdido hoopidest uimane مشت مستی sekaisin sonnéמסוחרר घूंसे की मार से स्तम्भित, विपत्ति से घबड़ाया हुआ megroggyant nanar, mabuk pukulan vankaður stordito ふらふらした 얻어 맞고 비틀거리는 apsvaigęs nuo smūgių (belzienu) apstulbināts nanar versuftuklar, groggy zamroczony په مستى سره سوك وهل estonteado ameţit de lovituri обалделый dobitý omamljen ošamućen punch-drunk, omtöcknad ที่มีอาการมึนงงเนื่องจากถูกชก sersemlemiş, grogi durumunda (拳擊中)被打得暈頭轉向的 загальмований گھونسہ کھانے کي وجہ سے چکراہٹ ميں مبتلا no đòn （拳击中）被打得晕头转向的
ˈpunch line
the funny sentence or phrase that ends a joke. He always laughs before he gets to the punch line. trefreël الجُمْلَةِ الأخيرَةِ المُضْحِكَةِ في النُّكْتَه поанта ponto culminante pointa die Pointe pointe κατάληξη ανέκδοτου remate (nalja) puänt بخش اصلی شوخی یا جوک huipentuma conclusion שוּרָת מָחַץ अन्तिम पंक्ति csattanó, poén bagian akhir lelucon lokasetning í skrÿtlu (battuta finale) おち 급소를 찌르는 말 esmė (anekdotes) ‘sāls' bahagian yg melucukan rake slotzin poeng, sluttreplikk pointa مستى ،ساعتيرى ponto culminante ударная фраза pointa poanta poenta slutpoäng คำคม esprili nokta, can alıcı son cümle 妙語 фраза, яка вміщує “сіль” жарту لطيفہ کي آخري بات điểm nút 妙语
ˈpunch-up noun
a fight (using fists). geveg قِتال بالقَبْضات бой с юмруци pancadaria rvačka die Schlägerei slagsmål καβγάς με γροθιές riña rusikavõitlus بزن بزن nyrkkitappelu baggare קְרָב אֶגרוֹפִים लडा़ई bunyó perkelahian handalögmál zuffa, scazzottata なぐり合い 싸움 kumštynės kautiņš beradu lengan knokpartij slagsmål walka na pięści جګړه pancadaria bătaie cu pumnii потасовка bitka, ruvačka pretep pesničenje råkurr, slagsmål การชกต่อย yumruklaşma, kavga 打群架 бійка دھکا مکي کرنا، لڑنا cuộc ẩu đả 打群架

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A punch line (a. k. a. 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.

In a broader sense, 'punch line' can also refer to the unexpected and funny conclusion of any performance, situation or story.

Etymology[edit]

The origin of 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 1920s; the Merriam-Webster dictionary pegs the first use in 1921.[1] Some people argue that the term's origin is related to the British weekly magazine Punch.[citation needed]

Linguistic analysis[edit]

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 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.'[2] To produce the humor in 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.[3] 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 is conceptualized as a biphasic sequence involving first the discovery of incongruity followed by a resolution of the incongruity.'[4][5] Resolution generates laughter.

Prosodic features[edit]

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.[6] In laboratory settings, however, none of these changes are employed at a statistically significant level in the production of humorous narratives.[6] Rather, the pitch and loudness of the punchline are comparable to those of the ending of any narrative, humorous or not.[6]

Jokes without a punch line[edit]

In order to better elucidate the structure and function of the punch line it is useful to look at some joke forms which purposely remove or avoid the punch line in their narrative. Shaggy dog stories are long-winded anti-jokes in which the punch line is deliberately anti-climactic. 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.[7] One example of this 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.

Jab lines[edit]

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, 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 it can be positioned anywhere within the text, not just at the end. 'Jab and punch lines are semantically indistinguishable (…), but they differ at a narratological level.'[8] 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)'.[9]

Using 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.[10]

Three part structure[edit]

Felicitous jokes are often formatted in a style called AAB,[11] where 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.[11]

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 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 the last man has it all figured out. The guard brings him forward, and the executioner asks if he has any last requests. He says no, and the executioner shouts, 'Ready! Aim!' and the last man yells, 'Fire!'[11]

According to this theory, the punchline is always the deviation, and it does not matter how many instances of A occur for there to be a punchline. However, jokes following the AAB structure are consistently rated as being funnier than their AB or AAAB counterparts.[11]

Footnotes[edit]

  1. ^'Definition of PUNCH LINE'. merriam-webster.com.
  2. ^(Carrell 2008, p. 308)
  3. ^(Raskin 1985, p. 99)
  4. ^(Shultz 1976, pp. 12–13)
  5. ^(Carrell 2008, p. 312)
  6. ^ abcPickering, Lucy; Corduas, Marcella; Eisterhold, Jodi; Seifried, Brenna; Eggleston, Alyson (November 2009). 'Prosidic Markers of Saliency in Humorous Narratives'. Discourse Processes. 46 (6): 517–540. doi:10.1080/01638530902959604.
  7. ^(Ruch 2008, p. 49)
  8. ^(Attardo 2008, p. 110)
  9. ^(Attardo 2001, pp. 82–83); partly available through Google Books.
  10. ^For an example of this type of humor text analysis, see (Attardo 2008, p. 110).
  11. ^ abcdRozin, Paul; Rozin, Alexander; Appel, Brian; Wachtel, Charles (August 2006). 'Documenting and Explaining the common AAB pattern in music and humor: Establishing and breaking expectations'. Emotion. 6 (3): 349–355. CiteSeerX10.1.1.320.7649. doi:10.1037/1528-3542.6.3.349. PMID16938077.

References[edit]

  • Attardo, Salvatore (2008). 'A primer for the Linguistics of Humor'. In Raskin, Victor (ed.). Primer of Humor Research: Humor Research 8. Berlin, New York: Mouton de Gruyter. pp. 101–156.
  • Attardo, Salvatore (2001). Humorous Texts: A Semantic and Pragmatic Analysis. Berlin, New York: Mouton de Gruyter. p. 83.
  • Carrell, Amy (2008). Raskin, Victor (ed.). 'Primer of Humor Research: Humor Research 8'(PDF). Berlin, New York: Mouton de Gruyter: 303–332.Cite journal requires journal= (help)
  • Chlopicki, W. (2005). 'The Linguistic Analysis of Jokes'. Journal of Pragmatics.
  • Raskin, Victor (1985). Semantic Mechanisms of Humor. Dordrecht, Boston, Lancaster: D. Reidel.
  • Ruch, Willibald (2008). 'Psychology of humor'. In Raskin, Victor (ed.). Primer of Humor Research: Humor Research 8. Berlin, New York: Mouton de Gruyter. pp. 17–100.
  • Shultz, Thomas R. (1976). 'A cognitive-developmental analysis of humour'. Humour and Laughter: Theory, Research and Applications: 11–36.
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