پویایی در طنز فارسی: بررسی جنبه‌های اجتماعی-شناختی طنز تعاملی در چارچوب الگوی سه‌گانه از نظریه دو فرایندی ایوانز و استانوویچ (2013)

Abstract

Humor is a multimodal phenomenon rooted in human interaction, shaped by the interplay of socio-linguistic variables, and influenced by individuals’ socio-cultural knowledge. It often targets prevailing societal stereotypes and clichés. This study employs a thematic analysis approach to examine the production and comprehension of interactional humor. Data were collected by listening to Max Amini’s performances on his YouTube show and analyzed using Evans and Stanovich’s (2013) tripartite dual-process theory. The findings indicate that various cognitive mechanisms contribute to the generation of humor in Amini’s performances, such as recognizing visual stereotypes in expressions like To ye joor lusteri (you’re like a chandelier) identifying interpersonal incongruities (e.g., a flashy outfit versus sooty clothes and hands), employing wordplay (e.g., atiqe instead of Atiyeh), logical reasoning about the correlation between clothing style and accident rates, and a (self-)critical stance toward dominant social norms (e.g., “Haraam, Haraam!” as a religious discourse). The comprehension of interactional humor also occurs across three levels—automatic, analytical, and reflective—depending on individual differences in cognitive processing speed, awareness of the comedian-audience relationship, perceived offensiveness, gender, and other pragmatic factors. Additionally, the audience appears to use “smiles of resignation” as a means of emotional regulation and coping with inner tension in unpleasant situations.

Key terms: dynamicity, Evans and Stanovich, interactional humor, socio-cognitive aspects,

tripartite model of dual-process theory