Switches from the bona-fide to the non-bona-fide mode of communication and back by the participants in a humorous act serve in this work äs a basis for classification of various possible configurations. These configurations determine the degree oftuning in between the transmitter and the recipient. A double bondmodelfor the felicitous performance of an humorous act is proposed, and the communicative value of humor äs a "covering move" aiming to be discovered is explored. Following the analysis ofafew examples, a concept of Substantive versus syntactic creation of second-degree humor is developed. Humor is conceived generically to be any communicative instance which is perceived äs humorous by any of the interacting parties. The humorous communicative instance becomes a vehicle or social mechanism employed for interaction. W. H. Martineau (1972: 114) According to Grice (1975), conversationalists are oriented to and by the following cooperative principle: Make your conversational contribution such äs is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged (Grice 1975: 44). This principle implies decisions in four major areas: relation, quality, quantity, and manner, and their significance is spelled out by maxims: 1. relation
HUMOR – de Gruyter
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