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A Comparative and Cross-Cultural Study of Irony, Sarcasm, and Stereotypes in North American, English, and Chilean Stand-Up Comedies

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A Comparative and Cross-Cultural Study of Irony, Sarcasm, and Stereotypes in North American, English, and Chilean Stand-Up Comedies UNIVERSIDAD DE CHILE FACULTAD DE FILOSOFÍA Y HUMANIDADES DEPARTAMENTO DE LINGÜÍSTICA LICENCIATURA EN LINGÜÍSTICA Y LITERATURA INGLESAS A COMPARATIVE AND CROSS-CULTURAL STUDY OF IRONY, SARCASM, AND STEREOTYPES IN NORTH AMERICAN, ENGLISH, AND CHILEAN STAND-UP COMEDIES Informe final de Seminario de Grado para optar al grado de Licenciado en Lengua y Literatura Inglesas Participantes: Javier Contreras Armijo Lorena López Castañeda Ariel Maldonado Rubio Daniela Mundaca Dahmen Andrea Rogers Luarte Denise Valdivia Retamal Daniela Yañez Pavez Profesor Guía: Carlos Zenteno Bustamante Santiago de Chile 2011 ACKNOWLEDGEMENTS We would like to thank Professor Carlos Zenteno for his confidence, encouragement and academic guidance. Also, we would like to thank Mr. Marco Espinoza for his support in the elaboration of this research. Likewise, we would like to express our immense gratitude to the teachers in the Department of Linguistics who have participated in our academic training as undergraduate students: Ms. Ximena Tabilo, Ms. Pascuala Infante, Ms. Rosita Rodriguez, Mr. Patricio Novoa, and Ms. Clotilde Vivanco. AGRADECIMIENTOS Primeramente, quiero agradecer a mi padre, Sergio Contreras, por su apoyo incondicional en éste y en todos los procesos que he decidido emprender. También, por confiar y creer en mí, por la educación y valores entregados. A mi tía, Rosa Contreras y a mi abuela, Raquel Vergara, por su inagotable apoyo, preocupación y amor a lo largo de mi vida. También, quiero agradecer a todos mis amigos, quienes siempre han estado a mi lado, apoyándome y aconsejándome. A Miss Pascuala Infante, por su gran ayuda, consejos y enseñanzas. A mis compañeros de seminario de grado, Andrea Rogers y Ariel Maldonado, por su gran trabajo, compañerismo y compromiso. Sin ustedes, este camino no habría sido posible. Y, finalmente, a ti, Mamá, por estar siempre junto a mí en cada momento. Hoy, sigo tus pasos. Javier “Passion rebuilds the world for the youth. It makes all things alive and significant”. Ralph Waldo Emerson. Mi idea no era una rebuscada y larga carta de agradecimientos, sino tan sólo agradecer a mis compañeros de tesis, quienes hicieron de este proyecto algo posible. Decirles que admiro la pasión puesta en esta causa, y por la energía que hizo andar esta máquina. A mis apasionados compañeros, mis sinceras gracias. Lorena Lopez C. Quiero agradecer a mis padres, a mis compañeros de tesis y a todos aquéllos que hicieron posible este trabajo. Además, me gustaría agradecer a Miss Pascuala Infante, quien siempre ha estado dispuesta a ayudarnos con todas nuestras dudas y problemas. Ariel Quisiera agradecer a mis padres, María Solange Dahmen y José Luis Mundaca, por todo el apoyo incondicional que me han brindado a lo largo de esta carrera. Sin su apoyo, nada de esto habría sido posible. También me gustaría agradecer a Andrea Rogers, quien ha sido uno de los pilares fuertes de esta tesis, y a todos mis compañeros de tesis en general: Ariel, Javier, Denny, Dany y Lore, sin cuyo esfuerzo y desempeño, este trabajo no se habría concretado. Finalmente, me gustaría agradecer a profesores como Miss Rosita Rodríguez, Miss Coty Vivanco, Patricio Novoa y Rosa Bahamondes por haber cumplido un rol determinante en nuestra formación académica. También, a nuestra profesora y coordinadora docente, Pascuala Infante, por su siempre buena disposición, buen ánimo y eficiencia al ayudarnos a resolver nuestros problemas. A todos, muchas gracias. Daniela Mundaca Dahmen. Primero que todo, quiero agradecer a mi madre por darme las herramientas necesarias para lograr mis metas y para no vencerme ante nada, y a Marco Torres por su preocupación e incondicional y constante apoyo. También, quisiera agradecer a mis compañeros de seminario de grado, Ariel Maldonado y Javier Contreras por haber sido un pilar fundamental en este proceso, demostrándome lo importantes y valiosos que son. En general, agradezco a Denise, Dany Mundaca y Dany Yañez por su constante preocupación y trabajo. Finalmente, quiero agradecer a Ximena Tabilo por su entrega y motivación para seguir adelante durante mi estadía en la Universidad y a Pascuala Infante por ser un angelito en este camino. Andrea Agradezco a Dios por todo lo que me ha dado. A mis pilares fundamentales: mis padres, por su amor y apoyo infinito, por su esfuerzo y por hacerme quien soy. A mi pololo, por su amor y paciencia de oro. A mis formadores, quienes, con su entrega y trabajo, han logrado sacar lo mejor de nosotros. A cada uno de ellos, gracias por su dedicada labor. A todos quienes fueron mis compañeros, más allá de la U, de la vida, quienes pasaron a ser grandes amigos. Finalmente, a cada persona que formó parte de este proceso, siendo parte de él o estando fuera. Con todo mi cariño y amor. (Agradezco al, café que pasó a ser un gran acompañante, a la biblioteca que me refugió todo este tiempo, al casino y a Don Cleme, gran fuente de mi energía, y a los capuchas que, en varias veces, fueron una salvación). Denise Quiero expresar toda mi gratitud a mis padres, quienes han estado incondicionalmente en todo mi proceso educativo y valórico a través de todos estos años. Además, por demostrarme que con perseverancia y constancia no hay imposibles. Gracias también a todas las personas que me han acompañado e impulsado a que este proyecto culminara de manera exitosa: amigas, amigos y parientes. Y, por último, a Pascuala Infante por su infinita paciencia y ayuda académica. Y a todo el profesorado, quienes aportaron grandes enseñanzas en nuestra gran formación durante la carrera. Dany Yañez TABLE OF CONTENTS ACKNOWLEDGMENTS AGRADECIMIENTOS 1. INTRODUCTION ………………………………………………………….. 1 2. RESEARCH QUESTIONS ………………………………………………… 3 3. OBJECTIVES ……………………………………………………………… 4 3.1 General objectives ………………………………………………………….. 4 3.2 Specific objectives …………………………………………………………. 4 4. THEORETICAL FRAMEWORK …………………………………………. 6 4.1 Humour …………………………………………………………………….. 6 4.1.1 Theories of humour ………………………………………………………… 6 4.1.1.1 The Incongruity Theory ……………………………………………………. 6 4.1.1.2 The Superiority Theory …………………………………………………….. 7 4.1.1.3 The Relief Theory ………………………………………………………….. 8 4.1.2 Attardo´s linguistic theories of humour ……………………………………. 9 4.1.3 Humour and laughter ………………………………………………………. 11 4.1.4 Stand-up comedy …………………………………………………………… 14 4.1.4.1 Stand-up comedy nowadays………………………………………………… 14 4.1.5 Target and punchile ………………………………………………………… 15 4.1.6 Audience response …………………………………………………………. 16 4.2 Irony ………………………………………………………………………... 17 4.2.1 The complex pragmatic functions of irony ………………………………… 17 4.2.2 Humour and irony ………………………………………………………….. 18 4.2.2.1 The pragmatics of humour …………………………………………………. 19 4.2.2.2 The pragmatics of irony ……………………………………………………. 20 4.2.2.3 The pragmatic functions of humour ……………………………………….. 20 4.2.2.4 The pragmatic functions of irony ………………………………………….. 21 4.2.3 Sperber and Wilson´s Mention Theory …………………………………….. 23 4.2.4 Implicature …………………………………………………………………. 24 4.2.5 Grice´s Cooperative Principle ……………………………………………… 26 4.2.5.1 The Maxims of conversation ……………………………………………….. 27 4.2.6 The concept of Face: face saving/ threatening acts ………………………… 27 4.2.6.1 Performing an FTA without any redress (bald on record) …………………. 28 4.2.6.2 Performing an FTA with redress (positive politeness) …………………….. 29 4.2.6.3 Performing an FTA with redress (negative politeness) …………………….. 30 4.2.6.4 Performing an FTA using off-record politeness …………………………… 30 4.2.6.5 Not performing an FTA ……………………………………………………. 30 4.2.7 The Allusional Pretence Theory of discourse irony ………………………... 31 4.3 Sarcasm …………………………………………………………………….. 33 4.3.1 The concept of sarcasm …………………………………………………….. 33 4.3.2 The Impoliteness Theory …………………………………………………… 35 4.3.2.1 Impoliteness strategies ……………………………………………………... 36 4.3.2.1.1 Positive impoliteness strategies …………………………………………….. 37 4.3.2.1.2 Negative impoliteness strategies …………………………………………… 37 4.4 Stereotypes …………………………………………………………………. 38 4.4.1 The concept of stereotype ………………………………………………….. 38 4.5 The cross-cultural humour …………………………………………………. 40 4.5.1 National varieties between humour in England and the United States …….. 40 4.5.2 Humour in Chilean society according to Coco Legrand …………………… 44 5. METHOD …………………………………………………………………... 47 5.1 Data ………………………………………………………………………… 47 5.2 Corpus seleccion criteria …………………………………………………… 48 5.3 Data analysis procedures and criteria ………………………………………. 49 6. DATA ANALYSIS ………………………………………………………… 54 6.1 Stand-up comedy´s routines ………………………………………………... 54 6.1.1 Coco Legrand´s Hell routine ……………………………………………….. 54 6.1.1.1 Background ………………………………………………………………… 54 6.1.1.2 Analysis …………………………………………………………………….. 54 6.1.2 Pedro Ruminot´s Halloween routine ……………………………………….. 63 6.1.2.1 Background ………………………………………………………………… 63 6.1.2.2 Analysis …………………………………………………………………….. 63 6.1.3 Pedro Ruminot´s God routine ……………………………………………… 70 6.1.3.1 Analysis ……………………………………………………………………. 70 6.1.4 Rowan Atkinson´s Hell routine …………………………………………….. 76 6.1.4.1 Background ………………………………………………………………… 76 6.1.4.2 Analysis …………………………………………………………………….. 77 6.1.5 Jerry Seinfield´s Halloween routine ………………………………………... 82 6.1.5.1 Background ………………………………………………………………… 82 6.1.5.2 Analysis …………………………………………………………………….. 82 6.1.6 George Carlin´s God routine ……………………………………………….. 92 6.1.6.1 Background ………………………………………………………………… 92 6.1.6.2 Analysis …………………………………………………………………….. 93 7. PRESENTATION AND DISCUSSION OF RESULTS …………………... 103 7.1 General results …………………………………………………………….... 103 7.2 Specific results ……………………………………………………………..
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