Raziel1234/WebText-3 · Datasets at Hugging Face

text stringlengths 0 2.03k
In cases where PDFs are expected to have all of the functionality of paper documents, ink annotation is required.
Conversion and Information Extraction
PDF's emphasis on preserving the visual appearance of documents across different software and hardware platforms poses challenges to the conversion of PDF documents to other file formats and the targeted extraction of information, such as text, images, tables, bibliographic information, and document metadata
Numerous tools and source code libraries support these tasks
Several labeled datasets to test PDF conversion and information extraction tools exist and have been used for benchmark evaluations of the tool's performance.[92]
The Open XML Paper Specification is a competing format used both as a page description language and as the native print spooler format for Microsoft Windows since Windows Vista.
Mixed Object: Document Content Architecture is a competing format
MO:DCA-P is a part of Advanced Function Presentation.
A joke is a display of humour in which words are used within a specific and well-defined narrative structure to make people laugh and is usually not meant to be interpreted literally.[1] It usually takes the form of a story, often with dialogue, and ends in a punch line, whereby the humorous element of the story is revealed; this can be done using a pun or other type of word play, irony or sarcasm, logical incompatibility, hyperbole, or other means.[2] Linguist Robert Hetzron offers the definition:
A joke is a short humorous piece of oral literature in which the funniness culminates in the final sentence, called the punchline… In fact, the main condition is that the tension should reach its highest level at the very end
No continuation relieving the tension should be added
As for its being "oral," it is true that jokes may appear printed, but when further transferred, there is no obligation to reproduce the text verbatim, as in the case of poetry.[3]
It is generally held that jokes benefit from brevity, containing no more detail than is needed to set the scene for the punchline at the end
In the case of riddle jokes or one-liners, the setting is implicitly understood, leaving only the dialogue and punchline to be verbalised
However, subverting these and other common guidelines can also be a source of humour—the shaggy dog story is an example of an anti-joke; although presented as a joke, it contains a long drawn-out narrative of time, place and character, rambles through many pointless inclusions and finally fails to deliver a punchline
Jokes are a form of humour, but not all humour is in the form of a joke
Some humorous forms which are not verbal jokes are: involuntary humour, situational humour, practical jokes, slapstick and anecdotes.
Identified as one of the simple forms of oral literature by the Dutch linguist André Jolles,[4] jokes are passed along anonymously
They are told in both private and public settings; a single person tells a joke to his friend in the natural flow of conversation, or a set of jokes is told to a group as part of scripted entertainment
Jokes are also passed along in written form or, more recently, through the internet.
Stand-up comics, comedians and slapstick work with comic timing and rhythm in their performance, and may rely on actions as well as on the verbal punchline to evoke laughter
This distinction has been formulated in the popular saying "A comic says funny things; a comedian says things funny".[note 1]
Jokes do not belong to refined culture, but rather to the entertainment and leisure of all classes
As such, any printed versions were considered ephemera, i.e., temporary documents created for a specific purpose and intended to be thrown away
Many of these early jokes deal with scatological and sexual topics, entertaining to all social classes but not to be valued and saved.[citation needed]
Various kinds of jokes have been identified in ancient pre-classical texts.[note 2] The oldest identified joke is an ancient Sumerian proverb from 1900 BC containing toilet humour: "Something which has never occurred since time immemorial; a young woman did not fart in her husband's lap." Its records were dated to the Old Babylonian period and the joke may go as far back as 2300 BC
The second oldest joke found, discovered on the Westcar Papyrus and believed to be about Sneferu, was from Ancient Egypt c
1600 BC: "How do you entertain a bored pharaoh
You sail a boatload of young women dressed only in fishing nets down the Nile and urge the pharaoh to go catch a fish." The tale of the three ox drivers from Adab completes the three known oldest jokes in the world
This is a comic triple dating back to 1200 BC Adab.[5] It concerns three men seeking justice from a king on the matter of ownership over a newborn calf, for whose birth they all consider themselves to be partially responsible
The king seeks advice from a priestess on how to rule the case, and she suggests a series of events involving the men's households and wives
The final portion of the story (which included the punch line), has not survived intact, though legible fragments suggest it was bawdy in nature.
Jokes can be notoriously difficult to translate from language to language; particularly puns, which depend on specific words and not just on their meanings
For instance, Julius Caesar once sold land at a surprisingly cheap price to his lover Servilia, who was rumoured to be prostituting her daughter Tertia to Caesar in order to keep his favour
Cicero remarked that "conparavit Servilia hunc fundum tertia deducta." The punny phrase, "tertia deducta", can be translated as "with one-third off (in price)", or "with Tertia putting out."[6][7]
The earliest extant joke book is the Philogelos (Greek for The Laughter-Lover), a collection of 265 jokes written in crude ancient Greek dating to the fourth or fifth century AD.[8][9] The author of the collection is obscure[10] and a number of different authors are attributed to it, including "Hierokles and Philagros the grammatikos", just "Hierokles", or, in the Suda, "Philistion".[11] British classicist Mary Beard states that the Philogelos may have been intended as a jokester's handbook of quips to say on the fly, rather than a book meant to be read straight through.[11] Many of the jokes in this collection are surprisingly familiar, even though the typical protagonists are less recognisable to contemporary readers: the absent-minded professor, the eunuch, and people with hernias or bad breath.[8] The Philogelos even contains a joke similar to Monty Python's "Dead Parrot Sketch".[8]
During the 15th century,[12] the printing revolution spread across Europe following the development of the movable type printing press
This was coupled with the growth of literacy in all social classes
Printers turned out Jestbooks along with Bibles to meet both lowbrow and highbrow interests of the populace
One early anthology of jokes was the Facetiae by the Italian Poggio Bracciolini, first published in 1470
The popularity of this jest book can be measured on the twenty editions of the book documented alone for the 15th century
Another popular form was a collection of jests, jokes and funny situations attributed to a single character in a more connected, narrative form of the picaresque novel
Examples of this are the characters of Rabelais in France, Till Eulenspiegel in Germany, Lazarillo de Tormes in Spain and Master Skelton in England
There is also a jest book ascribed to William Shakespeare, the contents of which appear to both inform and borrow from his plays
All of these early jestbooks corroborate both the rise in the literacy of the European populations and the general quest for leisure activities during the Renaissance in Europe.[12]
The practice of printers using jokes and cartoons as page fillers was also widely used in the broadsides and chapbooks of the 19th century and earlier
With the increase in literacy in the general population and the growth of the printing industry, these publications were the most common forms of printed material between the 16th and 19th centuries throughout Europe and North America
Along with reports of events, executions, ballads and verse, they also contained jokes
Only one of many broadsides archived in the Harvard library is described as "1706
Grinning made easy; or, Funny Dick's unrivalled collection of curious, comical, odd, droll, humorous, witty, whimsical, laughable, and eccentric jests, jokes, bulls, epigrams, &c
With many other descriptions of wit and humour."[13] These cheap publications, ephemera intended for mass distribution, were read alone, read aloud, posted and discarded.
There are many types of joke books in print today; a search on the internet provides a plethora of titles available for purchase
They can be read alone for solitary entertainment, or used to stock up on new jokes to entertain friends
Some people try to find a deeper meaning in jokes, as in "Plato and a Platypus Walk into a Bar..
Understanding Philosophy Through Jokes".[14][note 3] However a deeper meaning is not necessary to appreciate their inherent entertainment value.[15] Magazines frequently use jokes and cartoons as filler for the printed page
Reader's Digest closes out many articles with an (unrelated) joke at the bottom of the article
The New Yorker was first published in 1925 with the stated goal of being a "sophisticated humour magazine" and is still known for its cartoons.
Telling a joke is a cooperative effort;[16][17] it requires that the teller and the audience mutually agree in one form or another to understand the narrative which follows as a joke
In a study of conversation analysis, the sociologist Harvey Sacks describes in detail the sequential organisation in the telling of a single joke
"This telling is composed, as for stories, of three serially ordered and adjacently placed types of sequences … the preface [framing], the telling, and the response sequences."[18] Folklorists expand this to include the context of the joking
Who is telling what jokes to whom
And why is he telling them when?[19][20] The context of the joke-telling in turn leads into a study of joking relationships, a term coined by anthropologists to refer to social groups within a culture who engage in institutionalised banter and joking.
Framing: "Have you heard the one…"
Framing is done with a (frequently formulaic) expression which keys the audience in to expect a joke
"Have you heard the one…", "Reminds me of a joke I heard…", "So, a lawyer and a doctor…"; these conversational markers are just a few examples of linguistic frames used to start a joke
Regardless of the frame used, it creates a social space and clear boundaries around the narrative which follows.[21] Audience response to this initial frame can be acknowledgement and anticipation of the joke to follow
It can also be a dismissal, as in "this is no joking matter" or "this is no time for jokes".
The performance frame serves to label joke-telling as a culturally marked form of communication
Both the performer and audience understand it to be set apart from the "real" world
"An elephant walks into a bar…"; a person sufficiently familiar with both the English language and the way jokes are told automatically understands that such a compressed and formulaic story, being told with no substantiating details, and placing an unlikely combination of characters into an unlikely setting and involving them in an unrealistic plot, is the start of a joke, and the story that follows is not meant to be taken at face value (i.e
it is non-bona-fide communication).[22] The framing itself invokes a play mode; if the audience is unable or unwilling to move into play, then nothing will seem funny.[23]
Following its linguistic framing the joke, in the form of a story, can be told
It is not required to be verbatim text like other forms of oral literature such as riddles and proverbs
The teller can and does modify the text of the joke, depending both on memory and the present audience
The important characteristic is that the narrative is succinct, containing only those details which lead directly to an understanding and decoding of the punchline
This requires that it support the same (or similar) divergent scripts which are to be embodied in the punchline.[24]
The punchline is intended to make the audience laugh
A linguistic interpretation of this punchline/response is elucidated by Victor Raskin in his Script-based Semantic Theory of Humour
Humour is evoked when a trigger contained in the punchline causes the audience to abruptly shift its understanding of the story from the primary (or more obvious) interpretation to a secondary, opposing interpretation
"The punchline 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."[25] To produce the humour in the verbal joke, the two interpretations (i.e
scripts) need to both be compatible with the joke text and opposite or incompatible with each other.[26] 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."[27] In the case of a joke, that resolution generates laughter.
This is the point at which the field of neurolinguistics offers some insight into the cognitive processing involved in this abrupt laughter at the punchline
Studies by the cognitive science researchers Coulson and Kutas directly address the theory of script switching articulated by Raskin in their work.[28] The article "Getting it: Human event-related brain response to jokes in good and poor comprehenders" measures brain activity in response to reading jokes.[29] Additional studies by others in the field support more generally the theory of two-stage processing of humour, as evidenced in the longer processing time they require.[30] In the related field of neuroscience, it has been shown that the expression of laughter is caused by two partially independent neuronal pathways: an "involuntary" or "emotionally driven" system and a "voluntary" system.[31] This study adds credence to the common experience when exposed to an off-colour joke; a laugh is followed in the next breath by a disclaimer: "Oh, that's bad…" Here the multiple steps in cognition are clearly evident in the stepped response, the perception being processed just a breath faster than the resolution of the moral/ethical content in the joke.
Expected response to a joke is laughter
The joke teller hopes the audience "gets it" and is entertained
This leads to the premise that a joke is actually an "understanding test" between individuals and groups.[32] If the listeners do not get the joke, they are not understanding the two scripts which are contained in the narrative as they were intended
Or they do "get it" and do not laugh; it might be too obscene, too gross or too dumb for the current audience
A woman might respond differently to a joke told by a male colleague around the water cooler than she would to the same joke overheard in a women's lavatory
A joke involving toilet humour may be funnier told on the playground at elementary school than on a college campus
The same joke will elicit different responses in different settings
The punchline in the joke remains the same, however, it is more or less appropriate depending on the current context.
Shifting contexts, shifting texts
The context explores the specific social situation in which joking occurs.[33] The narrator automatically modifies the text of the joke to be acceptable to different audiences, while at the same time supporting the same divergent scripts in the punchline
The vocabulary used in telling the same joke at a university fraternity party and to one's grandmother might well vary
In each situation, it is important to identify both the narrator and the audience as well as their relationship with each other
This varies to reflect the complexities of a matrix of different social factors: age, sex, race, ethnicity, kinship, political views, religion, power relationships, etc
When all the potential combinations of such factors between the narrator and the audience are considered, then a single joke can take on infinite shades of meaning for each unique social setting.
The context, however, should not be confused with the function of the joking

In cases where PDFs are expected to have all of the functionality of paper documents, ink annotation is required.

Conversion and Information Extraction

PDF's emphasis on preserving the visual appearance of documents across different software and hardware platforms poses challenges to the conversion of PDF documents to other file formats and the targeted extraction of information, such as text, images, tables, bibliographic information, and document metadata

Numerous tools and source code libraries support these tasks

Several labeled datasets to test PDF conversion and information extraction tools exist and have been used for benchmark evaluations of the tool's performance.[92]

The Open XML Paper Specification is a competing format used both as a page description language and as the native print spooler format for Microsoft Windows since Windows Vista.

Mixed Object: Document Content Architecture is a competing format

MO:DCA-P is a part of Advanced Function Presentation.

A joke is a display of humour in which words are used within a specific and well-defined narrative structure to make people laugh and is usually not meant to be interpreted literally.[1] It usually takes the form of a story, often with dialogue, and ends in a punch line, whereby the humorous element of the story is revealed; this can be done using a pun or other type of word play, irony or sarcasm, logical incompatibility, hyperbole, or other means.[2] Linguist Robert Hetzron offers the definition:

A joke is a short humorous piece of oral literature in which the funniness culminates in the final sentence, called the punchline… In fact, the main condition is that the tension should reach its highest level at the very end

No continuation relieving the tension should be added

As for its being "oral," it is true that jokes may appear printed, but when further transferred, there is no obligation to reproduce the text verbatim, as in the case of poetry.[3]

It is generally held that jokes benefit from brevity, containing no more detail than is needed to set the scene for the punchline at the end

In the case of riddle jokes or one-liners, the setting is implicitly understood, leaving only the dialogue and punchline to be verbalised

However, subverting these and other common guidelines can also be a source of humour—the shaggy dog story is an example of an anti-joke; although presented as a joke, it contains a long drawn-out narrative of time, place and character, rambles through many pointless inclusions and finally fails to deliver a punchline

Jokes are a form of humour, but not all humour is in the form of a joke

Some humorous forms which are not verbal jokes are: involuntary humour, situational humour, practical jokes, slapstick and anecdotes.

Identified as one of the simple forms of oral literature by the Dutch linguist André Jolles,[4] jokes are passed along anonymously

They are told in both private and public settings; a single person tells a joke to his friend in the natural flow of conversation, or a set of jokes is told to a group as part of scripted entertainment

Jokes are also passed along in written form or, more recently, through the internet.

Stand-up comics, comedians and slapstick work with comic timing and rhythm in their performance, and may rely on actions as well as on the verbal punchline to evoke laughter

This distinction has been formulated in the popular saying "A comic says funny things; a comedian says things funny".[note 1]

Jokes do not belong to refined culture, but rather to the entertainment and leisure of all classes

As such, any printed versions were considered ephemera, i.e., temporary documents created for a specific purpose and intended to be thrown away

Many of these early jokes deal with scatological and sexual topics, entertaining to all social classes but not to be valued and saved.[citation needed]

Various kinds of jokes have been identified in ancient pre-classical texts.[note 2] The oldest identified joke is an ancient Sumerian proverb from 1900 BC containing toilet humour: "Something which has never occurred since time immemorial; a young woman did not fart in her husband's lap." Its records were dated to the Old Babylonian period and the joke may go as far back as 2300 BC

The second oldest joke found, discovered on the Westcar Papyrus and believed to be about Sneferu, was from Ancient Egypt c

1600 BC: "How do you entertain a bored pharaoh

You sail a boatload of young women dressed only in fishing nets down the Nile and urge the pharaoh to go catch a fish." The tale of the three ox drivers from Adab completes the three known oldest jokes in the world

This is a comic triple dating back to 1200 BC Adab.[5] It concerns three men seeking justice from a king on the matter of ownership over a newborn calf, for whose birth they all consider themselves to be partially responsible

The king seeks advice from a priestess on how to rule the case, and she suggests a series of events involving the men's households and wives

The final portion of the story (which included the punch line), has not survived intact, though legible fragments suggest it was bawdy in nature.

Jokes can be notoriously difficult to translate from language to language; particularly puns, which depend on specific words and not just on their meanings

For instance, Julius Caesar once sold land at a surprisingly cheap price to his lover Servilia, who was rumoured to be prostituting her daughter Tertia to Caesar in order to keep his favour

Cicero remarked that "conparavit Servilia hunc fundum tertia deducta." The punny phrase, "tertia deducta", can be translated as "with one-third off (in price)", or "with Tertia putting out."[6][7]

The earliest extant joke book is the Philogelos (Greek for The Laughter-Lover), a collection of 265 jokes written in crude ancient Greek dating to the fourth or fifth century AD.[8][9] The author of the collection is obscure[10] and a number of different authors are attributed to it, including "Hierokles and Philagros the grammatikos", just "Hierokles", or, in the Suda, "Philistion".[11] British classicist Mary Beard states that the Philogelos may have been intended as a jokester's handbook of quips to say on the fly, rather than a book meant to be read straight through.[11] Many of the jokes in this collection are surprisingly familiar, even though the typical protagonists are less recognisable to contemporary readers: the absent-minded professor, the eunuch, and people with hernias or bad breath.[8] The Philogelos even contains a joke similar to Monty Python's "Dead Parrot Sketch".[8]

During the 15th century,[12] the printing revolution spread across Europe following the development of the movable type printing press

This was coupled with the growth of literacy in all social classes

Printers turned out Jestbooks along with Bibles to meet both lowbrow and highbrow interests of the populace

One early anthology of jokes was the Facetiae by the Italian Poggio Bracciolini, first published in 1470

The popularity of this jest book can be measured on the twenty editions of the book documented alone for the 15th century

Another popular form was a collection of jests, jokes and funny situations attributed to a single character in a more connected, narrative form of the picaresque novel

Examples of this are the characters of Rabelais in France, Till Eulenspiegel in Germany, Lazarillo de Tormes in Spain and Master Skelton in England

There is also a jest book ascribed to William Shakespeare, the contents of which appear to both inform and borrow from his plays

All of these early jestbooks corroborate both the rise in the literacy of the European populations and the general quest for leisure activities during the Renaissance in Europe.[12]

The practice of printers using jokes and cartoons as page fillers was also widely used in the broadsides and chapbooks of the 19th century and earlier

With the increase in literacy in the general population and the growth of the printing industry, these publications were the most common forms of printed material between the 16th and 19th centuries throughout Europe and North America

Along with reports of events, executions, ballads and verse, they also contained jokes

Only one of many broadsides archived in the Harvard library is described as "1706

Grinning made easy; or, Funny Dick's unrivalled collection of curious, comical, odd, droll, humorous, witty, whimsical, laughable, and eccentric jests, jokes, bulls, epigrams, &c

With many other descriptions of wit and humour."[13] These cheap publications, ephemera intended for mass distribution, were read alone, read aloud, posted and discarded.

There are many types of joke books in print today; a search on the internet provides a plethora of titles available for purchase

They can be read alone for solitary entertainment, or used to stock up on new jokes to entertain friends

Some people try to find a deeper meaning in jokes, as in "Plato and a Platypus Walk into a Bar..

Understanding Philosophy Through Jokes".[14][note 3] However a deeper meaning is not necessary to appreciate their inherent entertainment value.[15] Magazines frequently use jokes and cartoons as filler for the printed page

Reader's Digest closes out many articles with an (unrelated) joke at the bottom of the article

The New Yorker was first published in 1925 with the stated goal of being a "sophisticated humour magazine" and is still known for its cartoons.

Telling a joke is a cooperative effort;[16][17] it requires that the teller and the audience mutually agree in one form or another to understand the narrative which follows as a joke

In a study of conversation analysis, the sociologist Harvey Sacks describes in detail the sequential organisation in the telling of a single joke

"This telling is composed, as for stories, of three serially ordered and adjacently placed types of sequences … the preface [framing], the telling, and the response sequences."[18] Folklorists expand this to include the context of the joking

Who is telling what jokes to whom

And why is he telling them when?[19][20] The context of the joke-telling in turn leads into a study of joking relationships, a term coined by anthropologists to refer to social groups within a culture who engage in institutionalised banter and joking.

Framing: "Have you heard the one…"

Framing is done with a (frequently formulaic) expression which keys the audience in to expect a joke

"Have you heard the one…", "Reminds me of a joke I heard…", "So, a lawyer and a doctor…"; these conversational markers are just a few examples of linguistic frames used to start a joke

Regardless of the frame used, it creates a social space and clear boundaries around the narrative which follows.[21] Audience response to this initial frame can be acknowledgement and anticipation of the joke to follow

It can also be a dismissal, as in "this is no joking matter" or "this is no time for jokes".

The performance frame serves to label joke-telling as a culturally marked form of communication

Both the performer and audience understand it to be set apart from the "real" world

"An elephant walks into a bar…"; a person sufficiently familiar with both the English language and the way jokes are told automatically understands that such a compressed and formulaic story, being told with no substantiating details, and placing an unlikely combination of characters into an unlikely setting and involving them in an unrealistic plot, is the start of a joke, and the story that follows is not meant to be taken at face value (i.e

it is non-bona-fide communication).[22] The framing itself invokes a play mode; if the audience is unable or unwilling to move into play, then nothing will seem funny.[23]

Following its linguistic framing the joke, in the form of a story, can be told

It is not required to be verbatim text like other forms of oral literature such as riddles and proverbs

The teller can and does modify the text of the joke, depending both on memory and the present audience

The important characteristic is that the narrative is succinct, containing only those details which lead directly to an understanding and decoding of the punchline

This requires that it support the same (or similar) divergent scripts which are to be embodied in the punchline.[24]

The punchline is intended to make the audience laugh

A linguistic interpretation of this punchline/response is elucidated by Victor Raskin in his Script-based Semantic Theory of Humour

Humour is evoked when a trigger contained in the punchline causes the audience to abruptly shift its understanding of the story from the primary (or more obvious) interpretation to a secondary, opposing interpretation

"The punchline 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."[25] To produce the humour in the verbal joke, the two interpretations (i.e

scripts) need to both be compatible with the joke text and opposite or incompatible with each other.[26] 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."[27] In the case of a joke, that resolution generates laughter.

This is the point at which the field of neurolinguistics offers some insight into the cognitive processing involved in this abrupt laughter at the punchline

Studies by the cognitive science researchers Coulson and Kutas directly address the theory of script switching articulated by Raskin in their work.[28] The article "Getting it: Human event-related brain response to jokes in good and poor comprehenders" measures brain activity in response to reading jokes.[29] Additional studies by others in the field support more generally the theory of two-stage processing of humour, as evidenced in the longer processing time they require.[30] In the related field of neuroscience, it has been shown that the expression of laughter is caused by two partially independent neuronal pathways: an "involuntary" or "emotionally driven" system and a "voluntary" system.[31] This study adds credence to the common experience when exposed to an off-colour joke; a laugh is followed in the next breath by a disclaimer: "Oh, that's bad…" Here the multiple steps in cognition are clearly evident in the stepped response, the perception being processed just a breath faster than the resolution of the moral/ethical content in the joke.

Expected response to a joke is laughter

The joke teller hopes the audience "gets it" and is entertained

This leads to the premise that a joke is actually an "understanding test" between individuals and groups.[32] If the listeners do not get the joke, they are not understanding the two scripts which are contained in the narrative as they were intended

Or they do "get it" and do not laugh; it might be too obscene, too gross or too dumb for the current audience

A woman might respond differently to a joke told by a male colleague around the water cooler than she would to the same joke overheard in a women's lavatory

A joke involving toilet humour may be funnier told on the playground at elementary school than on a college campus

The same joke will elicit different responses in different settings

The punchline in the joke remains the same, however, it is more or less appropriate depending on the current context.

Shifting contexts, shifting texts

The context explores the specific social situation in which joking occurs.[33] The narrator automatically modifies the text of the joke to be acceptable to different audiences, while at the same time supporting the same divergent scripts in the punchline

The vocabulary used in telling the same joke at a university fraternity party and to one's grandmother might well vary

In each situation, it is important to identify both the narrator and the audience as well as their relationship with each other

This varies to reflect the complexities of a matrix of different social factors: age, sex, race, ethnicity, kinship, political views, religion, power relationships, etc

When all the potential combinations of such factors between the narrator and the audience are considered, then a single joke can take on infinite shades of meaning for each unique social setting.

The context, however, should not be confused with the function of the joking