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The Semantic Script Theory of Humor is the first complete linguistic theory on humor. This theory, that was in fact a radical departure from the traditionally taxonomic approach of puns and humor, was first introduced by Victor Raskin. He was the first linguist that analyzed the structures of humor from the semantic view point, and could identify the structure of joke. In Raskin’s view, a semantic theory must include two abstract concepts: a set of the whole scripts available to the speakers and a set of compositional rules. The purpose of this article is to introduce this theory and to answer this question that which objections on the basis of Persian data may be made to this theory. For this purpose, we studied a number of Persian jokes published in Iranian Humor Press, and by the analysis of these texts, we could show some weaknesses of the theory. The results of this study showed that the way of analysis in Raskin’s Semantic Scripts theory, which is based on listing all of the scripts involved in the words used in the humorous text, has some weaknesses in analyzing Persian Jokes; such as not being compatible with the linguistic processing realities and for having time-consuming redundant complexities, it is not applicable on long Persian jokes.

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This paper examines incongruity as one of the linguistic mechanisms of texts bearing humor. The main question is that what works these texts seems humorous. Humor has been studied from three different, but related, approaches: psychological, literarily and linguistic. The paper takes as two main factors generating humor. First, the problem, the question and the literature review are mentioned. Then it refers to inconguity from structural and functional levels with regard to some humorous texts in Zakani's Resale-e- Delgosha. On the structural level, it refers to words play (homonymy, homophony, homography, paronymy) and the kind of punning andits in Persian rhetoric. On the functional level, it refers to ambiguity/amphilboly and their functions. The results showed that incongruity in the form punning as well as ambiguity/amphilboly paves the way to make texts seem humorous.

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The linguistic study of “Humor” has a rich and long history, and the systematic research on linguistic mechanisms of humor goes back to Raskin’s semantic theory of humor (1985). Besides the elements such as incongruity, ambiguity and exaggeration, flouting of Grice maxims (1975) of Cooperative Principle (CP) is one of the most reviewed techniques of producing humor, which has been the subject of various linguistics studies. In this research, we study the role of maxim flouting in producing so-called “pa-na-pa” (“so what” conversational style) jokes, which have been recently spread initially on the Internet and then in the society. We also depict the process in a three-part algorithm. This new generation of Iranian jokes is considerable not  only because of their linguistic but also because of its sociolinguistics characteristics in which there is no trace of insulting language toward social and ethnic minorities that itself shows a paradigm shift in Iranian jokes.  

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Ta̕̕ ziye is crystalized as lyric, melancholic and popular rituals on the occasion of the martyrdom of Imam Hussein (AS) and his companions in the desert of Karbala in the year 61 AH. In general Ta̕̕ ziye and Shabihe are used interchangeably provided they are to some extent different. By the evolution of these two popular types, satire and humor have been emerged in Shabihhe. Also, it has been appeared a kind of educational –dramatic genre which was tragic, funny and was called ridiculous Ta̕̕ ziye as well. Ashqya humiliation, relief and scorn of Shiite mourning and mockery of symbols of power are among the functions of satire and humor in Ta̕̕ ziye. Some features of satire and humor language in Ta̕̕ ziye and Shabihe are: Antonymy ,  exaggeration , zooming out and colloquial form of everyday language. By adopting a descriptive – analytical research methodology, this study by reviewing the related literature tries to show that satirical expression and its techniques are widely used in dramatic works. 

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Purpose: Evaluation of humoral and cellular immune responses of naturally infected dogs against type I (rCPB) (Recombinant cycsteine proteinase B), and II (rCPA) (Recombinant cycsteine proteinase A) recombinant cysteine proteinases and C-terminal extension (CTE) of Leishmania infantum (L. infantum). Materials and Methods: In this study, fourteen infected dogs (7 with symptoms, 7 asymptomatics) from an endemic area and three uninfected dogs from a nonendemic region were selected and their humoral and cellular responses against type I and II recombinant cysteine proteinases, C-terminal extension (CTE) and F/T of Leishmania infantum were evaluated using the ELISA and lymphocyte proliferation assay, respectively. The level of specific IgG isotypes (IgG1 and IgG2) and lymphocyte proliferative response against rCPA, rCPB, CTE and Freezed/Thawed lysate (F/T) of L. infantum were examined. Results and Discussion: The results showed that in both of the symptomatic and asymptomatic dogs there is a high lymphoproliferative response to F/T antigens and moderate responses were observed when rCPs (Recombinant cycsteine proteinase) (rCPA and rCPB) and CTE were used. The level of antibody (total IgG, IgG1 and IgG2) recognition toward rCPA was low in the both groups of the dogs. In contrast, the CTE stimulates similarly as the CPB both of the humoral and cellular responses of all the infected animals and the level of total IgG and IgG2 isotypes against these antigens compared to the IgG1 was higher in the asymptomatic dogs. Since, the CTE is the terminal fragment of the CPB, it seems that the immunogenicity of the CPB is dependent on the CTE. Conclusion: The results of our investigation indicates that the CPB and CTE stimulate both humoral and cellular immune responses of L. infantum infected dogs, wherase the CPA is a weaker immunogen.

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  Figurative language by omitting direct reference and employing metaphor, allusion, symbol and etc. always conceals its referent and as a result causes tension between different elements of the text. One of the efficient means to escape from transparency is irony. Following a descriptive method, this article analyzes nine existing articles in Persian language on this issue in order to clarify some of the semantic ambiguities around this term. These studies often suffer from conceptual errors that stem from the fact that irony is a Western figure of speech. The authors of these articles often do not define a specific meaning for this term and mix the opinions of Western and Iranian critics. The main weakness of these articles is in identifying examples of irony in Persian literature.

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Greimas' square divides semantic systems into two classic types of "programmaticism" and "persuasion"; Landowski, besides the classical semantic systems, believes in two semantic-interactive systems: "adjustment" and "accident". The four systems of programming, persuasion, adjustment, and accident are based on order, intent, sensory interaction, and chance. The present study, employing an analytical-descriptive method, identifies and classifies the common laughter semantics techniques in Folklore (tales, jokes, and parables), and the contemporary stories for children. The techniques of laughter semantics in the strategies of forming the process of laughter are meant within the framework of a semantic system. In this study, the basis for the classification of strategies in classical semantic systems is the connection between the value object and also the change in the modal power of the actors. In the system of adjustment, the basis is adaptability disorder, and in the system of accident, the basis is the definition of accident. This study aims to show that the contemporary humor stories for children as funny situational sub-contexts inherit the meaning-making strategies among their subjects, from large historical-cultural contexts, such as stories, parables, and jokes. The research question is how the social interactions of the tale characters play a role in the spread of these laughter semantics processes. For the first time, this research introduces and classifies the semantic systems of humor.
Introduction
Social semio-semantics examines the role of social reflections and behaviors in the process of producing and receiving meaning. The text is not only the construction of its internal constituent elements, but also the product of its socio-cultural context. Sasani (2010, p. 192).  calls the immediate spatial and temporal context as "micro-context", and in contrast, the historical spatial and temporal context as the "macro-socio-cultural context". Folk literature is humor as a macro context that indirectly plays a role in the formation of micro-contexts, such as children's humor stories.
Background
Landowski, in Reflective Society (1989), deals with the sign of social semantics and the role of the "other" in the formation of the meaning of "I", and in Khatari Interactions (2005), introduces his four systems. Moein, in Meaning as Lived Experience (Moein, 2015), and The Lost Dimensions of Meaning in Classical Narrative Semiotics (Moein, 2017), as well as in his numerous articles introduces Landowski to the Iranian semioticians. In Iran, semio-semantics research in the field of children's literature can be summarized in a study by Zanjanbar and Abbasi (2020).
Aims, significance, and questions
This research, in practice, can inspire satirists and creative writing workshops, and theoretically provide a classification of the narrative techniques of humor in which, based on the frequency of a type of special semantic laughter system, can compare the humorous style of children story writers. This provides a comparison of the style of satirists for comparative literature scholars.
The study seeks to compare and classify the sharing of meaning-making techniques of humorous stories, jokes, and parables as macro-textures with the techniques of meaning-making contemporary humor stories for children as micro-textures. It also classifies them based on Landowski's four semantic-interactive systems.
The research questions include:
1. In the context of Landowski's semantic systems, how is the process of laughter formation in the discourses of popular humor (stories, jokes, and allegories)?
2. What are the common strategies between the popular humor and humorous stories for children to create laughter-semantics conditions?
It should be noted that the "laughter-semantics conditions" refers to the process of laughter formation within a semantic system.
Research Methodology
The research method is analytical-descriptive and the statistical population of this article is the written and oral texts of folk literature satire and fictional texts of children's satire. The sample group is selected by "targeted sampling" method. To complete the sampling, the "data saturation" method was used. The sample size obtained from the saturation consists of fifty works, a few of which will be mentioned because of certain limitations.
Conclusion
According to Landowski's social semio-semantics, the humorous semantic systems (laughter-semantics systems) consist of four systems: pivotal, persuasive, adaptive, and accidental. Each system has sub-strategies, which are made first in the macro-cultural contexts, and then extend the situational sub-contexts in the contemporary children stories. These strategies are differentiated and categorized based on whether the character achieves a value object, as well as how the characters' modeling ability changes. Modal ability refers to the four modality verbs "to want, to know, to be able, and must", which govern each character before performing the action.
References
Landowski. E. (1989). Reflective society (in French). Seuil.
Landowski. E. (2005). Khatari interactions (in French). PULIM.
Moin, M. B. (2015). Meaning as lived experience (in Farsi). Sokhan.
Moin, M. B. (2017). The missing dimensions of meaning in classical narrative semiotics (in Farsi). Scientific and Cultural.
Sasani, F. (2010). Meaning: towards social semiotics (in Farsi). Science.
Zanjanbar, A. H., & Abbasi, A. (2020). Stylistics of "physical metamorphosis" in children stories based on the tensive regime of discourse. Journal of Language Related Research, 11(4), 49-74.

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Aim:
This paper tries to apply Raskin’s (1985) script-based semantic theory to regional anecdotes in Zakani’s (1999) Risala-ye Delgosha (Joyous Treaties).
Theoretical Framework
In his theory, Raskin tries to examine the mechanisms of both generating as well as receiving by the audiences those verbally expressed humor he calls a joke-carrying-text. In this sense, a text is humors if three of the following conditions are satisfied: 1) The text has at least two different scripts; 2) The two scripts are compatible with each other; 3) The two scripts are opposite. A text is non-bona fide/humorous if these conditions are followed; bona- fide/non-humorous, if not followed.
Question:
Is there any meaningful compatibility between SSTH and Zakani's regional anecdotes?
Hypothesis:
Zakani's regional anecdotes are in compatible with the conditions as proposed by Raskin (1985).
Methodology:
As for the corpus, 16 regional anecdotes and or Qazvini-related anecdotes were chosen out of the total 256 anecdotes of the whole version edited by Mahjoob (1999). Then the five anecdotes were discussed in detail, and the rest was generally taken into consideration. Having followed Propp (1928) and Bremond (1973), the Qazvini's behaviors were mapped onto the three functions resulting in a model to show that the Qazvini's foolish action defines his role as the fool and his role as the fool generates his foolish action.
Findings and Results:
Some results show that the regional humor get high frequency in the book thereby they emphasis on the Qazvin's functions. Totally, the application of the SSTH shows that all the kinds of humor are in compatible with the conditions as proposed by Raskin (1985).
 

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Aims: One of the challenges of today's world and also global health priorities is pandemicity of AIDS. Studies have shown that the scope and breadth of the immune responses induction are very effective to protect against HIV. Moreover, simultaneous induction of humoral and cellular immunity responses increases the effectiveness of candidate HIV vaccines. Hence, new approaches such as polyepitopic vaccine strategy and addition of different adjuvants in HIV vaccines’ formulations have been recently considered.
Materials and Methods: In the present study, eukaryotic expression vector (pcDNA3.1-tat/pol/gag/env) was transformed and amplified in the prokaryotic host cells E. coli (DH5α). After vector extraction, it was concentrated and formulated alone and in combination with Alum adjuvant and used as DNA candidate vaccines. DNA candidate vaccines were, then, subcutaneously injected to the BALB/c mice on 0, 14, and 28 days and elicited humoral and cellular immunity responses were finally evaluated.
Findings: The results showed that the candidate DNA vaccine could not efficiently induce immunity responses (both humoral and cellular responses) by subcutaneous route injection.
Conclusion: This observation can be due to a defect in each of the steps of vector harvesting by the target cell to express the surface presentation of the epitopes on the one hand, or the inefficiency of the subcutaneous injection method on the other. Therefore, other vaccines’ injection and deliveries routes along with addition of other adjuvants in vaccine’s formulations could induce immunity responses efficiently and increase vaccine efficacy.

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Metalepsis, in its narratological sense, is a trope in which an unnatural relationship is built between different levels of narrative. The natural relationship between narrative levels is formed by the act of narrating; a character from one level becomes the narrator of another. The term “Metalepsis of topic and illustration” can be coined to name a similar trope. This trope has been used for centuries in Persian poetry. Every Image comprises a topic and an illustration. The topic is what is being talked about and the illustration is what the topic is compared to. When several images are present along together, two different levels are distinguishable: the level of the topic and the level of illustration. The natural relationship between these two levels is similarity and any other relationship will result in metalepsis. As in the narratological metalepsis, there is always a paradox in the metalepsis of topic and illustration. The effect of these two kinds of metalepsis is also similar and can be humorous, fantastic, or a mixture of the two.

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In this paper, with the approach of discourse analysis from two structural and thematic perspectives, we try to classify the structures of jokes in Persian and Russian language based on the views of Robert Liu by dividing it into two categories: linguistic and non-linguistic, and on Karasik’s theory based on the classification of semantic and semiotics analysis by inductive method. The purpose of this study is to identify the language tools for jokes production based on linguistic and semantic structures in both Russian and Persian, due to the differences in the lexical structure of Russian as a Fusional language and Persian as a Agglutinative language. The present aims to test the hypothesis of the existence of language diversity of Russian joke production tools and the effect of cultural and value components in the production of non-linguistic jokes. At the end of this study, grammatical jokes were identified with a variety of instrumental languages and in the non-linguistic category of gender, ethnic and political examples. The frequency of linguistic examples in two languages is significantly lower than the non-linguistic category, and gender and political examples have a clear maximum against other semantic subsets of jokes.
 The genre of humor in various forms such as fables and short stories has criticized and challenged the categories of life in its various political, economic, cultural, social and religious domains. This research has been done with the content and thematic analysis approach of satires based on the approach of discourse analysis from two structural and thematic perspectives, the body of jokes in Persian and Russian languages based on the views of Robert Liu1 is divided into two categories: linguistic and non-linguistic and Karasik theory. The purpose of this study is to identify the language of jokes production tools due to the differences in the lexical structure of Russian as an Fusional language and Persian as the combination of Fusional, Agglutinative and at syntactic level both are known as Analytical language. The research hypothesis is based on the existence of language diversity of Russian joke production tools with the maximum ratio against Persian language for the reasons mentioned earlier in the linguistic classification and the effect of cultural and value components in the production of non-linguistic jokes.
There are many different functions of humor, among which they can be attributed to entertainment, education, promotion of moral values, criticism and demanding reform in various issues The question arises, according to the structure of each language, which tool is common and which is specific? What is the maximum and minimum of each of them in these two languages? what are the similarities and differences between the function of humor in Iran and Russia? What is the frequency of humor considered by each of the two societies and in which category of humor.
 By analyzing samples of the field, it seems that humor is a tool to control power and endurance in a soft way and at a higher level to show the consciousness, creativity and culture of human societies. Scientific study of this issue can help in cultural, political and accurate translation of various texts, especially social texts. In this research, a confrontational-qualitative research method based on body analysis of more than 260 samples of jokes in Russian and 200 Persian jokes collected from cyberspace has been used. The selection of jokes, especially linguistic jokes in both languages, was very limited, and the Russian language selection reference site: http://new.gramota.ru/biblio/gostinaya/lingvisticheskie-anekdoty, and other sites for other keywords in this query was used. In Persian, from the sites: https://www.barkhat.news, https://namnak.com, https://www.pinterest.com, https://www.beytoote.com, it was possible to use both. Because in both Russian and Persian sections, the mentioned sites are organizationally controlled sites and they avoid including out-of-the-ordinary content.
The novelty of this study lies in the fact that by analyzing the linguistic structures, the semantic range of words in the morphology and syntax sections is determined and it helps translators and language learners in understanding abstract semantics.
Linguistic satires mock the rules of language and do not notice a particular person or social event, so they are far removed from social functions and provide more entertainment, and have had a similar pattern in Russian and Persian from the past to the present in:
***معلم: ناقل یعنی چی؟
 آقا اجازه : ناقل یعنی کسی که،  به سادگی قل نمیخورد و کلا با غلت زدن رابطه خوبی ندارد.
Teacher: What does carrier mean?
 Student: A carrier is someone who does not giggle easily and does not have a good relationship with rolling at all.
*** Если бы русские любили работать, они не назвали бы включатель, выключателем.
(If the Russians liked to work, they would not call a switch, a switch)
Russian humor refers to the prefix [Вы-], which means outside, and such meanings in combination with verbs of movement and the other verbs, in contrast to the prefix [В-], which means beginning, entering.
 
Social stereotypes are generally a standardized image of phenomena with various emotional aspects. These stereotypes are very resistant to change and the transition to new beliefs and a democratic society.
***خانم از شوهرش می
 پرسه: موقع ازدواج چه کسی منو به تو معرفی کرد؟
-      شوهر: چه میدونم دشمن زیاده.
*** The lady asks her husband: Who introduced me to you when for marrage?
Husband: I don’t know a there is lot of enemies.
***Гаишник останавливает машину, за рулём блондинка.
— Почему вы не включили свет в туннеле?
— Я из Ростова, откуда я знаю, где у вас тут в туннеле свет включается?!
*** The traffic cop stops the car, the blonde is driving.
- Why didn't you turn on the light in the tunnel?
- I'm from Rostov, how do I know where the light turns on in your tunnel ?!
This literary genre has undergone changes today. The purpose of recent productions is not to improve the situation compared to the past, but behind it is destruction, humiliation, devaluation, which is very bitter and biting. By examining the collected samples, the most frequently extracted axes can be selected in the following way:
1- Devaluation of the family institution and breaking educational taboos for young people.
2- Referring to gender inferiority;
3- The emergence of ethnic stereotypes;
4- Emergence of political stereotypes.
At the end of the study of humorous figures, the language of grammatical tools (linguistic) and in the non-linguistic category, the categories of sexuality, ethnicity and politics were identified in two languages. The frequency of linguistic examples is significantly lower in both languages than the non-linguistic category, and gendered and political examples have a clear maximum compared to other semantic subsets of jokes. According to the hypothesis of this research, it is appropriate for social decision makers to be aware of some of the negative effects of such satires that are unstoppable.

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This study sought to explore the association between English as a foreign language (EFL) students’ foreign language learning boredom (FLB) and foreign language enjoyment (FLE) (i.e., personal enjoyment, teacher appreciation, and social enjoyment) as well as the mediating role of student-perceived teacher humor styles (i.e., affiliative, self-enhancing, aggressive, and self-defeating). In doing so, we firstly investigated the relationship between 229 (67 male and 162 female) Turkish EFL university students’ FLB, FLE, and perceived teacher humor styles. We then probed to determine whether perceived teacher humor styles predict their FLB and FLE. The results indicated that all three indices of FLE had significant negative correlations with FLB. While affiliative and self-enhancing humor styles were significantly and positively correlated with FLE, they were negatively associated with FLB. Aggressive humor had only a significant negative correlation with the teacher appreciation subscale of FLE whereas self-defeating humor indicated a significant positive correlation with FLB. The results also showed that FLE could negatively predict FLB. Finally, the results of the mediation analysis indicated two significant mediation relationships which were significantly related to FLB through affiliative and self-enhancing humor. Implications are discussed in the context of teacher education.
This study sought to explore the association between English as a foreign language (EFL) students’ foreign language learning boredom (FLB) and foreign language enjoyment (FLE) (i.e., personal enjoyment, teacher appreciation, and social enjoyment) as well as the mediating role of student-perceived teacher humor styles (i.e., affiliative, self-enhancing, aggressive, and self-defeating). In doing so, we firstly investigated the relationship between 229 (67 male and 162 female) Turkish EFL university students’ FLB, FLE, and perceived teacher humor styles. We then probed to determine whether perceived teacher humor styles predict their FLB and FLE. The results indicated that all three indices of FLE had significant negative correlations with FLB. While affiliative and self-enhancing humor styles were significantly and positively correlated with FLE, they were negatively associated with FLB. Aggressive humor had only a significant negative correlation with the teacher appreciation subscale of FLE whereas self-defeating humor indicated a significant positive correlation with FLB. The results also showed that FLE could negatively predict FLB. Finally, the results of the mediation analysis indicated two significant mediation relationships which were significantly related to FLB through affiliative and self-enhancing humor. Implications are discussed in the context of teacher education.
This study sought to explore the association between English as a foreign language (EFL) students’ foreign language learning boredom (FLB) and foreign language enjoyment (FLE) (i.e., personal enjoyment, teacher appreciation, and social enjoyment) as well as the mediating role of student-perceived teacher humor styles (i.e., affiliative, self-enhancing, aggressive, and self-defeating). In doing so, we firstly investigated the relationship between 229 (67 male and 162 female) Turkish EFL university students’ FLB, FLE, and perceived teacher humor styles. We then probed to determine whether perceived teacher humor styles predict their FLB and FLE. The results indicated that all three indices of FLE had significant negative correlations with FLB. While affiliative and self-enhancing humor styles were significantly and positively correlated with FLE, they were negatively associated with FLB. Aggressive humor had only a significant negative correlation with the teacher appreciation subscale of FLE whereas self-defeating humor indicated a significant positive correlation with FLB. The results also showed that FLE could negatively predict FLB. Finally, the results of the mediation analysis indicated two significant mediation relationships which were significantly related to FLB through affiliative and self-enhancing humor. Implications are discussed in the context of teacher education.

 

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Philosophy for children is one of the most important and comprehensive approaches to teaching children how to think. It uses various methods such as games, movies, animations, discussions, and stories to teach children how to think philosophically. One of the tricks that can be used as an effective means to achieve the goals of this program is the category of "humor". On the one hand, humor is related to the themes of philosophy for children, such as democracy, moral virtues, creative and critical thinking, social interaction, discourse and routine experiences of children, and on the other hand, it is close to Iranian humor culture and spirit, which will have a positive and effective function in the philosophy program for children. Humor can also play a role in increasing the literary richness of such stories, attracting the children of the audience' and influencing them through philosophical stories without disturbing the functions of philosophy by playing a role in characterizing, releasing and reinterpreting signs in children's philosophical stories for children and contributing to achieving the goals of this program.
Extended Abstract
Philosophy for Children is one of the most effective new curriculum and educational approaches currently being voluntarily implemented in 150 countries around the world. In this program, various methods such as games, films and animations, discussions and stories are used to teach children how to think philosophically. The main tools used in this program are stories and the community of inquiry. The stories should be written in terms of philosophical richness and literary richness according to the standards of philosophy for children. Philosophical richness refers to the philosophical content and literary richness refers to the charm of a story to attract children's attention. In this study, the category of humor was introduced and the function it can have for the philosophical and literary richness of Fabak's stories as well as for the development of the Community of Inquiry. On the one hand, humor establishes a connection with the topics of philosophy for children, such as democracy, moral virtues, creative and critical thinking, social interaction, discourse, and daily experiences of children, because humor requires being in a group and being influenced and affected in a pleasant way. and on the other hand, it is close to the culture and humorous spirit of Iranians, and for this reason, it will have a positive and effective function in the philosophy program for children. because the alignment of the methods used in the Fabak program with the culture of the audience is one of the requirements for the successful implementation of this program. In discussing the literary richness of stories, humor, by creating philosophical characters, releasing and decoding symbols, plays an effective role in increasing the literary richness of these types of stories, attracting children and influencing them from philosophical stories. These characteristics make humor an effective element in the philosophy program for children, which effectively achieves its goals without disrupting the philosophical and literary richness of this program.

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It is becoming an established strategy to add humor in Persian subtitles even often when the original dialogue does not include the created or any other humor. This study measures the impact of this strategy on viewers’ attention allocation while reading subtitles. The eye movements of 32 participants were recorded while watching a humorous and non-humorous version of the same scene extracted from Superchondriac (Boon, 2014), a French comedy. The results show that there is a significant difference between attention allocation in the two versions, and the viewers’ attention to the subtitles with added humor is significantly larger than non-humorous subtitles. The interviews showed that some viewers liked the added humor because they thought it is funny and close to their cultural and ideological views. On the other hand, some of the participants opted for the non-humorous subtitles because they thought the added humor was distracting, confusing, at times offensive, and detached from the original culture.

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The purpose of this article is to reach a definition of humor as a kind of literature based on contemporary literary theories, especially reader-centered theories In order to recognize the humor of a literary text based on it. "Humor is a literary text whose action is to create a contrast between the reader's perceptual concepts of the text and the reader's mental patterns." Based on this, examples of satires in various texts (Quran, Shahnameh, Khayyam quatrains, poems by Shamloo and Shafi'i Kadkani) have been analyzed and shown some examples that have been introduced as humor in various books or articles are not examples of humor as a kind of literary expression.
 
 

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Text annotation has been one of the scientific and literary traditions of Muslims. Annotation has long been a common method in the development of scientific and literary thought in the field of Iranian culture, both by the author himself and by the author's students or critics. Text annotation accelerated from the eighth century AH and in the Qajar era, annotation on jurisprudential texts became common in seminaries. Annotation on contemporary poetry is a strange and uncommon practice that has little history in contemporary Persian literature. Mehdi Akhavan Sales is a prolific and rare poet in this field due to his talent, vast studies, upbringing in the cultural sphere (domain) of Khorasan and familiarity with Persian and Arabic literary texts. He has written various, humorous, informative and delicate Annotations on his poetry. According to this research, the main reason for this is to demystify. This research has been done by an analytical-descriptive method and seeks to find the reasons for the excessive tendency of Mehdi Akhavan Sales to the tradition of self-annotation.
 

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"Humour and Caricature" Magazine is one of the Iranian comic publications that has been presenting social and popular humor in a written and pictorial way since 1991. The purpose of this article is to introduce black humor and review and analysis it in the humour and caricature magazine by studying and analyzing 298 issues of this magazine. Paying attention to the multifaceted and introverted satires and facts of the contemporary violent world has created a balance between the amount of black humor and the happy or the usual press humor in this magazine. the "Death Station" page with a hilarious look at the scary reality of death, mostly surreal and thoughtful works along with modern aphorism, memorials, anti-war and anti-terrorism works and a part of 4Dhumor and social cartoons are protuberant examples of black humor in the humour and caricature magazine. most of the amount of black humor of this magazine in the written humour section Belongs to aphorism and in the visual humor section it belongs to nocomment cartoon and caricature(face cartoon), Respectively. 36 pages, i.e. 12% on the covers and 61 pages on the back cover and inside the covers are correspondingly dedicated to black humor.
 

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This paper intends to examine Woody Allen’s films from the perspective ofIris Murdoch’s moral philosophy. By exploring the possible relationshipbetween humor and unselfing, we try to highlight the moral dilemmas of thecharacters and the audience’s ironic response to the use of humor. Focusingon three films (Annie Hall, Manhattan, and Hanna and Her Sisters), it isargued that the films depict morally complex scenarios where humor has atherapeutic function as well as a morally ambivalent one. In Manhattan andAnnie Hall, Isaac and Alvy’s form of self-deprecating humor does come offas self-love but it falls short of unselfing. Their self-love is only in the serviceof ego, while on the other hand, Mickey in Hannah and Her Sisters, and Tracyin Manhattan show how considering the singularity of other people’sexperience will help one unself. Mickey is the only character in these threemovies that achieves unselfing through humor and the attendant detachment.If the audience is caught up in the ego trip of the characters, they will miss awhole other level of humor