undoubtedly the so–called mashruteh constitutional movement in Qajar’s period has had a major role in awakening people against autarchy. The role of the caricature in lighting of thinks in the Revolution period isn’t less than the verbal satire. Though this art and literature the pass from the tradition to modernism, but most of scholars spend their main notice to introduce the verbal satire This essay attempts to provide a critical Study on Qajar’s period to find the reasons behind this lack of notice towards caricature compared with verbal satire, and to find the successes or failures of both of them.

In the current paper, after reviewing verbal humor, I have put forth this concept through the lens of semantics and pragmatics. Having set a theoretical foundation, I have analyzed “Don’t Drink the Water” and “Riverside Drive”, two of Allen’s plays, and I have tried to show verbal humor patterns and mechanisms in his works. Allen, creatively and seamlessly, has woven his visual imagination into a poetics stemmed from both reality and unknown concepts, depicts insecurity and makes use of it.

This study aimed to investigate what types of strategies were used in the dubbing of humor in Disney's animation "Zootopia”. To recognize the types of humors, the Berger (2010) classification was used and to recognize the strategic elements of humor, the Martinez Sierra (2005) was applied and to find out the applied strategies used in the Persian dubbing of Zootopia humor the Delabastita’s (1998) model was considered. Out of 108 minutes Zootopia movie, the researchers identified 187 verbal and visual humorous items which were used as the corpus of this study. Based on the obtained data from the content analysis of the extracted data, the most frequent types of Humor used were language, Action and finally substantive type. Among the translation strategies, Linguistic and Visual strategic elements of Martinez Sierra (2005) categories were the most frequent ones and strategy of Deletion and Addition of Delabastita (1998) was highly applied. In general, it could be said that due to the visual nature of the corpus, the most frequent strategy was deletion. Since Delabastita's deletion strategy overlapped with Martinez's visual strategy, the deletion has not produced any shortcomings in transferring the sense of humor and the translator, by using funny verbal equivalents, have successfully preserved humorous nature of this animation in Persian language.

In this paper, a survey on prose humor in the Persian official press on humor has been done. The research data includes 260 prose texts taken from 7 humor journals which have been published in the recent 25 years (1363-1388) in Iran. The data has been examined and analyzed within the General Theory of Verbal Humor framework. The General Theory of Verbal Humor, which nowadays is one of the well-known linguistic theories applied to humorous studies, was presented by Raskin and Attardo in 1991. In this theory, the humorous texts are analyzed on the basis of six basic variables or knowledge resources, including script opposition, logical mechanism, situation, target, narrative strategy, and language. The results of this study reveal that the presented framework is applicable to the Persian humorous press texts and among the six mentioned basic variables, script opposition and logical mechanism are the ones which are of the most importance in Persian, because they can be found in all of the examined texts. Therefore, it is concluded that these two variables are the effective factors in forming the structure of the prose humor in Persian. The results of the other variables have been presented in the “conclusion part” or the final section of the study.

Morphology is a strong tool for creation of verbal satire. using word formation processes increases the artistic attraction of satire. This study is going to investigation of word formation and word creation peocesses used in the artificial languge of comic series of " Shabhaye Barareh "(the nights of barareh), which is one of the most signifacant Tv serise in two decades. The main factor of comedy and laugher in this serial is verbal satire in which word formation plays an imoportant role. To do this resarech, 355 words have been found out of 90 parts of this srial and have been classified according to the framework of Booij (2007). The results showed that word formation in this program follow the uiversal rules. Coinage (20.28%) was the most frequent, and acronym and back formation (0.2%) were the least frequent processes used in this Tv series. The percentage of the usage of non-morphological methods (60.83%) was more than word formation and word creation.

“Dirin Dirin” animation series is one of the most successful adult comic animation series, which has a critical view on various social issues and has attracted many audiences. In this article, the authors have sought to analyze the humor-creating factors in this animation. The present analysis was conducted using the general theory of verbal humor. This theory investigates humor using six sources: the knowledge of script opposition, logical mechanism, target, situation, narrative strategy, and language. For this purpose, 65 episodes of this series were randomly selected and analyzed based on the general theory of verbal humor. The obtained results indicated that the sources of script opposition (average 2.27%), logical mechanism (average 2.61%), narrative strategy, and language were found in all the episodes, and for situation source, 75% of the analyzed episodes had a situation which itself created humor. In the source of knowledge, 23 episodes had a critical purpose, and 43 episodes had an educational purpose. Based on the findings of this research, the sources of the knowledge of script opposition, logical mechanism, and language are the most important factors in creating humor in this animation series.

"Atr-e Sonbol, Atr-e Kaj" is a Persian translation of the memoirs of Firoozeh Jazaieri Duma written based on her unique social experience as an Iranian immigrant living in the United States. The current paper aims to examine the components and mechanisms of the humor of mentioned story based on the "General Theory of Verbal Humor". In this method, the variables used to examine a funny narrative are divided into six categories: language, target, situation, narrative strategy, logical mechanism, and Script Opposition. In the present study, which is based on the target variable; It has been shown how Firoozeh, by targeting people outside the group and within the group, introduces appropriate and inappropriate social behaviors that she has encountered and achieves a new and selective identity; An identity that neither alienates her from her past values nor isolates her in the new culture. Her verbal humor can create a group bond between readers of different races, especially female audiences. In addition, in her funny narrative, "target" is higher than "Script Opposition " (variable of laughter).

There is no doubt that a considerable part of famous animations have been formed for educational and entertaining purposes, and the creators of these works, relying on the literary language, introduce their target community (children) to the world of humor and its expression techniques. The more humor is norm-breaking in these visual-verbal genres, the more audience it would attract. This feature also applies to dubbing animation and highlighting its verbal humor. Therefore, the more the translator/dubbing team is aware of the subtleties of the target language, the more prominent its role can be in achieving this goal. Zootopia (2016) is one of the most successful animations, which in addition to creating attractive and exciting scenes, has a language that, according to many critics of children's films, is also a successful example of children's humor. The popularity and influence of this animation caused scientific groups to take the responsible of translating and dubbing it into Arabic and Persian. In this research, based on the descriptive-analytical method and based on the strategies of humor translation by Magdalena Panek (2009), an attempt is made to comparatively study the strategies of verbal humor translation in Arabic and Persian dubbing of Zootopia. The results show that literal translation in Arabic dubbing (34%) and paraphrasing in Persian dubbing (32%) is the most frequent strategy in translating the humor of the target language. Also, the significant difference between the use of modulation strategy in Arabic dubbing (2%) and Persian dubbing (19%) shows that the Persian translation and dubbing group had more emphasis on harmonizing the structure of animation’s humor with the target culture and language. Therefore, Arabic dubbing has been more successful in localizing humor than its Persian counterpart.

Cet article essaie d’aborder «le langage et ses mécanismes» dans l’une des fameuses comédies de Beaumarchais, Le Mariage de Figaro qui est considéré révolutionnaire, avant tout par l’un des éléments de la parole, le célèbre monologue de Figaro qui joue un rôle primordial dans le déroulement de l’aspect tragique de la pièce où le comique verbal se fait généralement à travers les jeux de mots, les sous-entendus, les mots d’esprits et l’accumulation et celui de paraverbal se manifeste précisément dans les éléments prosodiques et le comique gestuel. Bien que l’aspect comique de la parole prévale dans cette pièce, contre son aspect tragique, celui-ci marque clairement l’esprit du spectateur, en particulier par les morceaux de bravoure qui sont les tirades et les monologues. Ainsi, les dialogues, les apartés et les stichomythies concourent-ils au dynamisme et à la vitalité du langage chez Beaumarchais et nous montrent à quel point les mots s’y battent en liberté.

In this article, one of the most important works of humor in the history of Persian literature Hedayat’sVaqVaqSahab is reviewed and analyzed based on the General Theory of Verbal Humor. This work has special features in all six Knowledge Resources, but the focus of this study has been on the three variables of Target (T), Script Opposition (SO), and Logical Mechanism (LM). VaqVaqSahab contains the traits of humorous narrative texts; both in the final part of the joke (punch lines) and within the body of the text (jab lines). Moreover, thereaders’ expectation of targeting at out-group and showing solidarity with in- group (a common tool for creating humor)is violated in VaqVaqSahab. Two SOs of tradition/ modernity and the appearance/ realityare added to previously introduced SOs in this theory. Exaggeration, meta-humor (self-reflection), proximity, consequences, false analogy and inversion are some of the widely used LMs in this work.