Bachelorarbeit, 2009
27 Seiten, Note: 2,3
Introduction
1. How is Humour created?
1.1 Humour theories
1.2 Features of Humour
1.3 Conversational joking
2. Characteristic Features of Youth Language
3. The Language and Humour in Juno
3.1 Characteristics of a Comedy Movie
3.2 About Juno
3.3 Analysing Examples
Conclusion
Bibliography
Course materials:
Internet pages:
This thesis investigates the linguistic characteristics of youth language, specifically focusing on the intersection of conversational humour and adolescent speech. By utilizing the motion picture Juno as a primary data source, the work explores how characters employ irony, wordplay, and specific colloquialisms to navigate social interactions and establish identity, ultimately questioning the authenticity of youth language representations in media.
3.3 Analysing Examples
The following transcript is an extract from a phone call between Juno and her best friend Leah, right after Juno found out that she is pregnant. The first words fulfil attributes of youth language already. It seems as if it is a spontaneous creation of words without permanence or constancy.
Moreover, it is restricted to that specific situation and it would not be proper to use it in public and in institutional situations. It is a typical example for the shared knowledge, which is a feature of youth language:
Leah: Yo Yo Yiggedy Yo.
Juno’s reaction confirms that. Otherwise, Juno should have asked her friend about the meaning of that statement:
Juno: I'm at suicide risk.
Leah: Juno?
Instead, Juno answers quickly and exaggerates her situation by saying that she is at “suicide risk”. After that, Leah makes sure that it is, in fact, her friend on the phone; and we get a first impression from Juno’s responses.
Juno: No, it's Morgan Freeman. Do you have any bones that need collecting?
Leah: Only the one in my pants...
Introduction: Outlines the significance of youth culture and media, establishing the research focus on humour within youth language using the film Juno.
1. How is Humour created?: Explores foundational humour theories including incongruity, superiority, and release theories, while defining the script-based nature of verbal humour.
2. Characteristic Features of Youth Language: Discusses the sociolinguistic aspects of adolescent language, differentiating between age-exclusive and age-preferential usage.
3. The Language and Humour in Juno: Provides a practical analysis of dialogue in the film, examining specific exchanges to demonstrate the use of irony, puns, and youth-specific slang.
Conclusion: Synthesizes findings, asserting that youth language in the film functions as both an identity marker and a mechanism for social control through aggressive humour.
Youth language, Conversational humour, Juno, Incongruity theory, Script-switch, Adolescent discourse, Irony, Slang, Verbal play, Sociolinguistics, Media representation, Communication mode, Social bonding, Pragmatics, Movie analysis
The work examines how conversational humour is integrated into youth language, using the film Juno as a case study to analyze linguistic patterns and social dynamics among teenagers.
The author applies several classic humour theories, primarily Raskin’s semantic script-based theory, alongside the incongruity, superiority, and release theories.
Youth language is characterized by innovative vocabulary, colloquialisms, usage of hedges like "like", and ritualized speech patterns that change over time and across different age groups.
The study uses qualitative speech analysis and discourse analysis to deconstruct film transcripts, focusing on turn-taking, adjacency pairs, and the violation of conversational maxims.
Humour often serves as a tool for social bonding or asserting dominance; however, in the film Juno, it is frequently used in an aggressive or disruptive manner to navigate uncomfortable situations.
The analysis suggests that Juno’s dialogue is a stylized representation of youth language that uses irony and absurdity to distance the character from her complex reality.
It is an example of conversational exaggeration and situational humour, where Juno uses hyperbole to cope with the shock of her pregnancy during a phone call with her friend.
The author identifies it as an innovative wordplay on "honest to God," reflecting the rise of the internet and the role of blogs as factual verification tools in contemporary teen speech.
It serves as a moment of situational irony and mistaken identity, which the author uses to illustrate how Juno employs superior-feeling wit to maintain control in social interactions.
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