AbstractThis article presents the state of the art of semantic‐pragmatic research on humor. The developments in the field are seen as fanning out from two central concepts: the linguistic version of the incongruity/resolution theory of humor (script opposition) and the methodological claim that such a theory was a theory of humor competence. The developments of the theory of humor competence and, more recently, of work on humor performance are seen as lying at the opposite ends of a continuum, with various approaches positioning themselves along that axis. It is argued that a theory encompassing both competence and performance is necessary for the study of humor.

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