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Abstract

This study analyses humour as a culturally situated linguistic practice by examining how humour is constructed in selected Tanzanian stand-up comedy shows. Specifically, it sought to analyse the linguistic devices comedians use to evoke humour. The study is guided by Victor Raskin’s script-based semantic theory of humour (SSTH). The theory posits that humour arises from the opposition of two conflicting scripts within a linguistic structure. The qualitative research approach was used to guide the study processes. The study analysed nine (9) performances by famous Tanzanian comedians Mr. Eliud Samwel, Mr. Abdalla Musa Njalamoto (TX Dulla), Mr. Silvester Mujuni (Mpoki), and Mr. Meshaki Mlungwana (MC Madevu) using a qualitative content analysis. Data were collected from purposefully selected digital social media platforms (Instagram pages and YouTube Chanels), and live performances; which were subsequently transcribed and translated to English language. The analysis focused on identifying recurring script oppositions and the linguistic devices employed to construct humour. The findings revealed that comedians often draw on oppositions such as masculinity against femininity, tradition against modernity, religion against street culture, and mind against body. The findings also indicate that stand-up comedians employ hyperbole, irony, anecdotes, cultural relatability, wordplay, code- switching, and understatement: all of which render humour both culturally resonant and socially reflective. The study concludes that Tanzanian stand-up comedy serves as a dynamic form of linguistic artistry that bridges language, culture, and cognition; while simultaneously reshaping social narratives through humour. It recommends that further research—employing frameworks such as pragmatics and sociolinguistics—be conducted to enhance the understanding and advance of this emerging academic field.

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