Recently, two forms of virtue-related humor, benevolent and corrective, have been introduced. Benevolent humor treats human weaknesses and wrongdoings benevolently, while corrective humor aims at correcting and bettering them. Twelve marker items for benevolent and corrective humor (the BenCor) were developed, and it was demonstrated that they fill the gap between humor as temperament and virtue. The present study investigates responses to the BenCor from 25 samples in 22 countries (overall N = 7,226). The psychometric properties of the BenCor were found to be sufficient in most of the samples, including internal consistency, unidimensionality, and factorial validity. Importantly, benevolent and corrective humor were clearly established as two positively related, yet distinct dimensions of virtue-related humor. Metric measurement invariance was supported across the 25 samples, and scalar invariance was supported across six age groups (from 18 to 50+ years) and across gender. Comparisons of samples within and between four countries (Malaysia, Switzerland, Turkey, and the UK) showed that the item profiles were more similar within than between countries, though some evidence for regional differences was also found. This study thus supported, for the first time, the suitability of the 12 marker items of benevolent and corrective humor in different countries, enabling a cumulative cross-cultural research and eventually applications of humor aiming at the good.

The analysis undertaken in the article focuses on a group of memes selected from the database which drew on culture-specific references. Specifically, they embrace the memories of socialist times and call on references to comic films and easily recognized characters in order to bring out the re-discovered absurdity of the current Covid situation. This material seems ideal to revisit Raskin’s early notion of sophistication, which was broadly argued to derive from intertextuality as well complexity of references that function as sources of humor. In all the examples discussed we can observe the intertextual and metatextual elements, multiple levels and shifts in points of view and attitudes as well as the mutual relations of verbal to visual within the meme cycles. In order to identify specific mechanisms of sophisticated humor, we attempt to identify the visual or verbal triggers of overlap of the two worlds in question, and discuss comic mechanisms of sophistication, including attributions of desire, belief and intention (purpose) to characters or the narrator as commentators on events or situations.

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