本研究旨在探究圖像式幽默中與幽默理解、幽默欣賞有關的圖像元素及其可能的作用方式。
　　研究一之目的為探究圖像式幽默的認知性質，從中尋找可能的關鍵圖像元素。幽默刺激材料為59張擬人圖片，依變項為參與者評定圖片理解度、有趣性、攻擊性等幽默指標的分數及圈選笑點的位置。研究參與者共181名，有效問卷167份。結果顯示圖片理解度、有趣性、攻擊性之間皆呈正相關。高理解高有趣圖片的笑點種類數低於低理解低有趣圖片，笑點最高選取比例則高於低理解低有趣圖片。圖片的笑點位置主要在「物件或角色特徵」，其次為「臉部表情、肢體動作與物件、角色特徵」。笑點位置和選取人次比例，兩者皆無性別差異。
　　研究二之目的為探究圖像元素對幽默指標的影響。幽默刺激材料是更動研究一之高理解高有趣圖片的物件圖像元素或情緒圖像元素。自變項分別為非人角色／人類角色相應物件、正向／負向情緒、高激發／低激發情緒，依變項為參與者對圖片理解度、有趣性及攻擊性等三項幽默指標的評定。研究參與者共1276名，有效問卷1006份。結果顯示圖片中物件圖像元素符合非人角色者，其理解度、有趣性和攻擊性皆高於物件符合人類角色的圖片。角色表現負向情緒圖片的理解度、有趣性和攻擊性皆高於角色表現正向情緒。相較於角色情緒為高激發狀態的圖片，角色情緒為低激發狀態之圖片的有趣性高、攻擊性低。物件圖像元素對理解度和有趣性的作用效果較強，情緒圖像元素的主要作用效果是在攻擊性上。
　　綜合研究一、研究二之結果，研究者建構圖像幽默元素圖譜論述：腳本對立和角色特徵的作用類似文字型幽默中的營造語句（set-up），為失諧的基礎。物件類似關鍵語句（punch line），解困線索在於連結物件和腳本或連結物件和角色特徵。透過物件解困後，理解和趣味皆得以建立。而角色情緒運作在腳本和角色的連結，主要作用於失諧階段。
　　進行圖像或教材編製時，可參考本研究結果：擬人情境使用非人角色相應物件、角色表現負向低激發情緒，以增加圖片的理解度和有趣性，提升宣傳效能。

The purpose of the present study is focused on identifying the effects of graphic elements of visual humor on humor comprehension and humor appreciation.
　　In the first study, 167 senior high school students completed a questionnaire with 59 anthropomorphic graphs to evaluate the humorous indexes. These humorous indexes included comprehensibility, funniness, and aggressiveness of each graph. They were also asked to pick one punch line they felt towards each graph. The graphs with high comprehensibility and funniness ratings were chosen for the questionnaire of the second study. Analysis showed positive correlations between comprehensibility, funniness, and aggressiveness ratings. The graphs with high comprehensibility and funniness ratings have fewer punch line types than the graphs with low comprehensibility and funniness ratings. The most robust punch line of the graph was “object or character’s characteristics”, followed by “facial expressions, body movements and object or character’s characteristics”. There was no gender difference for the punch line.
　　In the second study, a questionnaire with 18 “graph groups” was given to 1,006 senior high school students in order to evaluate the comprehensibility, funniness, and aggressiveness of each graph. Each graph group had two graphs different in object or emotion graphic elements. In the object graph group, one object was developed for non-human script and the other was developed for human script. In the emotion graph group, there were two graphs with different emotional valence or arousal. The results showed that the object and emotional valence graphic elements affected three humorous indexes, and degree of emotional arousal graphic element had no impact on comprehensibility. The object graphic element had a larger effect on comprehensibility and funniness than the emotion graphic element. The graph with non-human script object have more comprehensibility, funniness, and aggressiveness than the graph with human script object. The graph with negative emotional valence have more comprehensibility, funniness, and aggressiveness than the graph with positive emotional valence. The graph with low degree of emotional arousal have more funniness, and aggressiveness than the graph with high degree of emotional arousal.
　　By integrating the results of the two studies, the impact of object and emotion graphic elements on humorous indexes of visual humor may be able to explain through the “graphic humor elements mapping”. Based on the incongruity-resolution theory, script opposition and character’s characteristics may be regarded as the “set-up” and the objects as the “punch-line”. Script opposition and character’s characteristics lay the stage for individuals to detect the incongruity. Objects could provide clues to incongruity resolution by finding the relations between the object and the script or between the object and the character’s characteristics. Individuals go through incongruity-resolution humor cognitive processing via object. Humor appreciation is the end product of humor comprehension. On the other hand, emotions work as the link between script and character involved in incongruity cognitive processing.
　　According to the results, the suggestions were provided to improve the advertising effectiveness of graphic arts and the future study.

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