This study focuses on the context of Chinese stand-up comedy and examines the operation of irony as a pragmatic strategy along the politeness–impoliteness continuum. The data consist of the complete performance transcripts of 57 comedians from the preliminary stage of a television competition show. Combining qualitative and quantitative methods, the study proposes a dual-pathway analytical framework of polite irony and mock impoliteness. The results show that irony constitutes a core discursive resource in Chinese stand-up comedy, primarily realized through these two strategies. Polite irony cushions potential conflicts by employing a “surface compliment–underlying critique” pattern, while mock impoliteness reframes offensive expressions as benign violations, enabling sensitive issues to be accepted by the audience. At the same time, irony demonstrates diverse functions: it can directly target social authorities and public issues to deliver critique and expose issues, or merge with self-deprecation and everyday narratives to create intimacy and entertainment. The findings indicate that irony in Chinese stand-up comedy simultaneously reconciles politeness and impoliteness, entertainment and critique, highlighting its role as an important vehicle of social criticism and cultural expression. This study is the first to systematically compare the division of labor and collaboration between polite irony and mock impoliteness in Chinese stand-up comedy. It not only provides new empirical evidence for pragmatics and humor research but also offers practical insights into how humor can balance critique with harmony in specific cultural contexts.
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