This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use (...) of fictionalized scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analyzed. (shrink)

This essay argues that humor can be used as an unstable weapon against oppressive language and concepts. Drawing from radical feminist Marilyn Frye, I discuss the difficulty of challenging systematic oppression from within and explore the capabilities of humor for this task. This requires expanding Cynthia Willett’s and Julie Willett’s approach to fumerism beyond affect to fully examine the work of humor in manipulating language, concepts, and imagery. For this expansion, I bring in research on feminist linguistics alongside other philosophers (...) of political humor to consider the connection between humor and world-making. I then link this with feminist world-breaking through Monique Wittig’s analysis of war machines and Trojan horses against heteropatriarchal language. Finally, I draw out the instability of humor as a war machine by investigating a bit where comedian Patti Harrison disguised herself as an official corporate brand platform to challenge the compulsory commodification of LGBTQ rights. (shrink)

Oppression is easily recognized. That is, at least, when oppression results from overt, consciously professed racism, for example, in which violence, explicit exclusion from economic opportunities, denial of adequate legal access, and open discrimination perpetuate the subjugation of a group of people. There are relatively clear legal remedies to such oppression. But this is not the case with covert oppression where the psychological harms and resulting legal and economic exclusion are every bit as real, but caused by concealed mechanisms subtly (...) and systematically employed. In many cases, those with power and privilege use cultural stereotypes in order to sustain an unjust status quo. This is so even if the biases are implicit, automatic, and contrary to the consciously professed beliefs of the stereotyper. Furthermore, since many of these biases are not consciously reasoned into one's system of beliefs, and since they are notoriously difficult to bring to consciousness and dislodge via direct, logical confrontation, some other creative means of resistance is needed. I argue that an indirect and imaginative route through subversive humor offers a means to raise consciousness about covert oppression and the mechanisms underlying it, reveal the errors of those with power who complacently sustain systematic oppression, and even open those people up to changing their minds. Subversive humor confronts serious matters, but in a playful manner that fosters creative and critical thinking, and cultivates a desire and skill for recognizing incongruities between our professed ideals and a reality that does not meet those standards. Successful subversive wits create fictional scenarios that highlight such moral incongruities, but, like philosophical thought experiments, they reveal a moral truth that also holds in the real world. Such humor offers opportunities for "border crossing" where the audience is encouraged to see from the perspectives of marginalized people who, because they inhabit ambiguous spaces in between the dominant and subordinate spheres, are in an epistemically privileged position with respect to matters of oppression. Subversive humorists open their audiences to the lived experiences of others, uncover the absurdities of otherwise covert oppression, and appeal to our desire to be truthful and just. (shrink)

The "Dark Side" of Humour. An Analysis of Subversive Humour in Workplace Emails Although a substantial amount of research has investigated the various functions of humour in a workplace context, electronic means of communication have largely been ignored. This is particularly surprising since electronic communication in the workplace is increasingly gaining significance. This seems to be especially true for email, which in many workplaces is the preferred medium for communicating transactional as well as relational topics. Drawing (...) on a corpus of about 100 emails collected in an academic setting, we explore how humour is used in workplace emails. Our specific focus is on subversive humour, which often functions as a tool to express frustration and dissent, and ultimately to challenge existing power relations. Our analysis illustrates that subversive humour is an excellent means to make fun of established and normative workplace practices by exaggerating and ridiculing them, and to re-define organisational reality by offering alternative interpretations. These functions of subversive humour appear to be particularly useful for those in relatively powerful positions: by employing humour to convey critical and potentially threatening messages in acceptable ways, the senders manage to express their dissent and frustration with the wider organisational system while, at the same time, escaping the scrutiny of the very organisation that they are symbolically challenging. (shrink)

_A compelling guide to the fundamental place of humour and comedy within Western culture—by one of its greatest exponents_ Written by an acknowledged master of comedy, this study reflects on the nature of humour and the functions it serves. Why do we laugh? What are we to make of the sheer variety of laughter, from braying and cackling to sniggering and chortling? Is humour subversive, or can it defuse dissent? Can we define wit? Packed with illuminating (...) ideas and a good many excellent jokes, the book critically examines various well-known theories of humour, including the idea that it springs from incongruity and the view that it reflects a mildly sadistic form of superiority to others. Drawing on a wide range of literary and philosophical sources, Terry Eagleton moves from Aristotle and Aquinas to Hobbes, Freud, and Bakhtin, looking in particular at the psychoanalytical mechanisms underlying humour and its social and political evolution over the centuries. (shrink)

One of the most popular forms of humour on the Internet is memes. Given the identity construction motif that is associated with memes, agents of memes select targets outside the in-group and criticise the targets’ behaviour for ideological purposes. This study examines the patterns of humour evidenced in the deployment of Internet memes in the online campaign discourse of the 2015 presidential election in Nigeria. Data for the study consist of Internet memes produced and disseminated during the presidential (...) election campaign between December 2014 and March 2015. Considering Archakis and Tsakona’s view that humour can be a very efficient means of identity construction, the study applies Van Dijk’s socio-cognitive model with particular reference to the theoretical concept of the ‘ideological square’, which encapsulates the twin strategies of positive ‘in-group’ description and negative ‘out-group’ description. This theoretical approach is complemented with Neuendorf et al.’s taxonomy of theoretical perspectives on humour. The study reveals that the memes deployed in the presidential election online campaign discourse largely serve subversive purposes to detract greatly from the electoral value of the targets. In terms of the reinforcing function of humour, however, serious socio-political issues were raised to express the public’s worries and desires in a bottom-up communication flow. (shrink)

This study explores the semiotics of humor and political disaffection in the online feedback discourse evaluating party performance in a post-election era in Nigeria’s democratic practice. It examines the incongruities in multimodal digital humor as semiotic resources of subversive play to criticize a political party for its perceived weak program-to-policy linkage. Data for the study comprise some purposively sampled political internet memes which were deployed to express political disaffection at the party All Progressives Congress in the first half of (...) its four-year tenure. The study applies Algirdas J. Greimas’ semiotic theory by drawing upon the notions of narrativity and modalities to read the selected political internet memes, which run profound social commentaries on the anxieties and frustrations of the ordinary citizens in a failing economy, thereby underpinning the thrust of the theory, which lies not only in the signification of texts but also in the signification of the living experience. The study reveals the power of signs evidenced in the deployment of objects, behaviors, practices, images, and symbols within the socio-economic sub/culture of the production of the internet memes to configure backlashes of democratic deficits relating largely to worsening poverty, hunger, struggle for survival, and political cynicism in an emerging democracy. (shrink)

This chapter will evaluate humor used with the specific intent to reveal glaring epistemic errors that lead to injustice; flaws in reasoning so transparent that straightforward logic, argument, and evidence seem ineffectual against them, and in some cases, just silly to think such tools would be needed. Laughter seems to be one of the only sane responses. In particular, I will assess how humor can combat conspiracy theories, propaganda, lies, and bullshit. The last one I view in Harry Frankfurt's sense (...) of a complete lack of concern for truth or reality, which I think sums up former President Donald Trump's epic lack of curiosity which has a trickle-down effect on his ardent followers. The sort of conspiracy theories I will focus on are an intermingling of propaganda, well defined and analyzed by Jason Stanley in his work How Propaganda Works, and the "new conspiracism", outlined by Muirhead and Rosenblum in A Lot of People are Saying: The New Conspiracism and The Assault on Democracy. There are perils with this potency of pugilistic comedy. It is easy to punch up, humorously fume at the foibles and fantastical blunders of a world leader who seriously considers ingesting bleach to combat the plague, who also, without irony, regales us of his capacious mnemonic prowess in recalling the following words on a cognitive test: "Person. Woman. Man. Camera. TV." The self-proclaimed "stable genius" aced it. But when Trumpism and QAnon e.g., spreads among many who are impoverished and disempowered, the very people to whom Trump and others in his powerful orbit have incessantly lied, it becomes less clear how to wield truth-and justice-seeking wit. Are consciousness-raising comedians seeking to uncover and undermine obvious and dangerous falsehoods punching in the morally correct direction, and how can we tell? (shrink)

I argue that the overt subjugation in the system of American slavery and its subsequent effects offer a case study for an existentialist analysis of freedom, oppression and humor. Concentrating on the writings and experiences of Frederick Douglass and the existentialists Simone De Beauvoir and Lewis Gordon, I investigate how the concepts of “spirit of seriousness”, “mystification”, and an existentialist reading of “double consciousness” for example, can elucidate the forms of explicit and concealed oppression. I then make the case that (...) subversive humor is an effective means to bring to consciousness the inconsistencies and incongruities of the serious oppressors. I also illustrate how humor can act as a bulwark against the rise and persistence of oppression by (non-violently) attacking the absolutist stance on human nature maintained through the use of dominating and “authoritative” language and action. (shrink)

This article examines intertextuality in digital humour through a combination of tools from pragmatics and decoloniality. The study draws on a dataset of Spanish image macros that intertwine highbrow and lowbrow intertextual references. The analysis is framed by key theoretical concepts at the discursive and hierarchical levels. Specifically, three domains of the colonial matrix of power (knowledge, humanity and governance) are used as analytical categories to identify specific intertextual strategies and hierarchies present in the data. The visual and verbal (...) components of the items are analysed through critical discourse analysis with attention to their salient signs. The use of the colonial matrix of power as an analytical tool for identifying hierarchies in intertextual references stands out as a methodological application with the potential to be further replicated in discourse analysis. (shrink)

A radical new approach to humor, where traditional targets become its agents Humor is often dismissed as cruel ridicule or harmless fun. But what if laughter is a vital force to channel rage against patriarchy, Islamophobia, mass incarceration? To create moments of empathy and dialogue between #Black Lives Matter and the police? These and other such questions are at the heart of this powerful reassessment of humor. Placing theorists in conversation with comedians, Uproarious offers a full-frontal approach to the very (...) foundation of comedy and its profound political impact. Here Cynthia Willett and Julie Willett address the four major theories of humor—superiority, relief, incongruity, and social play—through the lens of feminist and game-changing comics such as Wanda Sykes, Margaret Cho, Hannah Gadsby, Hari Kondabolu, and Tig Notaro. They take a radical and holistic approach to the understanding of humor, particularly of humor deployed by those from groups long relegated to the margins and propose a powerful new understanding of humor as a force that can engender politically progressive social movements. Drawing on a range of cross-disciplinary sources, from philosophies and histories of humor to the psychology and physiology of laughter to animal studies, Uproarious offers a richer understanding of the political and cathartic potential of humor. (shrink)

While committed to the argumentative and reasoned discourse recognizable in the work of contemporary professional philosophers, the actual practice that both Socrates and Diogenes routinely engaged in was in many ways more similar to stand-up and other forms of contemporary performative comedy. This paper analyzes the commonalities between Socrates’s and Diogenes's public philosophizing in Ancient Greece and performative comedy in the contemporary world, and emphasizes the subversive rhetorical efficiency and skeptical significance of public irony for their audiences. The paper (...) begins by exploring the ways in which ancient philosophers relied on irony and humor to promote skepticism and critical thinking, analyzes contemporary comic performances that seem similar, and concludes with reflections on the varieties of philosophical activity and experience. (shrink)

By virtue of his Essays Montaigne is rightly regarded not only as a radically modern philosopher but also as a transformative educational innovator. He confronted the extent to which pedantry and acculturation can justify cruelty by developing a conception of liberal arts education as the arts of liberation, and at the core of this education he placed the practice of essaying. This article argues that in easing us into essaying practices Montaigne qua educator makes reflexive use of three specific modes (...) of didactic humor: incongruous comparison, subversive superiority, and leveling embodiment. Humor thus emerges as a cognitive disposition and communicative mode especially appropriate to the pedagogical engagement with difference today. (shrink)

Like Alice following the white rabbit into a topsy-turvy world where the laws of logic don't apply, subversive thinking unearths the mysteries behind the mundane. Tracking the White Rabbit is a fascinating, original work that invites us to use depth psychology to challenge our deepest assumptions about world politics, theology, social norms, everyday speech, and usual ideas of sex and emotion. Raised in an environment of McCarthyism and rock-and-roll, Jungian analyst Lyn Cowan shows readers-through provocative essays on memory and (...) homosexuality, music and the art of cursing-that we can flip our ingrained attitudes on their heads and achieve a better understanding of our cultural landscape. America has been plagued by a flattening of its psychic life, Cowan argues, exhibited in the escalating need for external stimulation and the distrust of intense emotion. With humor and insight, she confronts the "isms" that entrap our imaginations (capitalism, fundamentalism, feminism, sexism, antisemitism, communism) in order to unearth a more soul-serving culture. Encouraging us to mine the creativity of spontaneous imagination, this psychology brings dramatic new ideas and themes into focus, breaking down barriers and yielding fresh perspectives on some of the more pressing individual dilemmas of our time: abortion, gender, language, homosexuality, and victimization. (shrink)

In the first part of this paper, I will briefly introduce the concept of incongruity and its relation to humor and seriousness, connecting the ideas of Arthur Schopenhauer and the contemporary work of John Morreall. I will reveal some of the relations between Schopenhauer's notion of "seriousness" and the existentialists such as Jean Paul Sartre, Simone Be Beauvoir, and Lewis Gordon. In section II, I will consider the relationship between playfulness and incongruity, noting the role that enjoyment of incongruity plays (...) in creative, non-dogmatic thinking. In section III, I will critique Morreall's arguments against the efficacy of humor as a means of serious protest, analyzing the complex relationship between the ambiguous terms "seriousness" and "playfulness". In the final section, I contend that Morreall's conception of humor, with which I generally agree, fails to adequately address subversive humor. He is cognizant of the benefits of a humorous attitude and of the work of rebellious groups who use humor, but his insistence that the play mode of humor precludes emotional attachment and practical concern, renders his philosophical analysis of humor far less comprehensive than his title suggests. I will make the case, contra Morreall, and he is the most prominent of many humor theorists who make similar points, that some humor in play mode is non-existentially, non-gravely serious, and intends to do more than simply "delight" audiences; the subversive humorist, in particular, is attempting to disclose and transmit information in such a way as to create change in both attitudes and practical social interactions. (shrink)

In this paper I borrow from Maria Lugones’ work on playful “world-traveling” and W.E.B. Du Bois’ notion of “double consciousness” to make the case that humor can facilitate an openness and cooperative attitude among an otherwise closed, even adversarial audience. I focus on what I call “subversive” humor, that which is employed by or on behalf of those who have been continually marginalized. When effectively used, such humor can foster the inclination and even desire to listen to others and, (...) if only for brief moments, adopt their point of view. To be able to see oneself as others see you can also be a desirable capacity, because along with such multidimensional seeing comes an epistemic advantage lacking in those who have no need nor desire to see as others do, especially if the vision of the others happens to be from below where one perceives that the promises of our explicit ideals are constantly being implicitly broken. Such humor is aesthetic, pleasurable in and of itself, and not amenable to scientific dissection. But it is also a skill that can be honed into a powerful tool of persuasion in circumstances where straightforward arguments are less effective. It can raise consciousness about the lived experiences of those suffering under systemic oppression and foster world travelling. Subversive humor encourages audiences, especially those who contribute to what Jean Harvey calls “civilized oppression”, to playfully travel across worlds and “tarry along” with the perspectives of the marginalized. (shrink)

This article explores how media content may facilitate processes of recognition through playfulness and comedy. Mediated recognition is typically understood as a matter of respectful and positive representation of subaltern groups and in terms of struggles for visibility and dignity. Yet at the same time, the media address audiences in much less deferential ways that are nonetheless consequential to processes of recognition: by means of playfulness, subversion, and irreverence. This article introduces the concept of ‘playful recognition’ to account for the (...) contradictory ways in which humor can incite recognition. The article empirically illustrates this concept drawing upon a case study of Svart Humor – a comedy show aired in Norway. On the one hand, this article explores an important yet neglected dimension of mediated recognition, on the other, it introduces a recognition perspective to the study of televised comedy. (shrink)

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form that this paper will (...) consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

_Enlightenment from the _South Park_ gang faster than you can say, "Screw you guys, I'm going home"!_ _The Ultimate South Park and Philosophy: Respect My Philosophah!_ presents a compilation of serious philosophical reflections on the twisted insights voiced by characters in TV’s most irreverent animated series. Offers readers a philosophically smart and candid approach to one of television’s most subversive and controversial shows as it enters its 17th season Draws sharp parallels between the irreverent nature of _South Park_ and (...) the inquiring and skeptical approach of Western philosophy Journeys deep beyond the surface of the show’s scatological humor to address the perennial questions raised in _South Park_ and the contemporary social and political issues that inspire each episode Utilizes familiar characters and episodes to illustrate such philosophical topics as moral relativism, freedom of expression, gay marriage, blasphemy, democracy, feminism, animal ethics, existential questions, and much more It’s a Bigger, Longer & Uncut version of the highly acclaimed _South Park and Philosophy: You Know, I Learned Something Today_—and is guaranteed to be much funnier than killing Kenny. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:_Russell_ journal (home office): E:CPBRRUSSJOURTYPE2501\REVIEWS.251 : 2005-09-14 19:58  Reviews RUSSELL’S INFLUENCE ON INGEMAR HEDENIUS S A Theology and Religious Studies / U. of Lund  , Lund, Sweden @. Svante Nordin. Ingemar Hedenius. En filosof och hans tid [Ingemar Hedenius. A philosopher and his time]. Stockholm: Natur och Kultur, . Pp. ;  photos.  kr. en years ago I wrote a review article about Gunnar Fredriksson’s book (...) Tabout Bertrand Russell for Russell called “Russell’s Influence in Sweden”. In it I mentioned two Swedish philosophers who introduced and established analytic philosophy in Sweden. The oldest, Ingemar Hedenius (–), was professor in practical philosophy in Uppsala from  to ; the younger, Anders Wedberg (–), was professor in theoretical philosophy in Stockholm from  to . Together they had an enormous influence on the development of Swedish philosophy, since—among other things—they had the  See the review of Bertrand Russell: en intellektuelli i politiken, Russell, n.s.  (): –. _Russell_ journal (home office): E:CPBRRUSSJOURTYPE2501\REVIEWS.251 : 2005-09-14 19:58 Reviews  power to influence most of the new professors in philosophy. And they can both be called disciples of Bertrand Russell. The formal division between theoretical and practical philosophy goes back to Aristotle and Kant and consists in a distinction between the philosophy of thinking and the philosophy of acting. In practice it means that the former subject includes metaphysics, epistemology, philosophy of language and philosophy of mathematics and logic, while the latter deals with ethics, aesthetics, social philosophy and philosophy of religion. It was Wedberg who introduced Russell as a logician and a philosopher of mathematics and for a long time theoretical philosophers primarily wrote about logic and tried to apply the symbols of mathematical logic to classical philosophical problems. Russell’s influence on Hedenius was of a more general character that showed itself in his writings on ethics and religion, but also in his general attitude to life. In  Hedenius published a collection of essays called Tro och Vetande [Faith and Knowledge] that started a public discussion about the truth of Christianity that went on for years. The book was an undisguised attack on Swedish theology and Swedish theologians that caused a lot of hard feelings and undermined the reputation of theology as a legitimate academic subject. It was such a knock out that still today many Swedish theologians suffer from a “Hedenius complex”. (One could call it a “Russell complex”.) There is only one reference to Russell in Hedenius’ book and that is to Sceptical Essays, where Russell writes: “I wish to propose for the reader’s favourable consideration a doctrine which may, I fear, appear wildly paradoxical and subversive. The doctrine in question is this: that it is undesirable to believe a proposition when there is no ground whatever for supposing it true” (SE, p. ). Of course, Russell was not the first philosopher to endorse such a doctrine, which can be traced back to the spirit of Socrates and the old Greek sceptical philosophers, but Hedenius seems to have been impressed by Russell’s humorous and elegant way of formulating it. He took it to his heart and called it “den intellektuella moralens maxim”, which translates into “the maxim of intellectual morality” and sounds like an echo of Kingdon Clifford, although Hedenius might not have heard of him. Anyway, Hedenius thought that it was morally wrong to believe any proposition without having good reasons. With this maxim in mind he examined the major tenets of Christianity and found that very few—if any—passed the test, although he never seems to have doubted that Jesus existed, which he might have done, if he had examined the reasons for believing so more critically. From now on Hedenius was the best known and feared philosopher in Sweden. Another professor in Uppsala with a big sense of humour said: “There is no God and Ingemar Hedenius is his prophet.” Hedenius took an active part _Russell_ journal (home office): E:CPBRRUSSJOURTYPE2501\REVIEWS.251 : 2005-09-14 19:58  Reviews in many public discussions and wrote hundreds of newspaper articles, essays and close to  books that could be read by anyone. The influence of Russell is obvious in many of them, although he is seldom... (shrink)

Bringing readers from aww to awful! in a matter of seconds, I Don't Really Love You seamlessly blends images of charming pets with hilarious, soul-crushing captions about the existential dread that seems to permeate daily life. Darkly humorous one-liners, from "Birthdays don't matter" to "Inadequacy haunts me endlessly," will peek out from behind the forms of calm cats and happy-go-lucky puppies, creating an unexpected contrast that takes readers on a journey from delightful to depressing (and back again!) Pet lovers and (...) humor lovers will be captivated in equal measure, with more than 75 full-color photographs of cats and dogs in a range of breeds, alongside an off-beat, subversive voice. With the perfect attitude for our rapidly changing world, this quirky book will make readers laugh out loud (after sending them crawling under the covers to contemplate their existence). (shrink)

It is trivially true that comedians make jokes and thus are not serious; they are “just playing.” But watching Louis CK, especially his performances in Chewed Up, Shameless, and Hilarious, it is evident that he has more in mind than simply getting his audience to frivolously guffaw. I will make the case that this is so given the content of some of his humor which centers on areas of socio-political-ethical tensions that can be uncomfortable when addressed in a direct, “bona-fide” (...) communicative mode. I will concentrate upon his playful, yet serious, account of issues surrounding race and privilege which, though not obvious center-pieces, can be found in almost all of his performances. These are complex areas that are not obvious fodder for humor, and it is clear that his comedic repertoire is broad enough that he is not including these issues for lack of funnier bits. I will argue that through his humor, he at once brings to consciousness hidden biases, challenges them in a subversive manner on behalf of those harmed by cultural stereotypes, e.g., and opens up an otherwise adversarial audience to the possibility that they harbor such unwanted stereotypes—a necessary element in consciousness-raising. My account will require a brief distinction between seriousness and playfulness, a defense of the claim that we are drawn to humor even when it is used to question our cherished presuppositions, and an interpretation of thought experiments that parallels Louis CK’s comedic mechanisms in his stand-up performances and episodes from Louie. In some cases he is explicit that he is just “making shit up” (Oh My God), or, as he cautions in the setup to a story in Shameless, “it doesn’t matter cus’ I’m gonna lie to you.” But that does not take away from my point that he is serious with his humor about social reality in the same way that philosophers have traditionally “made shit up” with thought experiments for serious purposes. Louis CK employs a similar device with his humor, and in many ways is more effective than philosophers in making the implicit explicit for his (much larger) audiences who then spread his word. (shrink)

My dissertation is concerned with the misconceptions many postmodernist theorists and critics harbor about the history of western philosophy and about various branches of it, misconceptions that I contend are the source of the simplistic account of both postwar culture and literature, and eighteenth-and nineteenth-century realist fiction, that they provide. ;In the first chapter, I consider the campaign that a host of postmodernists have mounted against something they typically refer to as the "logic of either/or," alleged to structure western thought. (...) This logic they claim they try to "subvert" by recourse to something else called the "logic of both/and," which, they assert, violates the law of noncontradiction. Instantiations of the "logic of both/and" that postmodernists cite as evidence of the "contradictory," subversive nature of postmodernism include, for example, that postmodernism is both a break from and a continuation of modernism, that postmodernist fiction is both about reality and about the processes of artistic creation, and that postmodern humor is both destructive and constructive. None of these states of affairs, however, is a contradiction, much less a violation of the law of noncontradiction. What postmodernists assume is that by the terms of classical logic, postmodernism, for example, must be either a break from or a continuation of modernism--that is, they attribute to classical logicians what is considered by them to be one of the most common fallacies of presumption: the either/or fallacy, or black-and-white thinking. It is the trivial notion that A and B can both be predicated of x that underwrites, in effect, the "radical" claims made by postmodernists on behalf of the "logic of both/and." ;In the second chapter, I address the reductive accounts of both realist and postmodernist fiction that postmodernists characteristically offer. Many assume, for example, that a realist metaphysics is implicit in realist fiction, and argue that, for this reason, realist fiction is outmoded. The ground of this assumption is, among other things, a misconception about what metaphysical realism is. A belief in a "world out there" is not, as a number of postmodernists seem to think, tantamount to a belief in the truth of metaphysical realism-- the thesis, simply put, that reality is mind-independent. There is no pat, one-to-one correspondence between literary realism and metaphysical realism , and no reason--stylistic or otherwise--why a realist novel cannot express an anti-realist metaphysics--not even any reason why an eighteenth- or nineteenth-century realist novel couldn't, since metaphysical anti-realism was as alive and well then as metaphysical realism is today. The latter point is important, for postmodernists often base their assertions about the metaphysical assumptions that inform eighteenth- and nineteenth-century realist fiction not on any textual evidence, but on a priori assumptions about the metaphysical beliefs it was possible for realist fiction to reflect. This "ideas-of-the-time" approach to literary history is problematic in its own right, but it becomes even more so if one's assumptions about what were or were not the ideas of the time, are, as in this case, false. (shrink)

Examining Turkey’s Gezi Park protests of 2013 as a representative case of the globally surging protest movements since 2011, this study claims that the basic aim of the protests is to contest the foundational rationality of the modern state, which, I argue, is based on a patriarchal social contract that empowers the state with the authority to represent the interests and speak on behalf of citizens using a logic of protection, and to construct, enforce, and monitor a regime of citizenship (...) where citizens can only function as emasculated subjects who are dependent on the protection of the state. Based on an analysis of the use of gender metaphors and familial tropes by the AKP government, and the subversive use of humor and irony by the protestors, this article demonstrates that the protests target the patriarchal premises of modern statehood, both in its democratic (fraternal patriarchy) and authoritarian (paternalistic patriarchy) forms, and the state’s disciplinary, regulatory, and remedial interventions toward the interpellation of the citizen as an infantile or feminine subject who is not capable of meeting their needs and interests on their own, and whose life, therefore, needs to be continually monitored, controlled, and regulated by the state. Drawing on criticism brought to the contractual foundations of the modern state by feminist political theorists, this study makes use of the notion of modern patriarchy as a story told by social contract theories, which generates a power relationship between the state and the citizen based on the projection of threat where the state assumes the role of the protector. I conclude that objecting to these modern forms of subjugation, the Gezi Park protests call for a post-patriarchal state where it no longer resorts to a patriarchal protectionist logic that is justified through the claim that it represents the interests of its citizens. By envisioning such a post-patriarchal state, I interpret the protests as a call for the renegotiation of the foundational premises of modern statehood such that the state-citizenship relationship is radically reformulated to enable a more empowered and autonomous citizen. (shrink)

ZusammenfassungHumor ist ein historisch schwieriges Thema: Über was gelacht wird und in welchen Situationen, ist historisch variabel. Vielfach geht Humor mit Normtransgressionen einher, die nur deshalb nicht als anstößig wahrgenommen werden, weil in der konkreten Situation Humor erwartbar und toleriert ist – man kann hier von sozial konstruierten ‚Humorräumen‘ sprechen. Die pompa funebris im republikanischen und kaiserzeitlichen Rom bildete einen solchen ‚Humorraum‘. Von der Forschung bisher kaum beachtet, finden sich hier zahlreiche karnevaleske Elemente, die einen Leichenzug zu einem durch die (...) Stadt ziehenden Humorraum machten. Das Lachen konnte dabei nebst einer möglichen apotropäischen Funktion den ‚liminalen‘ Charakter des Rituals unterstreichen, vor allem aber diente es dazu, das Potential für Spannungen, die bei der Inszenierung aristokratischen Prestiges im an sich egalitären Raum der res publica auftreten konnten, aufzufangen. Doch gerade dadurch wurde der potentiell subversive und unkontrollierbare Charakter der pompa funebris in das Ritual selbst eingebunden und machte Leichenzüge zu einem Kristallisationspunkt potentieller Transgressionen. Dass Spott und Lachen die Leichen angesehener Aristokraten begleiteten, wirft dabei nicht nur ein neues Licht auf das an sich gut erforschte Phänomen aristokratischer Leichenfeiern im öffentlichen Raum, sondern zeigt auch die Fremdheit antiker Lachkultur. (shrink)

Le politique et le chanteur : deux figures qui semblent bien éloignées mais que l’auteur rassemble en partant de la scène kinoise. Stratégie de subversion, culte de la personnalité, culture du clash, soutien de supporters, fonctionnement en factions : avec humour, l’auteur dresse des parallèles entre les univers musicaux et politiques pour, d’une part, souligner combien la musique porte une large part de politique et pour, d’autre part, déconstruire l’autorité du champ politique par la dérision. La dictature est ainsi (...) lue comme le plébiscite, par les masses, d’hommes de scènes, passés maîtres dans la gestion des slogans et des bonnes répliques. Les stars de la chanson, de leur côté, sont partie prenante des campagnes électorales et participent aux stratégies de marketing de la scène politique. Au-delà des jeux de rapprochement, l’article interroge la fabrication des élites, l’espace médiatique, la création des « stars » et l’usage de la parole politique. (shrink)

This article proposes that Deleuze’s psychoanalytically inspired theory of humour and irony provides an underappreciated way to theorize acts of resistance that adopt a structurally perverse position towards a law or authority. In his books Coldness and Cruelty and Difference and Repetition, Deleuze explains that the law is susceptible to two kinds of subversive procedure. The first, which he calls irony and which he aligns with sadism, reveals a gap between the law and its principles. The second, which (...) he calls humour and which he aligns with masochism, exposes a gap between the law’s interdictions and their consequences. For Deleuze, humour and irony harbour the potential to overturn or overthrow the law. Drawing on Lacanian psychoanalytic theory and contemporary examples – alt-right ‘free speech’ demonstrations in the United States and protests surrounding Russia’ s 2012 parliamentary elections – the article argues that Deleuze overstates the transformative potential of perversion. Nevertheless, his account remains useful for showing the circuitous routes that some subjects take to enjoy their position within the law. Given the global rise in right-wing authoritarianism in recent years, this may prove to be an important insight. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (2000), which (...) characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

About halfway through Terence's Hecyra, Pamphilus sends his slave Parmeno on a fool's errand to find Callidemides, a (non-existent) friend of his (415–50). Previous analyses of this unique exchange have revealed several layers of humour at work, but this article proposes a new reading of the scene through the lens of performance and staging which suggests that Pamphilus’ verbal description of Callidemides is lifted from the physical appearance of Parmeno himself. This scenario accounts for all the elements of the (...) fool's errand provided by Terence and ties the scene into the play's broader thematic interest in stock character subversion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Slipping on Banana Peels, Tumbling into WellsPhilosophy and ComedyPaul A. Kottman (bio)Alenka Zupančič. The Odd One In: On Comedy. Cambridge, MA: MIT P, 2008.[T]he philosopher... is the jest, not only of Thracian handmaids but of the general herd, tumbling into wells and every sort of disaster through his inexperience [hupo apeirias].—Plato, Theaetetus 174cWhy stop philosophy’s most precious intrinsic comedy when it comes to comedy?—Alenka Zupančič, The Odd One In1“Comedy,” (...) writes Alenka Zupančič in The Odd One In, “draws our attention to the fact that something of our life lives on its own as we speak, that is to say, at any moment of our life” [218]. Reelaborating some of Jacques Lacan’s formulations regarding comedy, drive, and desire, Zupančič clarifies that this “something” is the “Real of human desire”— namely, “the incongruence of the reality of desire and drive with all those (also quite factual) outlines that determine our supposedly realistic reality” [218]. This extrapolation from Lacan frames Zupančič’s views on comedy and its subversive character; but it is her unique engagement with G. W. F. Hegel’s remarks on comedy—particularly the sections of the Phenomenology of Spirit in which Hegel tracks the passage from the Comedy of Aristophanes to Christianity—that give a distinctive arc to Zupančič’s highly original and generative approach to comedy and its subversive character. In this review essay, I will draw attention to some of the most original aspects of this critical appropriation of Hegel, while highlighting key elements of the text’s argumentative trajectory. Toward the end of this essay, I will also suggest ways that Hegel’s speculative remarks, which see the comic figure as symptomatic of a community that is not yet conscious of itself as such, might allow us to put into question some of Zupančič’s central claims regarding the subversive nature of both comedy and her own critical intervention.Zupančič’s reflections on comedy—which are not only innovative, but also delightfully readable—merit, in their own right, the attention of anyone interested in the intersection of literature, philosophy, and contemporary culture; but her text is all the more significant in light of the oft-remarked rarity of sustained philosophical reflections on comedy. Although there are a number of books on comedy as a literary genre, philosophical studies of comedy are surprisingly rare.1 Henri Bergson’s Le rire (published in 1900) [End Page 3] is perhaps the most well known. More recently, Simon Critchley has written about laughter, wit, and jokes in On Humour. Perhaps the most comprehensive philosophical account of comedy to date—Agnes Heller’s Immortal Comedy: The Comic Phenomenon in Art, Literature and Life (2005)—was published only three years before The Odd One In.2In contrast to Heller’s work, which offers a philosophical account of a variety of comic works and genres, and unlike these other earlier studies, which deal with the poetics of comedy and related phenomena such as laughter or jokes, Zupančič does not approach comedy as an object of inquiry that might be analyzed by philosophical categories or methods, nor even as a phenomenon that is extrinsic to philosophy. Instead, she sees comedy and philosophy as intrinsic to one another, such that the fate of philosophical activity is tied to the fate of the comical. In assessing Zupančič’s claims, therefore, I will strive less for a summary catalogue of the claims presented in the book than for a reelaboration of what I take to be her most provocative and important assertions regarding what she calls the “critical edge” shared by both philosophy and comedy [Zupančič 9].The Odd One In is the eighth title in the series Short Circuits, edited by Slavoj Žižek, in relation to whose writings Zupančič’s text clearly stands in intellectual and stylistic propinquity. (Žižek himself might be taken as a prime figure in whom comic and philosophical practices, in Zupančič’s sense, coincide.) The book opens and closes with a reminder that we too often mistake the subversive side of comedy for “a consolation... (shrink)

A dimensional rather than a typological approach to studying class clown behavior was recently proposed (Ruch, Platt, & Hofmann, 2014). In the present study, four dimensions of class clown behavior (class clown role, comic talent, disruptive rule-breaker, and subversive joker) were used to investigate the associations between class clown behavior and indicators of social status and social functioning in the classroom in a sample of N = 300 students attending grades 6 to 9 (mean age: 13 years, 47.7% male). (...) Participants and their teachers completed measures of class clown behavior, and peer nominations of peer acceptance, mutual friends as well as social behavior in the classroom (popular-leadership, aggressive-disruptive, sensitive-isolated, and prosocial behaviors) were collected. The results showed that overall, class clown behavior was positively related to peer acceptance, the number of mutual friends in the classroom and peer-perceived social status. Overall, it was also positively related to peer-rated popular-leadership and aggressive-disruptive behaviors, as well as negatively related to prosocial behaviors. When considering the four dimensions of class clown behavior, comic talent was particularly relevant for the relationship with social status and with popular-leadership behaviors, but also with aggressive-disruptive behaviors. Aggressive-disruptive behaviors were also particularly related to the class clown dimension disruptive rule-breaker. The results underline the significance of class clown behavior for the social status and functioning of students and may help further understand the phenomenon in its multidimensional nature. (shrink)

Feminism is all about demanding equality and learning to love yourself. But not too much - men hate that! From the writers of Reductress, the subversive, satirical women's magazine read by over 2.5 million visitors a month, comes HOW TO WIN AT FEMINISM: The Definitive Guide to Having It All--And Then Some! This ultimate guide to winning feminism--filled with four-color illustrations, bold graphics, and hilarious photos--teaches readers how to battle the patriarchy better than everybody else. From the herstory of (...) feminism to how to apologize for having it all, readers will learn how to be a feminist at work and at home with tips that include: How to Do More with 33 Cents Less How to Be Sex-Positive Even When You're Bloated How to Love Your Body Even Though Hers Is Better The 9 Circles of Hell for Women Who Don't Help Other Women Designer Handbags to Hold All Your Feminism How to Get Catcalled For Your Personality HOW TO WIN AT FEMINISM is a fresh take on women's rights through the lens of the funniest women in comedy today. With this book as your wo-manual, you'll shatter that glass ceiling once and for all (but you'll still need to clean up the mess). (shrink)

This powerful, original, and tendentious book was written in 1940, published in Russia in 1965, and is now available in English. It suffers from many shortcomings--repetitiousness, oversimplification, the exclusion of material which fails to fit the author's thesis. It also inevitably reflects ignorance of scholarship since the thirties, which has tended to deny Rabelais' alleged agnosticism and nudged him closer to orthodoxy. But it represents nonetheless an important advance in the understanding of Rabelais' book, and defends provocatively an unfashionable theory (...) of the Renaissance. Bakhtin lays heaviest stress on his author's freedom to play with authorized symbols and solemn institutions in the spirit of the carnival, a spirit deriving from folk humor. The common folk of town and country delighted in improprieties, turned all serious values and structures upside down, dwelt subversively and coarsely on the "bodily lower stratum." Just as food enters the body and is eliminated, so all authorized solemnity enters Pantagruel and is turned into fun. This peasant laughter remains unafraid before age and death because it recognizes the simultaneous destruction and creation in all experience. The medieval hierarchical conception of the universe is replaced in Rabelais and in the entire Renaissance by a new horizontal perspective upon the individual in history. This new perspective fastens particularly upon the body and renders it good-humoredly grotesque. Bakhtin seriously underestimates the breadth of both Renaissance religious feeling and neo-Platonic speculation as well as the strength of medieval survivals. But specific readings of Rabelais' text are genuinely enlightening even when they distort or simplify his meaning.--T. M. G. (shrink)

Irony, humor and the comic play vital yet under-appreciated roles in Kierkegaard's thought. Focusing upon the Concluding Unscientific Postscript , this book investigates these roles, relating irony and humor as forms of the comic to central Kierkegaardian themes. How does the comic function as a form of "indirect communication"? What roles can irony and humor play in the infamous Kierkegaardian "leap"? Do certain forms of wisdom depend upon possessing a sense of humor? And is such a sense of humor thus (...) a genuine virtue? (shrink)

Humour is worthy of serious ethical consideration. However, it is often taken far too seriously. In this paper, it is argued that while humour is sometimes unethical, it is wrong much less often than many people think. Non-contextual criticisms, which claim that certain kinds of humour are always wrong, are rejected. Contextual criticisms, which take issue with particular instances of humour rather than types of humour, are more promising. However, it is common to overstate the (...) number of contexts in which humour is wrong. Various mistakes of this kind are highlighted and cautioned against. (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society.

Nietzsche's writing style is designed to elicit affective responses in his readers. Humour is one of the most common means by which he attempts to engage his readers' affects. In this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self‐parody in order to mitigate the charge of decadence or dogmatism by undermining his (...) own philosophical authority. In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and cultivate what he sees as the right kinds of readers for his works. (shrink)

Professional boundaries are an important aspect of social work theory and praxis – yet it is an underexplored topic within the research literature. Research often explores specific types of professional boundary issue rather than exploring social workers’ boundary stories or boundary narratives. In contrast, this qualitative study explored UK social workers’ broader understanding and experience of professional boundaries. This paper will examine one of the research themes – Humour as a boundary breaker. By using humour, social workers were (...) able to break down the boundaries that often impede effective practice. Participants also used humour to build connections with service users, colleagues and other professionals. Nonetheless, there were various aspects of this practice that raised serious issues related to power, prejudice and discrimination. This theme is important to explore because of how relevant it was for participants’ practice and because humour is also an underexplored topic within the social work literature. (shrink)

In this brief essay, I will lay out the philosophical landscape concerning theories of racist humor. First, I mention some preliminary issues that bear on the question of what makes a joke racist. Next, I briefly survey some of the views philosophers have offered on racist humor, and on a view of sexist humor that is relevant for this discussion. I then suggest the debates could benefit from moving beyond the racist/non-racist binary most views presuppose. Finally, I conclude with suggestions (...) for further research. (shrink)

Introducing the work of three French feminists - Julia Kristeva, Luce Irigaray and Michele L Doeuff - "Sexual Subversions" provides access to the work of these writers. In doing so this book raises some key issues of relevance to feminist research, addressing debates around the nature of feminist theory; the relationship between feminist thinking theory; the relationship between feminist thinking and male-dominated areas of knowledge; the strategies appropriate for developing non-patriarchal or woman-centered knowledges. No book on French feminists would be (...) complete without including the contributions of Kristeva and Irigaray. The inclusion of Le Doeuff's work, which brings a different perspective to bear on the question of sexual difference, provides a counterbalance to literary appropriations of French feminism by Anglo-American readerships. Kristeva, Irigaray and Le Doeuff are the focal points of this study, precisely because each highlights the differences of the others, revealing the frameworks to which the others are committed. Nevertheless, while these writers do not present a common political or theoretical position or form a school, each does address the question of women's autonomy from male definition, affirms the sexual specificity of women, seeks out a femininity women can use to question the patriarchal norms and ideals of femininity and rejects the preordained positions patriarchy allots to woman. This book is intended for students and researchers in women's studies, philosophy and feminism. (shrink)

Humor is an integral part of society. The idea that humor and laughter are good for one’s health and psyche is well known, and many researchers praise the role that humor plays in society. Humor also plays an important role in Christian preaching and is found in various sermon contexts. However, whether the humor used in preaching is always of good quality, is doubtful. This article aims to highlight the role of humor in preaching. The phenomenon of humor and the (...) role of humor in the Bible is described and, lastly, the use of humor in preaching is explored. (shrink)

In Subversive Spinoza , Antonio Negri spells out the philosophical credo that inspired his radical renewal of Marxism and his compelling analysis of the modern state and the global economy by means of an inspiring reading of the challenging metaphysics of the seventeenth-century Dutch-Jewish philosopher Spinoza. For Negri, Spinoza's philosophy has never been more relevant than it is today to debates over individuality and community, democracy and resistance, modernity and postmodernity.

Does humour make us human, or do the cats and dogs laugh along with us? On Humour is a fascinating, beautifully written and funny book on what humour can tell us about being human. Simon Critchley skilfully probes some of the most perennial but least understood aspects of humour, such as our tendency to laugh at animals and our bodies, why we mock death with comedy and why we think it's funny when people act like machines. (...) He also looks at the darker side of humour, as rife in sexism and racism and argues that it is important for reminding us of people we would rather not be. (shrink)

Does humour make us human, or do the cats and dogs laugh along with us? _On Humour_ is a fascinating, beautifully written and funny book on what humour can tell us about being human. Simon Critchley skilfully probes some of the most perennial but least understood aspects of humour, such as our tendency to laugh at animals and our bodies, why we mock death with comedy and why we think it's funny when people act like machines. He (...) also looks at the darker side of humour, as rife in sexism and racism and argues that it is important for reminding us of people we would rather not be. (shrink)

Background: Humor, both producing and appreciating, underpins positive social interactions acting as a facilitator of communication. There are clear links to wellbeing that go along with this form of social engagement. However, humor appears to be a seldom studied, cross-disciplinary area of investigation when applied to people with an intellectual disability, this review collates the current state of knowledge regarding the role of humor behavior in the social interactions of people with intellectual disabilities and their carers. Method: A systematic review (...) utilizing the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines was completed which aimed to explore the current state of knowledge and quality of empirical evidence relating to humor in people with intellectual disabilities. Following this, articles were grouped thematically and summarized. A comprehensive search of four electronic databases (1954–2017) and additional search strategies yielded 32 articles which met the final inclusion criteria. Results: Humor played a significant positive and negative role in the social interactions of people with intellectual disabilities. Research had investigated humor in the classroom and humor expression in different groups including those with autism, Down syndrome, Angelman syndrome, Williams syndrome and Rett syndrome. Few investigations directly studied humor appreciation and comprehension hence themes did not focus solely on humor production/appreciation. Humor comprehension was reportedly supported by gestures. Some groups with intellectual disabilities found non-literal humor (e.g. sarcasm, irony) more difficult to understand which may affect social relationships. Various types of humor were found to be appreciated. The role of humor in relationship development, social facilitation, creativity and stigma had all received some limited attention. Humor also played a role for carer groups in coping with and enjoying the caring role. Research varied in quality with few experimental studies and mainly quasi-experimental and well-conducted qualitative studies. Conclusions: This review revealed the importance of humor behavior in many aspects of the social lives of people with intellectual disabilities. Limited disparate research exists pertaining to humor in this group, suggesting the need for further robust research in this area, including more high quality primary research in the areas of humor production, appreciation, comprehension and stigma. (shrink)

According to the standard analysis, humor theories can be classified into three neatly identifiable groups:incongruity, superiority, and relief theories. Incongruity theory is the leading approach and includes historical figures such as Immanuel Kant, Søren Kierkegaard, and perhaps has its origins in comments made by Aristotle in the Rhetoric. Primarily focusing on the object of humor, this school sees humor as a response to an incongruity, a term broadly used to include ambiguity, logical impossibility, irrelevance, and inappropriateness. The paradigmatic Superiority theorist (...) is Thomas Hobbes, who said that humor arises from a “sudden glory” felt when we recognize our supremacy over others. Plato and Aristotle are generally considered superiority theorists, who emphasize the aggressive feelings that fuel humor. The third group, Relief theory, is typically associated with Sigmund Freud and Herbert Spencer, who saw humor as fundamentally a way to release or save energy generated by repression. In addition, this article will explore a fourth group of theories of humor: play theory. Play theorists are not so much listing necessary conditions for something’s counting as humor, as they are asking us to look at humor as an extension of animal play. (shrink)