Humour

This article examines the question ‘what is humour?’ In section 1, we set out default realist presuppositions about the question. In section 2, we characterize a broadly Moorean approach to answering the question. In section 3, we introduce popular response-dependence assumptions about humour and express puzzlement about their popularity. In section 4, we present extant answers to our question: superiority theory; relief theory; play theory; laughter-dispositional theory; and incongruity theory. We find each wanting, subjecting incongruity theory, in particular, to sustained (...) scrutiny, and offer a novel critique of the approach. In section 5, we introduce precedents for primitivism from metaphysics, epistemology and action theory. In section 6, we present several primitivist theses about humour. In section 7, we conclude with some remarks about the methodological role primitivist theses can play in adjudicating answers to our question. (shrink)

The hypothesis that approaches the use of humour throughout the ages as something approximating a coping mechanism, has been subject to a long-standing discussion in what is known as humour studies. In this particular essay, by looking through the spectacles of one of the discipline’s theories, called relief theory, I will attempt to find out whether humour was used to lighten the weight of oppression in Imperial Rome, and can thus corroborate this hypothesis.

The chapter considers philosophical views of satire, philosophy as an object of satiric scorn, kinship and tension between satire and philosophy as activities, and what philosophy's relationship to satire suggests about philosophy as a discipline.

This volume offers twelve original essays that explore the moral quagmire that is the emotion of amusement. It considers its moral psychology a range of perspectives, going as far back as ancient Chinese and Greek philosophy up to the most current psychological and sociological findings.

Philosophical accounts of humour standardly account for humour in terms of what happens within a person. On these internalist accounts, humour is to be understood in terms of cognition, perception, and sensation. These accounts, while valuable, are poorly-situated to engage the social functions of humour. They have difficulty engaging why we value humour, why we use it define ourselves and our friendships, and why it may be essential to our self-esteem. In opposition to these internal accounts, I offer a social (...) account of humour. This account approaches humour as a social practice. It foregrounds laughter and participation, and thereby gives an account of humour that helps to understand why we value humour, why we use it as we do, and why we use it to define our relationship to the world. (shrink)

Justin D’Arms and Daniel Jacobson have argued that to evaluate the funniness of a joke based on the consideration of whether it is morally appropriate to feel amused commits the “moralistic fallacy.” We offer a new and empirically informed reply. We argue that there is a way to take morality into consideration without committing this fallacy, that is, it is legitimate to say that for some people, witty but immoral jokes can fail to be funny because they are immoral. In (...) our account, one has an intramural moral reason not to feel amused if one focuses on the moral feature itself of a joke rather than the moral consequence implied in one’s reaction to the joke. When one judges a joke as not funny because of the intramural moral reason, one is in a negative emotional state with high arousal, for example, moral disgust or anger. This state is psychologically incompatible with amusement. That one has an intramural reason not to feel amused thus implies that one does not have a reason to feel amused. Moral consideration thus plays an indirect and appropriate role in the evaluation of the funniness of a joke. (shrink)

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)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...) values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

This paper explores some aspects of the scientific study of creativity by focusing on intentional attempts to create instances of linguistic humour. We argue that this sort of creativity can be accounted for within an influential cognitive approach but that said framework is not a recipe for producing novel instances of humour and may even preclude them. We start by identifying three great puzzles that arise when trying to pin down the core traits of creativity, and some of the ways (...) taken by Cognitive Studies in this quest. We then consider what we call 'creative humour', which exhibits the core features of the aforesaid creativity. We then explore how a key cognitive approach to human communication can account for creative humour. We end by drawing lessons and highlighting limitations to cognitive approaches to creativity. (shrink)

[Both this and the Valencian versions are translations of the editor from a paper originally written in English that will appear in the Anual Review 6]. Este artículo explora algunos aspectos del estudio científico de la creatividad centrándose en la creación de humor lingüístico intencionado. Sostenemos que este tipo de creatividad puede explicarse dentro de un enfoque cognitivo influyente, pero que dicho marco no es una receta para producir ejemplos novedosos de humor, e incluso puede excluirlos. Comenzaremos identificando tres grandes (...) problemas que surgen al tratar de precisar los rasgos centrales de la creatividad y algunas de las formas adoptadas por los estudios cognitivos en esta búsqueda. Luego consideraremos a qué llamamos «humor creativo», que exhibe las características centrales de la creatividad antes mencionada. A continuación exploraremos cómo un enfoque cognitivo clave para la comunicación humana puede explicar el humor creativo. Por último, extraeremos conclusiones y destacaremos las limitaciones de los enfoques cognitivos para entender la creatividad. (shrink)

“ A man orders a whole pizza pie for himself and is asked whether he would like it cut into eight or four slices. He responds, ‘Four, I’m on a diet ”’ (Noël Carroll) -/- While not hilarious --so funny that it induces chortling punctuated with outrageous vomiting--this little gem is amusing. We recognize that something has gone wrong. On a first reading it might not compute, something doesn’t quite make sense. Then, aha! , we understand the hapless dieter has (...) misapplied general rules of thumb, mental short-cuts, or heuristics, that we were also initially committed to and that would usually be good enough to rely upon— fewer slices equals fewer calories; diets require fewer calories, etc—but in this particular case they fail, and the feeling of mirth is our reward for making this discovery. We don’t say all of that after a punchline, of course, but that’s what is happening according to the Humor as Error-Detection Theory : our sense of humor can sense our errors. This chapter will focus on the overlap and benefits of a humorous and philosophical attitude toward the world and our place in it. The historian of philosophy Will Durant tells us that genuine philosophy begins when one learns to doubt; we can say something similar with humor--trust me. (shrink)

Karl Pfeifer distinguishes between humor used extraneously in the delivery of philosophical content and humor intrinsic to the content itself: “Enlivening the delivery isn’t the same as enlivening the content of the delivery.” Using examples from topics in philosophy of mind and moral philosophy he illustrates how humor can be used to make certain ideas more engaging and memorable for students. He also gives an example of what to avoid.

The topic of my dissertation is satire. This seems to excite many people, and over the past four years I have heard many variations of a similar refrain: “Oh, wow. You’re studying satire? That’s very topical. You must have a lot of material to work with.” There is a way in which this is true, though I suspect in a way that diverges from the way that most of my interlocutors believed. I suspect that the material they imagined me to (...) be working with was the output of Donald Trump, first a candidate for and now holder of the office of President of the United States. That is not the material I find interesting. More interesting to me is their statement. It evinces a number of beliefs that I find interesting, chief among them that Trump makes the current period particularly apt for satire, as if a doddery and incompetent ruling class is somehow a recent phenomenon. And I suspect that underneath this belief in the aptness of satire is a belief in the power of satire. Satire is somehow how people are going to strike back at the vice-governed fools who rule us. Those beliefs are the material I want to work with. This is my interest in satire, then: not so much what it is about satire that makes it powerful, but what is it about satire that makes people think it is powerful? And what is it about satire that makes people think it is powerful when there is pretty powerful evidence that it is not? Unfortunately, here is where I run into the problem that in a very important way I do not have a lot of material to work with. There is not an awful lot on satire within the analytic tradition: outside of a few references to satire, analytic discussions of satire are limited to two short articles. Accordingly, I have taken the task of my dissertation to be to create an account of satire that helps to bring forward why satire is a thing that people can imagine to be powerful, that they can imagine to be politically effective. My dissertation will effectively have two halves, one where I build my account and one where I begin to apply it. The purpose of applying my account, which will comprise the final two chapters, will not be to show its implications so much as how it can be used. My goal will not so much be to give definitive answers about the nature of satire, but rather to give a demonstration of how my account facilitates engaging questions about the role of satire in social and political context. (shrink)

ABSTRACT This article advances a novel way of understanding humor and stand-up comedy. I propose that the relationship between the comedian and her audience is understood by way of trust, where the comedian requires the trust of her audience for her humor to succeed. The comedian may hold the trust of the audience in two domains. She may be trusted as to the form of the humor, such as whether she is joking. She may also be trusted as to the (...) content of the joke. This approach has two distinct virtues. The first is that it makes sense of partial successes. These are cases where the humor neither completely succeeds nor fails because the audience does not fully trust the comedian. The second is that it explains intuitions about ethically dubious humor and why certain classes of humor, especially those dealing in racialized and gendered identities, are more readily accepted from humorists of those identities. (shrink)

ABSTRACT Stand-up so closely resembles-and is meant to resemble-the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk-social spaces and third spaces such as bars, coffee houses, (...) and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up. (shrink)

ABSTRACT One of the standard defenses of Daniel Tosh, Andrew Dice Clay, Bernard Manning, and other stand-up comedians who have been accused of crossing moral lines is that the responses they elicit belong to an aesthetic rather than a moral domain to which standard methods of ethical evaluation are therefore inapplicable. I argue, first, that fictionality does not confer immunity to ethical criticism and, second, that the stance adopted by the stand-up artist is not fully analogous to a fictive one (...) in any event. Whatever the case with respect to the adoption of an alternative persona, the stand-up artist refers in his or her pronouncements to the actual world in a way that a fiction does not. That also suggests susceptibility to ethical criticism, just for different reasons. (shrink)

Contemporary comedy audiences are accused by some comedians of being too morally sensitive to appreciate humor. To get closer to an idea of what this means, I will first briefly present the argument over audience sensitivity as found in the non-philosophical literature. Second, I then turn to the philosophical literature and begin from the idea that “funny” is a response-dependent property. I present a criticism of this response-dependence account of “funny” based in the claim that funniness is not de- termined (...) by what normal audiences actually laugh at, but by what merits laughter. Third, I argue that excessive or deficient moral sensitivity distorts audience receptivity to humor. Fourth, I turn to candidates for ideally sensitive audiences. I conclude by returning to the particular cases of supposed oversensitivity or undersensitivity to jokes to see how we might judge them. (shrink)

Dave Chappelle took an extended leave from comedy for moral reasons. I argue that, while he had every right to leave comedy because of his moral concerns, he was not obliged to do so. To make this case, I present Chappelle’s argument that the potential negative consequences of his racial humor obliged him to leave. Next, I argue against Chappelle’s argument about avoidable harms as the harms are not his responsibility, he was not being negligent, and the benefits of his (...) humor outweigh the harms. I also argue in support of the intuition that another’s failure of comprehension or moral character, even if that failure will predictably result in harms to others, should not convert moral acts into immoral ones. (shrink)

ABSTRACT This article argues that the aesthetic practices of black women stand-ups in South Africa take up the concrete ways black people all over the world use performances, within theatrical or everyday practices, to create, shape, and transform their worlds. Reading stand-up as a genre of diaspora culture meant to contend with issues of antiblack racism, economic and social marginalization, and the legacy of colonialism, this article examines the ways humor and comedy manifest transnational intimacies and affinities via the circulation (...) of black women's comic culture. Black women's stand-up comedy enables us to orient our understanding of the inextricable link between aesthetic choices and diaspora as the locus of the production of blackness, and as a particular sensibility rooted in the struggle against colonialism, antiblack racism, and the struggle for human rights and recognition. (shrink)

To what extent can humorism be a legitimate disposition toward the Absurd? The Absurd is born from the insurmountable contradiction between one’s ceaseless striving and the absence of an ultimate resolution – or, as I prefer to call it, the ‘dissolution of resolution’. Humoristic Absurdism is the commitment to a pattern of humorous responses to the Absurd, which regard this absurd condition, as well as its manifestation in absurd situations, as a comical phenomenon. Although the humoristic disposition seems promising, by (...) virtue of humor’s recognition of incongruity and its denial of an ultimate resolution, and succeeds in countering three major objections, it falls prey to the claim that comprehensive humorism portrays as frivolous what is earnest, thereby renouncing the gravity of the desire for ultimate resolution, which is fundamental to the notion of the Absurd. In an attempt to explore alternative roles for humor in a legitimate disposition toward the Absurd, Metamodern Absurdism is suggested, which revolves around a post-ironic oscillation between humor and earnestness. In short, only in a role limited to one pole of an oscillatory pattern of responses can humor be integrated in a legitimate disposition toward the Absurd. (shrink)

ABSTRACT This article investigates the moral wrongness of joke theft. Working through a trove of real-world cases, and using the sitcom The Marvelous Mrs. Maisel as a touchstone, I argue, ultimately, for a pluralist approach, contending that there are several wrongs that may be present in any case of joke theft, but which cannot be reduced to each other and which are collectively irreducible to any sort of “superwrong.”.

Argues for the controversial and initially counterintuitive thesis that theatrical magic (that is, the performance of conjuring tricks) is a form of standup comedy.

Building on the theory of humor advanced by Yves Cusset in his recent book Rire: Tractatus philo-comicus, I argue that we can understand the phenomenon in terms of what Jean-Luc Nancy, following Roland Barthes, has called the exemption from sense. I attempt to show how the humorous sensibility, understood in this way, is entirely incompatible with the experience of others as contemptible. I conclude by developing some of the normative implications of this, focusing specifically on the question whether it is (...) ever morally permissible to treat others with contempt. (shrink)

Proceeding on the basis of reports of a proposal in 2011 to criminalize public flatulence in Malawi, the normative significance of flatulence is considered from the respective standpoints of aesthetics, etiquette, and ethics, and it is indicated how aesthetics and etiquette may themselves also have ethical significance. It is concluded that etiquette and ethics may both require that certain violations of etiquette and ethics should sometimes be ignored.

The Darwin-Hecker hypothesis, viz. that laughter induced by tickling and humor share common underlying mechanisms, is so-called in part because of a quotation attributed to Ewald Hecker. However, a German counterpart of the quotation does not appear in the location cited. Some textual sleuthing is undertaken to find out what Hecker actually wrote and where he wrote it.

Stand‐up comedy is often viewed in two contrary ways. In one view, comedians are hailed as providing genuine social insight and telling truths. In the other, comedians are seen as merely trying to entertain and not to be taken seriously. This tension raises a foundational question for the aesthetics of stand‐up: Do stand‐up comedians perform genuine assertions in their performances? This article considers this question in the light of several theories of assertion. We conclude that comedians on stage do not (...) count as making genuine assertions—rather, much like actors on a stage, they merely pretend to perform speech acts. However, due to norms of authenticity that govern stand‐up comedy, performers can nonetheless succeed in conveying genuine insights. Thus, our account accommodates both the seemingly incompatible aspects of our ordinary appreciation of stand‐up comedy and points toward deeper philosophical understanding of stand‐up comedy as a unique art form. (shrink)

This article explores the psychoanalytic points of commonality between stand‐up comedy shows and fascist rallies, arguing that both are concerned with the creation of a “mass” audience. The article explores the political significance of this analogy by arguing that while stand‐up shows are not as regressive as fascist rallies, their “mass” character does run counter to any political aspirations they may have toward the end of critical consciousness raising.

ABSTRACT The function of the comic in the midst of tragedy is not clear. After all, is it simply comic relief that wounded nations, communities, or individuals seek? Tragedy has long been cast as memory and mourning while comedy offers for the masses a Nietzschean moment of joyful forgetting and for the Stoic mind a measure of transcendence from our grief. The latter view came into prominence for modern American culture with the nineteenth-century satirist Mark Twain, who wrote that “the (...) secret source of humor itself is not joy but sorrow,” which has been interpreted through the often-quoted formula: comedy is tragedy plus time. The assumption is that we need some distance emotionally in order to mock or transcend the tragic. While we grant the humor of transcendence can produce some momentary relief through emotional distance, we wonder if there might be another way that humor can deal with suffering? Popular psychology often speaks of five stages of grief, and while that progression seems too linear and simplistic, we find that the now much more inclusive comic stage has something to offer their audiences struggling to make sense of a volatile world. (shrink)

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character of (...) comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (shrink)

Humour is a funny thing. Everyone knows what humour is but no-one knows exactly how it works. This book addresses the question 'What is humour?' -/- Consulting a dictionary on this question reveals an uninformative circle of definitions that goes from 'humour', to 'amusement', to 'funny' and back to 'humour'. Hence the book starts by untangling this circle of definitions to avoid being tied in conceptual knots. The remainder of the book is then free to lucidly provide a new theory (...) of humour which draws on cutting-edge research in psychology, linguistics and neuroscience. -/- Humour is important to people and so then are philosophical questions about humour. This book provides an understanding of what our sense of humour reveals about us and elucidates joking matters from the dinner table to the comedy club. (shrink)

This chapter offers a complete account of Aristotle’s underexplored treatment of the virtue of wittiness (eutrapelia) in Nicomachean Ethics IV.8. It addresses the following questions: (1) What, according to Aristotle, is this virtue and what is its structure? (2) How do Aristotle’s moral psychological views inform Aristotle’s account, and how might Aristotle’s discussions of other, more familiar virtues, enable us to understand wittiness better? In particular, what passions does the virtue of wittiness concern, and how might the virtue (and its (...) attendant vices) be related to the virtue of temperance (and its attendant vices)? (3) How does wittiness, as an ethical virtue, benefit its possessor? (4) How can Aristotle resolve some key tensions that his introducing a virtue of wittiness apparently generates for his ethics? In addition to exploring these questions, this chapter challenges some commonly accepted accounts of Aristotle’s views on the nature of the laughable. (shrink)

In Umberto Eco’s classic novel The Name of the Rose, we are introduced to a decidedly Platonic fear of laughter. According to the blind librarian Jorge de Burgos, “[l]aughter is weakness, corruption, the foolishness of our flesh. It is the peasant’s entertainment, the drunkard’s license;... laughter remains base, a defense for the simple, a mystery desecrated for the plebeians.”1 Laughter could not accompany insight or clarity or revelation. By destroying the last known copy of the second part of Aristotle’s Poetics, (...) which delves into comedy after the already-familiar investigation of tragedy, de Burgos hopes to undermine any argument that claims to find significance in comic content. Indeed, the central plot of... (shrink)

This article discusses whether a sense of humor is a political virtue. It argues that a sense of humor is conducive to the central political virtues. We must first, however, delineate different types of humor (benevolent or malicious) and the different political virtues (sociability, prudence, and justice) to which they correspond. Generally speaking, a sense of humor is politically virtuous when it encourages good will toward fellow citizens, an awareness of the limits of power, and a tendency not to take (...) oneself too seriously or when it condemns moral or intellectual vice. An analysis of President Donald Trumps deeply flawed sense of humor is used to ground this account. (shrink)

In general, it is morally wrong to joke about the suffering of a category of people while in front of a person who fits into this category. I argue that, when people play the game Cards Against Humanity, it is likely that they do this very action. Thus, I conclude that it is morally wrong to play Cards Against Humanity.

We defend a fitting-attitude theory of the funny against a set of potential objections. Ultimately, we endorse a version of FA theory that treats reasons for amusement as non-compelling, metaphysically non-conditional, and alterable by social features of the joke telling context. We find that this version of FA theory is well-suited to accommodate our ordinary practices of telling and being amused by jokes, and helpfully bears on the related faultless disagreement dispute.