This article describes the role Don Quixote plays as a character and as a novel in Nietzsche’s work. Against the background of German romanticism’s reception of the novel, and by identifying the status of the novel, its characters, its author and its reader, I argue that Don Quixote plays a problematic role in Nietzsche’s writings: his character is at once the paradigm of the metaphysical individual caught in metaphysical illusions, the mocked receptacle of the ressentiment of readers and of Cervantes (...) himself, but Don Quixote also represents the experience of a deep suffering, revealing the world outside the simulacra of metaphysics. This investigation leads us to draw parallels between Don Quixote and Christ, but also Zarathustra, and to rehabilitate a certain form of suffering, inherited from a certain understanding of Christ, in the work of Nietzsche. (shrink)

In "The Myth of Sisyphus", Camus recommends scornful defiance in the face of our absurd, meaningless existence. Although Nagel agrees that human life possesses an absurd dimension, he objects to Camus' existentialist 'dramatics'. For Nagel, absurdity arises from the irreducible tension between our subjective and objective perspectives on life. In this paper I do two things: (i) critically reconstruct Camus' and Nagel's positions, and (ii) develop Nagel's critique of Camus in order to argue that humour is an appropriate response to (...) absurdity. (shrink)

In Thus Spoke Zarathustra (2006), Nietzsche presents Zarathustra as a sage and parodic prophet, who acquires and offers insight over the narrated journey of his spiritual development. Nietzsche’s conception of Zarathustra as a gift (to “all and none”) endorses learning as the kind of emulation condensed into Zarathustra’s complex formulation: rather than “corpses that I carry with me wherever I want... I need living companions who follow me because they want to follow themselves—wherever I want.” Thus I aim, firstly, to (...) follow the text closely to see what is given. However, noting that Zarathustra is deeply imbued with figures of laughter, I also impose an interpretation. “Repeating differently,” as demanded by Zarathustra, I outline a practicable, spiral‐shaped “learning curve” of traversal and return to various “shades of laughter,” advancing from the worst laughters to “golden laughter,” which embraces complexity. This represents what it means to laugh well. In so doing, I hope to demonstrate that the complex ethos of affirmative laughter in Zarathustra remains strikingly pertinent for a contemporary era urgently tasked with embracing complexity. (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)

Could having a sense of humor be a virtue? In this paper, we argue for an affirmative answer to this question. Like other virtues, a sense of humor enhances and inhibits the expression of various emotions, especially amusement, contempt, trust, and hope. Someone possesses a virtuous sense of humor to the extent that they are well-disposed to appropriately enhance or inhibit these emotions in themselves and others through both embodied reactions (e.g., smiling, laughter, eyerolls) and language (e.g., telling jokes, understanding (...) others’ jokes, etc.). Regarding the aims or purposes of a sense of humor, we argue that a sense of humor aids both its bearer and other people who are socially connected to the bearer with coping, connection, capability, and criticism. If this is on the right track, then the value of a sense of humor is pluralistic: a sense of humor doesn’t do just one thing, but several things simultaneously. We then explore four contexts in which a sense of humor is especially needed, namely hardship, social relationships, social and political cooperation, and existential reflection. (shrink)

In this essay I analyze a passage from Ludwig Wittgenstein’s On Certainty. This excerpt contains the expression “O, rubbish!” (Ach Unsinn), which I consider to be closely related to the notions of “bullshit” developed by Harry Frankfurt and Gerald A. Cohen. The relevance of this essay is illustrated with lively examples, both related to contemporary society and identified by Wittgenstein about 70 years ago. The paper is organized in six sections containing 1) an introduction to the topic, 2) an explanation (...) of “bullshit” as found in the works of Frankfurt and Cohen, 3) an explanation of Wittgenstein’s work on certainty and propositions beyond doubt, 4) an identification of reasonable and unreasonable doubt and their connection to “bullshit”, 5) an explanation of the different kinds of “bullshit” with the intention of mapping them in relation to each other, and 6) a summarizing conclusion. The main purpose of this paper is to expound on Wittgenstein’s views on “bullshit” and relate them to contemporary philosophy of nonsense. (shrink)

En el presente artículo, una vez expuestas las diversas teorías de la risa, se defiende que la risa básica (la que no tiene función social) tiene como elemento necesario, aunque no suficiente, la incongruencia. Asimismo, se postula que el chiste, generado primariamente para hacer reír, se constituye en paradigma hermenéutico de comprensión que proporciona una nueva visión de un estado de cosas y rompe lo que naturalmente cabía esperar del decurso del relato. Aunque haya un entorno de interpretaciones posibles, sólo (...) una es la correcta, y ésa es la que convierte al chiste en lo que es. In this paper, after introducing the different theories of laughter, we defend that basic laughter (that one without a social function) has incongruity as its necessary, though not sufficient, element. Besides, we propose the joke (made primarily to provoke laughter) as a hermeneutic paradigm of understanding that provides a new view of a state of affairs, and breaks with what should be naturally expected from the course of the narrative. Even though there is a series of possible interpretations, only one is the right one, and that is the one that makes the joke a joke. (shrink)