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)

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

In The Differend, Lyotard subjects to scrutiny- from the particular perspective of his notion of 'differend' - the turn of all Western philosophies toward language; the decline of metaphysics; the present intellectual retreat of Marxism; the hopes raised and mostly dashed, by theory; and the growing political despair. Taking his point of departure in an analysis of what Auschwitz meant philosophically, Lyotard attempts to sketch out modes of thought for our present.

Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

Contemporary feminist debates over the meanings of gender lead time and again to a certain sense of trouble, as if the indeterminacy of gender might eventually culminate in the failure of feminism. Perhaps trouble need not carry such a..

“Supposing that truth is a women-what then?” This is the very first sentence in Nietzsche’s Beyond Good and Evil . Not very often are philosophers so disarmingly explicit in their intention to discomfort the reader. In fact, one might say that the natural state of Nietzsche’s reader is one of perplexity. Yet it is in the process of overcoming the perplexity that one realizes how rewarding to have one’s ideas challenged. In Beyond Good and Evil, Nietzsche critiques the mediocre in (...) modernity and challenges the reader to accept their state of becoming and accept improvisation and creativity of the process. Nietzsche’s book is carefully designed to disorient the reader, to systematically provoke and tease her to the point of stealing away her certainties. It is challenging yet rewarding to overcome the perplexities of Nietzsche’s teachings. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

With this volume, Werner Pluhar completes his work on Kant's three Critiques, an accomplishment unique among English language translators of Kant. At once accurate, fluent, and accessible, Pluhar's rendition of the Critique of Practical Reason meets the standards set in his widely respected translations of the _Critique of Judgment_ and the _Critique of Pure Reason_. Stephen Engstrom's Introduction discusses the place of the second Critique in Kant's critical philosophy, its relation to Kant's ethics, and its practical purpose and provides an (...) illuminating outline of Kant's argument. (shrink)

Anthropology from a Pragmatic Point of View essentially reflects the last lectures Kant gave for his annual course in anthropology, which he taught from 1772 until his retirement in 1796. The lectures were published in 1798, with the largest first printing of any of Kant's works. Intended for a broad audience, they reveal not only Kant's unique contribution to the newly emerging discipline of anthropology, but also his desire to offer students a practical view of the world and of humanity's (...) place in it. With its focus on what the human being 'as a free-acting being makes of himself or can and should make of himself,' the Anthropology also offers readers an application of some central elements of Kant's philosophy. This volume offers a new annotated translation of the text by Robert B. Louden, together with an introduction by Manfred Kuehn that explores the context and themes of the lectures. (shrink)

In this foundational work in contemporary political theory, William Connolly makes a distinctive contribution to our understanding of the relationship between ...

The present volume brings Arendt's notes for these lectures together with other of her texts on the topic of judging and provides important clues to the likely direction of Arendt's thinking in this area.

This is the first British paperback edition of this modern classic written by one of the towering intellectual of the twentieth century. Theodor Adorno (1903-69) ...

Abe and his friend Sol are out for a walk together in a part of town they haven't been in before. Passing a Christian church, they notice a curious sign in front that says "$1,000 to anyone who will convert." "I wonder what that's about," says Abe. "I think I'll go in and have a look. I'll be back in a minute; just wait for me." Sol sits on the sidewalk bench and waits patiently for nearly half an hour. Finally, (...) Abe reappears. "Well," asks Sol, "what are they up to? Who are they trying to convert? Why do they care? Did you get the $1,000?" Indignantly Abe replies, "Money. That's all you people care about." Ted Cohen thinks that's not a bad joke. But he also doesn't think it's an easy joke. For a listener or reader to laugh at Abe's conversion, a complicated set of conditions must be met. First, a listener has to recognize that Abe and Sol are Jewish names. Second, that listener has to be familiar with the widespread idea that Jews are more interested in money than anything else. And finally, the listener needs to know this information in advance of the joke, and without anyone telling him or her. Jokes, in short, are complicated transactions in which communities are forged, intimacy is offered, and otherwise offensive stereotypes and cliches lose their sting—at least sometimes. _Jokes_ is a book of jokes and a book about them. Cohen loves a good laugh, but as a philosopher, he is also interested in how jokes work, why they work, and when they don't. The delight at the end of a joke is the result of a complex set of conditions and processes, and Cohen takes us through these conditions in a philosophical exploration of humor. He considers questions of audience, selection of joke topics, the ethnic character of jokes, and their morality, all with plenty of examples that will make you either chuckle or wince. _Jokes:_ more humorous than other philosophy books, more philosophical than other humor books. "Befitting its subject, this study of jokes is... light, funny, and thought-provoking.... [T]he method fits the material, allowing the author to pepper the book with a diversity of jokes without flattening their humor as a steamroller theory might. Such a book is only as good as its jokes, and most of his are good.... [E]ntertainment and ideas in one gossamer package."—_Kirkus Reviews_ "One of the many triumphs of Ted Cohen's Jokes-apart from the not incidental fact that the jokes are so good that he doesn't bother to compete with them-is that it never tries to sound more profound than the jokes it tells.... [H]e makes you feel he is doing an unusual kind of philosophy. As though he has managed to turn J. L. Austin into one of the Marx Brothers.... Reading Jokes makes you feel that being genial is the most profound thing we ever do-which is something jokes also make us feel-and that doing philosophy is as natural as being amused."—Adam Phillips, _London Review of Books_ "[A] lucid and jargon-free study of the remarkable fact that we divert each other with stories meant to make us laugh.... An illuminating study, replete with killer jokes."—Kevin McCardle, _The Herald_ "Cohen is an ardent joke-maker, keen to offer us a glimpse of how jokes are crafted and to have us dwell rather longer on their effects."—Barry C. Smith, _Times Literary Supplement_ "Because Ted Cohen loves jokes, we come to appreciate them more, and perhaps think further about the quality of good humor and the appropriateness of laughter in our lives."—Steve Carlson, _Christian Science Monitor_. (shrink)

One of the most talked-about scholarly works of the past fifty years, Judith Butler’s _Gender Trouble_ is as celebrated as it is controversial. Arguing that traditional feminism is wrong to look to a natural, 'essential' notion of the female, or indeed of sex or gender, Butler starts by questioning the category 'woman' and continues in this vein with examinations of 'the masculine' and 'the feminine'. Best known however, but also most often misinterpreted, is Butler's concept of gender as a reiterated (...) social _performance _rather than the expression of a prior reality. Thrilling and provocative, few other academic works have roused passions to the same extent. (shrink)

One of the most talked-about scholarly works of the past fifty years, Judith Butler’s _Gender Trouble_ is as celebrated as it is controversial. Arguing that traditional feminism is wrong to look to a natural, 'essential' notion of the female, or indeed of sex or gender, Butler starts by questioning the category 'woman' and continues in this vein with examinations of 'the masculine' and 'the feminine'. Best known however, but also most often misinterpreted, is Butler's concept of gender as a reiterated (...) social _performance _rather than the expression of a prior reality. Thrilling and provocative, few other academic works have roused passions to the same extent. (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)

Hegel's "highway of despair," introduced in his _Phenomenology of Spirit_, represents the tortured path traveled by "natural consciousness" on its way to freedom. Despair, the passionate residue of Hegelian critique, also indicates fugitive opportunities for freedom and preserves the principle of hope against all hope. Analyzing the works of an eclectic cast of thinkers, Robyn Marasco considers the dynamism of despair as a critical passion, reckoning with the forms of historical life forged along Hegel's highway. _The Highway of Despair_ follows (...) Theodor Adorno, Georges Bataille, and Frantz Fanon as they each read, resist, and reconfigure a strand of thought in Hegel's _Phenomenology of Spirit_. Confronting the twentieth-century collapse of a certain revolutionary dialectic, these thinkers struggle to revalue critical philosophy and recast Left Hegelianism within the contexts of genocidal racism, world war, and colonial domination. Each thinker also re-centers the role of passion in critique. Arguing against more recent trends in critical theory that promise an escape from despair, Marasco shows how passion frustrates the resolutions of reason and faith. Embracing the extremism of what Marx, in the spirit of Hegel, called the "ruthless critique of everything existing," she affirms the contemporary purchase of radical critical theory, resulting in a passionate approach to political thought. (shrink)

A dialogue between a foreign philosopher and a powerful statesman outlines in detail Plato's reflections on the family, the status of women, property rights, criminal law, and other institutions of society as he describes the day-to-day rule and laws of Magnesia, a small, mythical agricultural utopia. Reprint.

Enthusiasm is Lyotard's most elaborate and provocative statement on the politics of the sublime.

Kant’s treatment of laughter in section 54 of the Critique of Judgment is intriguing: he places laughter among the arts, but does not deem it serious enough to be a fine art. According to Kant, laughter is an agreeable art, and ministers only to the senses. But when he describes to us what laughter actually does, it turns out that this bodily phenomenon is actually a moral phenomenon akin to the sublime in that it elevates and humbles us at the (...) same time. This paper revisits Kant’s aesthetic themes, shows the distinctive role of laughter in the third Critique, and explores the possibilities of a true reunification of law and freedom through laughter. (shrink)

This article explores the surprisingly decisive role that Kant’s “incongruity theory” of laughter plays in his aesthetic and broader critical philosophy. First, laughter constitutes a highly specific form of aesthetic judgment in Kant. Laughter involves a discordant relation between the cognitive faculties characteristic of the sublime, but this relation obtains between the understanding and the imagination, the two faculties at play in judgments of taste on the beautiful. Second, laughter is the transcendental condition of possibility for both the beautiful and (...) the sublime. While most commentators dismiss laughter as an afterthought of Kant’s aesthetics, laughter in fact constitutes the most basic aesthetic judgment in Kant. Third, an account of aesthetic judgment that begins with laughter transforms how we understand Kant’s argument that judgment unites nature and freedom. Namely, it reveals how an empirical world at odds with the subject’s purposes can nevertheless advance the subject’s rational vocation to think and act beyond the empirical. I conclude by arguing that Kantian critical philosophy is itself a philosophy of laughter. (shrink)

While the loss of the second book of the Poetics has deprived us of Aristotle’s most extensive account of laughter and comedy, his discussion of eutrapelia as a virtue in his ethical works and in the Rhetoric points toward the importance of humor for his ethical and political thought. This article offers a reconstruction of Aristotle’s account of wittiness and attempts to explain how the virtue of wittiness would animate the everyday interactions of ordinary citizens. Placing Aristotle’s account of wittiness (...) in dialogue with recent work within the ethical turn in contemporary political theory can help articulate what a late-modern ethos of democratic laughter might look like. (shrink)

Critics of Hannah Arendt's Lectures on Kant's Political Philosophy argue that Arendt fails to address the most important problem of political judgment, namely, validity. This essay shows that Arendt does indeed have an answer to the problem that preoccupies her critics, with one important caveat: she does not think that validity is the all-important problem of political judgment--the affirmation of human freedom is.

While the loss of the second book of the Poetics has deprived us of Aristotle’s most extensive account of laughter and comedy, his discussion of eutrapelia (wittiness) as a virtue in his ethical works and in the Rhetoric points toward the importance of humor for his ethical and political thought. This article offers a reconstruction of Aristotle’s account of wittiness and attempts to explain how the virtue of wittiness would animate the everyday interactions of ordinary citizens. Placing Aristotle’s account of (...) wittiness in dialogue with recent work within the ethical turn in contemporary political theory can help articulate what a late-modern ethos of democratic laughter might look like. (shrink)

One approach sees aesthetic pleasure as distinctively caused (by interplay of the cognitive faculties involved in apprehending an object) and accompanied by a distinctive judgment (that everyone ought to respond thus). I suggest a closer tie between affective and cognitive aspects: the pleasure is referred to its object, Not simply through causal relations with the cognitive faculties involved, But through itself receiving the very form constituting apprehension in the first place. This avoids certain difficulties concerning intentionality. It also respects kant's (...) claim that while aesthetic judgment's demand for assent is the same in form as that of predicative judgments, One's pleasure itself, And not a judgment externally connected with it, Is what expresses that demand. (shrink)

In this article, firstly, I begin by articulating four logically different positions Kant has been argued to hold concerning the nature and meaning of ‘aesthetic judgement’ so that, secondly, I may endorse the alternative that has been almost entirely neglected: that is, aesthetic judgement should be understood to be both ‘internalist’ in that the pleasure of taste is a constitutive element of the judgement itself (rather than its external effect or prior referent) and ‘objective’ insofar as the pleasure of taste (...) not only reflects the mental state of the judging subject but discriminates features or properties of the object judged. Ultimately I believe that this ‘internal objectivism’ is a compelling meta-aesthetic position in its own right with interesting parallels to recent trends in aesthetic theory, but presently I am concerned to demonstrate that one way to get clear about how such judgements are possible and to become comfortable with their significance is to see how this position arises and is resisted in the Critique of Judgment and, accordingly, in the contemporary scholarship on Kantian aesthetics. (shrink)