: Humor seems uniquely human, but it has deep biological roots. Laughter, the best evidence suggests, derives from the ritualized breathing and open-mouth display common in animal play. Play evolved as training for the unexpected, in creatures putting themselves at risk of losing balance or dominance so that they learn to recover. Humor in turn involves play with the expectations we share-whether innate or acquired-in order to catch one another off guard in ways that simulate (...) risk and stimulate recovery. An evolutionary approach to three great literary humorists, Shakespeare, Nabokov and Beckett, shows that a species-wide explanation not only cuts deeper but in no way diminishes individual difference. (shrink)

By conceptualizing Sexual Selection, Darwin showed a way to analyze intra-specific individual differences within an evolutionary perspective. Interestingly, Sexual Selection is often used to investigate the origins of sports, arts, humor, religion and other phenomena that, in several languages, are simply called “play.” Despite their manifested differences, these phenomena rely on shared psychological processes, including playfulness. Further, in such behaviors there is usually considerable individual variability, including sex differences, and positive relationship with mating success. However, Sexual Selection is (...) rarely applied in the study of play, with exception to what is concerned as infant training behavior for adult sex roles. We offer an integrated grounding of playful phenomena aligning evolutionary propositions based on sexual selection, which might stimulate further exploration of playfulness within evolutionary perspective. (shrink)

While the role of the comic in Søren Kierkegaard’s thought has been thoroughly studied by diverse scholars, in this paper I will ask whether humor in Kierkegaard’s religious sphere amounts to seduction or to temptation. By “seduction” I will mean a luring that can be viewed as positive or neutral, whereas by “temptation” I mean a negative seduction that takes advantage of the tempted fool, leaving him empty-handed. Irony, comic jest and humor are existential categories in Kierkegaard’s three (...) spheres of existence. Irony and comic jest play a seductive role and can be regarded as neutral or even positive. In the religious sphere, humor can be assessed as temptation. Kierkegaard humorously lures the one who wishes to believe. With humor, one is readying oneself for a leap of faith. The leap may fail; one can fall, crash, and be left empty-handed. (shrink)

This paper begins by taking seriously former slave and abolitionist Frederick Douglass’ response in his What to the Slave is the Fourth of July? to systematic violence and oppression. He claims that direct argumentation is not the ideal mode of resistance to oppression: “At a time like this, scorching irony, not convincing argument, is needed.” I will focus on a few elements of this playful mode of resistance that conflict with the more straightforward strivings for abstract, universal, objective, convergent, absolute (...) thinking that champions reason over emotion, logic over narrative, and science over lived experience. In contrast, the type of protest employed by people like Douglass can utilize aesthetics and logic, playfulness and seriousness, emotion, even anger, and reason. Douglass provides examples of humorous, sincere parrhesia, oscillating between the lexicon of the dominant sphere and the critical reflection from a trickster on the margins. This will require an analysis of Michel Foucault’s conception of parrhesia: courageous truth-telling in the face of powerful people or institutions. It is a study of humor in the parrhesiastes, an element I think neglected by Foucault. I argue that the humorous parrhesiastes offers a mode of resistance which can subvert oppressive power structures that perpetuate injustice, revealing the fact that humor can be integral in courageous truth-telling. (shrink)

Humour in the Zhuangzi is used to question the priority that human beings bestow upon language and thought, revealing both its limitations and its possibilities. Hierarchies and conventions are overturned and both the sense and senselessness of language are celebrated. Humour also opens up a world in which a plethora of perspectives is acknowledged and the purpose of purposelessness is underscored. Encouraging us to take laughter seriously also allows us to view the seeming gravity of the human condition with increased (...) levity. (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)

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 article suggests that there are intrinsic links between humour and embarrassment and that both are crucial for the maintenance of social life. Goffman and others have claimed that embarrassment plays a key role in the maintenance of social order. However, it is argued that Goffman overlooked the role of ridicule in embarrassment. In consequence, he formulated a `nice-guy' theory of embarrassment, suggesting that onlookers empathize with the embarrassment of others and seek to diminish that embarrassment. By contrast, it is (...) suggested that the embarrassment of others is often a matter of laughter and enjoyment. Such a link between embarrassment and humour is crucial for the socialization of embarrassment, which depends on the possibility of ridicule. This is illustrated by an incident in Freud's classic case-history of Little Hans. The transformation of embarrassing incidents into humorous narrations is also discussed. It is suggested that the link between humour and embarrassment is theoretically significant, pointing the way to a reconstituted Freudian view for understanding the relations between the individual and social order. (shrink)

Recent constructions view leadership as a process of social influence which coordinates processes of change. Moreover, such processes are not necessarily linked to role hierarchy but may be emergent and distributed within teams. However, the micro-processes through which this occurs are not well understood. The significance of the article lies in its contribution to an understanding of the emergence of leadership in teams, and in particular how humour and laughter are drawn on as a resource by which to exert social (...) influence. Here, we use the construct of the play frame, ‘non-serious’ talk in which participants jointly construct extended humorous sequences as improvisations, to analyse how team members manoeuvre in order to accomplish influence, decision-making and leadership. In taking this approach, we are not concerned with considerations of how managers use jokes to exercise control, or workers use humour to subvert management. Rather, we examine how humour, and particularly the laughter it engenders, can contribute to an understanding of organisations as centred on communication and founded on the precept that organisations are ‘talked into being’. We show how talk in a play frame institutes a context which can be utilised by participants to exert influence, and we demonstrate the highly contingent and contextual nature of the emergence of leadership within teams. (shrink)

This article begins by reviewing the overwhelmingly negative assessment of laughter and humor in Western philosophy and in Christianity, arguing that that evaluation arises from a misclassification of amusement as a malicious emotion. It then sketches a play theory of humor in which humor is an activity pursued for pleasure which allows participants to violate linguistic and social norms, especially rules about sincerity. Once we understand humor as a kind of play, familiar ethical objections (...) to jokes based on gender and race are seen to be mistaken, and a new approach to the negative ethics of humor becomes possible. What is more, this play theory also explains how humor is morally praiseworthy in many situations. (shrink)

The aim of this paper is to reconceive safety as a form of relation embedded in particular ways of speaking, listening and thinking. Moving away from safety as a relation that is achieved once and for all and afterwards remains safe avoids some of the disappointments of discourses of safety that seem to promise once a risk is taken or a gap is bridged that thereafter relations among people will be easier and calmer. This bumpier version of safety suggests that (...) humor creates the kind of instabilities in discourse that act, perhaps ironically, as an invitation to enjoy the difficulties of communicating complex and challenging ideas. Humor, then, creates a kind of safe space, not devoid of dramatic shifts or emotional response, but organized around those shifts as experiences that are moments apart from conflict. I explore the use of humor as a form of serious play in social justice classrooms, examining the strategies of indirect teaching, contradictory lessons, and jolting pleasure that more traditional pedagogical approaches are less able to create. I see in humor a complex form of address and interaction that plays on the multiple possibilities within an utterance or concept and by reminding classroom communities of those possibilities. Humor can erupt from shared moments and disjunctive understandings and can as easily be mobilized by teachers as by students. By reopening the possibilities of concepts and relations, humor shatters simplistic readings by literally playing out what might be said and what could be tried but often manages to combine a sense of safety via shared laughter with its disruptions. (shrink)

One of many writers inspired by Laurence Sterne's Tristram Shandy, the German novelist Jean Paul Richter coined the term 'Shandean humour' in his work of aesthetic theory. The essays in this volume investigate how Sterne's humour functions, the reasons for its enduring appeal, and what role it played in identity-construction and in the representation of melancholy. In tracing its hitherto under-recognised impact both on literary writers, such as Jean Paul and Herman Melville, and on philosophers, including Hegel and Marx, the (...) collection reveals that Shandean humour is a Grenzgänger - a point of commerce not only between Anglophone and German discourses, but also between literature and philosophy.Klaus Vieweg is Professor of Philosophy at the Friedrich Schiller University of Jena; James Vigus is postdoctoral research fellow at the Department of English and American Studies, Ludwig Maximilian University of Munich; Kathleen M. Wheeler is Reader in English Literature at the University of Cambridge. (shrink)

Medical professionals seem to interpret their uses of humor very differently from those outside the medical profession. Nurses and physicians argue that humor is necessary for them to do their jobs well. Many (potential) patients are horrified that they could one day be the butt of their physician’s jokes. The purpose of this paper is to encourage the respectful use of humor in clinical prac-tice, so as to support its importance in medical practice, while simultaneously protecting against (...) its potential abuse. I begin by examining two extremes of supporting or chastising the use of medical humor. I look at these views through the lenses of popular theories of humor to help explain their theoretical bases. In this second section, I explain the emotional aspect of humor as an embodied and embedded transformation of the world. This clarifies the role that humor plays in our daily lives, as well as why the ethical or unethical nature of its use is dependent on context. Third, I address the potential problems in the relationship between humor and clinical sympathy, and how this further affects the relationship between medical professionals and their patients. I conclude by arguing that humor can conflict with clinical sympathy, but this need not be the case. If medical professionals actively engage with clinical sympathy and focus on using humor in a way that is respectful towards their patients, then humor can continue to be a positive force in their lives while still providing the best care for their patients. (shrink)

In the mid-1970s, the fascist-leaning dictatorships in Spain (1939–1977) and Portugal (1933–1974) fell. Closely linked to the 1973 oil crisis, debates over energy and technology policies became very prominent during the ensuing political redefinition of both countries. Two decades after the first international agreements between the Iberian regimes and the United States for the development of nuclear programs, a myriad of movements of social resistance to nuclear technology emerged in dialogue with anti-nuclear organizations in other European countries. Fun and playfulness (...) have been used for top–down popularization and banalization of nuclear technologies since the 1950s, but here pleasant forms of resistance also played a central role in contesting national energy plans, expert discourses, and vested interests. This article explores what we call “anti-nuclear fun,” the use of amusement, play, and humor as political and epistemic tools to familiarize society with the exceptional and daily risks of the “peaceful atom.”. (shrink)

Context: The idea for this article sprang from a desire to revive a conversation with the late Ernst von Glasersfeld on the heuristic function - and epistemological status - of forms of ideations that resist linguistic or empirical scrutiny. A close look into the uses of humor seemed a thread worth pursuing, albeit tenuous, to further explore some of the controversies surrounding the evocative power of the imaginal and other oblique forms of knowing characteristic of creative individuals. Problem: People (...) generally respond to humor, i.e., they are inclined to smile at things they find funny. People like to crack jokes, make puns, and, starting at age two, human infants engage in pretense or fantasy play. Research on creativity, on the other hand, has mostly scorned the trickster within. Cognitivists in particular are quick to relegate wit, whimsy, and even playfulness to the ranks of artful or poetic frivolities. Method: We use the emblems of the craftsman, the trickster, and the poet to highlight some of the oblique ways of knowing by which creative thinkers bring forth new insights. Each epitomizes dimensions intrinsic to the art of “possibilizing.” Taken together, they help us better understand what it means to be playful beyond curious, rigorous beyond reasonable, and why this should matter, even to constructivists! Results: The musings characteristic of creative individuals speak to intelligent beings’ ability to use glitches intentionally or serendipitously as a means to open up possibilities; to hold on to a thought before spelling it out; and to resist treating words or images as conventional and arbitrary signs regardless of their evocative power. To fall into nominalism, Bachelard insisted, is a poet’s nightmare! Implications: Psyche is image, said Jung, and when we feel alive we rely on the imaginal to guide our reason. Note that image is not here to be understood as a picture in the head or a photographic snapshot of the world. The imaginal does not represent, it brings forth what we understand beyond words. It does not lock us into a single mode. Instead, it is a call to be mindful, in Ellen Langer’s sense: in the present, mentally alert, and on the outlook for our psyche’s own surprising wisdom (sagacity. Constructivist content: Debates on the heuristic function and epistemological status of oblique ways of knowing have long occupied constructivist scholars. I can only guess whether my uses of Jung’s imaginal or Bachelard’s anti-nominalism would have amused or exasperated Ernst! I do know that, on occasion, Ernst the connoisseur, bricoleur, and translator allowed the rationalist-within to include the poet’s power to evoke as a legitimate form of rationality. He himself has written about oblique knowing as legit! (shrink)

Playfulness and humor are often recognized as key components of the Zhuangzi. Despite this, the text itself is rarely read in a playful or humorous manner. It is commonly treated, even in its most...

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)

The connection between humor and aesthetic experience has already been recognized by several thinkers and aesthetic educators. For instance, humor theorist John Morreall writes that "humor is best understood as itself a kind of aesthetic experience, equal in value at least to any other kind of aesthetic experience."1 For Morreall, both humor and aesthetic experience involve the use of the imagination, are accompanied by a sense of freedom, and often lead to surprises that we did not (...) anticipate. Another theorist has noted that the appreciation of specific kinds of humor and particular aesthetic experiences versus others are often matters of taste.2 Still other researchers have argued that aesthetic matters play a .. (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)

Using humor, empathy, and improvisation to make science more accessible to the average person, the center has helped many scientists communicate more effectively about what they do. In many cases, this involves taking science down from the metaphorical “ivory tower” and bringing it into the comfort zone of students and people who may not have had a positive experience in science classes. A variety of metaphors are used to make science “come alive.” This is an interesting counter example to (...) earlier theories of metaphor and comedy such as the “disparagement theory” which described jokes as more successful if they relied on disparaging metaphors that build community through shared hostility. The metaphor approach builds community and creates inclusion through “social-facilitative functions of playful language”. When a scientist helps a layperson or student understand humorous metaphors, it communicates the literal meaning of terms, but also the contextual meaning, research practices, and the laboratory social setting. This is argued through examples of humor, comedy, and metaphor—a timely issue given current political discussions in the United States. (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 COVID-19 crisis, and its ensuing periods of confinement, has generated high levels of social stress on a global scale. In Spain, citizens were isolated in their homes and were not able to interact physically with family members, friends or co-workers. Different resources were employed to face this new stressful and unexpected situation (fitness, reading, painting, meditation, mindfulness, dancing, listening to music, playing instruments, cooking, etc.). Humor was one of the most frequent and widely used strategies in an attempt (...) to keep perspective, deal with the seriousness of the situation and make the day-to-day more bearable. Humor is cultural: it varies from one country to the next and is part of the idiosyncrasies of a culture. It is deemed a particularly important feature of the Spanish personality. During the COVID-19 crisis, the main means or channels of communication were social networks. Throughout the confinement period, there was an excessive flow of humorous memes concerning Coronavirus and related shared experiences during the National State of Emergency decreed by the Spanish Government. The memes draw on irony, ingenuity and creativity to make a difficult and stressful experience more bearable. In this paper, a qualitative methodology based on ethnography research is used and ethnographic fieldwork is carried out on the memes disseminated through WhatsApp during the lockdown period experienced in Spain (14 March to 21 June 2020). The memes are considered to be an example of Netlore, digital contemporary folklore, and a theoretical framework on memes and humor is presented that discusses its different functions in order to channel grief, fear and suffering or to play down specific situations. A corpus of 644 memes that have flooded social networks are categorized and analyzed to witness how the Spanish have managed to bring out their humorous and creative side in difficult times even as they have criticized political decisions, let out their frustrations, described their new “normal” lives, interacted with others and anticipated the future. (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)

This article examines a group of Song-dynasty biji 筆記 anecdotes featuring the Northern Song literary giant Su Shi 蘇軾 playfully engaging with Buddhist encounter dialogues. These religious accounts are well known for their riddle-like language and the baffling effect they create among their readers, prompting the question of whether they were read for humor. Previous scholarship on encounter dialogues focuses on the religious perspective, demonstrating that their perplexing language and rheto- ric serve pedagogical and monastic functions. By contrast, this (...) article explores Chan Buddhist humor from the perspective of the literati and vernacular culture by examining how encounter dialogues were incorporated in Song-dynasty vernacu- lar plays and literati storytelling. Focusing on stories that depict Su Shi’s playful engagement with encounter dialogues as a case study, this article reveals that an important part of Su Shi’s humorous image is inspired and shaped by Buddhism. It also shows that humor in these biji stories is contingent on the readers’ knowledge of Chan literature such as “recorded dialogues” and “transmission records”, which were popular among literati during the Song. The anecdotal materials preserved in biji suggests a mutual influence between Chan literature and vernacular entertainment during the Song. I argue that, in addition to religious functions, literary factors of performance and aesthetics played sig- nificant roles in conditioning the entertaining effect of encounter dialogues, par- ticularly when they were received outside of monastic circles. (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)

Though laughter and smiles are a part of our everyday lives, they are not always used appropriately. We need to learn how to laugh, to educate our sense of humor. This book is a meditation on humor in general, the humor we deploy and perceive on a day-to-day basis, and on the ethical dimensions that underpin it. It puts forward a new ethical theory, placing humor at the Archimedean point from which to further our understanding as (...) moral subjects, offering explanations as to our moral conduct and pointing the way towards ethical improvement as both individuals and as a group. After defining what humor is and portraying the current state of play among experts on the subject, the author sets out based on the major contributions made by the great philosophers. Then, taking in such fundamental ethical categories as moral sentiment, virtue, duty, capacity and responsibility, he puts forward his own ethical theory (what he refers to as the ethics of humor), based on both linguistic and biological rational. He unveils a new medical/philosophical method: clinical ethics, capable of interpreting humor as a point where ethics and health intersect. This volume also points out various means by which this ethical theory might be brought to bear on fields such as healthcare, business, education, politics, the mass media and everyday life. Above all, it discovers the role that good humor has to play in health and the instruments used to measure it. Juan Carlos Siurana argues that good humor gives expression to freedom, is universal, and contains within itself the basis of a cross-cultural ethical approach, one that is well worth understanding and teaching. Given that humor crosses over into every dimension of our personal and professional lives, the book is aimed at a broad, multidisciplinary public (philosophers, medical practitioners, nurses, company executives, teachers, politicians, psychologists, journalists, etc.), as well as anyone with an interest in the various registers of humor. He offers both theoretical and practical tools for the ethical improvement of professions, organizations and the public at large. (shrink)

Stanisław Dygat’s humour is an integral feature of his prose and the language he uses plays a crucial role in it. Flexible, fluent, abounding with original comparisons, flowing gently and with verve, not tiresome. Dygat feels at ease with Polish; and it shows. Reading Dygat’s novels one has an impression of wandering through unlimited space. This impression is largely due to his creative attitude to language, his skill in using its various means and features, even those from the “ancient” past (...) of literature. Some “ tricks” of Dygat’s prose are largely obsolete in contemporary literature, such as telling names. The writer performs a delicate balancing act between innovative ideas and stylisation or literary allusions; and he does it easily and gracefully. The text presents humour, the comic and verbal humour on various levels of the novel’s structure. The article starts with recurring narrative features of Dygat’s prose such as individualisation of character’s language; then presents: dialogues, digressions, aphorisms, key words, stylisation and literary allusions, phraseology modifications, telling names, onomatopoeia, situation description, metaphors, comparisons, repetitions and multiplications. The text closes with witty details of narration such as deminutives, augmentatives and witty “epigrams”. Humour is inextricably interwoven into Dygat’s language, but integral as it is, its role seems superior to other characteristics of his prose. Dygat’s takes advantage of the comic literature tradition and its old ideas. He is a master of parody and stylisation. The great raconteur can focus on each sentence or even word, without sacrificing the verve in dialogues or the dynamism in his description. (shrink)

Much of today's communication is carried out through various kinds of humor, and we therefore need to be able to understand its many aspects. Here, two of the world's leading pioneers in humor studies, Alleen and Don Nilsen, explore how humor can be explained across the numerous sub-disciplines of linguistics. Drawing on examples from language play and jokes in a range of real-life contexts, such as art, business, marketing, comedy, creative writing, science, journalism and politics, the (...) authors use their own theory of 'Features, functions and subjects of Humor' to analyze humor across all disciplines. Each highly accessible chapter uses a rich array of examples to stimulate discussion and interaction even in large classes. Supplemental PowerPoints to accompany each of the 25 chapters are available online, taking many of the insights from the chapters for further interactional discussions with students. (shrink)

Children seem to have a profound implicit knowledge of human behaviour, because they laugh at Bugs Bunny cartoons where much of the humour depends on animals behaving like humans and our intuitive recognition that this is absurd. Scientists, on the other hand, have problems defining what this 'human difference' is. I suggest these problems are of cultural origin. For example, the industrial revolution and the protestant work ethic have created a world in which work is valued over play, object (...) intelligence over social intelligence, and science and technology over the arts. This may explain why we have so many imaging studies of tool-use and object manipulation, but only four studies of dance, two of pretend play, and one of role-play. Yet in order to understand child development, the evolution of the brain, and the emergence of human self-consciousness, we need to look at social displays-- such as dance, song, image-making and role-play-- which underpin human culture, cooperation and the arts. I will discuss recent brain imaging research on playful versus instrumental behaviour and show how, in conjunction with archaeological data, we can use this to make sense of human evolution. (shrink)

Humor is unlike other forms of communication because its content is not meant literally. Like acts of play, humor is not intended to be taken at face value. As a consequence, the assumptions and rules that govern normal conversation do not apply. Humor therefore depends upon both the speaker and the audience fully understanding that what was communicated should be treated in this unique way. The play frame refers to this shared understanding about the nature (...) of the communication. Analyzing whether a communication falls within the play frame may help us better understand not only whether the communication can be deemed non-serious or serious, but also whether it can be treated uniquely as merely the speaker’s attempt at play or as a typical instance of literal speech for which the speaker can be deemed ethically responsible. (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)

ABSTRACT The logic of humor has been acknowledged as an essential dimension of every joke. However, what is the logic of jokes, exactly? The modern theories of humor maintain that jokes are characterized by their own logic, dubbed “pseudo,” “playful,” or “local,” which has been the object of frequent criticisms. This article intends to address the limitations of the current perspectives on the logic of jokes by proposing a rhetorical approach to humorous texts. Building on the traditional development (...) of Aristotle’s almost neglected view of jokes as surprising enthymemes, the former are analyzed as rhetorical arguments. Like enthymemes, jokes are characterized by natural inferences that can be represented as topics, and quasi-formalized in argumentation theory as argumentation schemes. Like rhetorical arguments, jokes express a reason in support of different types of conclusions and proceed from distinct kinds of reasoning and semantic relations. (shrink)

In this paper, we look at the possibility of a machine having a sense of humour. In particular, we focus on actual machine utterances in Turing test discourses. In doing so, we do not consider the Turing test in depth and what this might mean for humanity, rather we merely look at cases in conversations when the output from a machine can be considered to be humorous. We link such outpourings with Turing’s “arguments from various disabilities” used against the concept (...) of a machine being able to think, taken from his seminal work of 1950. Finally we consider the role that humour might play in adding to the deception, integral to the Turing test, that a machine in practice appears to be a human. (shrink)

The article examines the ways in which humour twists regular euphemism use. Based on the classical fields of euphemisms anchored in religion, aesthetics, social politics, and amorality, it identifies the characteristics of their twisted variants with a humorous component: playing-with-fire euphemisms that jocosely provoke supernatural forces, innuendo euphemisms that entertain, mocking euphemisms that make fun of others in a teasing or demeaning way, and idealistic euphemisms that uncover obfuscating language and negative realities. Using English, German, French, Italian, Portuguese, and Spanish (...) euphemisms of different periods and genres, the article analyses the intentions, origins, motives, functions, and styles of humour, differentiates between symbiotic and parasitic twists, and thus provides a typology of twisted euphemism use. (shrink)

La motivation de l’amalgamation de jeu de mots se circonscrit à la combinaison de lexèmes source cognitivement reconnus comme ayant une similitude linguistique, ou un effet d’oxymore. Il est possible que les interlocuteurs remotivent ensuite des groupes de consonnes de ces formes, s’ils leurs associent des traits sémantiques pour former d’autres amalgames.L’amalgamation de jeu de mots est destinée à renforcer la saillance cognitive. La forme produite se démarque alors de son cotexte essentiellement composé de lexèmes monomorphémiques, de dérivés et de (...) composés non-tronqués. Cela change la façon dont on se focalise sur un référent, que ce soit par la mise en relief d’une lexie sur laquelle on attire l’attention, ou par la réduction de son impact sur les interlocuteurs qui doivent reconstituer mentalement les éléments sources possiblement gênants. Cette approche principale dévoile une arborescence d’objectifs possibles, comprenant l’humour, l’attractivité commerciale, les mots d’esprits pour défendre ses idées, l’esthétisme littéraire, l’euphémisme, le dysphémisme, ou l’idiosyncrasie pour exprimer son individualité ou paraître original et créatif.L’examen de formes coréférentielles au sein ou en dehors de l’amalgamation de jeu de mots démontre que l’objectif repose sur l’occurrence. L’analyse, dans des situations variées, d’occurrences de mêmes formes amalgamées par jeu de mots prouve que la motivation repose sur l’usage et se trouve sur l’interface sémantique-pragmatique. Cependant, la pragmatique doit parfois prendre le relais des limites de la sémantique pour mettre en lumière la motivation d’une forme amalgamée, puisque la forme peut rester ambigüe. (shrink)

The contours of Nietzsche’s socio-moral framework are idiosyncratic when compared to contemporary neo-Aristotelian virtue ethics. Nietzsche starts with a naturalistic conception of drives, instincts, and types of people. He then moves in a normative direction by identifying some drives and instincts as virtues – at least for certain types of people in particular social and cultural contexts. Much of Nietzsche’s understanding of virtue must therefore be understood relative to a type of person and the context in which they find themselves. (...) Nietzsche pays special attention to his own type in his own context, emphasizing the virtues of curiosity, courage, the pathos of distancepathos of distance, the sense of humor, and solitude. These instincts-become-virtues are held together by conscience and integrity. For Nietzsche, drivesdrive are act-directed motivational and evaluative dispositions. An agent’s drives move her to engage in and positively evaluate a range of characteristic actions regardless of the consequences that may eventuate from those actions. Drives thus differ from preferences and desires in being associated primarily with the processes of agency rather than with teleologically-specified states of affairs. In addition, Nietzsche thinks that instinctsinstinct are innate drives, though other drives can be acquired. Moreover, instincts and other drives are mutable on several dimensions, including their intensity, their objects, and the structural interrelations. And an agent’s instincts and other drives constitute her psychological typetype. This in turn makes it possible to say what a Nietzschean virtue is: namely, a well-calibrated instinct or other drive. What it takes for a drive to be well-calibrated involves both internal and external integration, or at least non-interference. In particular, a drive is a virtue to the extent that it is conducive to lifelife, does not systematically or reliably induce negative self-directed emotions that respond to fixed aspects of the self, and does not systematically or reliably induce reactions from the agent’s community that are liable to be internalized as negative self-directed emotions that respond to fixed aspects of the self. In Nietzsche’s framework, exemplars of different types elicit different discrete emotions in people with fine-tuned affective sensitivity. While some exemplars inspire admirationadmiration that leads to emulation, others incite envy and the motivation to agonistic one-upsmanship. Exemplars of bad or deplorable types provoke contempt and disgust, which serve as signposts of what to avoid. Nietzsche also pays special attention to the role of community in fostering virtues. For him, one’s community and the language used by that community play a constitutive role in the cultivation of virtuevirtue. This is because part of what it means for a person to be of a certain type is that she is susceptible to social determination of her character. (shrink)

This article addresses the relationship of toleration and humour as virtues. It argues that our understanding of toleration as a virtue has been captured and shaped by the conception of tolerance as a duty and, through a critique of John Horton’s classic article on toleration as a virtue, seeks to show what a view freed from such captivity would look like. It then turns to argue that humour plays a fundamental role in relation to living a virtuous life. Finally, it (...) attempts to establish the practical necessity of the relationship between tolerance and humour setting out what I take to be significant structural relationships between them and between their formation as settled dispositions of character. (shrink)

Philosophy and joke telling do not share the same pedigree, but both can have an allied function and purpose. Philosophy and joke telling can help us to organize, interpret, possibly understand, or, at least, hopefully face and confront the fundamental issues of existence.Let me be more precise about what I mean by using humor and jokes in teaching philosophy. Humor, joke telling, can serve as a narrative playlet to metaphorically illuminate a complex philosophical concept. However, every class should (...) not simply be played for laughs and comedic effect. Rather, through the judicious use of joke telling, the instructor needs to create an atmosphere of “respectful playfulness” which allows students an opportunity to comfortably address some of the complexities, confusions, and conundrums of the human condition. (shrink)

Humor plays an essential role in human interactions. Precisely what makes something funny, however, remains elusive. While research on natural language understanding has made significant advancements in recent years, there has been little direct integration of humor research with computational models of language understanding. In this paper, we propose two information-theoretic measures—ambiguity and distinctiveness—derived from a simple model of sentence processing. We test these measures on a set of puns and regular sentences and show that they correlate significantly (...) with human judgments of funniness. Moreover, within a set of puns, the distinctiveness measure distinguishes exceptionally funny puns from mediocre ones. Our work is the first, to our knowledge, to integrate a computational model of general language understanding and humor theory to quantitatively predict humor at a fine-grained level. We present it as an example of a framework for applying models of language processing to understand higher level linguistic and cognitive phenomena. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Theoretical Framework for the Study of Humor in Literature and the Other ArtsJerry Farber (bio)With a clearer understanding of the way humor works, we might be better able to give it the attention it deserves when we study and teach the arts. But where do we turn to find a theoretical framework for the study of humor—one that will help to clarify the role (...) that humor plays in the arts and that will help us as well to understand differences in the way individual perceivers respond to humor in art?A superiority theory of humor emerged in classical times and more or less held the stage through the seventeenth century; now, however, though an occasional attempt to revive it is still made,1 superiority theory is usually regarded as far too narrow in scope to be useful as a general account of humor. What are commonly referred to as "release" (or, occasionally, "relief") theories— and associated with Spencer and Freud—were for a time very influential, but are somewhat narrow too in their own way, and furthermore, as Noël Carroll puts it, "have the liability of presupposing hydraulic views of the mind that are highly dubious."2 Incongruity theory, which has been around in one form or another since at least the eighteenth century, dominates contemporary humor theory but is still widely regarded as not quite there yet. And so humor remains somewhat mysterious and elusive. Or not even that. It may be that most people, even teachers in the arts, bypass theory entirely and simply accept humor as a given: an unanalyzable fact of human life. I've sometimes wondered if it may be that we don't want to understand humor, either because we're afraid that this understanding will spoil the game or, just possibly, because we sense that, as a consequence of it, we may discover things about ourselves that we would prefer not to know.Is a well-founded, broadly inclusive theoretical framework for the study and teaching of humor in the arts achievable? I want to propose that it is if [End Page 67] we take incongruity theory a few steps further, integrating an analysis of the humorous situation (that is, what we perceive: the caricature, the witty dialogue, the bit of stage business) with an analysis of what goes on in the perceiver (the humor experience itself).A General Theory of HumorIncongruity theory, though clearly the front-runner these days, continues to be problematic, making too much sense for us to discard it, but not quite enough sense to get us where we need to go. Thus, Carroll concludes his recent overview of this theoretical tradition: "Though promising, the Incongruity Theory of Humor remains a project in need of further research."3 Reading this we may find ourselves wondering, just as we might about some writer or performer who's been on the scene for a good long time, how much longer this centuries-old theoretical approach gets to remain "promising."What have been the major problems associated with incongruity theory? For one thing, it doesn't tell us much about the affective dimension of humor.4 Neither does it satisfactorily explain differences in the way individual perceivers respond. The major weakness of incongruity theory, however, has been a failure to account adequately for all of those instances of incongruity that are not funny: for example, brainteasers, logic problems, and puzzles. One way of dealing with this problem has been to keep adding on exclusionary clauses until the category has been pared down satisfactorily. In other words, humor is based on incongruity, provided that we exclude situations that inspire fear, or are disgusting, or are perceived instrumentally, or are regarded primarily as a puzzle, and so on. But, of course, this is patchwork. What we need is a humor theory where stipulations such as these don't have to be added on, because they follow logically from the theory itself.It's been proposed repeatedly that the incongruous elements in humor are likely to be connected in some way, though some of the terms that have been advanced to identify this connection are unnecessarily limiting if... (shrink)

In claiming that "the method of our great teacher, Experience" is "a system of teaching by practical jokes," Peirce's objective, I argue, is to get us to see the unexpected as cause for neither despair nor nihilism but as an opportunity to strengthen our affinity with the natural world. Peirce's celebration of the flexibility demanded by the "pedagogic method" employed by "Dame Experience" reinforces the dependence between cultivating a sense of humor and developing fruitful habits of inquiry.

This seriously playful book provides comic relief in an age of neoliberalism and argues that parody can be used to creatively benefit our practices of self-narration and quests for knowledge. It demonstrates how parody utilizes humor, play, and self-reflection to allow for a helpful, alternative relationship to mistakes and our multifaceted-self. The book works to delineate specific ways of viewing, studying, creating, and performing a particular form of humorous parody, and through pedagogical application, it balances practical hands on (...) examples via digital video creation with examples and exercises such as interrogating our creative histories and parodying them--either as a classroom exercise or in individual self-reflection. The core readership for this book is rhetoric and composition scholars researching continental philosophy, humor, and narrative theory, and it lends itself to classroom implementation for professors, as it brings together (often for the first time) major academic conversations on humor throughout philosophy, literary and cultural studies, communication studies, and media studies. Therefore, this book will be essential reading for undergraduate/graduate courses that feature humor, alternative forms of communication in the public sphere, alternative rhetorical strategies, and courses that focus on the importance of creativity and play in our daily lives and scholarship. (shrink)