Comic Relief: A Comprehensive Philosophy of Humor develops an inclusive theory that integrates psychological, aesthetic, and ethical issues relating to humor Offers an enlightening and accessible foray into the serious business of humor Reveals how standard theories of humor fail to explain its true nature and actually support traditional prejudices against humor as being antisocial, irrational, and foolish Argues that humor’s benefits overlap significantly with those of philosophy Includes a foreword by Robert Mankoff, Cartoon Editor of The New Yorker.

"The book's qualities are, first, its scope and persuasiveness. The whole book demonstrates the seriousness of humor and its central place in human life. I know of no comparable work.

This book assesses the adequacy of the traditional theories of laughter and humor, suggests revised theories, and explores such areas as the aesthetics and ethics of humor, and the relation of amusement to other mental states. Theories of laughter and humor originated in ancient times with the view that laughter is an expression of feelings of superiority over another person. This superiority theory was held by Plato, Aristotle, and Hobbes. Another aspect of laughter, noted by Aristotle and Cicero and neglected (...) until Kant and Schopenhauer developed it into the incongruity theory, is that laughter is often a reaction to the perception of some incongruity. According to the third and latest traditional theory, the relief theory of Herbert Spencer and Freud, laughter is the venting of superfluous nervous energy. Historical examples of all these theories are presented along with hybrid theories such as those of Descartes and Bergson. The book also features traditional explorations of the place of humor in aesthetics, drama, and literature. This is the first work in the last fifty years to include the classic sources in the philosophy of humor and the first to present theories by contemporary philosophers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments ENJOYING NEGATIVE EMOTIONS IN FICTIONS by John Morreall There is a puzzle going back to Aristotle and Augustine that has sometimes been called the "paradox of tragedy": how is it that nonmasochistic, nonsadistic people are able to enjoy watching or reading about fictional situations which are filled with suffering? The problem here actually extends beyond tragedy to our enjoyment of horror films and other fictional depictions (...) of situations which we would not enjoy in real life. What is it about fiction that turns intensely unpleasant situations into situations we can enjoy? Ofthe many solutions proposed to this puzzle, I shall mentionjust four. Aristotle held that in viewing tragedy we experience negative emotions — pity and fear — but get pleasure from the experience nonetheless because we are thereby purged of excess pity and fear. For Aristotle, too, there is a pleasure which tragedy shares with fiction in general, the delight we take in representations.1 Hume put more weight on this latter delight. Our pleasure in tragedy, he said, is based on our appreciation of the skill with which the literary or other artist has depicted the unpleasant scenes.2 Susan Feagin has recently located the pleasure we take in tragic art not in our direct responses to the work, which are "unpleasant experiences," she says, but in our meta-response of moral self-congratulation at these responses.3 The fourth solution to our puzzle is really a dissolution: it consists of denying that we actually feel fear, pity, and other negative emotions in our experience of fiction. The guiding principle here is that in order to have some emotion toward a situation, we must believe that it is a real situation. This principle is articulated in an influential article by Kendall Walton, though he does not apply it to our puzzle.4 95 96Philosophy and Literature I believe that this last solution is no solution at all because we do in fact feel emotions in our appreciation of fiction (a point I will develop later). The other three solutions above address the puzzle, and the pleasures they appeal to all have some explanatory power. But these solutions seem to me to overlook perhaps the most basic pleasure we take in tragedy, horror films, and the like — the direct pleasure of feeling (ear, pity, and similar emotions. The idea of enjoying negative emotions seems counterintuitive at first; indeed it may seem analytically false. But let us look more closely at those emotions to see what there might be to enjoy in them. Because the idea that we experience real emotions in response to fiction is controversial, we will begin not with fiction but with real life. After seeing how negative emotions can be enjoyed in real life, we can then consider their enjoyment in response to fiction. Fear is perhaps the most basic negative emotion, and at first glance one of the least likely to be enjoyed. To feel fear, many have claimed, we have tojudge that we are in danger, and danger is disturbing to us. And so it is natural that in fear there is the motivation to eliminate the danger, by fleeing, protecting ourselves, or attacking. Changes in the autonomic nervous system and the endocrine system equip us forjust such actions. They produce an increase in alertness and muscle tension, a faster and stronger heartbeat, a redistribution of the blood from the skin and internal organs to the voluntary muscles and brain, and a release of stored sugar from the liver into the bloodstream. Now although we may not be able to identify all these changes when we are in a state of fear, we can feel many of them directly, and we certainly feel the overall excitement which they produce. It is this excitement, I think, that makes fear potentially enjoyable. Especially for someone who leads a relatively dull life, the stimulation provided by fear can be pleasurable by contrast with the ordinary lack of stimulation. Many people, indeed, go to considerable trouble to put themselves into dangerous situations, in part, at least, for the thrill of fear that the danger will provide. Consider mountain climbers and skydivers, for instance. Now there are many sources... (shrink)

In most discussions of civil disobedience, certain characteristics are offered as essential to an act of justifiable civil disobedience, or sometimes to any act of civil disobedience. Among these one of the most frequently mentioned is nonviolence. Some thinkers, like Bedau and Wasserstrom, require an act to be nonviolent before they will even count it as an act of civil disobedience; the very concept for them includes the notion of nonviolence. Others, like Stuart Brown, Rex Martin and Michael Bayles, admit (...) the possibility of a violent act of civil disobedience; but hold that, though nonviolent civil disobedience is justifiable, violent civil disobedience is not justifiable. (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)

This article begins by examining the bad reputation humor traditionally had in philosophy and education. Two of the main charges against humor—that it is hostile and irresponsible—are linked to the Superiority Theory. That theory is critiqued and two other theories of laughter are presented—the Relief Theory and the Incongruity Theory. In the Relief Theory, laughter is a release of pent-up nervous energy. In the Incongruity Theory, humor is the enjoyment of something that violates ordinary mental patterns and expectations. The development (...) of the Incongruity Theory is traced in thinkers like Aristotle, Kant, Schopenhauer and Kierkegaard, and refinements are suggested to the theory. The Incongruity Theory, it is argued, helps us to appreciate the affinity between philosophy and humor, especially the genre known as stand-up comedy. The article concludes by using Robert Nozick’s analysis of wisdom to show how dramatic comedy embodies practical lessons for living well. (shrink)

I examine three main objections to humor in western thought--That humor is hostile, That it is irrational, And that it is irresponsible. None of these, I show, Is a valid general objection to humor. I then explore some of the values of humor overlooked in western thought, Especially the way it gets us to see things in new ways and liberates us from practical concern. I contrast the western rejection of humor with the embracing of humor in zen, Showing the (...) connection between the nonattachment emphasized in zen and the "distancing" in humor. (shrink)

This chapter contains sections titled: Humor as Aesthetic Experience Humor and Other Ways of Enjoying Cognitive Shifts: The Funny, Tragic, Grotesque, Macabre, Horrible, Bizarre, and Fantastic Tragedy vs. Comedy: Is Heavy Better than Light? Enough with the Jokes: Spontaneous vs. Prepared Humor.

This chapter contains sections titled: What Was First Funny? The Basic Pattern in Humor: The Playful Enjoyment of a Cognitive Shift Is Expressed in Laughter The Worth of Mirth.

This article reflects on the oddness of humor and laughter as human behaviors. It argues against classifying humorous amusement as an emotion by contrasting amusement with standard emotions. It then examines amusement as a kind of pleasure, specifically, the enjoyment of psychological shifts. It argues that humor evolved from mock-aggressive play in pre-human apes, with laughter serving as a play signal. Understanding humor as play not only helps explain laughter but also clarifies issues in the ethics of humor, such as (...) the wrongness of racist and sexist jokes, and the question of whether a sense of humor is a virtue. (shrink)

Tragedy has traditionally been ranked higher than comedy, and critics often valorize the ‘tragic vision of life’. Using twenty contrasts between tragedy and comedy, I argue that there is a ‘comic vision of life’ which is superior to the tragic vision, especially in the post-heroic era in which we live.

This chapter contains sections titled: Humor and Disengagement Humor as Play Laughter as a Play Signal.

This chapter contains sections titled: Intellectual Virtues Fostered by Humor Moral Virtues Fostered by Humor Humor during the Holocaust.

This chapter contains sections titled: Humnor, Anarchy, and Aggression The Superiority Theory: Humor as Anti‐social The Incongruity Theory: Humor as Irrational The Relief Theory: Humor as a Pressure Valve The Minority Opinion of Aristotle and Thomas Aquinas: Humor as Playful Relaxation The Relaxation Theory of Robert Latta.

Any reflective account of theological language acknowledges very early that words drawn from our experience with creatures have special meanings when applied to God. Because God transcends the created world, we cannot take predicates which apply to creatures and apply them to God without modification. And the more transcendent God is understood to be, the more modified will our language taken from creatures have to be when it is used in theology. A primitive theism which thinks of God simply as (...) a very powerful person will view the difference between God and creatures as merely a matter of degree and not of kind. In such a view God transcends things in the world only in that he has a greater degree of the properties we find in creatures, so that predicates taken from creatures, ‘wise’ and ‘strong’, for example, can be applied to God in almost a straightforward way. The only change in meaning is that God is more knowing and strong er . In a more sophisticated theism such as Judaism or Christianity, on the other hand, God' transcendence is seen not simply as a difference in degrees of properties, but as a difference in kind. The being God is is radically other than the kinds of beings we find in the created world. Indeed, it is sometimes claimed that God is not even ‘a being’, a thing which exists; rather God is ‘being itself’, ‘pure existence’. Aquinas, for instance, held that God does not have properties. God is absolutely simple, and so if we can talk about properties at all in talking about God, we have to say that God is identical to God' properties. God, too, differs radically from creatures in that he is not in time and space, nor is he dependent on anything else. But our language used with creatures is full of explicit or implicit references to time and space and to dependence, so that we cannot take our ordinary terms derived from our experience with spatio-temporal, dependent creatures and apply them straightforwardly to God. (shrink)

This chapter contains sections titled: Was Socrates the First Stand‐up Comedian? Humor and the Existentialists The Laughing Buddha.

This chapter contains sections titled: Eight Traditional Moral Objections The Shortcomings in the Contemporary Ethics of Humor A More Comprehensive Approach: The Ethics of Disengagement First Harmful Effect: Irresponsibility Second Harmful Effect: Blocking Compassion Third Harmful Effect: Promoting Prejudice.

Although not a great deal has been said about heaven in the Christian tradition, it is part of the traditional notion of heaven that the blessed are in a condition of perfect happiness. In this life we can be happy to a certain degree, but mixed with earthly happiness is disappointment, frustration, and even sorrow. In heaven, by contrast, there is no sadness, nothing is lacking, happiness is complete. The usual way of explaining this perfect happiness is in terms of (...) the ‘beatific vision’ – the face to face relationship of knowing and loving God which the blessed enjoy. On earth we experience only finite objects; nothing that we come to know ever completely satisfies our desire to know, and nothing that we love ever completely satisfies our will. But in the beatific vision we shall be in a direct relationship with the infinite God, who in his boundless perfection will completely ‘fill up’ our capacities to know and love. As the completely adequate object of these capacities, God will make us perfectly happy. As Aquinas puts it, ‘…But if God alone were seen, who is the fount and source of all being and of all truth, he would so fill the natural desire for knowledge that nothing else would be desired, and the seer would be completely happy.’. (shrink)