Introduction: Laughter as an expression of human nature in the Middle Ages and the early modern period: literary, historical, theological, philosophical, and psychological reflections -- Judith Hagen. Laughter in Procopius's wars -- Livnat Holtzman. "Does God really laugh?": appropriate and inappropriate descriptions of God in Islamic traditionalist theology -- Daniel F. Pigg. Laughter in Beowulf: ambiguity, ambivalence, and group identity formation -- Mark Burde. The parodia sacra problem and medieval comic studies -- Olga V. Trokhimenko. Women's (...) class='Hi'>laughter and gender politics in medieval conduct discourse -- Madelon Köhler-Busch. Pushing decorum: uneasy laughter in Heinrich von Dem Türlîn's Diu crône -- Connie L. Scarborough. Laughter and the comic in a religious text -- John Sewell. The son rebelled and so the father made man alone: ridicule and boundary maintenance in The Nizzahon vetus -- Birgit Wiedl. Laughing at the beast: the judensau: anti-Jewish propaganda and humor from the Middle Ages to the early modern period -- Fabian Alfie. Yes . . . but was it funny? Cecco Angiolieri, Rustico Filippi and Giovanni Boccaccio -- Nicolino Applauso. Curses and laughter in medieval Italian comic poetry -- Feargal Béarra. Tromdhámh guaire: a context for laughter and audience in early modern Ireland -- Jean E. Jost. Humorous transgression in the non-conformist fabliaux: a Bakhtinian analysis of three comic tales -- Gretchen Mieszkowski. Chaucerian comedy: Troilus and Criseyde -- Sarah Gordon. Laughing and eating in the fabliaux -- Christine Bousquet-Labouérie. Laughter and medieval stalls -- Scott L. Taylor. Esoteric humor and the incommensurability of laughter -- Jean N. Goodrich. The function of laughter in The second shepherds' play -- Albrecht Classen. Laughing in late-medieval verse and prose narratives -- Rosa Alvarez perez. The workings of desire: Panurge and the dogs -- Elizabeth Chesney Zegura. Laughing out loud in the Heptaméron: a reassessment of Marguerite de Navarre's ambivalent humor -- Lia B. Ross. You had to be there: the elusive humor of the Sottie -- Kyle Diroberto. Sacred parody in Robert Greene's Groatsworth of wit -- Martha Moffitt Peacock. The comedy of the shrew: theorizing humor in early modern Netherlandish art -- Jessica Tvordi. The comic personas of Milton's Prolusion VI: negotiating masculine identity through self-directed humor -- John Alexander. Ridentum dicere verum (using laughter to speak the truth): laughter and the language of the early modern clown "pickelhering" in German literature of the late seventeenth century (1675-1700) -- Thomas Willard. Andreae's ludibrium: Menippean satire in The chymische hochzeit -- Diane Rudall. The comic power of illusion-allusion -- Allison P. Coudert. Laughing at credulity and superstition in the long eighteenth century. (shrink)

: 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)

The subject of the study is carnival and laughter forms in the traditional life cycle rites of the peoples of the Middle Volga region before 1917. On the basis of archival materials collected by the author and local history literature, a typology of variants of the manifestation of carnival and laughter forms in the ritual practices of the population of the region is carried out for the first time. Based on specific historical examples, the analysis of the (...) selected variants ("noisy performance", "antics", "censure" and "imitation") is carried out. The article uses systematic and culturological approaches that allow to explain the reasons for the stability and semantic content of the rituals, as well as their role in the translation of spiritual and moral values of the inhabitants of the region. The scientific novelty of the research lies in the interpretation of the traditional life cycle rites of the peoples of the Middle Volga region as the focus of carnival and laughter forms that help overcome fears of an unknown future and create an atmosphere of optimism. The main result of the research is a new understanding of the traditional life cycle rites of the peoples of the Middle Volga region as a means of psychotherapy due to their inherent carnival and laughter forms that help a person adapt to various conditions of existence. The material of the article can serve as a basis for scientific research in the field of psychology of ritual activity, for the preparation of educational courses on the history of everyday life and cultural studies. (shrink)

On the eve of 1945, after the retreat of Admiral Robert but before the end of the war, René Ménil wrote an essay extolling humor as a quintessential literary mode of resistance and predicting that colonial authors would go on to contribute significantly to a literature of humor. This article seeks to clarify what humor means to Ménil by illuminating his engagement with Dada, the surrealist movement, Freud, and the concept of irony. In contemplating both the essay’s poetics and (...) politics, this article suggests that Ménil’s vision not only anticipated the Antillean literature to come, but also offered a precocious illustration of it. (shrink)

This article tries to defend the position that Holocaust Education can be enriched by appreciating laughter and humor as critical and transformative forces that not only challenge dominant discourses about the Holocaust and its representational limits, but also reclaim humanity, ethics, and difference from new angles and juxtapositions. Edgar Hilsenrath’s novel The Nazi and the Barber is discussed here as an example of literature that departs from representations of Holocaust as celebration of resilience and survival, portraying a world (...) in which lies, hatred and violence are still perpetuated. Because of its transgressive qualities, Hilsenrath’s narrative of the Holocaust as a satire with elements of black comedy can offer pedagogical openings for using laughter to interrupt normative constructions of the Holocaust as an unspeakable and sacred event that lies outside history, and thus beyond the capacities of human understanding. It is argued that laughter is an important modality for inviting deep thinking about the Holocaust, to move it from a transcendent phenomenon to an immanent event, situated clearly in the realm of human action and worthy of understanding so as to prevent it from happening again. (shrink)

Literary works across cultures are never written in a vacuum. They depict the reality of the society where they are set. With the societal obligation of the writers to serve as righters, especially in Africa, this study attempts a pragmatic inquiry of the state of the Nigerian society as implicitly and artistically painted in Remi Raji’s poetry collection, A Harvest of Laughters. The known literature on Remi Raji’s A Harvest of Laughters have analysed the collection mainly from literary and (...) ideological perspectives. Attention has not been given to the collection from a pragmatic perspective, hence the intervention of this study. Drawing insights from Jacob Mey’s Pragmatic Acts Theory, the study analyses the pragmatic imports in the collection with fourteen randomly selected excerpts across different segments of the collection constituting the data. Data was purposively selected from different poems in the collection. The findings show that the two major discursive issues in the text are the depiction of the government as cruel and the portrayal of the citizenry as victims. The former was conveyed through the practs of oppressing, embezzling and deceiving, while the latter was revealed through the practs of suffering and hoping. The study concludes that pragmatics is a valuable tool in the demystification of texts. (shrink)

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)

The traditional concern of the academic literature on the ethics of humor is to determine whether ethical considerations influence comic amusement or, in other words, judge the impact of ethics over aesthetics. For some, ethically questionable dimensions bear no implication for the effectiveness of jokes; for others, they do, but this group disagrees on whether ethical problems make jokes less or more funny. This article attempts an alternative approach and explores the occurrences in which the aesthetic reaction to humor (...) reveals a more profound ethical commitment. It asks: What are the conditions under which laughter resulting from comic amusement reflects the moral stance of an individual? Or, more simply: Can one judge a person's character based on what this person is laughing at? The article starts by showing how humor can legitimately be taken as representative of the individual spirit, continues by identifying the subsection of humor that can offer an affirmative answer to the posed questions, highlights the power dynamics at play within this subsection of humor to justify its characterization as “fascist,” and concludes by offering guidance on identifying fascist laughter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Paul Woodruff ROUSSEAU, MOLIÈRE, AND THE ETHICS OF LAUGHTER Rousseau attacks comedy on the grounds that it is bad for our morals. He tries to show that to make a comedy moral is to take the fun out of it. No one would deny that some jokes are bad, and bad for us. But I think Rousseau is mistaken in his belief that the fun of comedy depends (...) on the bad sort of joke. In this essay I examine the ethics of laughter and the techniques of comedy, and find them rooted in a common metaphysics of human nature. It turns out, if I am right, that the most effective comic techniques are the most innocent. A comic playwright can make us laugh at almost anything, even at things that unsettle or horrify us outside the theater. Surprised by our own laughter, we are grateful to see our bugbears turned ridiculous. But what if we find ourselves laughing at virtue in the theater, and are shocked by our own laughter? Laughter, it seems, can be elicited to good or bad effect, depending on the nature of its object. And even towards the same object there can be good and bad laughter. An ethnic joke can be told in a way that brings warm laughter, bridging impossible gulfs, or it can be told in a racist way, with unforgivable laughter driving us apart. Comic playwrights are dangerous people. Plato thought them so (though not so dangerous as tragedians) and argued for restrictions on the use of ridicule. It should always be good-natured, he says in the Laws, and ought never to be directed against citizens.1 Rousseau goes beyond this. In his Letter to M. d'Alembert on the Theater2 he appeals to the danger of comedy as he vehemently defends Geneva's law against theater. Comedy, he argues, must be bad for our morals, or be nothing but a dull sermon. We must not dismiss Rousseau's critique of comedy lightly. Rousseau 325 326Philosophy and Literature was fascinated by the theater, and particularly by Molière, whom he admired as the grand master of comedy. And he knew something of what he admired and why he admired it. He had tried his hand at writing comedy and comic opera. He was not without a sense of humor (as readers of his Confessions are well aware), and he had ideas about how audiences are made to laugh. So it is not out of ignorance that he writes of comedy, "It is all bad and pernicious;... since the very pleasure of the comic is founded on the vice of the human heart,... the more the comedy is amusing..., the more its effect is disastrous for morals." At best, comic playwrights "make fun of vices without making virtue loved." At worst, like Molière in the Misanthrope, they make fun of virtues. Molière's misanthrope, Alceste, is a good man; so good, indeed, that no audience could be comfortable with him. So to please the audience (says Rousseau) Molière is forced to make Alceste ridiculous by adding to his scrupulous honesty a disposition to childish rages, thereby reenforcing the audience's corrupt belief that virtue in the extreme is foolish. But why could the play not be turned to virtuous effect, and Alceste's foils be made ridiculous in his place? Rousseau shows us what changes he thinks would have to be made—they reduce a great comedy to a dull sermon. Rousseau concludes that the same play cannot both make us laugh and be good for our morals.3 This radical case against comedy rests on two principles. First, as an audience we want only to find bad characters exciting and good characters amusing, so that successful comedy must make us laugh at good characters. Second, when we laugh at good characters in comedy, we do so without sympathy; by laughing at them we repudiate their example. Rousseau thinks it comforts us to laugh at Alceste in the Misanthrope because it enables us to set aside an example of immaculate honesty that would otherwise make us ashamed of our own deficiencies. Such laughter, he argues, is bad for... (shrink)

This anthology brings together extracts that come from a wide variety of sources and that illustrate Western thought on the subject of humour and laughter from Antiquity to Late Modernity. The selection of texts is comprehensive, historically representative, and original, and includes writings from more than 40 different authors.

Santangelo, Paulo (ed.). 2012.Laughing in Chinese.Rome: Aracne Editrice. 472pp. €26. ISBN 97888 548 46203. This book of 15 papers is divided into four parts: humor in Chinese and Japanese literary works, examples of comic literature, the moral involvement of humor, and the psychology of humor. Santangelo provides a substantial introduction to smiles and laughter in the Chinese context and also to the papers in his book (pp. 5–28). This structure lends itself to a description and analysis of smiling (...) and laughing as both social acts and as manifestations of states of mind. An identifiable theme is the interrelationship between social acts (the sociology, culture or politics of situation) and manifest states of mind (the psychology of the individuals involved in the situation). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Building Literacy Bridges for Adolescents Using Holocaust Literature and TheatreWayne Brinda (bio)IntroductionDo you have a sibling or best friend whom you dared to do something? Did you ever slip surreptitiously into a place where you should not be? What if your best friend or sibling later became your enemy because of a situation beyond your control? Could that happen? What would you do? Think about those questions as (...) you read this excerpt from In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust and visualize the action:The boys look more alike than brothers. In fact, they are identical twins, indistinguishable in the smooth innocence of their faces, their wide brown eyes, and their hair, nearly shaven to their scalps to thwart the summer heat... At the entrance to the grand church of St. Stephen's Basilica in Budapest, the boys slip surreptitiously through the six-inch-wide opening of the formidable oak middle door, with its inlaid bronze portraits of the Hungarian kings. They giggle gleefully and a bit nervously as they peer into the dimly lit chamber, which feels refreshingly cool in contrast to the scorching afternoon sun they have just escaped. The twins mimic and build on each other's playful daring. Even their spirited laughter is identical, punctuated by squeals of delight... Let's go find his hand. What? St. Stephen's hand. I heard that his hand is kept in a golden box behind the altar somewhere. Let's go find it. No. We're not supposed to be back there. That's the craziest thing I ever heard—a king's hand inside a box in a church. He must have been pretty mad when they cut his hand off.1 [End Page 31]This small theatrical imaginative experience begins the adventure of two twin Hungarian Jewish boys who became caught up in World War II, the Holocaust, communism, and the aftermath.Those two boys became the father and uncle of the author, Eugene Pogany, who wrote In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust. Pogany recalls and tries to reconcile their experiences, differences, and conflicts with each other that lasted a lifetime and beyond. As educators and those who work with adolescents, we seek to reconcile the past experiences and conflicts our students have with reading by finding strategies that bridge adolescents and literature. Two powerful tools for building such bridges are nonfiction literature written about the experiences of young people and adults during and after the Holocaust and using theatre to bring these stories to life.McEwan noted that as literature becomes complex, adolescents tend to struggle with comprehension and may forgo the idea of discovering enjoyment.2 Incorporating nonfiction stories from the Holocaust with innovative theatre experiences of the literature into the curriculum can engage students in literature with complex themes, characters, and plots. This is especially true when the learning is assessed by using projects developed by, with, and for young adolescents. As a result, the literature becomes comprehensible, accessible, relevant, enjoyable, and aesthetically stimulating.As an educator, researcher, and artistic director of a theatre for young adults, I reflect on the charge by Snow and Biancarosa that educators need to "figure out how to ensure that every student gets beyond the basic literacy skills of the early-elementary grades, to the more challenging and more rewarding literacy of the middle and secondary school years."3 For some students, literacy bridges are gateways to new worlds, skills, and possibilities for enjoyment. For students who struggle with reading, those bridges are obstacles they are afraid or even refuse to cross because of past fears or failures. Even with guidance and support, many students will stop reading when the text becomes complex or never even attempt to read the book when they decide it has no relevancy or purpose after looking at its title, skimming the back, looking for pictures, or counting the pages.This leads to a question and thoughts that inspired my research on using Holocaust literature and theatre to engage young students in discovering, comprehending, visualizing, and aesthetically enjoying the literary experience:• What can be done in the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:167 THE HUME LITERATURE FOR 1982 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship: A Bibliographical Guide (Edinburgh University Press, 1978; £9.50), which also lists the main earlier writings on Hume. Publications of the years 1977 to 1981 were listed in Hume Studies in previous Novembers. What follows here will bring the record up to the (...) end of 1982. Readers are invited to inform me of any omissions, and to send me offprints of their own articles and reviews. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography, with addenda consisting of items omitted through ignorance in previous years. References to recently-appearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQAmerican Philosophical Quarterly JHIJournal of the History of Ideas JHPJournal of the History of Philosophy JPJournal of Philosophy PASProceedings of the Aristotelian Society PBPhilosophical Books PQPhilosophical Quarterly PRPhilosophical Review RIPRevue Internationale de Philosophie RMReview of Metaphysics TLSTimes Literary Supplement Other abbreviations should be obvious enough, and mainly follow the British Standard (no. 4148). 168 AIKEN, H. D. 'The Originality of Hume's Theory of Obligation', Phil. & Phenomenol. Res. 42, 374-83. BADIA CABRERA, M. A. 'Milagro, testimonio y verdad. El significado de la crítica de Hume', Dialogos (Puerto Rico) 17, 37-52. BAIER, A. 'Hume's Account of our Absurd Passions', JP_ 79, 643-51. [652] BARON, M. 'Hume's Noble Lie: An Account of his Artificial Virtues', Can. J. Phil. 12, 539-55. BERRY, CJ. Hume, Hegel and Human Nature, pt. 2 (55124 ). The Hague, etc. [Hume Studies 9 (1983) 200-3] BERRY, CJ. 'Hume on Rationality in History and Social Life', History & Theory 21, 234-47. BUNZL, M. 'Humean Counterfactuals', JHP 20, 171-7. CALLICOTT, J. B. 'Hume's Is/Ought Dichotomy and the Relation of Ecology to Leopold's Land Ethic', Environmental Ethics 4, 163-74. CAPALDI, N., KING, J. & LIVINGSTON, D. 'The Hume Literature of the 1970s', Philosophical Topics 12, no. 3, 167-92. COLWELL, G.G. 'On Defining Away the Miraculous', Philosophy 57, 327-37. DAVIES, B. An Introduction to the Philosophy of Religion, 52-9 and 108-18. Oxford. DEL BARCO COLLAZOS, J. L. 'Evidencia y verdad en la epistemologia de Hume', Anuario filosófico 15, 175-84. DEL BARCO COLLAZOS, J. L. 'La teoría de la impresión en Hume', Anuario filosofico 15, 85-112. DRAPER, T. 'Hume and Madison: The Secrets of Federalist Paper No. 10', Encounter 58, (Feb.) 34-47. FARR, J. 'Humean Explanations in the Moral Sciences', Inquiry 25, 57-80. FERN, R. L. 'Hume's Critique of Miracles: An Irrelevant Triumph', Relig. Studies 18, 337-54. FITZPATRICK, J. 'Lonergan and Hume [I-IV: various aspects]', New Blackfriars 63, 122-30, 219-28, 275-86, 364-72. 169 FLAGE, D.E. 'Relative Ideas Revisited: A Reply to Thomas', Hume Studies 8, 158-71. FLAGE, D.E. 'Hume's Dualism', Nous 16, 527-41. FLEW, A. 'Another Idea of Necessary Connection', Philosophy 57, 487-94. FLEW, A. '"Hume on Space and Geometry": One Reservation ', Hume Studies 8, 62-5. [66-9] FORBES, D. 'Natural Law and the Scottish Enlightenment', in R. H. Campbell & A. S. Skinner, The Origins and Nature of the Scottish Enlightenment, 186204. Edinburgh. FORCE, J. E. 'Hume and Johnson on Prophecy and Miracles: Historical Context', JH_I 43, 463-75. FRIEMAN, J. 'Boswell Confronts Hume: An Encounter with the Great Infidel', Free Inquiry 2, 22-5. GALGAN, G.J. The Logic of Modernity, 118-36 ('Hume: The Breakdown of Certitude'). New York S London. HALL, R. 'The Hume Literature for 1981', Hume Studies 8, 172-7. HALLER, R. Urteile und Ereignisse, 76-85 ('Humes Analyse'). Munich. HAUSMAN, A. 'It Ain't Necessity, So... (with Apologies to George Gershwin)', Hume Studies 8, 87-101. HILL, E. 'Hume and the Delightful Tragedy Problem', Philosophy 57, 319-26. HOERSTER, N. 'David Hume', in N. Hoerster, Klassiker des philosophischen Denkens, vol. 2, 7-46. Munich. JONES, G. E. 'Vindication, Hume and Induction', Can. J. Phil. 12, 119-29. JONES, P. 'Laughter', PAS... (shrink)

On old age that steals on us fast -- Spiritual development -- The search for happiness -- Meaningful living according to logotherapy -- Guiding principles of logotherapy -- The courage to be authentic : philosophical sources of logotherapy -- The concept of meaning in religion and literature -- Life as a task -- On fate and meaningful living -- Despair as mortal illness in aging -- The gifts of the Gods : sources for discovering meaning in life -- The (...) importance of humor and laughter in old age -- Dealing with guilt and remorse -- Coping with loneliness -- A logotherapeutic perspective on death. (shrink)

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)

Throughout his relatively short life, Albert Camus struggled with nihilism and the absurd nature of human existence. Indeed, many of his writings deal with the problem of nihilism and with the issues of suicide, murder, suffering, and mass death. Always serious in his writings yet never resorting to cynicism or despair, Camus advocated rebellion as a response to nihilism. The choice of rebellion as a response to the absurdity of human existence makes sense when one realizes that his life spanned (...) the two world wars, the horrors of the concentration camps, and the repression of innocent civilians all over the world, from South America to Algeria. Perhaps Camus’s tumultuous background helps to explain why his writings.. (shrink)

In this paper, I draw attention to two problems that Milan Kundera’s The Book of Laughter and Forgetting faces. I propose that a single word change can solve both.

Das Wesen des Menschen in all seinen uferlosen Zusammenhängen sagt sich in vielerlei Weisen aus. Dabei gehören Lachen und Weinen zur Vieldeutigkeit des Menschen schlechthin - ihre Geschichte ist die übernationale Geschichte der Menschen, die gelacht und geweint haben, die lachen und weinen und die lachen und weinen werden. In beeindruckender Weise geht der Autor den unterschiedlichen literarischen Spiegelungen dieser zentralen Ausdrucks-Bewegungen von der Antike bis zur Gegenwart nach. Er legt eine Kulturgeschichte der Expressivität menschlicher Innerlichkeit vor, die jeweils die (...) Frage bei sich trägt, was es bedeutet, ein Mensch zu sein."--Book jacket. (shrink)

Seit jeher treibt das Lachen als anthropologische Grundkonstante Philosophen, Wissenschaftler und Kunstler um. Obwohl sich der Mensch im Lachen nonverbal verstandigt, bleibt diese soziale Geste hochst komplex, da in ihr Limitation sowie Transgression, Einschliessung wie Ausgrenzung stecken. Lachen wurde in der Geschichte teils als wahnsinnig, blasphemisch oder destruktiv, ebenso haufig aber auch als gutmutig, heilig und heilend konnotiert; Lachen ist ein paradoxes Phanomen. Im Band soll durch Interdisziplinaritat diesem Paradoxon Rechnung getragen werden. Mit Beitragen von Nina Bartsch, Peter Friedrich, Holger (...) Glinka, Niklas Hebing, Felix Huttemann, Alexander Jaklitsch, Anna-Sophie Jurgens, Nicola Kaminski, Peter Kuhlmann, Hans-Ulrich Lessing, Kevin Liggieri, Lenz Prutting, Linda Simonis und Klaus Thomalla. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Wandering at Ease in the ZhuangziJames MillerWandering at Ease in the Zhuangzi. Edited by Roger T. Ames. Albany: State University of New York Press, 1998. Pp. viii + 239."Good grief!" exclaimed the reviewer as he greedily tore open the package from Philosophy East and West. "Not another book on Zhuangzi!"As it turns out, Wandering at Ease in the Zhuangzi, edited by Roger T. Ames, was found to be (...) not just "another book on Zhuangzi" but, instead, a wonderful collection of creative essays that genuinely wanders on Zhuangzi's vast spirit and that should appeal to a broad academic audience. Do not be deceived by the publisher's blurb on the back cover: "an excellent balance of philological and philosophical analysis." This summary of the book's contents proves to be fortunately misleading.The common thread running through this book is that it is dedicated to Yang Yu-wei, who taught many of the contributors while they were graduate students at Taiwan Normal University. Randall P. Peerenboom hilariously describes his first encounter with Professor Yang in a coda to his essay "Living Beyond the Bounds:Henry Miller and the Quest for Daoist Realization":He darted across the busy main street, dodging traffic, all the while calling out my name in a booming voice sure to attract the attention of the wandering undead and waving his arms in whirlwind fashion, managing somehow to evoke simultaneously images of Don Quixote and Sancho Panza, Jack Nicholson in One Flew over the Cuckoo's Nest, and the Bodhidharma. Welcome, I thought, to the wonderful world of Oz.(p. 139) [End Page 125]This description sets the tone for the essays here, which concentrate on the Zhuangzi's humor, character, and personality, unafraid to stride out across the busy, one-way streets of traditional academic disciplines. While remaining rigorously within the bounds of academic probity, this volume steadfastly resists the dangerous encroachment of desiccating intellectualism upon the wit, intelligence, and charm of one of the world's greatest works of literature.All of the essays "live beyond the bounds" in some fashion or other. Chris Jochim's "Just Say No to 'No Self' in Zhuangzi" reviews recent writing on self and personhood in the Zhuangzi, and includes the treatment of Zhuangzi in the theories of flow and happiness by the noted psychologist Mihalyi Csikszentmihalyi. Daniel Coyle's study of the zhenren (authentic person), lurks tentatively in the shadows of comparative mysticism. A comparison such as "Theocentrism aside, Zhuangzi's language is Eckhart-like in that it cancels itself out, short-circuiting the intellect so as to open one up to spontaneity and the omnipresence of Heaven" deserves greater exploration than a short essay can afford. James D. Sellmann's essay on the transformative effects of humor is briefly illuminated by a reference to Milan Kundera's The Book of Laughter and Forgetting (1986),1 but this worthy literary intersection is only pursued in a footnote. The question of philosophy and literature is also raised in William Callahan's study of action and decision making in the story of Cook Ding. Callahan, again in footnotes, acknowledges the influence of Kundera, Barthes, and Derrida in his quest to understand what it means to "read" literary philosophy or philosophical literature. His essay, however, owes its chief debt to the linguistic analysis of Chad Hansen and A. C. Graham, and we can only hope that he will soon furnish us with the full fruits of his literary education.One group of essays deals with particular characters in the Zhuangzi. Kirill Ole Thompson's inventive study of fishermen in the Zhuangzi wades into the waters of Tang poetry, incorporating translations of Zhang Zhihe, Liu Zongyuan, Wang Wei, and Sikong Shu. The literary connection is only in a coda, but it is there nonetheless. A future study would perhaps do well to broaden this research to include works of art. One thinks of Wang Meng's masterpiece of around 1360, Fisherman of Huaxi or the Yuan literatus Wu Zhen's Fisherman Recluse on Lake Dongting, both in the collection of the National Palace Museum, T'aipei.2Zhuangzi's close companion, Hui Shi, is the subject of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 80-97 [Access article in PDF] Literary Truth as Dreamlike Expression in Foucault's and Borges's "Chinese Encyclopedia" Robert Wicks ALTHOUGH THE TOPIC REMAINS MOSTLY unexplored, Michel Foucault had an aesthetic and intellectual attraction towards writers and artists in the Spanish-speaking tradition. For example, at the conclusion of his Histoire de la folie (Madness and Civilization, 1961)—a book which brought him extensive intellectual recognition in (...) France—Foucault drew his readers' attention to José de Goya y Lucientes's (1746-1828) well-known etching, El Sueño de la Razón Produce Monstruos (The Sleep of Reason Brings Forth Monsters, Plate 43 of Los Caprichos, 1797). In Foucault's estimation, by revealing a "night which is doubtless that of classical unreason," Goya's work represented a socially removed condition within which people encounter "what is most solitary" and experience what is "deepest" within themselves. With his reference to Goya's imagery, Foucault illustrated a major theme of his history of madness, namely, how people referred to as "mentally ill" experienced a gradual, physical exclusion from participation in public society, and how they were eventually isolated in a more frightening way: within their physical confinement, they were subject to techniques of psychological and spiritual alienation that reduced them to a condition of utter solitude.In a comparable, if not more central manner, Foucault used as thematic motifs for the preface, first and second chapters of a book for which he is widely known, Les Mots et les choses (The Order of Things, 1966), the work of three major writers and artists from the Spanish-speaking world: Jorges Luis Borges (1899-1986), Diego Velázquez (1599-1660), and Miguel de Cervantes (1547-1616). Among these references, the most popular is probably Foucault's discussion of [End Page 80] Velázquez's Las Meninas—a painting which captured Foucault's interest as a perfect exemplar of its time period—and which inspired him to devote the entire first chapter of his book to decoding the mechanics of its perspectival arrangement. And within the community of those who read, write and discuss the interrelationship between Foucault's thought, literary theory and the contemporary emphasis upon the multivocal quality of textual meaning, Foucault's citation of an excerpt from a short story by Borges—the subject of this essay—is also familiar. Foucault introduced his 1966 book, The Order of Things, with the following words: This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought, the thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a "certain Chinese encyclopedia" in which it is written that "animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies." In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that. 1The short story from which Foucault extracted the above, quasi-cubistic, excerpt was published in Borges's 1952 collection, Otras Inquisiciones (Other Inquisitions), and is entitled, "The Analytical Language of John Wilkins." Although this story's entirety is rarely surveyed in discussions of Foucault, appreciating its broader contents helps illuminate why Foucault began The Order of Things with this entertaining and bizarre segment. Borges's original... (shrink)

From Clouds to Corsair: Kierkegaard, Aristophanes, and Socrates -- The pure fool and the knight of faith: Wolfram's Parzival and the stages of existence -- From romantic aesthete to Christian analogue: Don Quixote's sallies in Kierkegaard's authorship -- Saying not quite "everything just as it is": Shakespeare on life's way -- "Sorrow's changeling": irony, humor, and laughter in Kierkegaard and Carlyle.

Historical theories of humor rely on a classic distinction in philosophy, the distinction between reason and emotion. Such a distinction lends itself to qualitative rather than quantitative research. In the last 40 years, quantitative scholarship on laughter and comedy has become very popular, and often includes international and indigenous examples of laughter as a healing or teaching tool. This paper addresses the historical research on laughter and mockery, then shows the broad range of quantitative studies that have (...) provided important data on the usefulness of humor in teaching and in memorization of material. While there are a variety of items that one might laugh at, there are also certain commonalities that transcend social groups. (shrink)

Le commun imagine mal que les philosophes, gens. austères et graves, puissent s abandonner au rire, ou même qu'ils daignent, s'interroger sur la signification et la désirabilité de ce comportement frivole.t pourtant si, comme l'observa le premier Aristote, " rire est le propre de l'homme ", il faut bien que les philosophes sachent rire, comme tout à chacun, et même qu'ils s'inquiètent des raisons d'être du rire, de sa finalité, d'autant plus que leur propre démarche et leurs ambitions ont depuis (...) toujours prêté à rire aux profanes. Rire est-il pour l'homme un privilège ou une tare? Si les dieux d'Homère s'esclaffent dans l'Olympe, Jésus lui n'aurait jamais ri. Repoussant les réserves de Descartes, Spinoza a pris résolument le parti du rire. Et si Nietzsche nous demande de rire à la vie, c'est par contre au nom de la vie que Bergson intente un procès au rire. Tout se passe comme si ces appréciations contradictoires du rire, loin d'être dune importance secondaire, traçaient une nette ligne de partage entre les philosophes, révélant peut-être des divergences décisives entre leurs options fondamentales. (shrink)

This paper discusses continuity between ancient Pythagoreanism and the pseudo-Pythagorean writings, which began to appear after the end of the Pythagorean school ca. 350 BC. Relying on a combination of temporal, formal and substantial criteria, I divide Pseudopythagorica into three categories: 1) early Hellenistic writings ascribed to Pythagoras and his family members; 2) philosophical treatises written mostly, yet not exclusively, in pseudo-Doric from the turn of the first century BC under the names of real or fictional Pythagoreans; 3) writings attributed (...) to Pythagoras and his relatives that continued to appear in the late Hellenistic and Imperial periods. I will argue that all three categories of pseudepigrapha contain astonishingly little that is authentically Pythagorean. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure.... There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)

To let humanoid robots behave socially adequate in a future society, we started to explore laughter as an important para-verbal signal known to influence relationships among humans rather easily. We investigated how the naturalness of various types of laughter in combination with different humanoid robots was judged, first, within a situational context that is suitable for laughter and, second, without describing the situational context. Given the variety of human laughter, do people prefer a certain style for (...) a robot’s laughter? And if yes, how does a robot’s outer appearance affect this preference, if at all? Is this preference independent of the observer’s cultural background? Those participants, who took part in two separate online surveys and were told that the robots would laugh in response to a joke, preferred one type of laughter regardless of the robot type. This result is contrasted by a detailed analysis of two more surveys, which took place during presentations at a Japanese and a German high school, respectively. From the results of these two surveys, interesting intercultural differences in the perceived naturalness of our laughing humanoids can be derived and challenging questions arise that are to be addressed in future research. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure. . . . There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (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)

"Of all creatures women be best, / Cuius contrarium verum est": Gendered Power in Selected Late Medieval and Early Modern Texts The aim of this paper is to examine images of the relationship between men and women in selected late medieval and early modern English texts. I will identify prevalent ideology of representation of women as well as typical imagery associated with them. I will in particular argue that men whose homosocial laughter performs a solidifying function of their community (...) seek to reiterate their superiority over women through seemingly playful and inclusive humour. I will attempt to show that what appears to be good-natured entertainment is actually a weapon used against women who, often accused of no sense of humour, are ridiculed and commanded to succumb to male authority. I will also discuss the triumphant tone of both poems and dramatic writings whose cheerful tone functions to marginalize women and to reinforce the misogynistic foundations of public life. (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)

The proposition that man is the only animal capable of laughter is at least as old as Aristotle. In a strictly physical sense, this is probably false; but it is undoubtedly true that as a psychologically expressive and socially potent means of communication, laughter is a distinctively human phenomenon. Any attempt to study sets of cultural attitudes towards laughter, or the particular types of personal conduct which these attitudes shape and influence, must certainly adopt a wider perspective (...) than a narrowly physical definition of laughter will allow. Throughout this paper, which will attempt to establish part of the framework of such a cultural analysis for the Greek world of, broadly speaking, the archaic and classical periods, ‘laughter’ must be taken, by a convenient synecdoche, to encompass the many behavioural and affective patterns which are associated with, or which characteristically give scope for, uses of laughter in the literal sense of the word. My concern, then, is with a whole network of feelings, concepts and actions; and my argument will try to elucidate the practices within which laughter fulfils a recognizable function in Greek societies, as well as the dominant ideas and values which Greek thought brings to bear upon these practices. The results of the enquiry will, I believe, give us some reason to accept a rapprochement between the universalist assumption for which my epigraph from Johnson speaks and the recognition of cultural specificity in laughter's uses for which many anthropologists would argue, as emphatically asserted, from a Marxizing point of view, in the quotation from Vladimir Propp. (shrink)

Thomas Hobbes’s infamously severe accounts of the phenomenon of laughter earned the condemnation of such varied readers as Francis Hutcheson and Friedrich Nietzsche, and he has maintained his reputation as an enemy of humor among contemporary scholars. A difficulty is raised by the fact that Hobbes makes ample use of humor in his writings, displaying his willingness to evoke in his readers what he appears to condemn. This article brings together Hobbes’s statements on laughter and comedic writing with (...) examples of his own humorous rhetoric to show that Hobbes understands laughter as a species of insult, but that there are conditions under which humor can be made to serve the cause of peace. Drawing on evidence from across Hobbes’s works, and in particular from an understudied discussion of “Vespasian’s law” in the Six Lessons, this essay theorizes the conditions under which Hobbes found witty contumely to be conducive to peace. On this reading, Hobbes models the discreet use of humorous rhetoric in defense of peace, a defense that will be ongoing even after the commonwealth has been founded. Hobbes offers insight into how we can remain attuned to laughter’s inegalitarian tendencies without foregoing the equalizing potential to be found in laughing at ourselves and at those who think too highly of themselves. (shrink)

The proposition that man is the only animal capable of laughter is at least as old as Aristotle . In a strictly physical sense, this is probably false; but it is undoubtedly true that as a psychologically expressive and socially potent means of communication, laughter is a distinctively human phenomenon. Any attempt to study sets of cultural attitudes towards laughter, or the particular types of personal conduct which these attitudes shape and influence, must certainly adopt a wider (...) perspective than a narrowly physical definition of laughter will allow. Throughout this paper, which will attempt to establish part of the framework of such a cultural analysis for the Greek world of, broadly speaking, the archaic and classical periods, ‘laughter’ must be taken, by a convenient synecdoche, to encompass the many behavioural and affective patterns which are associated with, or which characteristically give scope for, uses of laughter in the literal sense of the word. My concern, then, is with a whole network of feelings, concepts and actions; and my argument will try to elucidate the practices within which laughter fulfils a recognizable function in Greek societies, as well as the dominant ideas and values which Greek thought brings to bear upon these practices. The results of the enquiry will, I believe, give us some reason to accept a rapprochement between the universalist assumption for which my epigraph from Johnson speaks and the recognition of cultural specificity in laughter's uses for which many anthropologists would argue, as emphatically asserted, from a Marxizing point of view, in the quotation from Vladimir Propp. (shrink)

This investigation focuses on analysing one-sided laughter in academic presentations — a form of ‘institutional talk’ defined here as goal-oriented talk about and for the business at hand, and given at structural settings of certain formality as the lecture theatre in this case. The analytical tool employed is a partial adoption of Partington’s laughter classification/categorization drawing on the theories of ‘Politeness’ and ‘Face’. This is a rather new approach which, nonetheless, contributes positively to the field of laughter (...) analysis since these theories are ‘much less examined in relationship to institutional settings’. The data analysed for this purpose is David Nunan’s presentation entitled ‘Action Research and Professional Growth’, given at the JALT First Joint Conference in Japan. The findings suggest that one-sided laughter is a communication strategy of mainly rhetorical nature capable of revealing the underlying meaning of the interaction: its hidden ideology, purpose and goal. (shrink)

I want caregivers who are solid, well-rounded, well-grounded people and who relate well to other people. That probably means they have a pretty good sense of humor. I would also expect any doctor with a sense of humor sometimes to find humor in some of the more difficult aspects of patient care, and even to make jokes about very serious things—about tragedies, poor prognoses, deaths. Humor can also be put to good use in human interactions—it’s not just something I’d expect (...) to see in normal, healthy human interactions; it can be an exceptionally powerful tool for moving a conversation forward, and for bringing people in the conversation together. But of course, it has to be used properly. I don’t want my doctor to .. (shrink)

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

Working with interactional data, one sometimes observes that a type of behavior seems to be produced a great deal by one category of persons and not all that much by another category. But when put to the test of a straightforward count, the observation does not hold up: Category X does not after all do this thing significantly more often than Category Y does. It may then be that the apparent skewing of the behavior’s distribution across categories is the result (...) of selective observation; noticing with greater frequency those cases which conformed to some biased notion held by the observer of how these categories behave. But there seems to be another possibility. It may be that the observation has located, but only roughly and partially described, a complex of behaviors which the observation can then be seen to reflect, refer to, or constitute a ‘gloss’ for. (shrink)