This article discusses whether a sense of humor is a political virtue. It argues that a sense of humor is conducive to the central political virtues. We must first, however, delineate different types of humor (benevolent or malicious) and the different political virtues (sociability, prudence, and justice) to which they correspond. Generally speaking, a sense of humor is politically virtuous when it encourages good will toward fellow citizens, an awareness of the limits of power, and a tendency not to (...) take oneself too seriously or when it condemns moral or intellectual vice. An analysis of President Donald Trumps deeply flawed sense of humor is used to ground this account. (shrink)

This article discusses whether a sense of humor is a political virtue. It argues that a sense of humor is conducive to the central political virtues. We must first, however, delineate different types of humor (benevolent or malicious) and the different political virtues (sociability, prudence, and justice) to which they correspond. Generally speaking, a sense of humor is politically virtuous when it encourages good will toward fellow citizens, an awareness of the limits of power, and a tendency not to (...) take oneself too seriously or when it condemns moral or intellectual vice. An analysis of President Donald Trump's deeply flawed sense of humor is used to ground this account. (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)

This thesis examines procedures for ascribing ambiguity to particular sentences and words of a language. My discussion focuses on theories advanced by Keith Donnellan, Saul Kripke and David Kaplan regarding the alleged referential/attributive ambiguity of definite descriptions, and on arguments offered by Paul Ziff, David Wiggins and Jerrold Katz concerning the ambiguity of the word 'good'. I distinguish two kinds of semantic ambiguity, which I call "strong" and "weak", and develop a theoretical model of the former. Using this model, I (...) devise and evaluate a number of theoretically related practical tests designed to detect the presence of ambiguity in concrete cases. I argue against direct appeals to our intuitions of meaning, to Occam's Razor, to grammatical analyses and to foreign languages in settling disputed ascriptions of ambiguity. I favor procedures which indirectly test our intuitions of meaning by isolating the linguistic effects of mixing and shifting senses. My tests rely on the assumption that the effects which accompany the use of truly ambiguous expressions are distinguishable from the mere pragmatic uncertainty which permeates general language use. Semantically ambiguous terms are viewed as awkward linguistic devices whose use, for example, will occasionally produce humor, as in the case of a pun, or deceptively bad reasoning. The account I develop rests heavily on the traditional theory of meaning , and to the extent that the standards I erect furnish better evidence for an ascription of semantic ambiguity, to that extent they ratify the classical analysis of meaning. (shrink)

The episode title “One Angry Veronica” calls attention to how often Veronica's anger becomes a source of conflict, as well as a force in the service of justice. All along the way, she provides us with a wonderful resource for thinking critically about feminist issues in contemporary society. More than most other characters on the show, Veronica is attuned to how issues of gender, class, and race intersect within the corrupt world of Neptune. Veronica's appreciation of the fluidity of gender (...) roles helps her to steer the expectations of those around her to serve her purposes. Veronica can be seen as a representative of a new type of feminism, which remedies the limitations of the earlier waves. She doesn't dismiss femininity, she has a positive attitude toward sex, and she approaches most issues on a personal rather than just on an outwardly political level. (shrink)

In this essay, I examine the mode of operation and aim of debates in the Tibetan Buddhist traditions. I contrast the probative form of argument that was privileged by the Indian tradition to the more agonic practice favored by Tibetan scholastics. I also examine the rules that preside over this dialectical practice, which is seen by the Tibetan tradition as essential to a proper scholastic education. I argue, however, that the practice of debates cannot be reduced to this dialectical model, (...) for it has an important performative aspect not easily encompassed by the rules. I examine this aspect of Tibetan debates, focusing particularly on the role of humor. I conclude with a few remarks on the type of rationality entailed by the importance of humor and of other rhetorical elements involved in Tibetan debates. (shrink)

In this thesis, I address the metaphysical question `What is humour?' and the ethical question `When is humour immoral?' Consulting a dictionary reveals a circle of definitions between `amusement', `funniness', and `humour'. So I split the metaphysical question `What is humour?' into three questions: `What is amusement?', `What is funniness?' and `What is humour?' By critically analysing then synthesising recent research in philosophy, psychology and linguistics, I give the following answers: x amuses y if and (...) only if: y is in a non-serious, non-threatened, non-goal-directed state. y simultaneously activates two incompatible interpretations of x via unsound logic. sufficiently increases the psychological arousal of y. x is funny if and only if x merits amusement. x is humour if and only if the function of x is to merit or elicit amusement. Similarly, I split the ethical question `When is humour immoral?' into three questions: `When is amusement immoral?', `How does immorality affect funniness?' and `When is humour immoral?' By using, and, I give the following answers: Amusement is immoral when the correct theory of normative ethics defines, or to be immoral. Immorality negatively affects funniness. Humour-types are not subject to moral evaluation. Humour-tokens are immoral when the correct theory of normative ethics defines them to be immoral. This thesis contributes to the knowledge of the subject in two ways. First, by critically analysing and synthesising recent inter-disciplinary research, provides a more precisely specified definition of amusement than that in the philosophical literature. Second, research on humour, across all disciplines, conflates the three closely related but distinct concepts of humour, amusement and funniness. By providing a linear sequence of definitions,, and avoid the conceptual confusions that commonly occur. (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)

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)

Based on an analysis of 137 texts written by pupils, this paper examines pupils? humour directed at teachers, its types and social functions. The collected data are divided into three categories that describe different modes of teachers as targets of pupils? humour. The first mode describes teachers as unintentionally comical, the second as duped by their pupils and the third as intentional users of humour. The analysis focuses on different functions that pupils? humour directed at (...) teachers fulfils in the social life of the classroom. The paper concludes by showing how key functions of social humour (such as creation of solidarity, negotiation of power and realisation of personal needs) are connected to the three modes of pupils? humour directed at teachers. (shrink)

Humour is worthy of serious ethical consideration. However, it is often taken far too seriously. In this paper, it is argued that while humour is sometimes unethical, it is wrong much less often than many people think. Non-contextual criticisms, which claim that certain kinds of humour are always wrong, are rejected. Contextual criticisms, which take issue with particular instances of humour rather than types of humour, are more promising. However, it is common to overstate (...) the number of contexts in which humour is wrong. Various mistakes of this kind are highlighted and cautioned against. (shrink)

BackgroundHumor is a main ingredient of interpersonal relationships. Two sets of psychopathological traits known for their devastating impact on interpersonal relationships are psychopathy and narcissism. The current study was developed to provide a fine-grained analysis of the relationship between four humor styles and both psychopathic and narcissistic traits. Specifically, it addresses how humor styles relate to the three psychopathy subfactors and four subfactors of grandiose narcissism.MethodSelf-report measures in a non-clinical male sample N = 177.ResultsMultiple regression analyses revealed psychopathic and narcissistic (...) traits’ relation to using both benign and injurious humor. Subfactor analyses showed that aggressive and self-defeating humor were mostly associated with impulsivity and entitlement, while dominance levels actuated the use of humor to cope with stress. The cold-heartedness component of psychopathy proved to be particularly humorless, setting it aside as a distinctively disturbing psychopathic subfactor.Conclusions and implicationsHumor strongly colors the interpersonal style of both psychopathic and narcissistic personalities. Differential components of both personality types inform on the possible underlying motivations that drive the use of distinct styles of humor. This implies that psychopathic and narcissistic traits could potentially be lowered through the alternation of humor styles. (shrink)

We tend to take the phenomenon of humour for granted, seeing it for the most part as something innately and fundamentally human. However we might go even further than this, and say that the phenomenon of humour is perceived as an essential part of what makes us human. In this respect, philosophers and theorists as wide apart as Aristotle and the French, feminist Julia Kristeva (1980; also see Goldberg, 1999a) have regarded a baby's ability to laugh as one (...) of the earliest signs of the separation of 'self' from 'other', a reciprocal process deemed to be crucial to the formation of a separate identity. However, although the general importance of humour might be agreed amongst researchers, what theoretical position one takes will have a profound effect on how one approaches and analyses humour. In much psychological research the focus tends to be on how humour works, i.e., syntax, semantic categories, sex differences, personality types, etc., and one finds a frustrating neglect of what is actually meant by the term 'humour' in terms of history and emergences. Consequently, an important question tends to go unchallenged: Is humour some unproblematic innate human ability, or, a socially defined concept that has changed and mutated alongside our understanding of what is means to be person ? In an attempt to grapple with this question, the following genealogical account is less concerned with fathoming out how humour works than with relating it to notions of human subjectivity, or how theories of humor have informed and reflected social constructs of what it means to be a 'subject'. (shrink)

For familiar reasons, stereotyping is believed to be irresponsible and offensive. Yet the use of stereotypes in humor is widespread. Particularly offensive are thought to be sexual and racial stereotypes, yet it is just these that figure particularly prominently in jokes. In certain circumstances it is unquestionably wrong to make jokes that employ such stereotypes. Some writers have made the much stronger claim that in all circumstances it is wrong to find such jokes funny; in other words that people who (...) laugh at such jokes betray sexist/racist attitudes. This conclusion seems false. There is, as I shall argue, a thin dividing line between being properly sensitive to the rights and feelings of women and of racial groups different from our own, and being excessively sensitive to oversensitivity. Oversensitivity is, in this context, a kind of intolerance, and there is no reason why we should pander to that. One can be opposed to the unchecked dissemination of certain kinds of racist or sexist humor without oneself being a racist or sexist for finding such humor funny. The use of various stereotypes in humor serves the linguistic purpose of facilitating brevity and punch, the cultural purpose of preserving, in a sanitized form traditional rivalries and antipathies, and the psychological purpose of discharging fears. Blanket moral condemnation is inappropriate, though there will, of course, be circumstances under which the promulgation of certain types of humor, or even its enjoyment, ought to be condemned. (shrink)

Class Clowns: Talking out of Turn with an Orientation Toward Humor The classroom is a primary site for children to learn accommodation to cultural practices and norms, but also for them to develop strategies for disruption and humor while avoiding sanctions. Although the teacher has the power in the elementary classroom, there are twenty or so prospective disruptors and all sorts of possible disruptions with humorous potential at various different points in the interaction. In our paper, we investigate disruptive humor (...) in the first six years of school from the perspective of the pupil adjusting to the restrictions and possibilities of the system, rather than from the usual perspective of the teacher, who wants to control classroom behavior. We explore recorded classroom interaction to determine the types of humorous disruptions and their interactional effects, showing how pupils adjust to the conventions of classroom behavior, but also how they test the system for humorous purposes. We argue that humorous disruptions often function to assert individual identity or to create a particular class personality in the otherwise faceless group orientation of the elementary classroom. (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)

Humor is a contextual phenomenon that exists in all societies, although the impact of humor may differ across different cultures. The data for this research was collected using an ethnographic approach, incorporating participant observation and semi-structured interviews. Based in three different South Korean organizations, this research offered the opportunity to interact in depth with workers of varying ages, genders, hierarchical levels, and organizational roles. Observations were complimented by 46 in-depth interviews and ad hoc follow-up discussions. This paper adopts a Confucian (...) perspective to understand the perception and use of workplace humor in these South Korean organizations. Confucian philosophy emphasizes the value of formality within society in order to maintain respectful relationships between individuals. We suggest that humor is used in these South Korean workplaces to support traditional Confucian values of harmony and hierarchy, and the changing cultural values in these workplaces influence humor perceptions in complex ways. The Confucian value of harmony maintained through the idea of hierarchy creates pressure for organizational members, to accept and cope with contentious humor in the workplace. In particular, the clash between the need to maintain harmonious relationships in the workplace (through obedience towards superiors) and the desire to reject some types of humor highlights issues for younger organizational members. Internal conflict creates distress for younger employees who may hold more Westernized values and this affects their emotional, psychological well-being. This study presents a cross-cultural perspective to organizational humor, and suggests that humor may not always be a positive experience for organizational members, but instead may create psychological distress in some employees. (shrink)

Professional boundaries are an important aspect of social work theory and praxis – yet it is an underexplored topic within the research literature. Research often explores specific types of professional boundary issue rather than exploring social workers’ boundary stories or boundary narratives. In contrast, this qualitative study explored UK social workers’ broader understanding and experience of professional boundaries. This paper will examine one of the research themes – Humour as a boundary breaker. By using humour, social workers (...) were able to break down the boundaries that often impede effective practice. Participants also used humour to build connections with service users, colleagues and other professionals. Nonetheless, there were various aspects of this practice that raised serious issues related to power, prejudice and discrimination. This theme is important to explore because of how relevant it was for participants’ practice and because humour is also an underexplored topic within the social work literature. (shrink)

Public authorities have traditionally used an official language style in public, but currently social media have become an outlet for humour. This article uses positioning analysis to discuss challenges that use of humour poses for the identity of public organizations. Drawing on interviews with communications professionals working in the emergency services sector, the article suggests six evaluative themes that factor into organizational identity construction, such as the frequency and type of humour in social media posts. Indeed, while (...) humour helps fashion more flexible and risk-taking organizational identities, it can also stand contrary to a bureaucratic ethos of public servantship and equal treatment. Dilemmas thus arise for public authorities that seek to adjust to the times and still remain ‘in character’. The article contributes to organizational identity research by considering the hitherto overlooked immersion of social media use, humour and organizational identity formation. (shrink)

In this essay Mordechai Gordon begins to address the neglect of humor among philosophers of education by focusing on some interesting connections between humor, self‐transcendence, and the development of moral virtues. More specifically, he explores the kind of humor that makes fun of oneself and how it can affect educational encounters. Gordon begins his analysis by discussing the nature and purpose of humor in general, while distinguishing it from laughter and amusement. In the next part of the essay, he takes (...) a close look at the characteristics and benefits of the type of humor that we use when we make fun of ourselves. He then turns his attention to exploring the relation between laughing at ourselves, self‐transcendence, and a number of moral virtues. The final part of this essay briefly examines what might happen to the quality of educational encounters when teachers become more comfortable with laughing at themselves. (shrink)

Theories of humor tend to neglect the role that humor plays in situations of conflict. This paper explores epistemological and political dimensions of humor as it is used by members of disenfranchised and otherwise marginalized groups. Not only can this kind of humor I call "oppositional" aid members of oppressed groups in preparing for conflict; it can also help people's beliefs shift in politically significant ways. Although I think the use of oppositional humor can be very constructive both politically and (...) epistemologically indealing with conflict, I am skeptical about the use of oppositional humor in situations of direct conflict resolution. Nevertheless, I suggest that a type of humor called banter can be productively engaged in by the relatively disempowered when certain parameters are drawn. (shrink)

. Usually the ethics of humor revolves around the content of humor. After giving a synopsis and exposing some shortcomings of the recent controversies, this paper takes into account additional aspects and proposes a change of perspective from token to type level and deploys tools of the philosophy of language to tackle the question whether a joke as a type can be considered morally flawed irrespective of its tokens. After exploring possible ways one can think of to furnish evidence for (...) the opposite position, two novel lines of argumentation based on counterfactual conditionals and speech act theory are provided to show that these ways aren’t viable and that joke as types are ethically neutral. Moreover, the presented approach increases the resolution of the debate and provides a framework to capture other hitherto neglected questions of the philosophy of humor as well. (shrink)

Satirical news is often characterized as a hybrid genre that consists of three important communicative functions: it is (1) humoristic, (2) informative, and (3) evaluative. The Humoristic Metaphors in Satirical News (HMSN) typology demonstrates that metaphors can be utilized by satirists to express this hybridity by consisting of a combination of one or more of satire’s core communicative functions. Nevertheless, the underlying principles through which metaphors are capable of humorously explaining and/or criticizing current affairs are less clear. To broaden our (...) understanding of how metaphorical humor is used in satirical news to fulfill these functions, we integrate the HMSN typology with the General Theory of Verbal Humor (GTVH). The GTVH assumes that all verbal humor must draw from six interdependent Knowledge Resources (KRs). Through a content analysis of metaphorical humor used across various American satirical news shows, we investigated how these KRs are used to fulfill satire’s core communicative functions across the various metaphorical sub-types of the HSMN typology. We found that: (1) some KRs can help fulfill the communicative function(s) of metaphorical jokes, while (2) some KRs constrain the options available for the expression of certain communicative function(s) or other KRs. (shrink)

One can understand humor in terms of one or some combination of the three types of humor and also by envisioning humor as a finite-province of meaning in the tradition of Alfred Schutz’s essay “On Multiple Realities”. Exemplifying varieties of humor articulated by philosophical theory, especially the superiority theory, which undermines those thought “superior,” African-American humor, from the days of slavery until the 1960s, struggled against widespread cultural suppression, as a brief survey of its history shows. Contemporary philosophical discussions (...) of trust elucidate why it would have been perfectly rational and prudent for African-Americans to avoid sharing humor that vents legitimate aggressiveness against whites even though modified by humor, and yet these discussions present the possibility that by trusting another one can transform that other. One can find examples in African-American folklore, particularly the John/ole Massa stories, of a dream of doing what was impossible in pragmatic everyday life, namely to engage in a comic engagement with white slave-owners. In that dream, African-American slaves utopianly imagined themselves as able through humor understood as a finite province of meaning shaped by an epoché, form of spontaneity, reduced tension of consciousness, sense of self, and a distinctive temporality and sociality, to express outrage at injustice, transform even white slave-owners, and even win freedom for humorists themselves. (shrink)

A review of the literature in philosophy in the past 20 years indicates that relatively little has been written on the connection between friendship, intimacy and humor. This article is intended to begin to address the neglect of this topic among philosophers by focusing on some interesting aspects of the relationship between friendship, intimacy and humor. The author begins his analysis by examining the different types of friendships while highlighting the characteristics of the particular kind of friendship that involves (...) intimacy. The second part of this article discusses the concept of intimacy, which has not received much attention among philosophers. Next, the author takes a close look at the issue of humor while distinguishing it from both joking and laughter. He then moves to the heart of this article, which focuses on the question of: how can humor enhance intimacy in friendship? In the final part of this article, the author briefly outlines some educational implications that can be gleaned from the analysis of the relationship between friendship, intimacy and humor. (shrink)

Punning is an important means of creating humorous effects by intentionally exploiting semantic ambiguity. Previous psycholinguistic research on puns has mainly focused on the process of meaning retrieval in homograph puns, while it is still not entirely clear how readers dynamically utilize contextual information to understand homophone puns. In the current investigation, 68 native Chinese participants were recruited to read three types of experimental sentences while their eye movements were recorded: the homophone-pun sentences where the less salient homophone was (...) visually presented, the homophone-salient sentences where the salient homophone was used, and the homophone-error sentences where the critical context noun in the homophone puns was replaced with an unrelated word. Humor rating results of the homophone puns and the homophone-salient sentences demonstrated that the less salient homophones rather than the salient ones elicited much larger humor responses when presented visually in the same potential pun context. In addition, the reverse fixation pattern in the homophone area and the spill-over region also suggested that meanings of the salient homophones were more recoverable even when not presented visually. Statistical analyses of the homophone puns and the homophone-error sentences showed that the semantic relatedness between the critical context noun and the less salient homophone could significantly predict the humor rating scores of Chinese readers. Taken together, less salient homophones need to receive more contextual support to balance out the advantages of salient homophones before generating a humorous pun interpretation. (shrink)

In this work Ockham proposes a theory of simple predication, which he uses in explicating the truth conditions of progressively more complicated kinds of propositions. His discussion includes what he takes to be the correct semantic treatment of quantified propositions, past tense and future tense propositions, and modal propositions, all of which are receiving much attention from contemporary philosophers. He also illustrates the use of exponential analysis to deal with propositions that prove troublesome in both semantic theory and other disciplines, (...) such as metaphysics, physics, and theology. This type of analysis plays an essential role in his substantive philosophical and theological works, and in many cases then can hardly be understood without a prior acquaintance with this section of the Summa. An introduction by Alfred J. Freddoso clarifies and summarizes Ockham's theory, discusses certain philosophical problems which it engenders, and proposes new interpretations for parts of it. The essay will be helpful both to those interested in Ockham as a historical figure and to those interested in his substantive systematic contributions to logical theory. (shrink)

The general concept of a trope – that of a non-shareable character-grounder – admits of a distinction between modifier tropes and module tropes. Roughly, a module trope is self-exemplifying whereas a modifier trope is not. This distinction has wide-ranging implications. Modifier tropes are uniquely eligible to be powers and fundamental determinables, whereas module tropes are uniquely eligible to play a direct role in perception and causation. Moreover, each type of trope theory faces unique challenges concerning character- grounding. Modifier trope theory (...) faces challenges concerning the inscrutability of predication and the incompatibility with bundle theory, whereas module trope theory faces challenges concerning character overdetermination and a collapse into austere nominalism. These differences indicate that the modifier/module distinction divides the advantages of general trope theory and thus presents the trope theorist with a pivotal choice. (shrink)

Modern medicine provides unprecedented opportunities in diagnostics and treatment. However, in some situations at the end of a patient’s life, many physicians refrain from using all possible measures to prolong life. We studied the incidence of different types of treatment withheld or withdrawn in 6 European countries and analyzed the main background characteristics.

My objective here is to give an account of self-deprecating humor—examining what works, what doesn't, and why—and to reflect on the significance of the audience response. More specifically, I will be focusing not only on the purpose or intention behind self-deprecating jokes, but considering how their consequences might render them successful or unsuccessful. For example, under what circumstances does self-deprecation tend to put listeners at ease, and when is this type of humor more likely to put people off? I will (...) also consider the ways in which self-deprecating jokes are similar to gallows humor, and the extent to which context counts. The target or "butt" of these jokes, in cases of self-deprecation as well as gallows humor, will be explored; as will whether or not the audience bears some responsibility or has a role to play in the ultimate success or failure of a joke. For instance, is the audience role a completely receptive and passive one? Is the joker/jokee relationship one which confers no responsibility on the listener whatsoever? Or, do listeners have an obligation to respond with appreciative laughter to mere attempts at humor, especially the self-deprecating sort, by accepting such levity in the spirit in which it is intended? Does this mean that being a good sport—responding generously or appreciatively when a well-intentioned joke fails to land—would be a habit worth cultivating? If so and courtesy laughter or a playful appreciation of self-deprecating humor is something that can be cultivated, what specifically would that entail? In sum, although I cannot fully or definitively answer each and every one of these questions, I do hope to provide some provisional responses. To better situate the nature of self-deprecation, I will not only provide a brief description of the gallows genre, I will also explore two traditional theories of humor. Those that are particularly relevant, to both gallows and self-deprecating humor are Freud's relief theory and the incongruity view. In addition, I will identify what I believe to be the three essential ingredients of successful self-deprecation and, finally, will conclude with the argument that audiences or listeners do have an important role to play. And, moreover, that generous, appreciative laughter can and should be cultivated—even though this is something that will largely depend on one's personal history and habits, dispositional character and cultural background. (shrink)

Galen's æuvre presents a remarkably varied body of texts–varied in subject matter, style, and didactic purpose. Logical tracts sit alongside tomes of drug–lore; handbooks of dietetics alongside anatomical investigations; treatises of physiology alongside ethical opuscula. These differences in type have received some, though as yet insufficient, scholarly attention. Mario Vegetti demonstrated the coexistence of two ‘profili’ or images of the art of medicine: Galen presents the art as an Aristotelian deductive science, on the one hand, and as a technician's craft, (...) on the other. The former image, offering an ambitious elevation of the doctor's cultural status, has medicine as a philosophical episteme analogous to the mathematical sciences, exercised above all to provide causal accounts and logical demonstrations, and centred on the knowledge of anatomy. The second image is that of the clinician, concerned with the body in its pathological manifestations and using as its prime model the ‘pre-anatomical’ theory of the humours. And the content of the treatises shifts in relation to this dual image: ‘profilo alto’ and ‘profilo basso’ are reflected in different types of work. Polemical writings such as the Protrepticus, as well as the great treatises of anatomy and physiology, De usu partium and De naturalibus facultatibus, present medicine in the former light, while works like De temperamentis or Quod animi mores base themselves on humoral pathology and accord with the earlier, artisan-like image. (shrink)

The paper analyses how some types of postmodern art have been used as a means of copying by the aid of humour with the unpleasant restrictions and changes of the way of life during the emergency and alert states in Romania. Artă Reinterpretată is a Facebook page that offers posts on various aspects of life during the pandemics quarantine and lockdown, including isolation or exploiting love, couple and family difficulties; during the relaxation measurement and, finally, during rights restriction (...) for those whom do not have The Green Covid Card. It does so by reinterpreting classical paintings, by adding to them a text or an image or both and thus creating a humourist situation meant to ease upon the hardships of a situation we cannot change. (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)

Humor is a surprisingly understudied topic in philosophy. However, there has been a flurry of interest in the subject over the past few decades. This article outlines the major theories of humor. It argues for the need for more publications on humor by philosophers. More specifically, it suggests that humor may not be a well-understood phenomenon by questioning a widespread consensus in recent publications – namely, that humor can be detached from laughter. It is argued that this consensus relies on (...) a cognitivist account of emotion, one that is open to debate, and that it becomes unclear what sorts of phenomena a theory of humor is supposed to explain when one questions this assumption. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (2000), which (...) characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on (...) his life and impending death: it begins with the words “sometimes I feel like my shadow’s casting me” and ends with “keep me in your heart for a while”. 'The Wind' ranks among Zevon’s very best and belongs in the same category as albums like David Bowie’s 'Blackstar' and Leonard Cohen’s 'You Want It Darker': works of great artists that knew the end was coming and made that knowledge musical. But though it had a particular force towards the end, death had always featured as a prominent theme in Zevon’s music. In fact, the albums that preceded his terminal diagnosis – especially 2000’s 'Life’ll Kill Ya' – have a marked preoccupation with death and dying, and many of his song’s characters (gunmen, gangsters, boxers, murderers of all stripes) either dealt death out, died, or both. -/- In this chapter, I argue that Zevon’s music and speech in his late public appearances personify an idea in Martin Heidegger’s philosophy called ‘authentic being-towards-death’. In his landmark text 'Being and Time', Heidegger undertakes a painstaking analysis of human existence. One of its conclusions is that to live a fully authentic life, we must reckon with our mortality, come to terms with it and allow this reckoning to have a transformative effect on how we live and how we think about our existence. This results, Heidegger argues, in a distinct way of being that he calls ‘being-towards-death’ and ‘anticipatory resoluteness’ in the face of death. Authentic being, which involves properly taking ownership of our lives and their meaning, cannot be adequately achieved without a serious confrontation with the fact that we will one day die. I claim that Warren Zevon’s music, with its continual engagement with death which culminates in 'The Wind', is one of the great musical manifestations of exactly this type of project. Heidegger’s writing is often notoriously abstract, but it pertains to the most fundamental issues about what it means to be human. Engaging with it alongside Zevon’s music provides a fruitful opportunity to make it concrete, better able to understand its most important aspects while providing an interesting conceptual toolkit to apply to the music of one of the great songwriters of death. (shrink)

Firstly, this paper aims to analyze how verbal and visual modes contribute to build two basic components of cartoons: the referenced situation and the fictional situation. Secondly, it aims to unravel the semiotics of this discursive genre by offering a fine-grained picture of modal variations and continuities of the rhetorical resources deployed, by means of which the fictional situation is displayed. The corpus is composed of 50 multimodal cartoons chosen by cartoonists of 22 nationalities as the most representative of their (...) work in the frame of a wide questionnaire. Category analysis and non-parametric statistics were applied. We identified and fleshed out four different types of modal functioning of resources: visual preference, verbal preference, modal flexibility, and genuine multimodal functioning. Even if visual and multimodal metaphor were often in charge of transferring meaning from fiction to the referenced situation, results show that other resources such as antithesis, irony, and syllepsis can become the key resources of cartoons. Findings highlight the multilayered functioning of cartoons, among which plastic features can play a significant role, and provide further evidence in favor of the hyperdetermination of humor hypothesis proposed by Attardo. (shrink)

Using tools like argument diagrams and profiles of dialogue, this paper studies a number of examples of everyday conversational argumentation where determination of relevance and irrelevance can be assisted by means of adopting a new dialectical approach. According to the new dialectical theory, dialogue types are normative frameworks with specific goals and rules that can be applied to conversational argumentation. In this paper is shown how such dialectical models of reasonable argumentation can be applied to a determination of whether (...) an argument in a specific case is relevant are not in these examples. The approach is based on a linguistic account of dialogue and text from congruity theory, and on the notion of a dialectical shift. Such a shift occurs where an argument starts out as fitting into one type of dialogue, but then it only continues to makes sense as a coherent argument if it is taken to be a part of a different type of dialogue. (shrink)

Dad jokes, I argue, are a manifestation of a much older fatherly impulse to tease one’s children. On the surface, dad jokes are puns that are characterized by only violating a pragmatic norm and nothing else, which makes them lame and unfunny. Only violating a pragmatic norm and nothing else, however, is itself a violation of the norms of joke-telling, which makes dad jokes a type of anti-humor. Fathers may in turn seek to embarrass their children by purposively violating the (...) norms of joke-telling in this way, thus weaponizing the lame pun against their children as a type of good-natured teasing. Given their personality profile, it makes sense that fathers should be particularly prone to weap­onize dad jokes teasingly against their children like this, with the phenomenon bearing an illuminating resemblance to the rough-and-tumble play that fathers have engaged their children in since before the dawn of our species. (shrink)

At Discorsi II.20, Machiavelli defines auxiliary arms as those, “whom a prince or a republic send captained and already paid for, for your aid.” My contention is that Machiavelli’s treatment of auxiliary arms is much more nuanced than it may seem at first glance. Throughout his works, Machiavelli articulates this type of force from the standpoint of the prince but also, surprisingly, from the standpoint of the people. In their princely employment, auxiliary arms act instrumentally as means for the projection (...) of power. However, analyzed from the standpoint of the people, auxiliary force exposes the projects of the state to the radically aleatory. Acknowledging the aspectival function played by the definition of auxiliaries in Machiavelli’s texts offers a new vantage point for re-reading Machiavelli on the nature of authority, power and the conflict of the umori. (shrink)

Philosophical accounts of humour standardly account for humour in terms of what happens within a person. On these internalist accounts, humour is to be understood in terms of cognition, perception, and sensation. These accounts, while valuable, are poorly-situated to engage the social functions of humour. They have difficulty engaging why we value humour, why we use it define ourselves and our friendships, and why it may be essential to our self-esteem. In opposition to these internal (...) accounts, I offer a social account of humour. This account approaches humour as a social practice. It foregrounds laughter and participation, and thereby gives an account of humour that helps to understand why we value humour, why we use it as we do, and why we use it to define our relationship to the world. (shrink)

Research ethics committees (RECs) evaluate whether the risk-benefit ratio of a study is acceptable. Decentralized clinical trials (DCTs) are a novel approach for conducting clinical trials that potentially bring important benefits for research, including several collateral benefits. The position of collateral benefits in risk-benefit assessments is currently unclear. DCTs raise therefore questions about how these benefits should be assessed. This paper aims to reconsider the different types of research benefits, and their position in risk-benefit assessments. We first propose a (...) categorization of research benefits, based on the types of benefits that can be distinguished from the literature and ethical guidelines. Secondly, we will reconsider the position of collateral benefits. We argue that these benefits are not fundamentally different from other benefits of research and can therefore be included in risk-benefit assessments of DCTs. (shrink)

Ever wondered what a contemporary philosophy of humour would entail? This book starts the conversation.

Abstract: Tomatoes are part of the major crops in food security. Tomatoes are plants grown in temperate and hot regions of South American origin from Peru, and then spread to most countries of the world. Tomatoes contain a lot of vitamin C and mineral salts, and are recommended for people with constipation, diabetes and patients with heart and body diseases. Studies and scientific studies have proven the importance of eating tomato juice in reducing the activity of platelets in diabetics, which (...) helps in protecting them from developing deadly blood clots. A tomato classification approach is presented with a data set containing approximately 5,266 images with 7 species belonging to tomatoes. The Neural Network Algorithms (CNN), a deep learning technique applied widely in image recognition, is used for this task. (shrink)

A Relevance-Theoretic Classification of Jokes Relevance Theory pictures communication as an inferential activity that adjusts, in parallel, the explicit content of utterances, the implicated premises and conclusions that can be derived, and the right amount of contextual information needed to obtain them. When applied to jokes, a relevance-theoretic classification may be proposed depending on whether the humorist plays with the audience's inferential activity aimed at an explicit interpretation, with the audience's inference devoted to deriving implications or with their access to (...) the right amount and quality of contextual information needed to obtain relevant interpretations. In this paper three types of jokes are proposed which focus on these aspects. A fourth type is also added, but this time referred to broad contextual assumptions on social or cultural values of society that are targeted by humorists. (shrink)