Rewiev of Amir, L. (2014). Humor and the Good Life in Modern Philosophy: Shaftesbury, Hamann, Kierkegaard. Albany: State University of New York Press.

In the first part of the paper, I try to clarify the cluster of moods and questions we refer to generically as the problem of the meaning of life. I propose that the question of meaning emerges when we perform a spontaneous transcendental reduction on the phenomenon my life, a reduction that leaves us confronting an unjustified and unjustifiable curiosity. In Part 2, I turn to the film ikiru, Kurosawa''s masterpiece of 1952, for an existentialist resolution of the problem.

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

Finding things funny is a pervasive aspect of human mental and social life, but humor has been neglected in the philosophy of mind and cognitive science. Recently, however, there has been a swell of interest in the topic. This essay critically introduces and evaluates contemporary developments in the field, and generates an associated list of questions that a successful theory of humor should be able to answer.

The aim of this article is to give an account of a methodological link between drama and political theory. This account is drawn primarily from the early philosophical work of Deleuze. Following Deleuze, we will refer to it as ‘the method of dramatization’. We will argue that dramatization is a method aimed at determining the quality of political concepts by ‘bringing them to life’, in the way that dramatic performances bring to life the characters and themes of a play-script. We (...) demonstrate that this can be specified in relation to the development of this method in Deleuze's early philosophical work as a practical, critical and artistic method and, in relation to the ontological assumptions he articulated and defended in Difference and Repetition, as a process of intensification of the Idea of the political. By way of example, we discuss how the dramatization of the concept of ideology functions in Deleuze and Guattari's Anti-Oedipus and A Thousand Plateaus. We conclude with some lines of inquiry that could be pursued by political theorists looking to investigate further the dramatic nature of method in political theory. (shrink)

The present study investigates how laughter features in the everyday lives of 3-5-year old children in Swedish preschools. It examines and discusses typical laughter patterns and their functions with a particular focus on children’s and intergenerational (child-adult/educator) laughter in early education context. The research questions concern: who laughs with whom; how do adults respond to children’s laughter, and what characterizes the social situations in which laughter is used and reciprocated. Theoretically, the study answers the call for sociocultural approaches that contextualize (...) children’s everyday social interaction, e.g., in different institutions or homes, to study the diverse conditions society forms for learning, sociality and socialization and development of shared norms. Methodologically, the study makes use of mixed methods: it uses descriptive statistics that identify prevalent patterns in laughter practices and, on the basis of these results, examines social-interactional situations of children’s laughter in detail. It was found that children’s laughter tended to be directed to children and adults’ laughter tended to be directed to adults. 87% of children’s laughter was directed to other children, and adults directed their laughter to other adults 2,7 times as often as to children. The qualitative interaction analysis shows that children and adults exhibited different patterns of laughter. Children primarily sought and received affiliation through laughter in the peer group, and the adults were often focused on the institutional and educational goals of the preschool. Overall, the study shows that intergenerational reciprocal laughter was a rare occurrence and suggests that laughter between generations is interesting in that it can be seen as indicative of how children and adults handle alterity in their everyday life. By deploying multiple methods, the present study points to the importance of viewing emotion and norm sharedness in social interaction not just as a matter of communicating an emotion from one person to another, but as an intricate process of inviting the others into or negotiating the common emotional and experiential ground. (shrink)

This article analyses the work of the twentieth-century late modernist Samuel Beckett, in light of the turn-of-the-century anti-rationalist Henri Bergson and the eighteenth-century neoclassicist Samuel Johnson. What unites these three very different thinkers is a concern over habitual, automatic and involuntary behavior, which in all three cases has a distinctly neurological dimension. Beckett’s writing explores the Bergsonian notion, informed by medicine and experimental psychology, of the limitations of agency, of “the deep-seated recalcitrance of matter,” and of the human as always (...) already inflicted by the mechanical, a fact that is poignantly highlighted by the case of Samuel Johnson. Through his encounter with Johnson, Beckett registers a paradigm shift in the understanding of subjectivity. Whereas Bergson aims, throughout his career, to contest the mechanical, habitual and automatic that threaten to encrust themselves upon the living, in Beckett’s often uncannily Johnsonian writing, the habitual and the automatic become progressively more central, until in the late works, habit and mechanical behavior constitute a tenuous, fraught and primitive ontology, the residues of an agential self. (shrink)