From a phenomenological viewpoint, shame and guilt may be regarded as emotions which have incorporated the gaze and the voice of the other, respectively. The spontaneous and unreflected performance of the primordial bodily self has suffered a rupture: In shame or guilt we are rejected, separated from the others, and thrown back on ourselves. This reflective turn of spontaneous experience is connected with an alienation of primordial bodiliness that may be described as a "corporealization": The lived-body is changed into the (...) objective, corporeal body or "body-for-others." The polarity of "bodiliness" and "corporeality" may further a phenomenological understanding of several mental disorders connected with shame and guilt. This is shown by the examples of body dysmorphic disorder and melancholic depression. (shrink)

This paper examines the narrative contribution of the humorous gag, as a dynamic image intended to create ambivalence, in the biblical stories. Despite being one of the most important resources used to produce comedy in the visual arts, the gag can also be observed from a narratological point of view to meas-ure its involvement in a plot. Storytelling through gags provides an alternative means of approaching issues, developing threads and concluding episodes. The distinctiveness of the gag lies in the strength (...) of the images it suggests. The more shocking or misplaced a gag appears, the greater its contribution to the general narrativity, which may become more evident according to the strength of the image built. This argument is shown through some biblical examples. (shrink)

L’intérêt que Bergson porte aux arts est bien connu. À travers l’ensemble de son œuvre, les exemples souvent inspirés par la littérature et la lecture semblent révéler une certaine affinité pour cette forme d’art. Pourtant, malgré sa récurrence, ce thème n’est jamais étudié frontalement ni profondément. Cette brève étude se veut un tour d’horizon du répertoire bergsonien, une recherche d’éléments qui permettraient peut-être d’articuler une pensée bergsonienne de la lecture. Plus précisément, nous examinons les exemples utilisés par Bergson pour illustrer (...) les notions de suggestion, d’attention et de sympathie, pour déterminer si ces descriptions du phénomène de lecture ne sont que des exemples, ou s’ils ont une valeur philosophique propre. (shrink)

In this article I try to conceive a new approach towards laughter in the context of formal schooling. I focus on laughter in so far as it is a bodily response during which we are entirely delivered to uncontrollable, spasmodic reactions. To see the educational relevance of this particular kind of laughter, as well as to understand why laughter is often dealt with in a very negative way in pedagogical contexts, this phenomenon should be carefully distinguished from humor or amusement. (...) I build my argument for a smaller part on the basis of conceptual analysis, and to a greater extent on Bakhtin’s work on the transition from Medieval folk culture to Modern civilized culture, in which he claims that a reduction from laughing as a strongly physical experience to mere forms of amusement or humor actually implies that laughter no longer possesses its inherent equalizing and communizing potential. In a sense, laughter forms a threat to any organization of social existence according to similarities and differences in identity and position, and this explains why we usually try to suppress it, or why we try to render it functional in view of the continuation of a societal regime or pedagogical order. More positively formulated, laughter may be said to have an intrinsic educational meaning, because it allows a significant transformation of individual and collective existence. (shrink)

The concept of the gesture is explored in relationship with its moral significance rather than, for example, its aesthetic significance. It is argued that the concept can be used in order to make clear how morality relates to the body. This is not to suggest that gestures can be neatly defined. On the contrary, they always seem to be ambivalent and somewhat nebular. However, it will be shown that some of their significance might well be related to popular concepts such (...) as ‘transparency’, ‘authenticity’, ‘integrity’ and ‘responsibility’. In order to make this clear, the role of some particular gestures in politics and organizational life, most notably ‘apology’ and ‘trust’, will be discussed throughout the paper. (shrink)

Situational irony concerns what it is about a situation that causes people to describe it as ironic. Although situational irony is as complex and commonplace as verbal and literary irony, it has received nowhere near the same attention from cognitive scientists and other scholars. This paper presents the bicoherence theory of situational irony, based on the theory of conceptual coherence (Kunda & Thagard, 1996; Thagard & Verbeurgt, 1998). On this theory, a situation counts as ironic when it is conceived as (...) having a bicoherent conceptual structure, adequate cognitive salience, and evokes an appropriate configuration of emotions. The theory is applied to a corpus of 250 examples of situational ironies gathered automatically from electronic news sources. A useful taxonomy of situational ironies is produced, new predictions and insights into situational irony are discussed, and extensions of the theory to other forms of irony are examined. (shrink)

Résumé Nous posons dans cet article que l’humour dans le discours publicitaire est un mécanisme privilégié de la communication multicanale et plurisémiotique pour transformer le discours marchand en pratique communicationnelle agissante. Dans son rapport à une normativité donnée comme potentiellement divergente, il est mobilisé dans le double objectif de construire un ethos décalé, identifiable et mémorisable pour le locuteur-annonceur, et de produire du plaisir intellectuel pour susciter la connivence du récepteur, qui devient ainsi co-énonciateur. Est alors interrogée la sémiosis de (...) ce discours publicitaire dont chaque élément est porteur de signification aux yeux du récepteur lors de l’acte d’énonciation. Par la lecture connivente que le processus induit, l’acte humoristique comme acte de parole du côté de la production vise ensuite à s’actualiser en acte d’achat proprement dit du côté de la réception. (shrink)

This paper examines the pretence theories of irony of Jancke (1929) and Currie (2007) and argues for a pretence theory according to which the evaluations of the ironist are more important than his emotions, negative and positive, and bear principally on cognitive values. The formal object of irony is foolishness and not any ethical, political or aesthetic disvalue. I suggest that the view of irony outlined resembles in many respects the conception of irony to be found in the writings of (...) Robert Musil. (shrink)

Over the past two decades, a growing number of large multinational corporations have come to view philanthropy as an important part of their business operations. This has stimulated research on the many different strategies that are pursued by these corporations in their attempts to become more philanthropic while remaining economically responsible. In this situation, some researchers have argued, corporations run the risk of being caught out as hypocrites. Through an analysis of the corporate social responsibility reports of the biggest multinational (...) corporations, this article shows how the risk of hypocrisy is managed communicatively through the use of euphemisms. The article argues that the use of euphemisms makes it possible to communicate both economically and philanthropically without manifest contradictions. Euphemisms, however, are also risky in their own right. (shrink)

The general theme of this reflection on laughing is that the place of laughter in everyday life has been reduced a great deal in Western societies since the beginning of the century and that this fact could have major consequences for the mental equilibrium of individuals and for the future of our civilizations. Moreover, philosophy and human sciences seem to have a certain responsibility for this disenchantment of our contemporaries with laughing.

‘Incongruity is never superfluous’Thea Arbee (2016) Is the superfluous a (new) modality?11. Even if much has been written about ingredients that trigger laughter, researchers are still far from hav...

RésuméJ'analyse la façon dont Bergson caractérise la logique tel un organe de simplification, de dissimulation, d'ordonnance, de limitation, de systématisation, comme habitude de pensée et comme ontologie foncière. Partout, la logique semble la prérogative de l'entendement et inapte à s'appliquer à la durée, voire à la réalité elle-même. Pour sortir d'un tel dualisme, je montre que Bergson conçoit une logique de l'absurde et de l'imagination, avec le rêve, la folie et le comique, laquelle transmute la logique dans le domaine du (...) pathologique et de l'art littéraire, et offre à l'image une seconde gloire.In this paper, I analyze the sense in which Henri Bergson characterizes logic, which he understands to be a means of simplification, dissimulation, ordering, limitation and systematizing, as well as a habit of thinking and something basically ontological. Overall, logic seems to be the privilege of the understanding; it is unfit to apply itself to duration, or to reality itself. To help us out of such dualism, I show that Bergson — considering dreams, madness, and comedy — conceives of a logic of the imagination and of the absurd that transplants logic into the field of the pathological and literary art, and that offers a second glory to images. (shrink)

The exploration of laughter’s philosophical significance within the realm of performing arts, particularly the French classical theatre of the seventeenth century, reveals a profound connection to the comedic genre. This literary form, characterized by its gentle yet satirical nature, aims to critique and amend the behavioral and societal flaws of individuals. It often portrays a protagonist whose moral attributes and actions defy societal norms, depicted on stage in an exaggerated manner, amplified and interwoven with theatrical techniques such as verbal wit, (...) comedic behavior, and the humorous repetition of scenarios. Through this lens, comedic dialogue not only elicits laughter but also conveys an ethical message, emerging from the critique of society’s distasteful customs and pervasive misconceptions. The comic and humorous approach offers a fresh, conciliatory perspective on life, contrasting the somber, oppressive reality presented in tragedy, thus serving as a potent vehicle for engaging diverse social groups. This study briefly touches upon the history and evolution of the laughter element, or the comedic genre, within French literature of the sixteenth and seventeenth centuries. It delves into the critical issue and examines the techniques and performances that induce laughter in The Miser, extending the discussion to encompass the philosophy of laughter. (shrink)

“The Power of Translation” examines the language phenomenon of translation in the context of power relations and the transcendence of power relations. The thesis of the article can be summarized in point form: *Translation is a player in the power structure of human relating from which it cannot be extracted and based on an objective and purely translative ground. *Translation, as much as language itself, is a force which results in separation, not in connection. At the same time, the ‘tools’ (...) (technology, translation, language, eros) which separate us become connective where they retain the capacity of self-subversion and dialogue. *Subsequent to this dynamic, we discern the colonizing and eschatological plot inherent in translation. Translation is an ‘open’ phenomenon, always engaged in creating structures which are both oppressive and liberating. It is this openness which constitutes the power of translation. (shrink)