In this article, I consider the standard interpretation of the superiority theory of humor attributed to Plato, Aristotle, and Hobbes, according to which the theory allegedly places feelings of superiority at the center of humor and comic amusement. The view that feelings of superiority are at the heart of all comic amusement is wildly implausible. Therefore textual evidence for the interpretation of Plato, Aristotle, or Hobbes as offering the superiority theory as an essentialist theory of humor is worth careful consideration. (...) Through textual analysis I argue that not one of these three philosophers defends an essentialist theory of comic amusement. I also discuss the way various theories of humor relate to one another and the proper place of a superiority theory in humor theory in light of my analysis. (shrink)

I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated responsibility theory , (...) holding that the strongest ethical criticism that can be made of our sense of humor is that it might indicate some omission on our part. This omission could only be culpable in so far as a particular joke could do harm to oneself or others. In response to Ted Cohen’s doubts that such a mechanism of harm is forthcoming, I argue that the primary vehicle of the harmful effects of humor is laughter. (shrink)

The theologian Hugo Rahner argued that the homo ludens is a man of ‘Ernstheiterkeit’, a person who can smile under tears but also recognizes the gravity in all earthly cheerfulness. The primary aim of this study was to test the validity of this notion: Do homines ludentes exist? Two hundred sixty-three adult subjects were measured for seriousness and cheerfulness and playfulness. Results provided unequivocal support for Rahner's thesis. Numerous subjects scored high in both seriousness and cheerfulness thus confirming the existence (...) of homines ludentes. It was further found that these subjects were among those scoring highest in playfulness. Subjects scoring high in cheerfulness but low in seriousness were, however, even more closely associated with playfulness. The scores for homines ludentes did not differ from the rest of the subjects in the creative and dynamic facets of playfulness. The importance of developing empirical research to investigate hypotheses derived from non-scientific concepts is discussed. (shrink)

This article suggests that there are intrinsic links between humour and embarrassment and that both are crucial for the maintenance of social life. Goffman and others have claimed that embarrassment plays a key role in the maintenance of social order. However, it is argued that Goffman overlooked the role of ridicule in embarrassment. In consequence, he formulated a `nice-guy' theory of embarrassment, suggesting that onlookers empathize with the embarrassment of others and seek to diminish that embarrassment. By contrast, it is (...) suggested that the embarrassment of others is often a matter of laughter and enjoyment. Such a link between embarrassment and humour is crucial for the socialization of embarrassment, which depends on the possibility of ridicule. This is illustrated by an incident in Freud's classic case-history of Little Hans. The transformation of embarrassing incidents into humorous narrations is also discussed. It is suggested that the link between humour and embarrassment is theoretically significant, pointing the way to a reconstituted Freudian view for understanding the relations between the individual and social order. (shrink)

This dissertation focuses on the social philosophy of humor from the viewpoint of Erich Fromm’s critical humanistic thinking. The work consists of an introduction and four individual articles. The introduction discusses Fromm’s theories in relation to the phenomenon of humor to provide a basis for the articles. The central aim is to understand the dynamic nature of humor and how it is related to the problem of being a paradoxical creature, that is, a human being. It is claimed that humor (...) has to be analyzed and interpreted in a unique historical and cultural situation. The first article discusses Fromm’s concept of social character to offer a theoretical tool to understand how deeply humor is a social phenomenon. It is argued that the social character is a crucial component if we are to reach beyond jokes and laughter, and to grasp their deeper social significance. The second article furthers this thought by developing a critical standpoint on the phenomenon of laughing at oneself. It calls into question the prevailing optimism about the capability to ridicule oneself. Following Fromm, it is claimed that humor needs a serious backbone from which the perceived oddities are evaluated. The third article brings forth the debate of humor and freedom. In opposition to the widely shared idea that humor should be absolutely free, it is argued that humor cannot be separated from the sphere of humanity, and this basic fact sets the ground for the freedom of humor. Freedom has to be obtained within the limits of humanity. This leads to the notion that it is untenable to claim that we should be always able to laugh at everything. The fourth article elaborates the influence of social circumstances for humor, and the competitive nature of contemporary humor is taken under critical scrutiny. It is argued that humor and laughter reflect the current historical situation and, eventually, ourselves. Therefore, from a humanistic perspective, it is concerning how natural and popular humor competitions appear to be. As a whole, the dissertation is a philosophical study, and it aims more at philosophical understanding than to concrete empirical research settings. However, the conducted research is empirically inspired philosophy, and thus intimately connected to the living phenomena of humor and laughter. (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.

We humans laugh often and it is not always because something is funny. We laugh in the face of the pathetic or the powerless; sometimes we laugh at our own powerlessness or pathos.In short, we laugh at both the comical and the difficult. Here I am especially interested in the laughter that is sparked by what is difficult and how that laughter—and all laughter—breaks through to mark a range of emotional states: fear, nervousness, shame, confusion and others not viewed as (...) positive, as well as joy, delight, interest, relief and other states that are viewed as positive. I also am interested in understanding what and how laughter reveals and what and how it conceals. As I explore both interests in this article, I make a compound point about laughter in educational settings: that laughter marks a breakdown of experience and that same laughter creates space for reflective listening and thinking, for diffusion of difficult affect, and for the disruption of habit that makes growth possible (and even likely) if that laughter is taken seriously. (shrink)

Most everything one might think about humor is in dispute. Only a few negative claims are fairly clear. Does humor always involve feelings of superiority? Probably not. But what properties do objects need in order to be amusing? Most plausibly, humorous objects present non-threatening incongruities. However, not all such incongruities are amusing. So there must be something more. -/- What is the connection between feelings of amusement and laughter? Amusement typically leads to laughter, but not always. And we often laugh (...) simply out of nervousness. Could someone feel intense amusement and not have the slightest urge to laugh? -/- Is amusement an emotion like fear, anger, or embarrassment? Pre-reflectively it seems so, but amusement is curiously different: it lacks concern, something we find in all other standard emotional responses. -/- Many think that we can rationally justify at least some emotional responses. It seems that anger, for instance, can be appropriate or inappropriate. Can the same be said of amusement? Some people do seem to laugh inappropriately, but it's hard to think that they have incorrectly evaluated something as humorous. (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)

This thesis explores and describes the comic features of Samuel Beckett’s prose works. It explores fundamental questions about Beckett’s humour. On the one hand, it investigates the nature of humour, and, on the other, it investigates what counts as humour in Beckett. This twofold investigation requires ‘attuning’ philosophy and literary criticism, where questions and tools of each discipline mutually sharpen and refine each other. Chapter 1 evaluates philosophical accounts of humour and identifies Incongruity Theory as the theory offering the best (...) account of humour. According to this theory, a necessary and not sufficient condition for comic amusement is the perception of an incongruity. Chapter 2 starts exploring what counts as humour in Beckett by examining where comic incongruities are located. By doing so, this chapter puts the Incongruity Theory to the test, and, evaluates the analytical tools ordinarily used in describing humour. This exploration uses Ruby Cohn’s seminal description of Beckett’s humour as a springboard. This chapter individuates a comic layer which Cohn’s description has overlooked – the ‘comic of language acts’. Chapter 3 analyses Beckett’s texts in order to describe the comic devices that depend on the performance of language acts. In order to do so, the discussion makes use of Austin’s Theory of Speech Acts. As a result, this chapter develops a set of tools able to capture ‘the comic of language acts’, a comic layer which crucially shapes Beckett’s writing. Chapter 4 demonstrates how to make use of the set of tools developed in Chapter 3 by examining three key works of Beckett – More Pricks than Kicks, Watt, and Molloy. This examination leads to the individuation of three movements at the level of illocutionary acts – ‘twists’, ‘convolutions’, and ‘oscillations’ – which are informative of Beckett’s writing and of the experience of reading these works. (shrink)

Probing the vague boundaries and constraints commonly placed on humor, this exploratory essay considers the responsibilities and duties that can guide political humor. Working within a deontological paradigm, the essay establishes the relevance of ethics within society's political humor and considers the importance of ethical political humor. Moreover, this study points to Christians and Nordenstreng's model of global social responsibility theory as providing a parsimonious and flexible framework for orienting ethical political humor.

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)

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)