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)

Robert C. Roberts's suggestion that the conditions for laughter at humor (e.g. jokes) can best be captured with a notion of freshness, as opposed to surprise, is pursued. The relationship freshness has to setup and surprise is clarified, and the place of freshness within a larger system of structuring metaphors is alluded to. The question of whether freshness can also cover laughter at the nonhumorous (e.g. tickling) is then taken up, it being determined that such coverage is possible but uneven. (...) However, once the phenomenon of laughter in the absence of feelings of amusement or similarly pleasant psychological states is considered, it is seen that freshness cannot underpin a comprehensive account of laughter. The notion of titillation is then proposed for this role. (shrink)

What does it say about you if you enjoy sexist humour? One answer to this question holds that finding sexist humour funny reveals that you have sexist beliefs, whilst another holds that it reveals nothing deeper about you at all. I argue that neither of these answers are correct, as neither can capture the feeling of unwilling complicity we often get from enjoying sexist jokes. Rather, we should navigate between these two positions by understanding the sense of humour as a (...) kind of sensibility or taste, analogous to Anne Eaton’s account of erotic taste. This allows for a fleshing out of the purely belief-centred understanding of the sense of humour, adding emotional, perceptual and motivational aspects to it. Finally, I propose that one’s sense of humour is shaped the representations one engages with, which suggests a possible avenue for habituating it in a more egalitarian direction. (shrink)

Could having a sense of humor be a virtue? In this paper, we argue for an affirmative answer to this question. Like other virtues, a sense of humor enhances and inhibits the expression of various emotions, especially amusement, contempt, trust, and hope. Someone possesses a virtuous sense of humor to the extent that they are well-disposed to appropriately enhance or inhibit these emotions in themselves and others through both embodied reactions (e.g., smiling, laughter, eyerolls) and language (e.g., telling jokes, understanding (...) others’ jokes, etc.). Regarding the aims or purposes of a sense of humor, we argue that a sense of humor aids both its bearer and other people who are socially connected to the bearer with coping, connection, capability, and criticism. If this is on the right track, then the value of a sense of humor is pluralistic: a sense of humor doesn’t do just one thing, but several things simultaneously. We then explore four contexts in which a sense of humor is especially needed, namely hardship, social relationships, social and political cooperation, and existential reflection. (shrink)

Abstract. This paper illustrates how philosophy and science may converge and inform one another. I begin with a brief rehearsal of John Morreall’s “formulaic” theory of laughter, that laughter results from a pleasant psychological shift, and of my previously published criticisms and counterproposal that laughter results from titillation (where “titillation” is a semitechnical term). I defend my own position against charges that it is trivial, circular, or vacuous (charges that, if correct, would apply equally to Morreall’s position), showing that these (...) charges are misguided or premature. Then I indicate how my position is reflected in and might be given empirical content by a hypothesis that is already under preliminary experimental investigation in psychology, namely the Darwin-Hecker hypothesis, and also how my position is in harmony with recent work in psychology alleging the discovery of evolutionary antecedents of human laughter in rats. (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 Trumps deeply flawed sense of humor is used to ground this account. (shrink)

Because obituaries are succinct and explicitly intended to summarize their subjects’ lives, they may be expected to include only the features that the author finds most salient but also to signal to others in the community the socially-recognized aspects of the deceased’s character. We begin by reviewing studies 1 and 2, in which obituaries were carefully read and labeled. We then report study 3, which further develops these results with a semi-automated, large-scale semantic analysis of several thousand obituaries. Geography, gender, (...) and elite status all turn out to be associated with the virtues and values associated with the deceased. (shrink)

I argue for two theses. First, many arguments against violent gaming rely on what I call the contamination thesis, drawing their conclusions by claiming that violent gaming contaminates real world interactions. I argue that this thesis is empirically and philosophically problematic. Second, I argue that rejecting the contamination thesis does not entail that all video games are morally unobjectionable. The violence within a game can be evaluated in terms of the values the game cultivates, reinforces, denigrates, or disrespects. Games which (...) present violence in ways that disrespect objects of values are more objectionable than violent games that reinforce or cultivate those values. The resulting analysis evaluates games on a case-by-case basis and pays particular attention to the representational context of the violence. (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)

In this brief essay, I will lay out the philosophical landscape concerning theories of racist humor. First, I mention some preliminary issues that bear on the question of what makes a joke racist. Next, I briefly survey some of the views philosophers have offered on racist humor, and on a view of sexist humor that is relevant for this discussion. I then suggest the debates could benefit from moving beyond the racist/non-racist binary most views presuppose. Finally, I conclude with suggestions (...) for further research. (shrink)

Oppression is easily recognized. That is, at least, when oppression results from overt, consciously professed racism, for example, in which violence, explicit exclusion from economic opportunities, denial of adequate legal access, and open discrimination perpetuate the subjugation of a group of people. There are relatively clear legal remedies to such oppression. But this is not the case with covert oppression where the psychological harms and resulting legal and economic exclusion are every bit as real, but caused by concealed mechanisms subtly (...) and systematically employed. In many cases, those with power and privilege use cultural stereotypes in order to sustain an unjust status quo. This is so even if the biases are implicit, automatic, and contrary to the consciously professed beliefs of the stereotyper. Furthermore, since many of these biases are not consciously reasoned into one's system of beliefs, and since they are notoriously difficult to bring to consciousness and dislodge via direct, logical confrontation, some other creative means of resistance is needed. I argue that an indirect and imaginative route through subversive humor offers a means to raise consciousness about covert oppression and the mechanisms underlying it, reveal the errors of those with power who complacently sustain systematic oppression, and even open those people up to changing their minds. Subversive humor confronts serious matters, but in a playful manner that fosters creative and critical thinking, and cultivates a desire and skill for recognizing incongruities between our professed ideals and a reality that does not meet those standards. Successful subversive wits create fictional scenarios that highlight such moral incongruities, but, like philosophical thought experiments, they reveal a moral truth that also holds in the real world. Such humor offers opportunities for "border crossing" where the audience is encouraged to see from the perspectives of marginalized people who, because they inhabit ambiguous spaces in between the dominant and subordinate spheres, are in an epistemically privileged position with respect to matters of oppression. Subversive humorists open their audiences to the lived experiences of others, uncover the absurdities of otherwise covert oppression, and appeal to our desire to be truthful and just. (shrink)

This article reflects on the oddness of humor and laughter as human behaviors. It argues against classifying humorous amusement as an emotion by contrasting amusement with standard emotions. It then examines amusement as a kind of pleasure, specifically, the enjoyment of psychological shifts. It argues that humor evolved from mock-aggressive play in pre-human apes, with laughter serving as a play signal. Understanding humor as play not only helps explain laughter but also clarifies issues in the ethics of humor, such as (...) the wrongness of racist and sexist jokes, and the question of whether a sense of humor is a virtue. (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

The primary function of the Platonic dialogue is not the communication of philosophical doctrines but the transformation of the reader's character. This article takes up the question of how, or by what means, the Platonic dialogue accomplishes its transformative goal. An answer is developed as follows. First, the style of reading associated with analytical philosophy is not transformative, on account of its hermeneutical attachment and epistemic equality in the relationship between reader and author. Secondly, the style of reading associated with (...) the genre of commentary is transformative because it is governed by a principle of authority. When the commentary model is applied to the Platonic dialogue, it can be seen that the dialogue mimics the function of the authority principle in transforming the reader into a commentator, that is, someone who reads from a position of detachment and accepts responsibility for himself as moral and epistemic agent. (shrink)

ABSTRACT Mindfulness is an umbrella term for a set of practices and strategies related to attention and non-critical awareness of our thoughts. Mindfulness is currently having a moment in popular culture and in clinical psychology for its many perceived benefits. However, there are reasons to worry about whether certain commitments and strategies of mindfulness might conflict with long-term progress in character development. This article places mindfulness in conversation with developmental considerations of virtue, asking how mindfulness practices might impact the various (...) stages between natural character and mature moral virtue in different ways. Moreover, it proposes a distinction between two kinds of virtues, presence and absence virtues, that are differently impacted by the continued use of mindfulness practices in the later stages of virtue development. (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)

I argue that a self-referential sense of humor is positively self-accepting by acknowledging imperfection, abnormality, or average status, without genuinely intending ridicule on oneself. Instead, standards of perfection, normality, and greatness are the implicit targets of ridicule, which can provide a form of bonding among those having this sense of humor, who can then find commonality amongst themselves and relief from the pressure of those exacting standards. This self-accepting sense of humor helps to make life more meaningful by facilitating contentment (...) with imperfection both with respect to oneself and one’s situation. While a sense of humor can certainly be helpful for improving character, a perfectionist argument such as this should be balanced by acknowledgement of the value that can be gained from simply accepting ourselves just as we are. (shrink)