Bad jokes are not simply non-humorous texts. They are texts that are humorous for someone––their author at least––but not for their audience. Bad jokes thus involve a contextual––pragmatic––dimension that is neglected in the semantic theories of humor. In this paper, we propose an approach to humor based on the Aristotelian notion of surprising enthymemes. Jokes are analyzed as kinds of arguments, whose tacit dimension can be retrieved and justified by considering the “logic” on which it is based. However, jokes are (...) based on specific pragmatic conditions: they are regarded as arguments grounded on a generalization that is at the same time uncommon, retrievable, and acceptable or plausible for the audience. This perspective integrates the “local logic” of jokes within a broader rhetorical theory that ultimately rests on the communicative notion of common ground. (shrink)

This short article is a “conversation” in which an android, Mort, replies to Richard Marc Rubin’s android named Sol in “The Robot Sol Explains Laughter to His Android Brethren” (The Philosophy of Humor Yearbook, 2022). There Sol offers an explanation for how androids can laugh--largely a reaction to frustration and unmet expectations: “my account says that laughter is one of four ways of dealing with frustration, difficulties, and insults. It is a way of getting by. If you need to label (...) my conception of humor, you might call it an adjustment theory, or perhaps an accommodation theory” (Rubin 256). Mort is intrigued but has his doubts. Mort contends that synesthesia likely has something to do with how humans develop humor. Perhaps, he considers, human designers crossed the androids' sensory wires, allowing them to be able to smash up concepts that do not otherwise seem to fit together, reconstruct incongruities in a manner that is not nonsensical, express the aha-eureka moment of a serendipitous discovery, and even feel blue when they fail at a given task that we were expected to complete. (shrink)

This essay argues that humor can be used as an unstable weapon against oppressive language and concepts. Drawing from radical feminist Marilyn Frye, I discuss the difficulty of challenging systematic oppression from within and explore the capabilities of humor for this task. This requires expanding Cynthia Willett’s and Julie Willett’s approach to fumerism beyond affect to fully examine the work of humor in manipulating language, concepts, and imagery. For this expansion, I bring in research on feminist linguistics alongside other philosophers (...) of political humor to consider the connection between humor and world-making. I then link this with feminist world-breaking through Monique Wittig’s analysis of war machines and Trojan horses against heteropatriarchal language. Finally, I draw out the instability of humor as a war machine by investigating a bit where comedian Patti Harrison disguised herself as an official corporate brand platform to challenge the compulsory commodification of LGBTQ rights. (shrink)

Comic immoralism is the view that sometimes funny things are funny due to their having immoral properties of some sort. Immoralism has many proponents and detractors. The purpose of this paper is twofold. First, I clarify the scope and content of comic immoralism as a general thesis in the philosophy of humor. I will argue that the debate about immoralism has unduly excluded certain categories of humor from inclusion, and that the language which immoralists sometimes use can be misleading. Second, (...) I argue for my own version of immoralism, which I call ridicule immoralism. Ridicule immoralism holds that sometimes things are funny due to their being ridiculous, and that things are often ridiculous due to being morally flawed. It follows from this that a version of comic immoralism is true. (shrink)