Like lynching and other mass hysterias, xenophobia exemplifies a contagious, collective wave of energy and hedonic quality that can point toward a troubling unpredictability at the core of political and social systems. While earlier studies of mass hysteria and popular discourse assume that cooler heads (aka rational individuals with their logic) could and should regain control over those emotions that are deemed irrational, and that boundaries are assumed healthy only when intact, affect studies pose individuals as nodes of biosocial networks (...) larger than themselves. Thus rather than suggesting that the individual can only prevent societal harm by gaining command and patrolling the borders of an autonomous self, we embrace the notion that affects can exert a positive and transformative force on a social reality that is resistant to top-down policy intervention and any straightforward moral or logical plea. (shrink)

The present essay argues that Bergson’s account of the comic can only be fully appreciated when read in conjunction with his later metaphysical exposition of the élan vital in Creative Evolution and then by the account of fabulation that Bergson only elaborates fully three decades later in The Two Sources of Morality and Religion. The more substantive account of the élan vital ultimately shows that, in Laughter, Bergson misses his own point: laughter does not simply serve as (...) a means for correcting human behavior but is rather the élan vital’s vital summons, the demand of life itself, that human beings challenge their obligations, question their societal forms, and thereby create new and, for Bergson, more ideal forms of life and community. (shrink)

The Darwin-Hecker hypothesis, viz. that laughter induced by tickling and humor share common underlying mechanisms, is so-called in part because of a quotation attributed to Ewald Hecker. However, a German counterpart of the quotation does not appear in the location cited. Some textual sleuthing is undertaken to find out what Hecker actually wrote and where he wrote it.

Vardoulakis examines the history of the free will, arguing that there is no necessary connection with the concept of freedom. To illustrate this point, Vardoulakis turns to the stories of Franz Kafka, an author obsessed with narratives that show characters in confinement. However, these situations of confinement are only produced by the comical attempts of the characters to assert their free will.

I claim that the significance of comic works to influence our attitudes is limited by the conditions under which we find things funny. I argue that we can only find something funny if we regard it as norm-violating in a way that doesn’t make certain cognitive or pragmatic demands upon us. It is compatible with these conditions that humour reinforces our attitude that something is norm-violating. However, it is not compatible with these conditions that, on the basis of finding (...) it funny, we come to reject some existing attitude. Such a rejection would require that we recognize our attitude as norm-violating in a way that has pragmatic force. Thus if a humorous work reveals the absurdity of something, we can either find it funny and not have our attitudes significantly influenced, or else be significantly influenced but not find it funny. (shrink)

This thesis contends that the possession of a sense of humour would contribute considerably to the quality of human life. It is an exploration and discussion of some of the difficulties involved in justifying the development of humour in terms of a philosophy of education. In light of developments in the digital age with consequent changes in science, technology and society, the educated person of the future will have to be less concerned with the accumulated knowledge of the past than (...) with the development and interplay of social and natural environments. Such a person will need to have, more than ever, a sense of what is truly real and what is truly valuable in human life. If the primary purpose of education is the preparation of students for their future lives, educators are now faced with some challenging problems. Apart from the high social value of laughter, there is a recognized relationship between humour and intelligence. Knowing that the two are related proves to be a key factor in understanding the learning process and assuring that the development of a sense of humour in education is worthy of consideration. (shrink)

This paper takes the Status Loss Theory (introduced and explained in the first "How Humor Works" paper), and applies it to 40 real-world examples, including memes, radio and TV shows, movie and comic book tropes, song parodies, humor sayings, stand-up comedy cliches, known psychological quirks of humor, and more, to demonstrate the theory's potential to function as the first clear, complete, logical, and simple basis for defining, studying, and understanding humor in all of its forms.

Santangelo, Paulo (ed.). 2012.Laughing in Chinese.Rome: Aracne Editrice. 472pp. €26. ISBN 97888 548 46203. This book of 15 papers is divided into four parts: humor in Chinese and Japanese literary works, examples of comic literature, the moral involvement of humor, and the psychology of humor. Santangelo provides a substantial introduction to smiles and laughter in the Chinese context and also to the papers in his book (pp. 5–28). This structure lends itself to a description and analysis of smiling (...) and laughing as both social acts and as manifestations of states of mind. An identifiable theme is the interrelationship between social acts (the sociology, culture or politics of situation) and manifest states of mind (the psychology of the individuals involved in the situation). (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective (...) authorship (coupled with our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...) comparison of comics and fine art prints provides a promising test for assessing how hybrid art forms develop more generally, and for assessing how they differ from closely related nonhybrid cousins. (shrink)

This brief paper raises a puzzle, or half-puzzle, about Flora Nwapa’s ethnic identity in light of sentences in her novel Women are Different and presents two solutions.

Argues for the controversial and initially counterintuitive thesis that theatrical magic (that is, the performance of conjuring tricks) is a form of standup comedy.

Purpose: The modern development of mass culture is characterized by the growth of the market for graphic narratives, the rapid increase in the segment of digital comics, and the active use of comics as a communication tool in various industries and disciplinary areas. The purpose of the study: to determine the media capabilities of the comics in presenting educational, cross-cultural, problematic, and ethical content of modern organizational culture. Design / Method / Approach: The review nature of the article involves the (...) use of traditional general scientific methods (description, comparison, abstraction, and specification). The interdisciplinary nature of the study actualized the comparative method in presenting the cross-cultural features of organizational/office/corporate comics. Findings: The influence of visual mass culture and the spread of interdisciplinary research tools made it possible to analyze three areas within the stated problematic: adaptive and audience-oriented comics techniques popularized their use for training and educational purposes; the possibility of comparing the typology of world comics with cross-cultural global studies (we relied on the methodology and results of the GLOBE (Global Leadership and Organizational Behavior Effectiveness) project); the ability of the comics to reproduce, maintain, and spread the tradition of a particular organizational culture. Theoretical value of the study: The work has expanded: (1) the possibilities of a multidisciplinary approach to comics culture in order to clarify the interdisciplinary methodology; (2) the idea of forming and maintaining an authentic organizational culture using comics techniques; (3) the possibilities of using graphic narratives in the process of educational and professional communication. Practical value of the study: The possibilities of using comics in modern organizational culture at the level of self-presentation, training, and maintaining traditions. Originality/value of the study: A multidirectional analysis of the influence of mass culture (comics as a part of it) on the representation of everyday modern business processes is presented. Research limitations / Future research: Analyzing business processes in the language of graphic culture requires valid methods. Further research requires a larger statistical sample and improved interdisciplinary methods. -/- Мета роботи: Сучасний розвиток масової культури характеризується зростанням ринку графічних наративів, стрімким збільшенням сегмента цифрових коміксів, активним використанням коміксу як інструменту комунікації в різних галузях і дисциплінарних напрямах. Мета дослідження: визначити медійні можливості коміксу в представленні освітньо-навчального, кроскультурного та проблемно-етичного контенту сучасної організаційної культури. Дизайн / Метод / Підхід дослідження: Оглядовий характер статті передбачає залучення традиційних загальнонаукових методів (опис, порівняння, абстрагування та конкретизація). Міждисциплінарність дослідження актуалізувала компаративний метод у представленні крос-культурних особливостей організаційних/офісних/корпоративних коміксів. Результати дослідження: Вплив візуальної масової культури та поширення міждисциплінарних інструментів дослідження уможливили в межах заявленої проблематики аналіз трьох напрямів: адаптивні та аудиторноспрямовані коміксові техніки популяризували їх використання з навчальною та освітньою метою; можливість зіставлення типології світових коміксів з кроскультурними глобальними дослідженнями (ми спиралися на методику та результати проєкту GLOBE (Global Leadership and Organizational Behavior Effectiveness); можливості коміксу відтворювати, підтримувати та поширювати традицію певної організаційної культури. Теоретична цінність дослідження: Робота розширила: (1) можливості різновекторного підходу до коміксової культури з метою уточнення міждисциплінарної методики; (2) уявлення щодо формування та підтримки автентичної організаційної культури за допомогою коміксових технік; (3) можливості використання графічних наративів в процесі навчально-освітньої та професійної комунікації. Практична цінність дослідження: Можливості використання коміксу в сучасній організаційній культурі на рівні самопрезентації, навчання та підтримки традицій. Оригінальність/цінність дослідження: Презентовано різновекторний аналіз впливу масової культури (коміксової як її частини) на представлення повсякдення сучасних бізнес-процесів. Обмеження дослідження / Майбутні дослідження: Аналіз бізнес-процесів мовою графічної культури вимагає валідних методів. Подальші дослідження потребують більшої статистичної вибірки та вдосконалення міждисциплінарних методик. (shrink)

Interpreters have noticed that Nietzsche, in addition to sometimes being uproariously funny, reflects more on laughter and having a sense of humor than almost any other philosopher. Several scholars have further noticed that Nietzschean laughter sometimes seems to have an epistemic function. In this chapter, I assume that Nietzsche is a pluralist about the functions of humor and laughter, and seek to establish the uses he finds for them. I offer an interpretation according to which he tactically (...) uses humor and laughter for epistemic purposes. His epistemic aims include enabling inquiry (when faith and reverence might have forbidden it), achieving knowledge (for himself or for his reader), and abandoning error (again for himself or for his reader). Humor supports these goals by inducing contempt and the laughter that expresses (and sometimes also conjures) it. (shrink)

What would happen if lightning struck a tree in a swamp and transformed it into The Swampman, or if saving billions of lives required sacrificing millions first? The first is a philosophical thought experiment devised by Donald Davidson, the second a theme from a comic written by Alan Moore. I argue that that comics can be read as containing thought experiments and that such philosophical devises should be shared with students of all ages.

In this book, author Gene Fendt shows how Plato's Republic provides a liturgical purification for the political and psychic delusions of democratic readers, even as Socrates provides the same for his interlocutors at the festival of Bendis. Each of the several characters is analyzed in accord with Book Eight's 6 geometrically possible kinds of character showing how their answers and failures in the dialogue exhibit the particular kind of movement and blindness predictable for the type.

In this paper I offer an alternative interpretation of Immanuel Kant’s theory of laughter that can meet the challenges left behind by the interpretations that have so far been given. I argue that laughter is a reaction to the dissolution of nonsense, which takes the form of realizing our own misconceptions about the object. Laughter reveals something about our cognitive and rational system: namely, that it is insufficient to explain all of our experiences and perceptions of the (...) world and that we often need to revise our expectations in order to make sense of the world. In this respect, laughter stands in a direct opposition to Kant’s notion of the sublime. (shrink)

Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.

Following Freud’s analysis of the fragile line between the uncanny double and its comic redoubling, I identify the doubling of the double found in critical moments of Hegelian dialectic as producing a kind of comic effect. It almost goes without saying that two provides greater pleasure than one, the loneliest number. Many also find two to be preferable to three, the tired trope of dialectic as a teleological waltz. Two seems to offer lightness, relieving one from her loneliness (...) and lacking the complications of a third who comes in between. And yet, we learn through Marx and Freud that the double (even the double of tragedy and farce) borders on something closer to horror than comedy. -/- In the following, I would like to explore why four is funnier than two in my staging of dialectic as the doubling of the double or, to borrow a movie title from Laurel and Hardy, “Twice Two” (Roach et al. 1933a). I will begin by exploring the formulations of the double in the form of a pair of opposites and in the form of a pair of twins. The literary tropes of the double as the odd couple, on one side, and the twins, on the other, appear to serve very different narrative functions, which incite different kinds of affective responses from the audience. However, the form of the opposed double sometimes conceals the realization that the empty or fragmented content of the first is only reduplicated in the second. The “straight man” of the odd couple cannot see himself in his counterpart “the comic.” The redoubling of the double, however, forces not only the audience, but the original double on stage to confront what was already present, but unrealized, from the beginning. To illustrate this redoubling of the double within the opening of Hegel’s Science of Logic, I consider two short films by Laurel and Hardy in which the comic duo redoubles itself. The formula (2 x 2) produces a comic excess through the dialectical redoubling of there uncanny double. (shrink)

This paper introduces an obvious interpretation of what Milan Kundera is “saying” about his characters the students Gabrielle and Michelle: don’t be like this. It contrasts the satirical way of developing character with a Tompkins’ paradox situation. I also raise a rather subtle question about the translation.

Why is humour so hard to understand? Rather like attempts to explain how music can move us, attempts to explain why things are funny seem doomed from the outset. Discussions of humour typically distinguish three kinds of theory: the incongruity theory (we are amused by the incongruous), the relief theory (humour is an expression of relief in difficult situations) and the superiority theory (we laugh to express our sense of superiority over others). In the face of genuine humour, theories like (...) these can seem pedestrian and unconvincing. F.H. Buckley’s book is, unfortunately, no exception to this rule. Coming from the superiority camp, the book defends two theses about humour. (Professor Buckley’s own word is ‘laughter’, but it is clear that he is really interested in why we laugh rather than laughter itself.) The first is what he calls the ‘Positive’ thesis: that all humour is the expression of a sense of superiority over someone else, whom he names ‘the butt’. The second he calls the ‘Normative’ thesis: that those who laugh really are superior to the butt. (shrink)

In this essay, I take up the question of why so many of the movies made by Hollywood are endless sequels, “prequels,” and remakes of prior blockbuster hits and so many are based on comic books (X-men, Superman, Batman, and so on). I tie the explanation in part to the aforementioned 1950 Supreme Court ruling prohibiting production companies, and in part to broader cultural changes. In particular, I argue that precisely because film producers can no longer make money from (...) the concessions (i.e., the purchases within the theater), but only of the ticket sales, the producers keep producing remakes of known popular movies, rather than make deeply original movies. (shrink)

Through an analysis of Kafka's "Before the Law," Vardoulakis considers both various philosophical responses to Kafka's story and philosophical conceptions of the law. In particular, Vardoulakis suggests an affinity between Kafka and Spinoza's conceptions of the law.

Modern scientific communication traditionally uses visual narratives, such as comics, for education, presentation of scientific achievements to a mass audience, and as an object of research. The article offers a three-level characterization of the interaction of comic culture and science in a diachronic aspect. Attention is focused not only on the chronological stages of these intersections, the expression of the specifics of the interaction is offered against the background of scientific and public discussions that accompany the comics–science dialogue to (...) this day. Within the framework of the first stage (the appearance and distribution of popular science and educational comics), the characteristics of comics content necessary for the different genesis are highlighted: documentary storytelling, educational practices of learning through drawing, active cooperation with well-known companies and institutions, informativeness and empathic involvement of the young reader in a heroico-romantic narrative of scientific discoveries and mastering nature. With the intensification of interdisciplinary approaches (the second stage), comics are increasingly involved in presenting scientific results within the most diverse fields. Comics-based research is becoming an interdisciplinary method and a widespread practical area with the corresponding formation of scientific tools (applied comics, data comics), forms of interdisciplinary interaction (graphic medicine, ethnography, narrative geography, urban comics, comics journalism, etc.), and scientific publications (“The Comics Grid: Journal of Comics Scholarship”, “Sequentials”). The national format of comics-based research is presented on the example of Ukrainian comics projects (historical, feminist comics). In the genesis of development, Comics Studies have gone from a field of research to disciplinary definitions. In the creation of the metadiscourse of the scientific direction (the third stage), the authors focused on scientific discussions, the formation of academic directions and approaches, and markers of disciplinary self-identification. Emphasis is placed on the unique phenomenon of the simultaneous concordance of various stages of the dialogue between comics and science, on the prolonged replication of successful inventions into modern experience, and the active testing of known narratives at new levels of a scientific presentation. (shrink)

At Apology 33c Socrates explains that "some people enjoy … my company" because "they … enjoy hearing those questioned who think they are wise but are not." At Philebus 48a-50b he makes central to his account of the pleasure of laughing at comedy the exposé of the self-ignorance of those who presume themselves wise. Does the latter passage explain the pleasure of watching Socrates at work? I explore this by tracing the admixture of pain, the causes, and the "natural harmony" (...) that Socrates' general account of pleasure implies for laughing at comedy. These reflections precipitate an aporia about the moral effect of Socrates' elenchtic practice. I suggest a path through the aporia that keys from Socrates' notion of "human wisdom" and the distinctive structure Plato gives the dialogues. (shrink)

This essay explores the interrelationship between tragedy and comedy, with specific focus given to the potential that comedy can provide in transforming the most tragic of situations. In building this claim, the very dynamics and distinctions that divide the tragic from the comic are considered in view of the self-negation that the comic posits. That is, while tragedy requires a certain acceptance of the finite, from which destiny and circumstance come to certify the hero’s tragic predicament, in comedy, (...) what succeeds is that which functions through an act of self-negation. This, it is argued, offers a subversive redefining of tragedy, one that proves constitutive of a comic fatalism that does not mourn one’s tragic predicament or fated end, but, instead, fully identifies with our comic predicament. Going beyond the pitfalls of political nicety and moral condemnation, which seek easy gratification or cynical distance, the conclusion examines the conceptual artist, Vanessa Place, and her performance of rape jokes. (shrink)

The discovery of mirror neurons in both primates and humans has led to an enormous amount of research and speculation as to how conscious beings are able to interact so effortlessly among one another. Mirror neurons might provide an embodied basis for passive synthesis and the eventual process of further communalization through empathy, as envisioned by Edmund Husserl. I consider the possibility of a phenomenological and scientific investigation of laughter as a point of connection that might in the future (...) bridge the gap Husserl feared had grown too expansive between the worlds of science and philosophy. Part I will describe some implications of the discovery of mirror neurons. Part II will address Husserl’s concept of embodiment as it relates to neuroscience and empathy. Part III will be a primer to investigating laughter phenomenologically. Part IV will be a continuation of the study of laughter and empathy as possible elements helpful in broadening the scope of what Husserl calls the Life-World. (shrink)

There are several strategies for exposing the defects of established moral discourse, one of which is critical argumentation. However, under certain specific historical circumstances, the apparent self-evidence of established moral discourse has gained such dominance, such a capacity of resistance or incorporation, such an ability to conceal its basic vulnerability that its validity simply seems beyond contestation. Notwithstanding the moral subject’s basic discontent, he or she remains unable to challenge the dominant discourse effectively by means of critical argument. Or, to (...) borrow a phrase from Michel Foucault, individuals find themselves faced with a certain rationality, a moral regime that dominates moral discourse to such an extent that they cannot offer any resistance without raising the suspicion of being unreasonable. They (that is, we) find ourselves confronted with a discourse quite unable to recognize its own deficiencies. Although we are forced to accept its basic claims, our chronic discontent nevertheless persists. That is, although we are forced to participate in this discourse, we remain basically ambivalent, and our attitude towards established morality contains both a Yes and a No. Then, all of a sudden, the basic vulnerability of the dominant regime dawns on us or is revealed to us – and this is the experience of laughter. (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)

The COVID-19 pandemic paved the way for the emergence of the Boys’ Love (BL) theme and genre throughout various media platforms, causing disruptive visibility to the narratives and representation of gays (Andrada in an interview by Antonio, 2021; Ting, 2020). This disruption may have started a dialogue in social media, but this dialogue was only a limited attempt given that most of the discussions have stereotypical representations of gay men (Celso, 2020). This study analyzes how humor was applied in the (...) online comic, SariSari Story, and how humor is used in the portrayal of the gay characters in this online comic. The analysis uses Grice’s (2012) pragmatic framework of conversational maxims: quality, quantity, manner, and relation. Humor was indicated in the non-observance of one or more maxim(s), which, then, caused the implicatures. The study found that the most non-observed maxims were quantity, manner, and relation. The prominent type of humor present in the comic was the Freudian slip, where the slips contained sexual metaphors mostly associated with the characters’ sexual desires towards each other. As an example of the BL genre, the Sari-Sari Story online comic stereotyped its presentation of gay characters as hypersexual in their relationships with each other. In this, it deviated from the conventions of the Pinoy BL present in the mainstream media. (shrink)

My objective here is to give an account of self-deprecating humor—examining what works, what doesn't, and why—and to reflect on the significance of the audience response. More specifically, I will be focusing not only on the purpose or intention behind self-deprecating jokes, but considering how their consequences might render them successful or unsuccessful. For example, under what circumstances does self-deprecation tend to put listeners at ease, and when is this type of humor more likely to put people off? I will (...) also consider the ways in which self-deprecating jokes are similar to gallows humor, and the extent to which context counts. The target or "butt" of these jokes, in cases of self-deprecation as well as gallows humor, will be explored; as will whether or not the audience bears some responsibility or has a role to play in the ultimate success or failure of a joke. For instance, is the audience role a completely receptive and passive one? Is the joker/jokee relationship one which confers no responsibility on the listener whatsoever? Or, do listeners have an obligation to respond with appreciative laughter to mere attempts at humor, especially the self-deprecating sort, by accepting such levity in the spirit in which it is intended? Does this mean that being a good sport—responding generously or appreciatively when a well-intentioned joke fails to land—would be a habit worth cultivating? If so and courtesy laughter or a playful appreciation of self-deprecating humor is something that can be cultivated, what specifically would that entail? In sum, although I cannot fully or definitively answer each and every one of these questions, I do hope to provide some provisional responses. To better situate the nature of self-deprecation, I will not only provide a brief description of the gallows genre, I will also explore two traditional theories of humor. Those that are particularly relevant, to both gallows and self-deprecating humor are Freud's relief theory and the incongruity view. In addition, I will identify what I believe to be the three essential ingredients of successful self-deprecation and, finally, will conclude with the argument that audiences or listeners do have an important role to play. And, moreover, that generous, appreciative laughter can and should be cultivated—even though this is something that will largely depend on one's personal history and habits, dispositional character and cultural background. (shrink)

In this essay, I argue that laughter stands as the tricky possibility of the question of the meaning of Being, which ridiculously limits and gets limited by tradition beyond limitation. I introduce a hermeneutics of laughter and contend that the event of Ereignis receives its meaning from Gelotopoesis—the poetic act of laughter. Moreover, I claim that the echo of Gelotopoesis becomes the possibility of the transmission of tradition and is attested by a hypertonic boastfulness and a hypotonic (...) irony. These two echoing tonalities question an unquestionable presence, which tradition never questions, in the most excessive manner so that it becomes the proper question of tradition once again. (shrink)

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form (...) that this paper will consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a large (...) population of students raised in a middle class industrial context, and the school in Georgia had a majority of students from middle-to-lower class agricultural backgrounds. Because of recent collapses in the economy of the tool and dye industry in the Great Lakes region, and the ongoing concerns for development in rural and urban areas of the southeastern United States, both groups of students were in similarly dire economic and working conditions. All faced the distinct possibility that they would not do as well in life as their parents. Most of the students grew up with television and film and had a love of comedy when they arrived at college. -/- Entertainment and mass media contributed to the students' mindset and the lens through which they viewed and interpreted their lived experience. Comedic mass media in the form of television sitcoms and films were common choices for inexpensive entertainment, in their childhood, in their past, in their homes, and now in their college dorms and apartments. In asking students to connect their own history with cultural trends depicted in comedy in film and television, even through the history of television, gave the students a familiar venue to critically consider their own intellectual growth and development and that of American society as a whole. -/- Many of them were familiar with the internet, and enjoyed the internet as a source of information about celebrities as well as the history and episodes of their favorite television shows and films. Students are rediscovering and discovering television programs that their professors may have watched as children, with the availability of a wide range of comedy television programs available on cable, especially TVLand, Comedy Central and Nick-at-Night. -/- In this article I will elaborate on the value of comedy as a teaching tool for philosophers and professors. I will provide a number of examples, showing how comedy can provide fertile examples of ethical theory at work, and I will show how comedy can be used to clarify cultural norms and values. Finally, I will discuss the political activism and student empowerment involved in teaching Philosophy, Comedy and Film in southern Georgia. (shrink)

The paradox of 'the One and the Many' might, more generally, be understood as the paradox of relationship. In order for there to be relationship there must be at least two parties in relation. The relation must, at once, hold the parties apart (otherwise they would collapse into unity) while holding them together (otherwise relationship itself would cease). It must do so, further, without itself becoming a third party which would then, itself, need to be related. This paper considers this (...) paradox as we find it manifest in the theories of quantum physics, the Socratic pursuit of universals, and, finally, at the very heart of human personhood - where we discover it at the core of interpersonal relationships, existential anxiety, and social distress. It is suggested, in the end, that though reason cannot resolve the terms of this paradox, there is a potential solution to the existential problems that spring from it, a solution lying in what Jesus calls, simply, 'faith.'. (shrink)

In this paper I borrow from Maria Lugones’ work on playful “world-traveling” and W.E.B. Du Bois’ notion of “double consciousness” to make the case that humor can facilitate an openness and cooperative attitude among an otherwise closed, even adversarial audience. I focus on what I call “subversive” humor, that which is employed by or on behalf of those who have been continually marginalized. When effectively used, such humor can foster the inclination and even desire to listen to others and, if (...) only for brief moments, adopt their point of view. To be able to see oneself as others see you can also be a desirable capacity, because along with such multidimensional seeing comes an epistemic advantage lacking in those who have no need nor desire to see as others do, especially if the vision of the others happens to be from below where one perceives that the promises of our explicit ideals are constantly being implicitly broken. Such humor is aesthetic, pleasurable in and of itself, and not amenable to scientific dissection. But it is also a skill that can be honed into a powerful tool of persuasion in circumstances where straightforward arguments are less effective. It can raise consciousness about the lived experiences of those suffering under systemic oppression and foster world travelling. Subversive humor encourages audiences, especially those who contribute to what Jean Harvey calls “civilized oppression”, to playfully travel across worlds and “tarry along” with the perspectives of the marginalized. (shrink)

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

Comic book superheroes tend to be conservative and their opponents progressive. Here I explore the reasons for heroic conservatism, review recent disruptions to the trend, and consider what superhuman politics can tell us about our own transhuman and science fictional conditions.

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (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)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)