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)

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)

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.

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)

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)

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)

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)

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.

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)

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)

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.

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.

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)

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)

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.

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)

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)

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)

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.

In the twenty-fifth chapter of the second book of Etymologies, epitome of the Isagoge of Profirius, the sevillian philosopher Isidore of Seville, taking the example of the tyrian thinker, takes up the anthropo-philosophical theory of homo risv capax, that is, the human being defined as the only living being, mortal or immortal, irrational or rational, capable of laughing. Or, in others words, laughter understood as what is (most) proper -in the sense of exclusive- to the human being. A theory (...) that has a long trajectory in the history of ancient Western philosophy up to the approach of the philosopher from Seville (and also after him). This article presents the Isidorean proposal by showing the background, both general and specific, to the question of laughter as a singular and distinctive human property, as well as a delimitation of the sense exposed in the thought and work of Isidore of Seville, together with the existing differences between those of the Sevillian thinker and his philosophical precedents, that is, his specific contributions. (shrink)

This paper critiques of the privileging of seriousness in modern scholarship and particularly in the humanities, on account of its purported neutrality and objectivity, the resulting foreclosing of all other emotions and insights, and the potentially subversive and enriching potential of laughter, as discussed in Karl Marx’s dichotomy of laughter and seriousness.

This essay meditates on the short film American Reflexxx and the violent laughter directed at a non-trans woman in public space when she was assumed to be trans. Drawing from work on the ideological and institutional dimensions of transphobia by Talia Bettcher and Viviane Namaste, alongside Sara Ahmed's writing on the cultural politics of disgust, I reverse engineer this specific instance of laughter into a meditation on the social meaning of transphobic laughter in public space. I then (...) look at racialized transphobic laughter directed against Tyra Hunter and Miriam Rivera to emphasize transmisogynist laughter as a denial of contact, intimacy, and care. Building on Kate Manne's work on misogyny, I conclude that a key aspect of transmisogyny is the use of transfeminine people as a source of dehumanized, disavowed, and disposable care and intimacy. Laughter and accompanying violence against trans women serves to reinforce this dynamic. (shrink)

I argue that a circa first century B.C./A.D. anonymous epistolary comic novel depicting a fictional interaction between Hippocrates of Cos and Democritus of Abdera contains an insightful imitation of Democritus that can cast light on the historical Democritus’s thought, including his thought on the touchy subject of appropriate and inappropriate laughter. The only thing certain about Democritus’s view of laughter is that he denounced laughter at human misfortune as inappropriate. The later legend of him as laughing at (...) everything and everyone indiscriminately is a later distortion of his view which the author of the comic novel seems concerned to counteract. (shrink)

In two very influential papers from 2008, Tamar Gendler introduced the concept of “alief” to describe the mental state one is in when acting in ways contrary to their consciously professed beliefs. For example, if asked to eat what they know is fudge, but shaped into the form of dog feces, they will hesitate, and behave in a manner that would be consistent with the belief that the fudge is really poop. They alieve that it is disgusting, while they believe (...) it is not. This paper investigates laughter from self-proclaimed egalitarian, tolerant folk, in response to oppressive jokes that might fit the alief-model. If I merely alieve the content of a joke at which I laugh, will that constitute morally exculpating reasons for such laughter? And what else might it imply? This paper will provide insights at the intersections of humor studies, ethics, epistemology, phenomenology, and the philosophy of mind, all while being moderately and appropriately amusing. (shrink)

Cheerfulness and seriousness are an integral part of philosophizing in Friedrich Nietzsche and Karl Jaspers. The main reason for this lies in the fact that both regard philosophers as being inseparable from their respective philosophies. Yet also the fact that their respective philosophies have multiple meanings shifts the focus away from truth toward style and rhetoric, that is, from the true and false to mood and laughter as well as to passionate interpretation and playful conversation.

What is the growing appeal of the “Alt-Right” (Alternative Right), a white-supremacist and anti-feminist movement, for young, primarily male, Millennials in the United States? In this chapter, I outline how the Alt-Right uses laughter in its culture industry on the internet to recruit new members to its right extremist ideas. I also explain how laughter connects Alt-Right extremism with Trumpism. Throughout the chapter, I draw on Theodor W. Adorno’s critical theorizing of laughter fabricated by the culture industry (...) to establish the theoretical framework, which I ground with in-depth interviews with Alt-Right members. (shrink)

“The Kingfisher Story Collection: Wild Wise Weird” by Vuong Quan Hoang is a captivating anthology that introduces readers to the unique and humorous life of a bird village in Vietnam. Through the adventures of Kingfisher, the wise protagonist, these short stories offer a charming blend of satire and social commentary that resonates deeply. Each story is a delightful window into Vietnamese culture, filled with laughter while addressing relevant issues like the climate crisis amidst its playful narrative.

The study of animal cognition raises profound questions about the minds of animals and philosophy of mind itself. Aristotle argued that humans are the only animal to laugh, but in recent experiments rats have also been shown to laugh. In other experiments, dogs have been shown to respond appropriately to over two hundred words in human language. In this introduction to the philosophy of animal minds Kristin Andrews introduces and assesses the essential topics, problems and debates as they cut across (...) animal cognition and philosophy of mind. She addresses the following key topics: what is cognition, and what is it to have a mind? What questions should we ask to determine whether behaviour has a cognitive basis? the science of animal minds explained: ethology, behaviourist psychology, and cognitive ethology rationality in animals animal consciousness: what does research into pain and the emotions reveal? What can empirical evidence about animal behaviour tell us about philosophical theories of consciousness? does animal cognition involve belief and concepts; do animals have a ‘Language of Thought’? animal communication other minds: do animals attribute ‘mindedness’ to other creatures? moral reasoning and ethical behaviour in animals animal cognition and memory. Extensive use of empirical examples and case studies is made throughout the book. These include Cheney and Seyfarth’s ververt monkey research, Thorndike’s cat puzzle boxes, Jensen’s research into humans and chimpanzees and the ultimatum game, Pankseep and Burgdorf’s research on rat laughter, and Clayton and Emery’s research on memory in scrub-jays. Additional features such as chapter summaries, annotated further reading and a glossary make this an indispensable introduction to those teaching philosophy of mind, animal cognition. It will also be an excellent resource for those in fields such as ethology, biology and psychology. (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 therefore 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)

Introduction -/- 1 Précis -/- 2 Methodology: Introducing digital humanities to the history of philosophy 2.1 Introduction 2.2 Core constructs 2.3 Operationalizing the constructs 2.4 Querying the Nietzsche Source 2.5 Cleaning the data 2.6 Visualizations and preliminary analysis 2.6.1 Visualization of the whole corpus 2.6.2 Book visualizations 2.7 Summary -/- Nietzsche’s Socio-Moral Framework -/- 3 From instincts and drives to types 3.1 Introduction 3.2 The state of the art on drives, instincts, and types 3.2.1 Drives 3.2.2 Instincts 3.2.3 Types 3.3 (...) The semantic neighborhood of drive, instinct, and type 3.4 A theory of (the relations among) instincts, drives, and types 3.4.1 Drives are act-directed rather than outcome-directed dispositions 3.4.2 The reflexive turn in Nietzsche’s drive psychology 3.4.3 Triggers of drive-displacement 3.4.4 Instincts are innate drives 3.4.5 Types are constellations of instincts and other drives 3.4.6 To what extent are types, instincts, and drives fixed? 3.5 Summary -/- 4 From types to virtues 4.1 Introduction 4.2 The state of the art on virtues and values 4.2.1 Virtues 4.2.2 Values 4.3 The semantic neighborhood of virtue and value 4.4 On (the relations among) instincts, drives, types, values, virtues, and values 4.4.1 Virtues are well-calibrated drives 4.4.2 Nietzsche’s type-relative unity of virtue thesis 4.4.3 The type of the criminal 4.4.4 Nietzschean exemplarism and his ad hominem attacks 4.5 Summary -/- 5 Socializing Nietzschean virtues 5.1 Introduction 5.2 Higher-order types 5.2.1 Social character construction 5.2.2 Reflexive character construction 5.3 Eponymous trait terms and Nietzschean summoning 5.3.1 Eponymous trait terms 5.3.2 Nietzschean summoning 5.4 Summary -/- Nietzschean virtues -/- 6 Curiosity 6.1 Introduction 6.2 Curiosity in virtue epistemology 6.3 Curiosity and its affiliated emotions 6.4 Curiosity, perspectivism, and inquiry 6.5 Curiosity as a virtue 6.5.1 A preliminary characterization 6.5.2 Curiosity in the middle through late works 6.6 Summary -/- 7 Courage 7.1 Introduction 7.2 Intellectual courage in contemporary virtue epistemology 7.3 Courage as a virtue 7.3.1 A preliminary characterization 7.3.2 Courage in the middle through late works 7.4 Summary -/- 8 Pathos of distance 8.1 Introduction 8.2 Contempt and disgust in contemporary moral psychology 8.3 The semantic neighborhood of contempt, disgust, and the pathos of distance 8.4 Nietzsche on contempt 8.4.1 Spernere mundum 8.4.2 Spernere neminem 8.4.3 Spernere se ipsum 8.4.4 Spernere se sperni 8.4.5 Nietzsche aims to induce what he considers fitting contempt in receptive readers 8.5 Nietzsche on disgust 8.5.1 The use of disgust: detaching from an ideal 8.5.2 The danger of disgust 8.6 The pathos of distance 8.7 Prospects for a Nietzschean democratic ethos 8.8 Summary -/- 9 Sense of humor 9.1 Introduction 9.2 The semantic neighborhood of laughter, humor, and comedy 9.3 The Nietzschean sense of humor and its functions 9.3.1 From episodic laughter to the sense of humor 9.3.2 Affirmation and inquiry 9.3.3 Negation and inquiry 9.3.4 Affiliation with like-minded inquirers 9.4 Summary -/- 10 Solitude 10.1 Introduction 10.2 Solitude in virtue theory and Nietzsche scholarship 10.3 The semantic neighborhood of solitude 10.4 An account of Nietzschean solitude 10.5 Summary -/- Conclusion -/- 11 Conscience & integrity 11.1 Introduction 11.2 Conscience and integrity in contemporary moral psychology and Nietzsche scholarship 11.2.1 Conscience and integrity in contemporary moral psychology 11.2.2 Conscience and integrity in Nietzsche commentary 11.3 The semantic neighborhood of conscience and integrity 11.4 Distinguishing conscience, good conscience, bad conscience, and intellectual conscience 11.4.1 Conscience 11.4.2 Good conscience 11.4.3 Bad conscience 11.4.4 Intellectual conscience and integrity 11.5 Summary -/- 12 Prospectus 12.1 Future directions in moral psychology 12.2 Future directions in Nietzsche scholarship 12.3 Future directions in digital humanities and the history of philosophy . (shrink)

This is the commentary on Richard C. Richards, "Humor and Happiness”, read at the Lighthearted Philosophers' Society 5th Annual Conference, 14 October 2011, Treasure Island, Florida.

Nietzsche's writing style is designed to elicit affective responses in his readers. Humour is one of the most common means by which he attempts to engage his readers' affects. In this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self‐parody in order to mitigate the charge of decadence or dogmatism by undermining his own philosophical authority. (...) In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and cultivate what he sees as the right kinds of readers for his works. (shrink)

Verbal irony constitutes a rough class of indirect intentional communication involving a complex interaction of language-specific and communication-general phenomena. Conversationalists use verbal irony in conjunction with paralinguistic signals such as speech prosody. Researchers examining acoustic features of speech communication usually focus on how prosodic information relates to the surface structure of utterances, and often ignore prosodic phenomena associated with implied meaning. In the case of verbal irony, there exists some debate concerning how these prosodic features manifest themselves in conversation. A (...) form-function approach can provide a valuable tool for understanding speakers' varied vocal strategies in this domain. Here I describe several ways conversationalists employ prosodic contrasts, laughter, and other speech characteristics in their attempts to communicate effectively and efficiently. The presented examples, culled from spontaneous conversation recordings, reveal just a small sample of the enormous variation in delivery styles speakers adopt when communicating with ironic language. (shrink)

This chapter examines Bertrand Russell’s various confrontations with Bergson’s work. Russell’s meetings with Bergson during 1911 would be followed in 1912 by the publication of Russell’s earliest polemical pieces. His 1912 review of Bergson’s Laughter ridicules the effort to develop a philosophical account of humour on the basis of some formula. In his 1912 “The Philosophy of Bergson”, Russell develops a series of objections against Bergson’s accounts of number, space, and duration. Bergson’s position is defended against Russell’s onslaught by (...) H. W. Carr (1913) and Karin Costelloe-Stephen (1914), though Russell only replies to the former. By contrast to Bergson’s silence in the face of Russell’s criticisms, Russell would continue responding to Bergson’s views in multiple works during the 1910s and 1920s. As this chapter shows, Russell not only develops further objections against specific theses upheld by Bergson, but also comments upon the political implications of Bergson’s philosophy, as well as its positioning within the history of French philosophy. (shrink)

Near the middle of his first discussion with Lysis, Socrates asks an odd question—he asks if Lysis’ mother lets him play with her loom or touch her woolworking tools (208d1-e2). It is one of many odd questions, of course, but it is odd nonetheless. Odd, and also funny: it is the one of just two comments in the book that makes Lysis laugh. This question, I argue, reveals the profound depth of Socrates’ inquiry about Lysis’ views about himself and his (...) loved ones. Indeed, the challenge is so profound that at first the only response is laughter. One aspect is a challenge to certain ideals of masculinity, and so I briefly discuss Athenian conceptions of gender and masculinity, along with some Platonic questioning of these conceptions. Reading the Lysis through the lens of gender reveals not only the continued relevance of such a lens, but also the intensity of Socrates’ work, which calls into question basic social structures and markers of identity, like gender, in its pursuit of a liberatory turn to philosophy. We gain insight into his challenge to Athenian understanding of masculinity by observing the way that Socrates’ argumentation undermines much of it, and we more fully appreciate Socrates’ arguments if we see that they intend to subvert gendered expectations. The setting of the dialogue, the questions Socrates asks, and the responses from Lysis all reinforce that what is at stake in the text is Lysis’ character, including his masculinity. (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)

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)

The artform of standup comedy can be seen as having much in common with the discipline of philosophy, particularly with the way philosophy is carried out or “performed,” whether professionally or otherwise. There are, for instance, certain basic similarities between how standup comedians and philosophers value ideals of clarity and precision when it comes to the issue of determining what kind of language is best to employ if one seeks to either effectively deliver a funny joke, as in the case (...) of standup comedy, or if one seeks to effectively articulate and present an argument that can later be assessed as sound, as in the case of philosophy. The reason this is of note is because it is rooted in another similarity that serves not only to bring these two activities significantly closer but to isolate standup comedy from most artforms when it comes to how it conceives of matters pertaining to interpretation and purpose. More specifically, this is the fact that standup comedians and philosophers alike hope, and even expect on some level, that, in the best of cases, their respective jokes and reasoned arguments will compel some form of unanimous approval from those who properly understand and engage with their content. When this observation is combined with the additional observation that jokes can also serve as vehicles for imparting wisdom of a genuinely philosophical nature despite the fact that generating laughter rather than seeking truth per se represents standup comedy’s ostensive primary goal, this leads one to wonder how porous the boundaries that otherwise serve to distinguish these two activities might be. In particular, in light of the nature and scope of the many similarities that can be said to exist between them, which I lay out and discuss in the article, it seems that standup comedy could even be reasonably argued to be the artform closest to philosophy. (shrink)

In the twenty-fifth chapter of the second book of Etymologies, epitome of the Isagoge of Profirius, the sevillian philosopher Isidore of Seville, taking the example of the tyrian thinker, takes up the anthropo-philosophical theory of 'homo risv capax', that is, the human being defined as the only living being, mortal or immortal, irrational or rational, capable of laughing. Or, in others word, laughter understood as what is (most) proper -in the sense of exclusive- to the human being. A theory (...) that has a long trajectory in the history of ancient Western philosophy up to the approach of the philosopher from Seville (and also after him). This article presents the Isidorean proposal by showing the background, both general and specific, to the question of laughter as a singular and distinctive human property, as well as a delimitation of the sense exposed in the thought and work of Isidore of Seville, together with the existing differences between those of the Sevillian thinker and his philosophical precedents, that is, his specific contributions. (shrink)

Contemporary comedy audiences are accused by some comedians of being too morally sensitive to appreciate humor. To get closer to an idea of what this means, I will first briefly present the argument over audience sensitivity as found in the non-philosophical literature. Second, I then turn to the philosophical literature and begin from the idea that “funny” is a response-dependent property. I present a criticism of this response-dependence account of “funny” based in the claim that funniness is not de- termined (...) by what normal audiences actually laugh at, but by what merits laughter. Third, I argue that excessive or deficient moral sensitivity distorts audience receptivity to humor. Fourth, I turn to candidates for ideally sensitive audiences. I conclude by returning to the particular cases of supposed oversensitivity or undersensitivity to jokes to see how we might judge them. (shrink)

This paper introduces the "Status Loss Theory of Humor," as detailed in "How Humor Works" and "How Humor Works, Part II" , in a single page. This theory has the potential to fully, clearly, and naturally explain the human humor instinct, and has made predictions that are being confirmed by other studies.

This article develops the concept of cyborg activism as novel configuration of democratic subjectivity in the Information Age by exploring the online collectivity Anonymous as a prototype. By fusing elements of human/machine and organic/digital, the cyborg disrupts modern logics of binary thinking. Cyborg activism emerges as the reconfiguration of equality/hierarchy, reason/emotion and nihilism/idealism. Anonymous demonstrates how through the use of contingent and ephemeral digital personae hierarchies in cyborg activism prove more volatile than in face-to-face settings. Emotions appear as an essential (...) part of a politics of passion, which enables pursuing laughter and joy, expressing anger and experiencing empowerment as part of a reasoned, strategic politics. Anonymous’ political content reconfigures nihilist sentiments, frustration and political disenchantment, on one hand, with idealist world views, on the other. This enables the cohabitation and partial integration of a great diversity of political claims rooted in various ideologies. (shrink)

Who is Pulcinella? What does his laughter have to say about the "end of time" and the end of life of Giandomenico Tiepolo? How can the end of a life make anyone laugh like Carnival’s popular mask does? This article tries to answer such questions. By unfolding the tools that come from the realm of Giorgio Agamben’s philosophy – notably the notion of "recapitulation of time" in its relation to comedy – we will trace a path which links Michail (...) Bachtin’s theories on the carnivalesque culture together with a recognition in the aesthetics of "character". In this encounter, the consistency of Pulcinella-King Carnival’s form of life will appear in the light of an “escape route”: it winks at a kind of general and anonymous beatitude, which pairs with the experience of the destitution of time. (shrink)

Philosophical accounts of humour standardly account for humour in terms of what happens within a person. On these internalist accounts, humour is to be understood in terms of cognition, perception, and sensation. These accounts, while valuable, are poorly-situated to engage the social functions of humour. They have difficulty engaging why we value humour, why we use it define ourselves and our friendships, and why it may be essential to our self-esteem. In opposition to these internal accounts, I offer a social (...) account of humour. This account approaches humour as a social practice. It foregrounds laughter and participation, and thereby gives an account of humour that helps to understand why we value humour, why we use it as we do, and why we use it to define our relationship to the world. (shrink)

This chapter will evaluate humor used with the specific intent to reveal glaring epistemic errors that lead to injustice; flaws in reasoning so transparent that straightforward logic, argument, and evidence seem ineffectual against them, and in some cases, just silly to think such tools would be needed. Laughter seems to be one of the only sane responses. In particular, I will assess how humor can combat conspiracy theories, propaganda, lies, and bullshit. The last one I view in Harry Frankfurt's (...) sense of a complete lack of concern for truth or reality, which I think sums up former President Donald Trump's epic lack of curiosity which has a trickle-down effect on his ardent followers. The sort of conspiracy theories I will focus on are an intermingling of propaganda, well defined and analyzed by Jason Stanley in his work How Propaganda Works, and the "new conspiracism", outlined by Muirhead and Rosenblum in A Lot of People are Saying: The New Conspiracism and The Assault on Democracy. There are perils with this potency of pugilistic comedy. It is easy to punch up, humorously fume at the foibles and fantastical blunders of a world leader who seriously considers ingesting bleach to combat the plague, who also, without irony, regales us of his capacious mnemonic prowess in recalling the following words on a cognitive test: "Person. Woman. Man. Camera. TV." The self-proclaimed "stable genius" aced it. But when Trumpism and QAnon e.g., spreads among many who are impoverished and disempowered, the very people to whom Trump and others in his powerful orbit have incessantly lied, it becomes less clear how to wield truth-and justice-seeking wit. Are consciousness-raising comedians seeking to uncover and undermine obvious and dangerous falsehoods punching in the morally correct direction, and how can we tell? (shrink)