Scholastic philosophers sometimes told jokes. Some of these have been preserved in the texts. (And some are even funny!). -/- But beyond the general human interest in having fun, these thinkers had good theoretical reasons to value humor as well. This is because Aristotle himself claims that ready wit (eutrapelia) is a virtue. I published a paper on this in 2022 (“Scholastic Humor”), and since then colleagues have brought further examples to my attention. (Thanks, everyone!) -/- Here, I aim to (...) do three things: (i) catalog and present these jokes in Latin and facing English translation, (ii) give credit where it’s due, and (iii) expand the collection by encouraging researchers on Scholastic philosophy to find and submit examples of jokes from the texts. -/- The text is open access, and will be updated on a rolling basis. -/- So if you do find any such jokes, please email me at boaz [dot] schuman [at] kuleuven [dot] be. (shrink)

English metaphysical poetry, from Donne to Marvell, is conspicuously witty. A. J. Smith seeks the central importance of wit in the thinking of the metaphysical poets, and argues that metaphysical wit is essentially different from other modes of wit current in Renaissance Europe. Formal theories and rhetorics of wit are considered both for their theoretical import and their appraisals of wit in practice. Prevailing fashions of witty invention are scrutinized in Italian, French, and Spanish writings, so as to bring (...) out the nature and effect of various forms of wit: conceited, hieroglyphic, transformational, and others from which the metaphysical mode is distinguished. He locates the basis of Renaissance wit in the received conception of the created order and a theory of literary innovation inherent in Humanist belief, which led to novel couplings of time and eternity, body and soul, man and God. Yet, he finds that metaphysical wit distinctively works to discover a spiritual presence in sensible events; and he traces its demise in the 1660s to changes in the understanding of the natural world associated with the rise of empirical science. (shrink)

This book presents an analysis of how speakers of typologically diverse languages report present-time situations. It begins from the assumption that there is a restriction on the use of the present tense to report present-time dynamic/perfective situations, while with stative/imperfective situations there are no such alignment problems. Astrid De Wit brings together cross-linguistic observations from English, French, the English-based creole language Sranan, and various Slavic languages, and relates them to the same phenomenon, the 'present perfective paradox'. The proposed (...) analysis is founded on the assumption that there is an epistemic alignment constraint preventing the identification and reporting of events in their entirety at the time of speaking. This book discusses the various strategies that the aforementioned languages have developed to resolve this conceptual difficulty, and demonstrates that many of the features of their tense-aspect systems can be regarded as the result of this conflict resolution. It also offers cognitively plausible explanations for the conceptual structures underlying the interactions attested between tense and aspect. (shrink)

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

Men who are victimized in their intimate different-sex (DS) and same-sex (SS) relationships often report not having information to help them escape their abusive situations. To overcome this lack of information, public awareness campaigns have been created. But thus far, there is no clear understanding of how these campaigns reflect theoretical principles central to improve message effectiveness and avoid undesired negative effects. This study aims to review the content of intimate partner violence (IPV) pictorial campaigns focusing on victimized men (...) in DS and SS relationships. Specifically, it aims to understand the campaigns’ global characteristics and if their content represents constructs from different theoretical models. Online search engines were used to extract pictorial campaigns in English, Spanish, and Portuguese, released up until 2019. They must have had to be promoted by a formal organization, and were coded according to a theoretically grounded taxonomy, using thematic analysis. Our results indicate that out of the 57 campaigns collected, most were aimed at men without specifying the relationship they were in (i.e., DS or SS) ( n = 22, 39%) and intended to change attitudes, beliefs, and behaviors about IPV (in line with the Theory of Planned Behavior) ( n = 47, 82%). Additionally, four campaigns adequately integrated fear appeal constructs of the Extended Parallel Processing Model ( n = 4, 7%), while 41 campaigns highlighted dissonant states in line with the Elaboration Likelihood Model ( n = 41, 72%). Following the Transtheoretical Model, most campaigns targeted victims in the Maintenance stage ( n = 52, 92%). The campaigns under analysis may prove useful for some victimized men, mostly presenting messages designed to elicit a beneficial attitude and behavior change. Our analysis highlights different limitations as well, such as the lack of information on susceptibility to IPV ( n = 13, 23%) and the effectiveness of the recommended responses that the campaigns provide ( n = 20, 38%), which may interfere with adequate fear appeal processing. Additionally, presenting more diverse victims may be beneficial, along with social norms change information regarding gender roles, violence, and help-seeking. This may guide the development of improved and tailored campaigns to better facilitate help-seeking in victimized men that mostly avoid undesired negative effects on the viewer. (shrink)

Humor, as a source of fun, provides panacea from stress. There are writers whowrite humorous stories, but few use humor as a literary device. Alejandro Roces isone of the few, but no literary critical evaluation is made about his fiction because heis more popular as Filipino journalist. Thus, this study, entitled “Humor in AlejandroRoces’ Short Fiction”, aims to ignite aesthetic stimulation by critical analysis toassess its literary merits. His fiction, “We Filipinos Are Mild Drinkers,” “Of Cocksand Hens,” “Of Cocks and (...) Kings,” “Of Cocks and Battle Cocks,” and “Of Cocksand Super Cocks”, as qualitative research work, leans on formalistic and mimeticapproaches to Literature. Consequently, the key findings illustrate how humordevelops an uncommon conflict of an inveterate gambler-protagonist because insteadof feeling burdensome of his struggle, readers experience relief and release of tension.Moreover, some collective satirized peculiar Filipinism include English speechaffectations, gambler’s inveteracy, Hispanic cultural attitudes and traditionalism.Hence, Roces’ characterizations and themes inherently reveal humor that satirizespeculiar Filipinism. For deeper aesthetic stimulation, this study should be comparedand contrasted with the fiction of local and foreign humorists. Keywords: Literature and Communication, humor, inveteracy and satirized peculiarFilipinism, fiction, content analysis, Philippines. (shrink)

[Both this and the Valencian versions are translations of the editor from a paper originally written in English that will appear in the Anual Review 6]. Este artículo explora algunos aspectos del estudio científico de la creatividad centrándose en la creación de humor lingüístico intencionado. Sostenemos que este tipo de creatividad puede explicarse dentro de un enfoque cognitivo influyente, pero que dicho marco no es una receta para producir ejemplos novedosos de humor, e incluso puede excluirlos. Comenzaremos identificando tres (...) grandes problemas que surgen al tratar de precisar los rasgos centrales de la creatividad y algunas de las formas adoptadas por los estudios cognitivos en esta búsqueda. Luego consideraremos a qué llamamos «humor creativo», que exhibe las características centrales de la creatividad antes mencionada. A continuación exploraremos cómo un enfoque cognitivo clave para la comunicación humana puede explicar el humor creativo. Por último, extraeremos conclusiones y destacaremos las limitaciones de los enfoques cognitivos para entender la creatividad. (shrink)

In our everyday discourse we make frequent reference to pictorial narratives. We exclaim on the hunt scene in the cave painting, the frenzy unfolding in the graffiti, the adventure of the baby in the book illustration, and the disintegration of a marriage in the oil painting. Yet a more precise question concerning narrators and their relation to these so-called pictorial narratives remains overlooked. Theoretical debates in narratology are still primarily focused on literary narratives and so pictures remain relatively (...) neglected as a class. Kendall Walton is an exception. He argues that the literary narrator is necessary to provide access to the story as ‘he mediates the reader’s access to the rest of the fictional world’. He says that pictorial narratives cannot sustain narrators akin to literary counterparts. But this seems to be at odds with how we understand paintings such as Marriage A-la-Mode, where events are arguably recounted to the viewer with wicked humour. This paper has two main aims. The first is to set out what is meant by ‘pictorial narrators’ by providing a succinct and up-to-date guide to the discussions that have touched on this issue. The second is to explore the possibility that pictorial narratives imply pictorial narrators. (shrink)

The COVID-19 crisis, and its ensuing periods of confinement, has generated high levels of social stress on a global scale. In Spain, citizens were isolated in their homes and were not able to interact physically with family members, friends or co-workers. Different resources were employed to face this new stressful and unexpected situation (fitness, reading, painting, meditation, mindfulness, dancing, listening to music, playing instruments, cooking, etc.). Humor was one of the most frequent and widely used strategies in an attempt to (...) keep perspective, deal with the seriousness of the situation and make the day-to-day more bearable. Humor is cultural: it varies from one country to the next and is part of the idiosyncrasies of a culture. It is deemed a particularly important feature of the Spanish personality. During the COVID-19 crisis, the main means or channels of communication were social networks. Throughout the confinement period, there was an excessive flow of humorous memes concerning Coronavirus and related shared experiences during the National State of Emergency decreed by the Spanish Government. The memes draw on irony, ingenuity and creativity to make a difficult and stressful experience more bearable. In this paper, a qualitative methodology based on ethnography research is used and ethnographic fieldwork is carried out on the memes disseminated through WhatsApp during the lockdown period experienced in Spain (14 March to 21 June 2020). The memes are considered to be an example of Netlore, digital contemporary folklore, and a theoretical framework on memes and humor is presented that discusses its different functions in order to channel grief, fear and suffering or to play down specific situations. A corpus of 644 memes that have flooded social networks are categorized and analyzed to witness how the Spanish have managed to bring out their humorous and creative side in difficult times even as they have criticized political decisions, let out their frustrations, described their new “normal” lives, interacted with others and anticipated the future. (shrink)

La seriedad que ha dominado la lectura de la obra de Platón en nuestra tradición no es ajena al temprano protagonismo que adquirió la interpretación neoplatónica de la obra del filósofo ni a la importante presencia que el neoplatonismo adquirió en el largo proceso de elaboración doctrinal del cristianismo a partir del siglo II. Este olvido del recurso al humor condicionaría con frecuencia y de modo significativo la recta comprensión de los diálogos. Al leer la obra de Platón, descubrimos, por (...) otro lado, que el recurso al humor no se reduce a la muy comentada ironía socrática, sino que encontramos también bromas entre los personajes, juegos de palabras, imitaciones paródicas de hombres ilustres, chascarrillos graciosos, burlas y comedia de situaciones; encontramos, en resumen, un extenso y variado repertorio de recursos cómicos puestos al servicio de la eficaz transmisión de contenidos serios. Porque, no lo olvidemos, el humor en Platón está sometido a la expresión eficaz de lo que el filósofo entiende que debe ser tanto el modo de transmisión filosófica como los propios contenidos filosóficos. Con la intención de descifrar las claves que permitan comprender mejor el uso de los recursos humorísticos en los diálogos platónicos presentamos este volumen colectivo en el que once autores abordan distintos aspectos de la cuestión. (shrink)

_A compelling guide to the fundamental place of humour and comedy within Western culture—by one of its greatest exponents_ Written by an acknowledged master of comedy, this study reflects on the nature of humour and the functions it serves. Why do we laugh? What are we to make of the sheer variety of laughter, from braying and cackling to sniggering and chortling? Is humour subversive, or can it defuse dissent? Can we define wit? Packed with illuminating ideas and a good (...) many excellent jokes, the book critically examines various well-known theories of humour, including the idea that it springs from incongruity and the view that it reflects a mildly sadistic form of superiority to others. Drawing on a wide range of literary and philosophical sources, Terry Eagleton moves from Aristotle and Aquinas to Hobbes, Freud, and Bakhtin, looking in particular at the psychoanalytical mechanisms underlying humour and its social and political evolution over the centuries. (shrink)

The proliferation of digital technology has changed our visual perception and the way we interpret terms such as 'representation', 'immersion', and 'virtuality'.0Kresimir Purgar examines some of the topics fundamental to an understanding of the contemporary culture of images. The principal thesis of this volume is that we are witnessing the transitional period of images as not-representation-anymore and not-yet-immersion. Instead of just asking what images mean, we should ask ourselves what images are, how they appear, and what they do to us. (...) The author proposes the comprehensive concept of "pictorial appearing" that takes into account phenomenological, semiotic, and art-historical perspectives on both old and new images. (shrink)

Figure-Ground Duality in Humour: A Multi-Modal Perspective Creativity with words or pictures is not simply a matter of communicating a message, but of communicating it well, in a way that is effective, original and which defies convention. Effectiveness here pertains to the pragmatic goals of the communicator, and the extent to which these are achieved, while originality pertains to the manner in which the message is framed. Language, for instance, provides a wealth of conventions for framing a message; indeed, the (...) vast part of language is a solidified body of culturally received conventions, which fix the meaning of words and phrases and determine the contextual appropriateness of specific terms, topics and conversational strategies. To frame a message in a novel manner that stretches or even subverts these conventions, a communicator must imbue the elements of communication—whether words, gestures or pictorial elements—with additional meanings. This duality of meaning is not arbitrary, however, or communication cannot succeed. Rather, a creative communicator must draw out secondary meanings that are already implicit in the stock elements of communication, in a way that the audience can understand, appreciate and replicate. Duality thus lies at the heart of creative communication, allowing a communicator to say one thing and simultaneously convey another, secondary message that may augment or subvert the overt content of the communication. This mechanism, which draws out and gives prominence to that which is normally unseen or implicit, is Figure-Ground Reversal. (shrink)

Ever wondered what a contemporary philosophy of humour would entail? This book starts the conversation.

The article examines the ways in which humour twists regular euphemism use. Based on the classical fields of euphemisms anchored in religion, aesthetics, social politics, and amorality, it identifies the characteristics of their twisted variants with a humorous component: playing-with-fire euphemisms that jocosely provoke supernatural forces, innuendo euphemisms that entertain, mocking euphemisms that make fun of others in a teasing or demeaning way, and idealistic euphemisms that uncover obfuscating language and negative realities. Using English, German, French, Italian, Portuguese, and (...) Spanish euphemisms of different periods and genres, the article analyses the intentions, origins, motives, functions, and styles of humour, differentiates between symbiotic and parasitic twists, and thus provides a typology of twisted euphemism use. (shrink)

Howard Curzer argues that Aristotle’s virtue of wit is a social virtue, a form of philia: conversation with a witty person is pleasing rather than offensive or hateful. On the basis of an analogy between wit and temperance, Curzer holds that the witty person is good at detecting (and avoiding) hateful humor but is not necessarily an expert in judging the funniness of jokes. Curzer thus defends a moderate position in contemporary philosophy of humor—a Detraction Account of hateful humor—arguing that (...) the humorousness of a joke is an aggregate plea- sure resulting from several factors in addition to funniness. While sympathetic to Curzer’s overall approach to wit, this essay criticizes the Detraction Account as inconsistent with Aristotle’s text and implausible in its own right, and suggests a friendly amendment based on those criticisms. (shrink)

Reflections upon wit and humour in the writings of Sir Richard Blackmore, Joseph Addison and Lord Shaftesbury.

In Absent Minds: Intellectuals in Britain, Stefan Collini deploys a fiercely skeptical wit against what he calls the "absence thesis": the cliché view of England as a land peculiarly lacking in intellectuals. The brio and aggression with which he demolishes this longstanding myth serve a paradoxical double function, marking his own claim to a place in the specifically English and male tradition of writing that he so effectively deconstructs.

Who might reasonably be nominated as the funniest philosopher of all time? With this anthology, Thomas Oden provisionally declares Søren Aabye Kierkegaard (1813-1855)--despite his enduring stereotype as the melancholy, despairing Dane--as, among philosophers, the most amusing. Kierkegaard not only explored comic perception to its depths but also practiced the art of comedy as astutely as any writer of his time. This collection shows how his theory of comedy is integrated into his practice of comic perception, and how both are integral (...) to his entire authorship. Kierkegaard's humor ranges from the droll to the rollicking; from farce to intricate, subtle analysis; from nimble stories to amusing aphorisms. In these pages you are invited to meet the wife of an author who burned her husband's manuscript and a businessman who, even with an abundance of calling cards, forgot his own name. You will hear of an interminable vacillator whom archeologists found still pacing thousands of years later, trying to come to a decision. Then there is the emperor who became a barkeeper in order to stay in the know. The Humor of Kierkegaard is for anyone ready to be amused by human follies. Those new to Kierkegaard will discover a dazzling mind worth meeting. Those already familiar with his theory of comedy will be delighted to see it concisely set forth and exemplified. Others may have read Kierkegaard intensively without having ever really noticed his comic side. Here they will find what they have been missing. (shrink)

La risa caníbal -- Chaplin vs. Hitler : un estudio sobre la parodia -- En el interior de <> -- Sobre el chiste como una de las bellas artes -- La vida privada de los cómicos -- De muñecos y hombres -- El pensamiento cínico o el arte de la performance -- George Bush, o el payaso involuntario -- Prohibir la risa : el 11 de septiembre y la comunidad herida -- El político humorista, el humorista encarcelado: psoverdad, política (...) y humor -- Hombres que se ríen de los dioses -- <> feminista: el caballo en la ciudad sitiada -- Agradecimientos. (shrink)

Introduction -- The pre-socratic philosophers -- Sixth and fifth centuries B.C.E. -- Thales -- Anaximander -- Anaximenes -- Pythagoras -- Heraclitus -- Parmenides -- Zeno -- Empedocles -- Anaxagoras -- Leucippus and Democritus -- The Athenian period -- Fifth and fourth centuries B.C.E. -- The Sophists -- Protagoras -- Gorgias -- Thrasymachus -- Callicles and Critias -- Socrates -- Plato -- Aristotle -- The Hellenistic and Roman periods -- Fourth century B.C.E. through fourth century C.E. -- Epicureanism -- Stoicism -- (...) Neoplatonism -- Medieval and Renaissance philosophy -- Fifth through fifteenth centuries -- Saint Augustine -- The encyclopediasts -- John Scotus Eriugena -- Saint Anselm -- Muslim and Jewish philosophies -- Averroës -- Maimonides -- The problem of faith and reason -- The problem of the universals -- Saint Thomas Aquinas -- William of Ockham -- Renaissance philosophers -- Continental rationalism and British empiricism -- The seventeenth and eighteenth centuries -- Descartes -- Hobbes -- Spinoza -- Leibniz -- Locke -- Berkeley -- Hume -- Kant -- Post-kantian British and continental philosophy -- The nineteenth century -- Hegel -- Schopenhauer -- Kierkegaard -- Marx -- Nietzsche -- Utilitarianism -- Bentham -- Frege -- Pragmatism, the analytic tradition, and the phenomenological tradition and its aftermath -- The twentieth century -- Pragmatism -- James -- Dewey -- The analytic tradition -- Moore -- Russell -- Logical positivism -- Wittgenstein -- Quine -- The phenomenological tradition and its aftermath -- Husserl -- Heidegger -- Sartre -- Structuralism and poststructuralism -- Saussure -- Lévi-Strauss -- Lacan -- Derrida -- Irigaray. (shrink)

This is the original English version of a paper that has been published only in Chinese translation. (For the published, Chinese version, see "透視悖論說謊者的幽默指南", in page 37-44 on 拒絕再Hea──真理與意義的追尋) The paper was originally written as a lecture given at the University of Macau in April 2010. The paper argues that humor is essentially a form of paradoxical deception.

Dubbing Dark Humour: A Case Study in Audiovisual Translation In an attempt to analyze the ways in which dark humour travels cross-culturally in audiovisual translation, the present study takes into consideration the processes involved in dubbing humour from English into Italian as observed in the English- and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. In order to identify some of the main mechanisms of the dark humour genre, the humorous content (...) of the films was analyzed in terms of the elements on which specific scenes are based, mainly the non-verbal and verbal components. In the cases in which verbal elements were involved, i.e. the examples of verbally expressed humour, the analysis was concerned with the translation strategies adopted and with possible effects of alteration of the dark humour content as a result of translation. (shrink)

A collection of exceptionally clever and funny diagrams that break down life's everyday foibles from the creator of the popular Instagram feed @instachaaz. Charles Hutton is the voice behind "Insta-Chaz." Hundreds of thousands follow his very witty takes on the highs and lows of daily life via graphs, charts, and simple illustrations on the ubiquitous yellow, rectangular Post-it note. All his observations are from the point of view of his online alter-ego, Chaz, whose most popular traits with readers are his (...) social awkwardness, vague insecurity, dislike of office Mondays, and regret for boozy Sundays. But his riffs go beyond Dilbert-esque complaints about co-workers and unfortunate alcohol consumption and accurately hit nerves and funny bones regarding a broad range of life's quotidian struggles. It's all there, from the anxiety levels of forgetting names at parties (only slightly less stressful than that of air traffic controllers) to charting the cycles of hope, despair, and willful forgetfulness while using Tinder to the infrequent occurrence of the perfect avocado. Divided into quirky meditations on Work, Home, Entertainment, Food & Drink, and Technology, the book introduces a fresh, appealing new voice that will resonate with countless others who can't help but laugh when they recognize themselves in infographic form. (shrink)

This article presents an exploratory analysis of the metaphoric structure of five artistic paintings within “Think aloud” protocols, in which a group of 14 English speakers with a low self-rated level of expertise in art and history of art expertise were asked to verbalize all their thoughts, ideas and impressions of the artworks. The main findings of this study can be summarized as follows: (1) multiple interpretations for the same artwork are possible, (2) the interpretations of the metaphorical structures (...) described by the participants often diverge from those advanced by the researchers. These findings challenge the methods by which metaphor identification and analysis in pictorials is currently approached. As a matter of fact, most of the research in pictorial metaphors tends to reduce stimuli such as artistic paintings to unique metaphoric interpretations generally produced by a single researcher by means of introspection. By addressing this methodological problem in metaphor research, this article contributes to the development of a theoretical and operational participant-based framework that takes into account the role of metaphoric conceptualization within the domain of art and art cognition. (shrink)

Was Socrates an ironist? Did he mock his interlocutors, and in doing so, show disdain for both them and the institutions of Athenian democracy? These questions were debated with great seriousness by generations of ancient Greek writers and helped to define a primary strand of the western tradition of political thought. Reconstructing these debates, The Politics of Socratic Humor compares the very different interpretations of Socrates developed by his followers--such diverse thinkers as Plato, Aristotle, Xenophon, Aristophanes, and the Hellenistic Philosophers--to (...) explore the deep ethical and political dimensions of Socratic humor, and its implications for civic identity, democratic speech, and political cooperation. Irony has long been seen as one of Socrates' most characteristic features, but as Lombardini shows, irony is only one part of a much larger toolkit of Socratic humor, the broader intellectual context of which must be better understood if we are to appropriate Socratic thought for our own modern ends."--Provided by publisher. (shrink)

Though laughter and smiles are a part of our everyday lives, they are not always used appropriately. We need to learn how to laugh, to educate our sense of humor. This book is a meditation on humor in general, the humor we deploy and perceive on a day-to-day basis, and on the ethical dimensions that underpin it. It puts forward a new ethical theory, placing humor at the Archimedean point from which to further our understanding as moral subjects, offering explanations (...) as to our moral conduct and pointing the way towards ethical improvement as both individuals and as a group. After defining what humor is and portraying the current state of play among experts on the subject, the author sets out based on the major contributions made by the great philosophers. Then, taking in such fundamental ethical categories as moral sentiment, virtue, duty, capacity and responsibility, he puts forward his own ethical theory (what he refers to as the ethics of humor), based on both linguistic and biological rational. He unveils a new medical/philosophical method: clinical ethics, capable of interpreting humor as a point where ethics and health intersect. This volume also points out various means by which this ethical theory might be brought to bear on fields such as healthcare, business, education, politics, the mass media and everyday life. Above all, it discovers the role that good humor has to play in health and the instruments used to measure it. Juan Carlos Siurana argues that good humor gives expression to freedom, is universal, and contains within itself the basis of a cross-cultural ethical approach, one that is well worth understanding and teaching. Given that humor crosses over into every dimension of our personal and professional lives, the book is aimed at a broad, multidisciplinary public (philosophers, medical practitioners, nurses, company executives, teachers, politicians, psychologists, journalists, etc.), as well as anyone with an interest in the various registers of humor. He offers both theoretical and practical tools for the ethical improvement of professions, organizations and the public at large. (shrink)

Professor Hirschberger’s two–volume History of Philosophy has in a few years established itself as a general text–book for the European undergraduate student—only an expert can simplify the whole course of European thinking without distortion and expound it comprehensively in its main principles and systematic developments without cramming the reader with indigestible facts and without failing to stimulate his intelligent communion with the past. The Bruce Publishing Company display their customary enterprise in publishing an English edition very soon and in (...) securing an easy, simple version from Father Fuerst which conveys unmistakably the personal tang of the German original. (shrink)

In the chapter of Gilles Deleuze’s The Fold: Leibniz and The Baroque where Whitehead makes a surprising and crucial appearance, Deleuze chooses to introduce the English mathematician and philosopher as the successor, or “diadoche,” of what he describes as a somewhat secret school. The reason for the secrecy of this school is itself something of a mystery. Even when Deleuze alludes to the question “What is an Event?” as a thread weaving its members together, it cannot be a coincidence (...) that the term he uses to characterize these connections is that of an “echo.” For its secrecy speaks not of a desire from its members to remain unknown, isolated, hermetically closed upon themselves, but rather of the fact that the... (shrink)

In February 2020, the British Medical Association will be surveying members for their views on what the BMA’s position on physician-assisted dying should be. The BMA is currently opposed to physician-assisted dying in all its forms, a position that was agreed in 2006 at the annual representative meeting, the Association’s policy-making conference.1 As previously reported in Ethics briefing,2 the decision to survey members follows a motion passed at last year’s ARM which called on the BMA to “carry out a poll (...) of members to ascertain their views on whether the BMA should adopt a neutral position with respect to a change in the law on assisted dying”. The results from the survey will not determine BMA policy. Rather, the results be published ahead of this year’s ARM and provided to those attending to inform a debate and discussion on the BMA’s policy position. More information about the survey, including a briefing pack of useful information, and information for BMA members on how to participate can be found online at www.bma.org.uk/PAD. ### High Court rejects Judicial reviews on assisted suicide The High Court has refused permission for two separate challenges to the law on assisted suicide in the UK to proceed to a full hearing. In the first case, Phil Newby, who has motor neuron disease, applied for judicial review of the law on assisted suicide and asked for the court to carry out a detailed examination of what he termed “legislative facts” – that is, an examination of the existing evidence on the “costs, risks and benefits” of regulating assisted suicide – including a cross-examination of relevant expert witnesses.1 Handing down the judgement, Lord Justice Irwin and Mrs Justice May, held that assisted dying …. (shrink)

In June 2021, the BMA published its report on moral distress and moral injury in UK doctors.1 The report includes definitions of the terms ‘moral distress’ and ‘moral injury’ as well as a summary of how the concepts have developed over time. There is also an analysis of the BMA’s pan-profession survey of moral distress and moral injury of doctors in the UK, the first of its kind. The impact of COVID-19 and recommendations for tackling moral distress also feature. Many (...) may be unfamiliar with the concepts of ‘moral distress’ and ‘moral injury’. These terms are relatively new, and debate is ongoing in academic circles on the best way to understand them.2 Some use the terms interchangeably. The BMA defines moral distress as the psychological unease generated where professionals identify an ethically correct action to take but are constrained in their ability to take that action. Even without an understanding of the morally correct action, moral distress can arise from the sense of a moral transgression. More simply, it is the feeling of unease stemming from situations where institutionally required behaviour does not align with moral principles. This can be as a result of a lack of power or agency, or structural limitations, such as insufficient staff, resources, training or time. The individual suffering from moral distress need not be the one who has acted or failed to act; moral distress can be caused by witnessing moral transgressions by others. Moral injury can arise where sustained moral distress leads to impaired function or longer-term psychological harm. Moral injury can produce profound guilt and shame, and in some cases also a sense of betrayal, anger and profound ‘moral disorientation’. It has also been linked to severe mental health issues. There is increasing recognition across the UK of the problem …. (shrink)

Comic Relief: A Comprehensive Philosophy of Humor develops an inclusive theory that integrates psychological, aesthetic, and ethical issues relating to humor Offers an enlightening and accessible foray into the serious business of humor Reveals how standard theories of humor fail to explain its true nature and actually support traditional prejudices against humor as being antisocial, irrational, and foolish Argues that humor’s benefits overlap significantly with those of philosophy Includes a foreword by Robert Mankoff, Cartoon Editor of The New Yorker.

In A Philosophy of Humour, Alan Roberts presents a brief but extremely well-resourced overview of the history of the philosophy of humor (I will omit “u” for brevity, the soul of wit), and offers a new theory of humor focusing on the role of amusement. This text does not assume any prior acquaintance with theories of humor or philosophy, and in light of this, Roberts does well to define, either in the text or a brief note, the philosophical concepts necessary (...) to help the reader follow along. Even though the text is relatively short, Roberts covers a surprising amount of philosophical ground on humor including a considerable number of counterarguments from multiple disciplines. This is important as humor is not explicable from a single field of study, as it is a subject that is interwoven in just about every intellectual (and non-intellectual) domain. (shrink)

Given Plutarch’s fragmentary piece on Aristophanes and Menander, a piece of Table Talk on almost the same topic and various attacks on comic poets scattered through the Lives, one might believe that Plutarch is a staid, conservative and humourless author. But several other instances in his writings reveal a playful, facetious, witty and humorous Plutarch. This paper will focus on the Quaestiones Convivales, which bear ample witness to this aspect of Plutarch’s personality and authorial technique. It will examine the ways (...) in which he introduces and describes the various interlocutors, discuss certain comments with which he tries to ridicule his philosophical opponents, notably the Stoics and the Epicureans, try to distinguish the various manifestations of Plutarch’s humour and finally suggest that Plutarch’s stance and attitude towards playfulness, comic situations and laughter may ultimately be affected, at least in part, by his allegiance to Plato. (shrink)

In this article, we examine dark humour in Internet posts commenting on an online Italian newspaper report published by Il Fatto Quotidiano and devoted to the 2016 terrorist attack in Nice. The analysis focuses on the linguistic forms and socio-pragmatic functions of this dark humour in the wake of the tragedy. We argue that the creative humorous posts are meant to communicate Internet users’ ideologies conceptualised as their true beliefs about the sociopolitical situation and that they are oriented primarily towards (...) criticising terrorism-related themes, notably: inept security enforcement, radical Islam, political and public reactions and integration policies. The humour in the Italian posts is used as a means of displaying Internet users’ wit and attracting other users’ attention. (shrink)

“Just as philosophy begins with doubt, so also a life that may be called human begins with irony” (Kierkegaard The Concept of Irony with Continual Reference to Socrates, pg.6, thesis XV) What has proportion to do with humor or irony? And what do either of these have to do with being human? Jokes, laughter, and funniness connote excess, exaggeration, incongruity, dissonance, etc., the opposite of proportion--balance, symmetry, Aristotle’s golden mean. Yet, The Philosopher maintains, the wit has found the ideal moderate (...) position between the deficient boor who seems constitutionally incapable of laughing, and the excessive buffoon who doesn’t know how to laugh at the right time, in the right way, or for the right reasons--buffoonish laughter is indiscriminate. The title, paraphrasing Hume, is consistent with Kierkegaard’s valorization of irony, as philosophical doubt and the confusion induced through Socratic Irony both call for a special sort of proportion: ontological proportion. Put simply, one ought to proportion one’s being, as well as others’, as though along a shifting spectrum rather than essentially and hierarchically. The latter fosters a serious attitude that takes polarities as the rule with no exceptions; black or white, good or evil, with us or against us, one of us or one of them, always seeking the ideal of purity. We see this disproportion in authoritarians who manifestly lack a sense of humor--Hitler’s joke courts, Turkey’s president Erdoğan attempting legal punishment against a comedian who mocked him, and Trump’s thin-skinned inability to laugh at his own expense, a monumental character flaw for the most powerful person in the world. Their views are serious, rigid, closed, and dogmatic about themselves, others, and for each of them excepting Trump, the presumed absolute nature of values--Trump’s unironic pretense toward any value is merely a means to service his own absolute end, himself. The playfully ironic person can cope with reality, with ambiguity and, borrowing from Maria Lugones, “ontological confusion,” the not-fully-settled identity. (shrink)

Humor is pervasive in contemporary culture, and is generally celebrated as a public good. Yet there are times when it is felt to produce intolerance, misunderstanding or even hatred. This book brings together, for the first time, contributions that consider the ethics as well as the aesthetics of humor. The book focuses on the abuses and limits of humor, some of which excite considerable social tension and controversy. Beyond a Joke is an exciting intervention, full of challenging questions and issues.

'"This book almost didn't exist. I was about to write a serious, heavy book entitled How To Save Western Civilization, as a sequel to my book How To Destroy Western Civilization and Other Ideas from the Cultural Abyss. But writing it was not making me happy, and reading it was not going to make anybody else happy either. And then I stopped just long enough for my guardian angel to squeeze through that tiny window of opportunity that I had opened (...) up by my silence and to whisper this commonsense question into my subconscious: "Why not make them happy instead?" I started thinking: Western civilization is neither healthy, happy, nor holy. Humor is all three. Humor is not only holy, it's Heavenly. And if you are surprised to be told that humor is Heavenly, you need to read this book because you reveal your misunderstanding of both humor and Heaven. If you ask, 'Is there laughter in Heaven?' my answer is: 'You can't be serious!'"-- Back cover. (shrink)