The aim of this dissertation is to offer a new theory of humor that takes seriously both the universality and power of humor in culture. In the first chapter, I summarize historical and contemporary theories, and show how each either 1) fails to give any definition of humor, 2) fails as a theory of humor, and/or 3) underappreciates, dismisses, or does not consider the power of humor in experience. The second chapter explains the (...) failures of prior theories by understanding the problem in terms of Ernst Cassirer’s philosophy of symbolic forms. These forms of culture are perspectives through which we express and understand our world, and each presents its own unique perspectives through which we can understand ourselves and the world. In the third chapter, I argue that humor is one of these necessary and universal symbolic forms of culture. I argue that confusions in the philosophy of humor stem from approaches to humor that understand it as part of some other symbolic form rather than as a form itself. In the fourth chapter, I argue for the function of humor as that which reveals and exposes epistemic vices –laziness, arrogance, and closed-minded thinking about ourselves and the world. I support this argument by showing not only that all previous theories of humor have within them epistemic revelation as a consistent commonality, but also by showing that this revelation is necessary to the form of humor while it is, at best, accidental to other forms. In my final chapter, I suggest that we ought to approach humor objectively, and that the normativity of the symbolic forms guides us toward such an approach. I offer two objective questions to ask about a given instance of humor: 1) does the humor idealize a liberated end? and 2) does the humor fulfil the cultural function of the symbolic form it represents by disrupting epistemically vicious thinking? If the answer to both of these questions is affirmative, then it is likely that the humor in question is morally praiseworthy. I conclude by offering suggestions for further study. (shrink)

Despite sustained philosophical attention, no theory of humor claims general acceptance. Drawing on the resources provided by intentional systems theory, this article first outlines an approach to investigating humor based on the idea of a comic stance, then sketches the Dismissal Theory of Humor that has resulted from pursuing that approach. According to the DTH, humor manifests in cases where the future-directed significance of anticipatory failures is dismissed. Mirth, on this view, is (...) the reward people get for declining to update predictive representational schemata in ways that maximize their future-oriented value. The theory aims to provide a plausible account of the role of humor in human mental and social life, but it also aims to be empirically vulnerable, and to generate testable predictions about how the comic stance may actually be undergirded by cognitive architectures. (shrink)

This paper develops a programmatic 'theory sketch' of a new theory of humour, pitched at roughly the same level of detail, and intended to have roughly the same level of inclusiveness, as the other available philosophical "theories" of humour. I will call the theory I propose the distance theory. After an appeal to some intuitive illustrations of the distance theory's attractions, I move on to offer an analysis of observational comedy using the distance theory. (...) I conclude the paper with some speculative remarks about the possible connections between the practice of observational comedy and the discipline of philosophy. (shrink)

Finding things funny is a pervasive aspect of human mental and social life, but humor has been neglected in the philosophy of mind and cognitive science. Recently, however, there has been a swell of interest in the topic. This essay critically introduces and evaluates contemporary developments in the field, and generates an associated list of questions that a successful theory of humor should be able to answer.

The article critically reviews the Incongruity Theory of Humor reaching the conclusion that it has to be essentially restructured. Leaving aside the question of scope, it is shown that the theory is inadequate even for those cases for which it is thought to be especially well suited – that it cannot account either for the pleasurable effect of jokes or for aesthetic pleasure. I argue that it is the resolution of the incongruity rather than its mere apprehension, (...) which is that source of the amusement or aesthetic delight. Once the theory is thus restructured, the Superiority Theory of Humor and the Relief Theory can be seen as supplementary to it. (shrink)

"The structural patterns of the comic … deny the sovereignty of the individual."The question of the nature of humor is not new. Many have applied themselves to understanding it in both general and specific ways, and because of the widespread interest in the subject, humor research is not limited to any one discipline or theory, although many available humor theories conform to the concerns of particular paradigms. Given the inevitable and pervasive pluralism around humor, there (...) is no dominant perspective on how it can best be understood. Each theory that sheds light on the phenomenon may be valuable in its own way, although clearly some theories are better than others.1Thomas Veach is a recent thinker who has... (shrink)

The question “What is humour?” has exercised in varying degrees such philosophers as Aristotle, Hobbes, Hume, Kant, Schopenhauer and Bergson and has traditionally been regarded as a philosophical question. And surely it must still be regarded as a philosophical question at least in so far as it is treated as a conceptual one. Traditionally the question has been regarded as a search for the essence of humour, whereas nowadays it has become almost a reflex response among some philosophers to dismiss (...) the search for essences as misconceived. Humour, it will be said, is a family-resemblance concept: no one could hope to compile any short list of essential properties abstracted from all the many varieties of humour— human misfortune and clumsiness, obscenity, grotesqueness, veiled insult, nonsense, wordplay and puns, human misdemeanours and so on, as manifested in forms as varied as parody, satire, drama, clowning, music, farce and cartoons. Yet even if the search for the essence of humour seems at first sight unlikely to succeed, I do not see how we can be sure in advance of any conceptual investigation; and in any case we might do well to start with the old established theories purporting to give the essence of humour, for even if they are wrong they may be illuminatingly wrong and may help us to compile a list of typical characteristics. (shrink)

Giambattista Vico is a philosopher with a deeply tragic sense of life. His theory of the course of nations does not entail a notion of progress. Nations are born, mature, decline, and perish, and the nations that rise in their wake must begin again from barbarism. Nevertheless, Vico has a doctrine of humor and laughter, which he details in a digression within short apologia, the “Vici Vindiciae.” No significant scholarly attention has ever been paid to this digression. In (...) this article, I critically consider Vico’s theory, with the greater intention of situating it in the context of his philosophy as a whole. I demonstrate that Vico’s association of “acute remarks” with the pursuit of truth, and his criticism of “argute remarks,” mockery, and laughter are an extension of his doctrine of the heroic mind. I also discuss the significance of Roman comedy for Vico as philologist. (shrink)

Despite sustained philosophical attention, no theory of humor claims general acceptance. Drawing on the resources provided by intentional systems theory, this article first outlines an approach to investigating humor based on the idea of a comic stance, then sketches the Dismissal Theory of Humor that has resulted from pursuing that approach. According to the DTH, humor manifests in cases where the future-directed significance of anticipatory failures is dismissed. Mirth, on this view, is (...) the reward people get for declining to update predictive representational schemata in ways that maximize their future-oriented value. The theory aims to provide a plausible account of the role of humor in human mental and social life, but it also aims to be empirically vulnerable, and to generate testable predictions about how the comic stance may actually be undergirded by cognitive architectures. (shrink)

This article defends Noël Carroll’s incongruity theory of humour from the pressing criticism that his articulation of incongruity is too vague to serve as a key notion of the theory. I first distinguish between two versions of the criticism of vagueness: (i) the claim that Carroll’s notion of incongruity is vacuous, and (ii) the claim that Carroll’s notion allows for shoehorning. To reject (i), I put Carroll’s notion of incongruity to the test by analysing complex comic texts, demonstrating (...) that it is not vacuous as it allows for capturing their similarities and differences. In response to (ii), I claim that Carroll’s notion of incongruity should be amended adding a pertinence condition, which requires that the element establishing the incongruity are part of the same context. Finally, I show that the pertinence condition helps Carroll replying to a set of counterexamples moved to his sufficiency conditions too. (shrink)

This paper explores the current obstacles that a cognitive theory of humor faces. More specifically, I argue that the nebulous and ill-defined nature of humor makes it difficult to tell what counts as clear instances of, and deficits in, the phenomenon.Without getting clear on this, we cannot identify the underlying cognitive mechanisms responsible for humor. Moreover, being too quick to draw generalizations regarding the ubiquity of humor, or its uniqueness to humans, without substantially clarifying the (...) phenomenon and its occurrences is not only unwise but can actually be a detriment to our study of humor. As such, these sorts of claims must be resisted. I conclude the paper by pointing the way forward to addressing these obstacles. -/- . (shrink)

This article outlines a new theory of humor. The concept of humor is developed in the sense of five dialectical levels, respectively, sequential phenomenalities of humorous consciousness. These range from a level of most inferior humor up to a stage of most sublime humor. Systematically speaking, humor is viewed from an enhanced perspective of transcendental philosophy, namely as a medium of self-unfolding practical reason. It is considered as a complementary potency to the practical force (...) of the latter’s regulative principle, and it fulfils several important functions. The first section provides basic definitions of concepts like humor, sublimity, comicality, etc. Here, the five phenomenalities of humor are introduced. The second section explores and develops these contents more in detail. Some references to the German-speaking tradition in the philosophy of humor provide further input for discussion. The third section presents a thought experiment. Imaginary humorous reactions of Socrates to ridicule and hostility are analyzed in the sense of the present theory. (shrink)

: Humor seems uniquely human, but it has deep biological roots. Laughter, the best evidence suggests, derives from the ritualized breathing and open-mouth display common in animal play. Play evolved as training for the unexpected, in creatures putting themselves at risk of losing balance or dominance so that they learn to recover. Humor in turn involves play with the expectations we share-whether innate or acquired-in order to catch one another off guard in ways that simulate risk and stimulate (...) recovery. An evolutionary approach to three great literary humorists, Shakespeare, Nabokov and Beckett, shows that a species-wide explanation not only cuts deeper but in no way diminishes individual difference. (shrink)

Humor is a surprisingly understudied topic in philosophy. However, there has been a flurry of interest in the subject over the past few decades. This article outlines the major theories of humor. It argues for the need for more publications on humor by philosophers. More specifically, it suggests that humor may not be a well-understood phenomenon by questioning a widespread consensus in recent publications – namely, that humor can be detached from laughter. It is argued (...) that this consensus relies on a cognitivist account of emotion, one that is open to debate, and that it becomes unclear what sorts of phenomena a theory of humor is supposed to explain when one questions this assumption. (shrink)

This study explores the semiotics of humor and political disaffection in the online feedback discourse evaluating party performance in a post-election era in Nigeria’s democratic practice. It examines the incongruities in multimodal digital humor as semiotic resources of subversive play to criticize a political party for its perceived weak program-to-policy linkage. Data for the study comprise some purposively sampled political internet memes which were deployed to express political disaffection at the party All Progressives Congress in the first half (...) of its four-year tenure. The study applies Algirdas J. Greimas’ semiotic theory by drawing upon the notions of narrativity and modalities to read the selected political internet memes, which run profound social commentaries on the anxieties and frustrations of the ordinary citizens in a failing economy, thereby underpinning the thrust of the theory, which lies not only in the signification of texts but also in the signification of the living experience. The study reveals the power of signs evidenced in the deployment of objects, behaviors, practices, images, and symbols within the socio-economic sub/culture of the production of the internet memes to configure backlashes of democratic deficits relating largely to worsening poverty, hunger, struggle for survival, and political cynicism in an emerging democracy. (shrink)

Humour is a funny thing. Everyone knows what humour is but no-one knows exactly how it works. This book addresses the question 'What is humour?' -/- Consulting a dictionary on this question reveals an uninformative circle of definitions that goes from 'humour', to 'amusement', to 'funny' and back to 'humour'. Hence the book starts by untangling this circle of definitions to avoid being tied in conceptual knots. The remainder of the book is then free to lucidly provide a new (...) class='Hi'>theory of humour which draws on cutting-edge research in psychology, linguistics and neuroscience. -/- Humour is important to people and so then are philosophical questions about humour. This book provides an understanding of what our sense of humour reveals about us and elucidates joking matters from the dinner table to the comedy club. (shrink)

Baofu discusses the future of humor, especially in the dialectic context of joking and laughing--while learning from different approaches in the literature but without favoring any one of them. He offers a new theory to go beyond the existing approaches in the literature on humor in a novel way.

Over the past decades humor studies has formed an unprecedented interdisciplinary consolidation, connected with a consolidation in philosophy of humor scholarship. In this essay, I focus specifically on feminist philosophy of humor as an area of study that highlights relationships between humor, language, subjectivity, power, embodiment, instability, affect, and resistance, introducing several of its key themes while mapping out tensions that can be productive for further research. I first cover feminist theories of humor as instability (...) and then move to feminist theories of humor as generative of social relationships. Though I diagnose several tensions between these approaches that require further elaboration and discussion, I conclude that feminist philosophy of humor is a crucial area of humor research that focuses on systematic oppression, political engagement, embodiment, and affective ties. (shrink)

ABSTRACT The logic of humor has been acknowledged as an essential dimension of every joke. However, what is the logic of jokes, exactly? The modern theories of humor maintain that jokes are characterized by their own logic, dubbed “pseudo,” “playful,” or “local,” which has been the object of frequent criticisms. This article intends to address the limitations of the current perspectives on the logic of jokes by proposing a rhetorical approach to humorous texts. Building on the traditional development (...) of Aristotle’s almost neglected view of jokes as surprising enthymemes, the former are analyzed as rhetorical arguments. Like enthymemes, jokes are characterized by natural inferences that can be represented as topics, and quasi-formalized in argumentation theory as argumentation schemes. Like rhetorical arguments, jokes express a reason in support of different types of conclusions and proceed from distinct kinds of reasoning and semantic relations. (shrink)

I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated (...) responsibility theory , holding that the strongest ethical criticism that can be made of our sense of humor is that it might indicate some omission on our part. This omission could only be culpable in so far as a particular joke could do harm to oneself or others. In response to Ted Cohen’s doubts that such a mechanism of harm is forthcoming, I argue that the primary vehicle of the harmful effects of humor is laughter. (shrink)

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. (shrink)

People can laugh at almost anything. What’s the deal with that? What makes something funny? -/- This essay reviews some theories of what it is for something to be funny. Each theory offers insights into this question, but no single approach provides a comprehensive answer.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Kathryn Kein 671 Kathryn Kein Recovering Our Sense of Humor: New Directions in Feminist Humor Studies At the 2014 annual meeting of the American Studies Association (ASA), the Humor Studies Caucus held a panel titled “Female Comedians and the Critical Power of Laughter.” After listening to presentations on Gilda Radner, Lily Tomlin, and Black women comedians’ 1960s comedy (...) albums, one audience member asked the panel if the classic theories of humor—Freud’s theory of the joke, Bergson’s thoughts on laughter (all conceived of in relation to the work of men)—applied when analyzing female comedic performers. One panelist immediately responded that she found none of those theories useful to her work on female comedians, and that instead she used queer theory to aid her analysis. This exchange at ASA points to many of the questions that scholars of humor and feminism are currently facing as they work to address a dearth of scholarship dealing with women, feminism, and comedy. The nods in agreement around the room spoke to the notion that scholarship on the topic of women in comedy is not merely filling in gaps, but breaking new ground. With a few notable exceptions, scholars have been relatively silent on topics involving women and/in comedy.1 The meager 1. See Susanne Lavin, Women and Comedy in Solo Performance: Phyllis Diller, Lily Tomlin, and Roseanne (New York: Routledge, 2004); June Sochen, ed., Women’s Comic Visions (Detroit, MI: Wayne State University Press, 1991); John Limon, “Skirting, Kidding: Ellen Degeneres and Paula Poundstone,” in 672 Kathryn Kein scholarly space devoted to feminism and humor is likely shaped by the fraught relationship women and feminism have had with humor in our cultural imagination. Women have long battled a perception that they, as a sex, are biologically not funny. Men have always vastly outnumbered women on stand-up stages and in comedy writers’ rooms. Former Saturday Night Live writer Anne Beatts recalled that star John Belushi, being of the “chicks-aren’t-funny” school, often requested that the women writers be fired.2 In her bestselling Bossypants, Tina Fey recalls that the gender imbalance of the sketch comedy teams at Chicago’s Second City were due to the fact that directors believed “the audience doesn’t want to see a scene between two women.”3 In his 2007 piece in Vanity Fair brashly titled “Why Women Aren’t Funny,” Christopher Hitchens went so far as to call women and humor “antithetical.”4 In particular, feminist women have been painted as humorless and unable to take a joke. In The Promise of Happiness, Sarah Ahmed, defining her figure of the feminist killjoy, observes that “feminists are typically represented as grumpy his Stand-Up Comedy in Theory, or, Abjection in America (Durham, NC: Duke University Press, 2000). 2. For further accounts of women comedy writers’ and performers’ experiences, see Yael Kohen, We Killed: The Rise of Women in American Comedy: A Very Oral History (New York: Sarah Crichton Books, 2012). 3. Tina Fey, Bossypants (New York: Little, Brown, and Company, 2011), 87. 4. Christopher Hitchens, “Why Women Aren’t Funny,” Vanity Fair 557 (2007): 54 Books Discussed in This Essay All Joking Aside: American Humor and Its Discontents. By Rebecca Krefting. Baltimore, MD: Johns Hopkins University Press, 2014. Pretty/Funny: Women Comedians and Body Politics. By Linda Mizejewski. Austin: University of Texas Press, 2014. The Queer Cultural Work of Lily Tomlin and Jane Wagner. By Jennifer Reed. New York: Palgrave Macmillan, 2013. Kathryn Kein 673 and humorless.”5 In a variation of the age-old joke, when a jokester asks, “How many feminists does it take to change a light bulb?” the respondent doesn’t say “How many?” but instead deadpans, “That’s not funny.” In different ways, the three books reviewed in this essay take up the conversation at ASA and tackle these same questions: How do we analyze humor produced by (and for?) women when our understanding of humor is decidedly male? What omissions have the gendered assumptions about humor caused in scholarship on feminism? How does humor work to address these assumptions? And how does the backdrop of these assumptions influence the comedy... (shrink)

EDITOR’S ABSTRACTThe popular Chinese portrayal of the victory of Confucianism, or in Chinese terms “dismiss the hundred schools of thought and revere only the Confucian arts,” has been challenged by some scholars in the past decades. Ding’s essay illustrates not only how it has been challenged but also how the catch phrase influences the scholarly discussion. As he indicates, recent Chinese studies that attempt to subvert the traditional theory share the same “flow.” They fail to note that the expression (...) “dismiss the hundred schools of thought and revere only the Confucian arts” has had very negative connotations since it was invoked by Yi Baisha 易白沙 to harshly denounce Confucianism for being responsible for the centuries-long Chinese autocracy. (shrink)

Much of today's communication is carried out through various kinds of humor, and we therefore need to be able to understand its many aspects. Here, two of the world's leading pioneers in humor studies, Alleen and Don Nilsen, explore how humor can be explained across the numerous sub-disciplines of linguistics. Drawing on examples from language play and jokes in a range of real-life contexts, such as art, business, marketing, comedy, creative writing, science, journalism and politics, the authors (...) use their own theory of 'Features, functions and subjects of Humor' to analyze humor across all disciplines. Each highly accessible chapter uses a rich array of examples to stimulate discussion and interaction even in large classes. Supplemental PowerPoints to accompany each of the 25 chapters are available online, taking many of the insights from the chapters for further interactional discussions with students. (shrink)

Several decades ago, Christopher Boorse formulated an influential statistical theory of normative biological functions but it has often been claimed that his theory suffers from insuperable problems such as an inability to handle cases of epidemic and universal diseases. This paper develops a new statistical theory of normative functions that is capable of dealing with the notorious problem of epidemic and universal diseases. The theory is also more detailed than its predecessors and offers other important advantages (...) over them. It is argued here that statistical theories of biological functions should not be so quickly dismissed. (shrink)

Kafka's work has exercised immense influence on cinema and his reflections on diminished human agency in modernity and the dominance of oppressive institutions that perpetuate individual or social alienation and political repression have been the subject of debates by philosophers such as Theodor Adorno, Walter Benjamin, Gilles Deleuze, Félix Guattari, and Alexander Kluge. Informed by a world-systems approach and taking a cue from Jorge Luis Borges’ point that Kafka has modified our conception of the future, and André Bazin's suggestion that (...) literary concepts, characters and styles can exceed “novels from which they emanate”, I understand the Kafkaesque as an elastic term that can refer to diverse films that might share thematic preoccupations, but also aesthetic and formal differences. In this article, I explore the politics of humour in Kafkaesque cinema with reference to the following films: The Overcoat ( Шинель, 1926, Gregor Koznitzev and Leo Trauberg), The Shop on Main Street ( Obchod na korze, 1965, Ján Kadár), and Death of a Bureaucrat ( La muerte de un burócrata, 1966, Tomás Gutiérrez Alea). I draw attention to the dialectics of humour and the connection between the Kafkaesque and slapstick so as to show how humour is deployed as a means of political critique. (shrink)

This article begins by reviewing the overwhelmingly negative assessment of laughter and humor in Western philosophy and in Christianity, arguing that that evaluation arises from a misclassification of amusement as a malicious emotion. It then sketches a play theory of humor in which humor is an activity pursued for pleasure which allows participants to violate linguistic and social norms, especially rules about sincerity. Once we understand humor as a kind of play, familiar ethical objections to (...) jokes based on gender and race are seen to be mistaken, and a new approach to the negative ethics of humor becomes possible. What is more, this play theory also explains how humor is morally praiseworthy in many situations. (shrink)

An engaging account of how Shaftesbury revolutionized Western philosophy At the turn of the eighteenth century, Anthony Ashley Cooper, the third Earl of Shaftesbury, developed the first comprehensive philosophy of beauty to be written in English. It revolutionized Western philosophy. In A Philosophy of Beauty, Michael Gill presents an engaging account of how Shaftesbury’s thought profoundly shaped modern ideas of nature, religion, morality, and art—and why, despite its long neglect, it remains compelling today. Before Shaftesbury’s magnum opus, Charactersticks of Men, (...) Manners, Opinions, Times, it was common to see wilderness as ugly, to associate religion with fear and morality with unpleasant restriction, and to dismiss art as trivial or even corrupting. But Shaftesbury argued that nature, religion, virtue, and art can all be truly beautiful, and that cherishing and cultivating beauty is what makes life worth living. And, as Gill shows, this view had a huge impact on the development of natural religion, moral sense theory, aesthetics, and environmentalism. Combining captivating historical details and flashes of humor, A Philosophy of Beauty not only rediscovers and illuminates a fascinating philosopher but also offers an inspiring reflection about the role beauty can play in our lives. (shrink)

Any analysis of "In the Company of Men" is forced to answer three questions of central importance to the ethics of humor: What does it mean to find sexist humor funny? What are the various sources of humor? And, can moral flaws with attempts at humor increase their humorousness? I argued that although merely finding a joke funny in a neutral context cannot tell you anything reliable about a person's beliefs, in context, a joke may reveal (...) a great deal about one’s social attitudes, or feelings of insecurity. Especially in its portrayal of Howard, the film exposes the role of insecurity as a source of humor. Not only can insecurity make one more prone to laugh, but it can also make someone seem funnier in some contexts. I contended that this shows that a strong version of the superiority theory of humor is clearly wrong. Furthermore, the disparate audience reactions to Chad's jokes showed that the morally sensitive who were aware of the purpose of his jokes would see them as ethically flawed. Rather than making the jokes more amusing, the fact that the jokes were considered to be ethically flawed made them less funny. Hence, immoralism is most likely false. (shrink)

This article presents the case for an approach to consciousness that I call illusionism. This is the view that phenomenal consciousness, as usually conceived, is illusory. According to illusionists, our sense that it is like something to undergo conscious experiences is due to the fact that we systematically misrepresent them as having phenomenal properties. Thus, the task for a theory of consciousness is to explain our illusory representations of phenomenality, not phenomenality itself, and the hard problem is replaced by (...) the illusion problem. Although it has had powerful defenders, illusionism remains a minority position, and it is often dismissed as failing to take consciousness seriously. This article seeks to rebut this accusation. It defines the illusionist programme, outlines its attractions, and defends it against some common objections. It concludes that illusionism is a coherent and attractive approach, which deserves serious consideration. (shrink)

The property theory of musical works says that each musical work is a property that is instantiated by its occurrences, that is, the work's performances and playings. The property theory provides ontological explanations very similar to those given by its popular cousin, the type/token theory of musical works, but it is both simpler and stronger. However, type/token theorists often dismiss the property theory. In this essay, I formulate a version of the property theory that identifies (...) each type (thus, each musical work) with a unique property. I then scrutinize the arguments offered for thinking that types, including musical works, are distinct from properties. I respond that no such argument is forceful and conclude that the property theory of musical works is superior to the type/token theory. (shrink)

A radical new approach to humor, where traditional targets become its agents Humor is often dismissed as cruel ridicule or harmless fun. But what if laughter is a vital force to channel rage against patriarchy, Islamophobia, mass incarceration? To create moments of empathy and dialogue between #Black Lives Matter and the police? These and other such questions are at the heart of this powerful reassessment of humor. Placing theorists in conversation with comedians, Uproarious offers a full-frontal approach (...) to the very foundation of comedy and its profound political impact. Here Cynthia Willett and Julie Willett address the four major theories of humor—superiority, relief, incongruity, and social play—through the lens of feminist and game-changing comics such as Wanda Sykes, Margaret Cho, Hannah Gadsby, Hari Kondabolu, and Tig Notaro. They take a radical and holistic approach to the understanding of humor, particularly of humor deployed by those from groups long relegated to the margins and propose a powerful new understanding of humor as a force that can engender politically progressive social movements. Drawing on a range of cross-disciplinary sources, from philosophies and histories of humor to the psychology and physiology of laughter to animal studies, Uproarious offers a richer understanding of the political and cathartic potential of humor. (shrink)

While the loss of the second book of the Poetics has deprived us of Aristotle’s most extensive account of laughter and comedy, his discussion of eutrapelia (wittiness) as a virtue in his ethical works and in the Rhetoric points toward the importance of humor for his ethical and political thought. This article offers a reconstruction of Aristotle’s account of wittiness and attempts to explain how the virtue of wittiness would animate the everyday interactions of ordinary citizens. Placing Aristotle’s account (...) of wittiness in dialogue with recent work within the ethical turn in contemporary political theory can help articulate what a late-modern ethos of democratic laughter might look like. (shrink)

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)

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

This 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)

The episode title “One Angry Veronica” calls attention to how often Veronica's anger becomes a source of conflict, as well as a force in the service of justice. All along the way, she provides us with a wonderful resource for thinking critically about feminist issues in contemporary society. More than most other characters on the show, Veronica is attuned to how issues of gender, class, and race intersect within the corrupt world of Neptune. Veronica's appreciation of the fluidity of gender (...) roles helps her to steer the expectations of those around her to serve her purposes. Veronica can be seen as a representative of a new type of feminism, which remedies the limitations of the earlier waves. She doesn't dismiss femininity, she has a positive attitude toward sex, and she approaches most issues on a personal rather than just on an outwardly political level. (shrink)

It has long been recognized that a local hidden variable theory of quantum mechanics can in principle be constructed, provided one is willing to countenance pre-measurement correlations between the properties of measured systems and measuring devices. However, this ‘conspiratorial’ approach is typically dismissed out of hand. In this article I examine the justification for dismissing conspiracy theories of quantum mechanics. I consider the existing arguments against such theories, and find them to be less than conclusive. I suggest a more (...) powerful argument against the leading strategy for constructing a conspiracy theory. Finally, I outline two alternative strategies for constructing conspiracy theories, both of which are immune to these arguments, but require one to either modify or reject the common cause principle. Introduction The incompleteness of quantum mechanics Hidden variables Hidden mechanism conspiracy theories Existing arguments against hidden mechanisms A new argument against hidden mechanisms Backwards-causal conspiracy theories Acausal conspiracy theories Conclusion. (shrink)