Laughing Histories

Laughing Histories breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature.

Interested in preserving her family folklore, Jeannie B. Thomas recorded detailed oral histories from her mother and two grandmothers. While analyzing the tapes of these sessions, she notices the inappropriate laughter often accompanied the retelling of painful stories. In this book, Thomas combines these personal narratives with original scholarship drawing on the work of Mikhail Bakhtin and Julia Kristeva to uncover meaning behind the startling presence of unconventional laughter in women's histories.

Laughter is often no laughing matter, and, as such, it deserves continued scholarly attention as a social, cultural and historical phenomenon. This collection of essays is a meeting ground for scholars from several disciplines, including historians, philologists, and scholars of social sciences, to discuss places and roles of laughter in history, in historical narratives, and in cultural anthropology from prehistory to the present. The common foci of the papers gathered in this volume are to examine laughter and its meanings, to reflect on the place of laughter in Western history and literature, to disclose laughter’s manipulative potential in historical and literary narratives, to see it in the light of the concepts of carnivalesque and playfulness, to see it as a reflection of hysterical historicizing, to see its place in comedy, farce, grotesque and irony, and to see it against its broadly understood theoretical, philosophical and psychological aspects. The book will appeal chiefly to an academic readership, including students, historians, literary and cultural scholars, sociologists, and cultural anthropologists.

"An absolutely dazzling entertainment. . . . Arousing on every level—political, erotic, intellectual, and above all, humorous." —Newsweek "The Book of Laughter and Forgetting calls itself a novel, although it is part fairy tale, part literary criticism, part political tract, part musicology, and part autobiography. It can call itself whatever it wants to, because the whole is genius." —New York Times Rich in its stories, characters, and imaginative range, The Book of Laughter and Forgetting is the novel that brought Milan Kundera his first big international success in the late 1970s. Like all his work, it is valuable for far more than its historical implications. In seven wonderfully integrated parts, different aspects of human existence are magnified and reduced, reordered and emphasized, newly examined, analyzed, and experienced.

In a media-saturated world, humour stands out as a form of social communication that is especially effective in re-appropriating and questioning architectural and urban culture. Whether illuminating the ambivalences of metropolitan life or exposing the shock of modernisation, cartoons, caricature, and parody have long been potent agents of architectural criticism, protest and opposition. In a novel contribution to the field of architectural history, this book outlines a survey of visual and textual humour as applied to architecture, its artefacts and leading professionals. Employing a wide variety of visual and literary sources (prints, the illustrated press, advertisements, theatrical representations, cinema and TV), thirteen essays explore an array of historical subjects concerning the critical reception of projects, buildings and cities through the means of caricature and parody. Subjects range from 1750 to the present, and from Europe and the USA to contemporary China. From William Hogarth and George Cruikshank to Osbert Lancaster, Adolf Loos' satire, and Saul Steinberg's celebrated cartoons of New York City, graphic and descriptive humour is shown to be an enormously fruitful, yet largely unexplored terrain of investigation for the architectural and urban historian.

Asian Canadian activism, resistance, and art of the 1970s and 80s Laughing Back at Empire is a ground-breaking examination of The Asianadian, one of Canada’s first anti-racist, anti- sexist, and anti-homophobic magazines. Over the course of its seven-year run, the small but mighty magazine led a nation-wide dialogue for all Canadians on the struggles and social issues that concerned Asians in Canada. The Asianadian established a national platform for then-emerging Asian Canadian writers, artists, musicians, activists, and scholars like Sky Lee, Jim Wong-Chu, Joy Kogawa, Himani Bannerji, and Paul Yee. Columns like “On the Firing Line” and the “Dubious Achievement Awards” provided space to laugh back at the embarrassing concoction of Orientalist stereotypes in the media and to critique inconsistencies and superficialities within Canada’s newfound multicultural image. Situating the story of The Asianadian within the history of Canada, Angie Wong celebrates and builds on the work of its creators from the Asianadian Resource Workshop. Extensive interview material with the co-founding members, editors, volunteers, readers, and contributors captures their dedication and spirit of anti-racist collectivism. Wong’s analysis helps to dismantle cultural assumptions that have relegated Asian Canadian history, contributions, and injustices to the periphery of Canadian experience and identity. On the heels of the COVID-19 pandemic and a resurgence of anti-Asian racism, Laughing Back at Empire amplifies the voices that speak, shout, and laugh together at empire’s self-congratulatory and exclusionary narratives.

One of the tales, it should be added, is a mere jeu d’esprit, the presence of which in the collection is justifiable only on the plea that it makes believe to be what the others are—relieving a note too monotonously sounded by lowering it to the key of mockery. Possibly, nevertheless, it may turn out to be the float which will save the weightier portion of the cargo from going too speedily to the bottom. All the stories have appeared, during the last four years, in various periodicals, to the editors of which my acknowledgments are due for leave to reproduce them.

Laughing Gods, Weeping Virgins analyses how laughter has been used as a symbol in myths, rituals and festivals of Western religions, and has thus been inscribed in religious discourse. The Mesopotamian Anu, the Israelite Jahweh, the Greek Dionysos, the Gnostic Christ and the late modern Jesus were all laughing gods. Through their laughter, gods prove both their superiority and their proximity to humans. In this comprehensive study, Professor Gilhus examines the relationship between corporeal human laughter and spiritual divine laughter from c`ussical antiquity, to the Christian West and the modern era. She combines the study of the history of religion with social-scientific approaches, to provide an original and pertinent exploration of a universal human phenomenon, and its significance for the development of religions.