Laughter At The Foot Of The Cross

"Christian laughter is a maze: you could easily get snarled up within it." So says Michael A. Screech in his note to readers preceding this collection of fifty-three elegant and pithy essays. As Screech reveals, the question of whether laughter is acceptable to the god of the Old and New Testaments is a dangerous one. But we are fortunate in our gu

Using Lacanian psychoanalysis, as well as its pre-history and afterlives, In the Event of Laughter argues for a new framework for discussing laughter. Responding to a tradition of 'comedy studies' that has been interested only in the causes of laughter (in why we laugh), it proposes a different relationship between laughter and causality. Ultimately it argues that laughter is both cause and effect, troubling chronological time and asking for a more nuanced way of conceiving the relationship between subjects and their laughter than existing theories have accounted for. Making this visible via psychoanalytic ideas of retroactivity, Alfie Bown explores how laughter – far from being a mere response to a stimulus – changes the relationship between the present, the past and the future. Bown investigates this hypothesis in relation to a range of comic texts from the 'history of laughter,' discussing Chaucer, Shakespeare, Kafka and Chaplin, as well as lesser-known but vital figures from the comic genre.

We cannot really love anybody with whom we never laugh, and this is true of our relationship with God. Thomas Aquinas spoke of the sin of having too little laughter as well as the danger of having too much, while Martin Luther said, ‘If you’re not allowed to laugh in heaven, I don’t want to go there.’ Having a sense of humour is essential for maturity in faith and holiness, but sadly, the role that laughter plays in life and spirituality have often been neglected. Laughter and the Grace of God restores laughter to its central place in Christian spirituality and theology by examining its role in Scripture and highlighting its presence in unexpected places, including the story of Abraham and the formation of the covenant, and the tragedy of Job. Laughter can be found in the incarnation, the resurrection, and even the crucifixion – Jesus is himself the great laugh-maker – and it is nothing less than a participation in the life and love of God.

Throughout history, comedians and clowns have enjoyed a certain freedom to speak frankly often denied to others in hegemonic systems. More recently, professional comedians have developed platforms of comic license from which to critique the traditional political establishment and have managed to play an important role in interrogating and mediating the processes of politics in contemporary society. This collection will examine the questions that arise when of comedy and critique intersect by bringing together both critical theorists and comedy scholars with a view to exploring the nature of comedy, its potential role in critical theory and the forms it can take as a practice of resistance.

When Sarah overhears God tell Abraham that she will give birth to a son, she laughs. She laughs to herself at the impossibility of her, in her old age, bearing a child (Gen 18:12). But God’s ways are not Sarah’s ways; God is far more wonderful than Sarah imagines. Of course, Sarah does give birth to a son and names him Isaac, whose name means to laugh: God has brought laughter for me; everyone who hears will laugh with me (Gen 21:6). Surely, the ancient audience—aware of the many incongruities in this story—did laugh. But can we in modern times recover the divine humor, the paradox and promise, in this and other biblical accounts? Can we use that sacred laughter as a means to evangelize a world that longs for God every bit as much as the ancients did? In Laughing with God: Humor, Culture, and Transformation, Catholic priest and cultural anthropologist Gerald Arbuckle helps us do just that. With Arbuckle, readers will enter many rich biblical stories and come away laughing, not laughter as in response to a joke or comedy, but a profound laughter of the heart. Readers will laugh at Sarah as she laughs at God, and they will laugh together with Sarah and God. Readers will discover divine humor in the parables of Jesus and even in his suffering and death, the ultimate paradox for Christians. In addition to uncovering and recovering humor in Scripture, Arbuckle’s work is a treasure trove of modern examples of humor—from literature, movies, and television—that surprisingly can be a means of transforming cultures to better reflect the kingdom of God. In the end, readers will want to turn the phrase, He who laughs last, laughs best, into, They who laugh with God, evangelize best. Gerald A. Arbuckle, SM, PhD, is co-director of Refounding and Pastoral Development, a research ministry, in Sydney, Australia. He is internationally known for his expertise in helping church leaders minister effectively in a postmodern world. Arbuckle’s most recent books include: Confronting the Demon: A Gospel Response to Adult Bullying; Violence, Society, and the Church: A Cultural Approach; and Healthcare Ministry: Refounding the Mission in Tumultuous Times (2001 Catholic Press Association Award), all published by Liturgical Press.

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.

From Thomas Hobbes' fear of the power of laughter to the compulsory, packaged "fun" of the contemporary mass media, Billig takes the reader on a stimulating tour of the strange world of humour. Both a significant work of scholarship and a novel contribution to the understanding of the humourous, this is a seriously engaging book' - David Inglis, University of Aberdeen This delightful book tackles the prevailing assumption that laughter and humour are inherently good. In developing a critique of humour the author proposes a social theory that places humour - in the form of ridicule - as central to social life. Billig argues that all cultures use ridicule as a disciplinary means to uphold norms of conduct and conventions of meaning. Historically, theories of humour reflect wider visions of politics, morality and aesthetics. For example, Bergson argued that humour contains an element of cruelty while Freud suggested that we deceive ourselves about the true nature of our laughter. Billig discusses these and other theories, while using the topic of humour to throw light on the perennial social problems of regulation, control and emancipation.

Is there a 'history' of laughter? Or isn't laughter an anthropological constant rather and thus beyond history, a human feature that has defined humanity as homo ridens from cave man and cave woman to us? The contributors to this collection of essays believe that laughter does have a history and try to identify continuities and turning points of this history by studying a series of English texts, both canonical and non-canonical, from Anglosaxon to contemporary. As this is not another book on the history of the comic or of comedy it does not restrict itself to comic genres; some of the essays actually go out of their way to discover laughter at the margins of texts where one would not have expected it all - in Beowulf, or Paradise Lost or the Gothic Novel. Laughter at the margins of texts, which often coincides with laughter from the margins of society and its orthodoxies, is one of the special concerns of this book. This goes together with an interest in 'impure' forms of laughter - in laughter that is not the serene and intellectually or emotionally distanced response to a comic stimulus which is at the heart of many philosophical theories of the comic, but emotionally disturbed and troubled, aggressive and transgressive, satanic and sardonic laughter. We do not ask, then, what is comic, but: who laughs at and with whom where, when, why, and how?