Reduced Laughter

"Since human laughter served, in a sense, as Dostoevsky's model, the author pays some heed to the highly controversial subject of real-life laughter, along with the leading theories that seek to elucidate its causes and implications.".

Books about thinkers require a kind of unity that their thought may not possess. This cautionary statement is especially applicable to Mikhail Bakhtin, whose intellectual development displays a diversity of insights that cannot be easily integrated or accurately described in terms of a single overriding concern. Indeed, in a career spanning some sixty years, he experienced both dramatic and gradual changes in his thinking, returned to abandoned insights that he then developed in unexpected ways, and worked through new ideas only loosely related to his earlier concerns Small wonder, then, that Bakhtin should have speculated on the relations among received notions of biography, unity, innovation, and the creative process. Unity--with respect not only to individuals but also to art, culture, and the world generally--is usually understood as conformity to an underlying structure or an overarching scheme. Bakhtin believed that this idea of unity contradicts the possibility of true creativity. For if everything conforms to a preexisting pattern, then genuine development is reduced to mere discovery, to a mere uncovering of something that, in a strong sense, is already there. And yet Bakhtin accepted that some concept of unity was essential. Without it, the world ceases to make sense and creativity again disappears, this time replaced by the purely aleatory. There would again be no possibility of anything meaningfully new. The grim truth of these two extremes was expressed well by Borges: an inescapable labyrinth could consist of an infinite number of turns or of no turns at all. Bakhtin attempted to rethink the concept of unity in order to allow for the possibility of genuine creativity. The goal, in his words, was a "nonmonologic unity," in which real change (or "surprisingness") is an essential component of the creative process. As it happens, such change was characteristic of Bakhtin's own thought, which seems to have developed by continually diverging from his initial intentions. Although it would not necessarily follow that the development of Bakhtin's thought corresponded to his ideas about unity and creativity, we believe that in this case his ideas on nonmonologic unity are useful in understanding his own thought--as well as that of other thinkers whose careers are comparably varied and productive.

In Reduced Laughter: Seriocomic Features and their Functions in the Book of Kings, Helen Paynter uses a hermeneutic of carnivalization and mirroring to offer a radical, satirical re-evaluation of the Elijah-Elisha and Aram narratives in the book of Kings.

This innovative collection of essays is the first to situate comedy and laughter as central rather than peripheral to nineteenth century life. Victorian Comedy and Laughter: Conviviality,Jokes and Dissent offers new readings of the works of Charles Dickens, Edward Lear,George Eliot, George Gissing, Barry Pain and Oscar Wilde, alongside discussions of much-loved Victorian comics like Little Tich, Jenny Hill, Bessie Bellwood and Thomas Lawrence. Tracing three consecutive and interlocking moods in the period, all of the contributors engage with the crucial critical question of how laughter and comedy shaped Victorian subjectivity and aesthetic form. Malcolm Andrews, Jonathan Buckmaster and Peter Swaab explore the dream of print culture togetherness that is conviviality, while Bob Nicholson, Louise Lee, Ann Featherstone,Louise Wingrove and Oliver Double discuss the rise-on-rise of the Victorian joke — both on the page and the stage — while Peter Jones, Jonathan Wild and Matthew Kaiser consider the impassioned debates concerning old and new forms of laughter that took place at the end of the century.

We participate in moral debate, instead of taking established morality for granted, because of our discontent with the moral discourse already existing. We feel that something is distorted or concealed, that something remains to be said. One of the strategies to expose the deficiencies of established discourse is critical argument, but under certain specific historical circumstances, the apparent self-evidence of established moral discourse has gained such a dominance, has acquired such an ability to conceal its basic vulnerability, that its validity simply seems beyond contestation. Notwithstanding our discontent, we remain unable to challenge the established truth effectively. Then, all of a sudden, its vulnerability is revealed - and this is the experience of laughter. Moral criticism is preceded by laughter. In fact, all crucial transformations that emerged in the history of morality were accompanied by and made possible by laughter and moral criticism is basically and originally a comic genre. After drawing an outline of the present moral regime in chapter one, the moral significance of laughter is recovered with the help of four 'philosophers of laughter' in chapter two, namely Bakhtin, Nietzsche, Bataille and Foucault. Laughter allows reality to appear in a certain light, it contains a basic truth, it is a philosophical principle in its own right that cannot be reduced to or identified with the truth of science. In the subsequent chapters it is shown how three crucial moral transformations, occuring in the fourth century B.C., the sixteenth century A.D. and the nineteenth century A.D. evolved out of an experience of laughter, articulated by three outstanding protagonists of laughter presented in this book: Socrates, Luther and Ibsen. Finally, the significance of the experience of laughter in view of the present is discussed.

Drawing on the authors’ diverse backgrounds and expertise, this is the first academic volume dedicated to the rarely discussed topic of laughter and humour in positive psychology.

Do men and women laugh at the same things? Is laughter contagious? Has anyone ever really died laughing? Is laughing good for your health? Drawing upon ten years of research into this most common-yet complex and often puzzling-human phenomenon, Dr. Robert Provine, the world's leading scientific expert on laughter, investigates such aspects of his subject as its evolution, its role in social relationships, its contagiousness, its neural mechanisms, and its health benefits. This is an erudite, wide-ranging, witty, and long-overdue exploration of a frequently surprising subject.

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?