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The Mirror of Laughter presents a theory of humor and laughter by examining their relationship to human behaviors. Kozintsev is especially interested in the relationship between biological and cultural factors that influence behaviors. He divides his work into four chapters, the first of which establishes a theme of the book, focusing on the study of meaning from the perspective of philosophy and psychology, while examining linguistic theories of humor. The second chapter examines biological data regarding laughter and the evolutionary origins of laughter and humor. It demonstrates the author's interest in studying humor objectively by detailing physiological reactions and underlying psychological issues. The third section on play, including linguistic play, distinguishes between orderly and disorderly play. While orderly play has no biological roots and is synonymous with culture, disorderly play is rooted in the pre-human past. The final chapter discusses the conflict between culture and nature and how culture has transformed the original semantics of laughter. Kozintsev seeks to understand the relationship between the biological, cultural, and social origins of humor and, from here, he seeks to create new understanding that only the alliance of several disciplines could provide. All of this is done while the author challenges many popular ideas of humor, such as that humor is inherently related to hostility. Originally written in Russian, this work makes great strides towards its goal, and it does so in an interesting and enlightening way.
The Laughing Mirror was inspired by fond memories of the author’s childhood. He used to go to an amusement park with his family. Standing in front of a funny mirror made them laugh because they saw that everyone looked different. His nephew, who was a little over two years old at the time, got scared when he looked at the mirror closely and started to cry. His mother picked him up and pointed out that the mirror reflected his face, eyes, and mouth, but it could also exaggerate them and make them funny. His nephew calmed down and curiously started to touch the mirror. The Laughing Mirror sends a message to children that they shouldn’t fear any mirrors. And animals, no matter what size or shape, could be our fun friends.
"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.
Famous professor Joseph Wieder was brutally murdered, and the crime was never solved. Years later when literary agent Peter Katz receives an incomplete memoir written by a student of the murdered professor, he becomes obsessed with solving the crime.
Bill Barich burst onto the literary scene more than twenty-five years ago with this remarkable account of racetrack life. Holed up in a cheap motel in Albany, California, only a few miles from Golden Gate Fields, he looked to the track to help him make sense of his life during a dark peiod of loss and challenge. With rare sensitivity, he captured the gritty world of the backstretch, and also its poetry, as few other writers have done. Laughing in the Hills, which was first serialized in the New Yorker, has become a classic of sporting literature and a must for anyone who loves horses and the world they create. “It is a lovely, valuable book, introspective without being self-servingly so, affectionate but never saccharine in its evocation of racetrack life, witty and perceptive throughout.” —Jonathan Yardley, Sports Illustrated Skyhorse Publishing, as well as our Sports Publishing imprint, is proud to publish a broad range of books for readers interested in sports—books about baseball, pro football, college football, pro and college basketball, hockey, or soccer, we have a book about your sport or your team. In addition to books on popular team sports, we also publish books for a wide variety of athletes and sports enthusiasts, including books on running, cycling, horseback riding, swimming, tennis, martial arts, golf, camping, hiking, aviation, boating, and so much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to publishing books on subjects that are sometimes overlooked by other publishers and to authors whose work might not otherwise find a home.
There’s nothing funny about dying … or is there? Malachy McCourt, Jacquelyn Mitchard, and 22 more share hilarious and moving stories of confronting death. Exit Laughing makes death more approachable as it reveals the funny side of “passing on.” As painful as it is to lose a loved one, Exit Laughing shows us that in times of grief, humor can help us with coping and even healing. Best-selling author Amy Ferris explains how her mother’s dementia led to a permanent ban from an airline. Ellen Sussman writes of flying her mother's body home and watching the burial wardrobe spill out on the baggage carousel. Broadway and television actor Richard McKenzie shares the riotous story of a funeral procession led by a lost hearse. Bonnie Garvin even manages to find a heavy dose of dark humor in her parents’ three unsuccessful attempts at a double suicide. These stories, along with tales from Joshua Braff, Barbara Graham, Dianne Rinehart, and more, constitute a book whose purpose is to remind readers that when dealing with illness, aging, and dying, there is an important place for laugh-out-loud humor.
The author of this book, Prince Israel Oyerinde Omotosho, has compiled more than 120 jokes and short stories for your enjoyment. The jokes and stories are contextually based in Nigeria, West Africa. They will make you laugh till your ribs protest!
It is a self-development book that is made up of two things: 'Words is a seed' and laughter is happiness. Because dreams are built up through words and happy energy is created through laughter, it is that if you do words and laughter every day, you can live a successful life and you can enjoy a happy life. A word has power, dreams, and life, so he must say good things and say something positive. It tells you that you can accomplish what you dream by adding your own feelings and wish adding "hahaha" laughter energy, and you can go toward your goal through laughter energy.
When life is funny, make some jokes about it. Billy Plimpton has a big dream: to become a famous comedian when he grows up. He already knows a lot of jokes, but thinks he has one big problem standing in his way: his stutter. At first, Billy thinks the best way to deal with this is to . . . never say a word. That way, the kids in his new school won’t hear him stammer. But soon he finds out this is NOT the best way to deal with things. (For one thing, it’s very hard to tell a joke without getting a word out.) As Billy makes his way toward the spotlight, a lot of funny things (and some less funny things) happen to him. In the end, the whole school will know -- If you think you can hold Billy Plimpton back, be warned: The joke will soon be on you!
Angela Carter's provocations to laughter and her enchantment with ludic narrative strategies are two key aspects of her aesthetic practice, neither of which has been the focus of sustained study. Ludics and Laughter as Feminist Aesthetic: Angela Carter at Play responds to this lacuna in Carter criticism. This international collection of eleven essays from acclaimed Carter scholars and emerging voices in the field of Carter studies seeks to reclaim play as a serious undertaking for feminist writing and scholarship and to foreground laughter as a potent affect. While Carter's work turned to comedy in the later years, from the first publication in 1966 until her last in 1992, her fiction, poetry and journalism engaged in sharp social and cultural critique; she habitually engaged this critique through ludic structures and wickedly funny narratives that challenged conventional norms and ways of thinking. Contributors explore the diverse ways in which Carter compelled a complex and often uneasy laughter by means of a controversial aesthetic that merges a persistently ludic sensibility with a biting intransigent wit. This volume draws on theories of play, surrealism, feminism, as well as studies of feminist humour and Carter's own journals and diaries to reveal the ways in which her work moves readers towards the unexpected. This volume will be of relevance both to scholars of Carter's work and of feminist humour more generally; as well, it will be of interest to students and general readers of Carter's fiction, journalism and poetry.