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A "sad and corrupt" age, a period of "crisis" and "upheaval"—what T.S. Eliot famously summed up as "the panorama of futility and anarchy which is contemporary history." Modernism has always been characterized by its self-conscious sense of suffering. Why, then, was it so obsessed with laughter? From Baudelaire, Nietzsche, Bergson and Freud to Pirandello, Beckett, Hughes, Barnes, and Joyce, no moment in cultural history has written about laughter this much. James Nikopoulos investigates modernity’s paradoxical relationship with mirth. Why was the gesture we conventionally associate with happiness deemed the only sensible way of responding to a world, as Max Weber wrote, that had been "disenchanted of its gods?" In answering these questions, Nikopoulos also delves into our ongoing relationship with laughter. He looks to contemporary research in emotion and evolutionary theory, as well as to the two-thousand-plus-year history of the philosophy of humor, in order to propose a novel way of understanding laughter, humor, and their complicated relationships with modern life. The Stability of Laughter explores how art unsettles the simplifications we revert to in our attempts to make sense of human history and social interaction.
WINNER — 2020 Choice’s Outstanding Academic Title During the Mao years, laughter in China was serious business. Simultaneously an outlet for frustrations and grievances, a vehicle for socialist education, and an object of official study, laughter brought together the political, the personal, the aesthetic, the ethical, the affective, the physical, the aural, and the visual. The ten essays in Maoist Laughter convincingly demonstrate that the connection between laughter and political culture was far more complex than conventional conceptions of communist indoctrination can explain. Their sophisticated readings of a variety of genres—including dance, cartoon, children’s literature, comedy, regional oral performance, film, and fiction—uncover many nuanced innovations and experiments with laughter during what has been too often misinterpreted as an unrelentingly bleak period. In Mao’s China, laughter helped to regulate both political and popular culture and often served as an indicator of shifting values, alliances, and political campaigns. In exploring this phenomenon, Maoist Laughter is a significant correction to conventional depictions of socialist China. “Maoist Laughter brings together prominent scholars of contemporary China to make a timely and original contribution to the burgeoning field of Maoist literature and culture. One of its main strengths lies in the sheer number of genres covered, including dance, traditional Chinese performance, visual arts, film, and literature. The focus on humor in the Maoist period gives an exciting new perspective from which to understand cultural production in twentieth-century China.” —Krista Van Fleit, University of South Carolina “An illuminating study of the culture of laughter in the Maoist period. Focusing on much-neglected topics such as satire, jokes, and humor, this book is an essential contribution to our understanding of how socialist culture actually ‘worked’ as a coherent, dynamic, and constructive life experience. The chapters show that traditional culture could almost blend perfectly with revolutionary mission.” —Xiaomei Chen, University of California, Davis
Explores the nature, occurrence and uses of laugher in a range of different kinds of interactions across a variety of languages.
Timeless advice about how to use humor to win over any audience Can jokes win a hostile room, a hopeless argument, or even an election? You bet they can, according to Cicero, and he knew what he was talking about. One of Rome’s greatest politicians, speakers, and lawyers, Cicero was also reputedly one of antiquity’s funniest people. After he was elected commander-in-chief and head of state, his enemies even started calling him “the stand-up Consul.” How to Tell a Joke provides a lively new translation of Cicero’s essential writing on humor alongside that of the later Roman orator and educator Quintilian. The result is a timeless practical guide to how a well-timed joke can win over any audience. As powerful as jokes can be, they are also hugely risky. The line between a witty joke and an offensive one isn’t always clear. Cross it and you’ll look like a clown, or worse. Here, Cicero and Quintilian explore every aspect of telling jokes—while avoiding costly mistakes. Presenting the sections on humor in Cicero’s On the Ideal Orator and Quintilian’s The Education of the Orator, complete with an enlightening introduction and the original Latin on facing pages, How to Tell a Joke examines the risks and rewards of humor and analyzes basic types that readers can use to write their own jokes. Filled with insight, wit, and examples, including more than a few lawyer jokes, How to Tell a Joke will appeal to anyone interested in humor or the art of public speaking.
"As best exemplified by the works of Pirandello, Svevo, Palazzeschi, and Gadda, Italian modernist fiction is particularly rich in bizarre and ludicrous characters, whose originality is often derided by a uniform society. On the other hand, laughter can also be used by the author (or by the misfits themselves) as a reaction to the levelling pressure of social life - Pirandello's umorismo, Svevo's irony, Palazzeschi's controdolore, and Gadda's satire are all good cases in point. Looked at from this perspective, early 20th-century Italian fiction can set the basis for an innovative reflection on broader comparative themes. What is the role of laughter and individual diversity in international Modernism? How is modernist eccentricity related to the representations of originality in the 18th and 19th centuries, from Sterne to Balzac and Dostoevsky? And what does it tell us about the fear of homogenisation as a crucial aspect of the modern social imaginary? Building on the analysis of a large corpus of short stories and other major works by the Italian authors at issue, as well as on a series of previously undetected intertextual links with the classics of European Realism, this book is the first systematic attempt at answering such questions. Alberto Godioli is Teaching Fellow in Italian at the University of Edinburgh."
Where Youth and Laughter Go completes LtCol Seth Folsom’s recounting of his personal experiences in command over a decade of war. It is the culminating chapter of a trilogy that began with The Highway War: A Marine Company Commander in Iraq in 2006 and continued with In the Gray Area: A Marine Advisor Team at War in 2010. The chronicle of Folsom’s command of 3rd Battalion, 7th Marine Regiment, “The Cutting Edge,” and his harrowing deployment to Afghanistan’s volatile Sangin District presents a deeper look into the complexities and perils of modern counterinsurgency operations in America’s longest war. Charged with the daunting task of pacifying a region with a long history of violence and instability, Folsom and his Marines struggled daily to wage a dynamic campaign against the shadowy enemy force that held Sangin’s population firmly in its grip. With peace and stability always teetering on the brink of collapse, the Marines of “The Cutting Edge” confronted their own mortality as they conducted endless patrols through Sangin’s minefields while fighting to win the hearts and minds of the Afghan villagers. No other books have been published from the perspective of a Marine infantry battalion commander in Afghanistan. It was Folsom’s job, as the unit commander, to lead his Marines under impossible circumstances. LtCol Folsom made the unusual decision to patrol with his rifle squads every day through Sangin, where his Marines dodged improvised explosive devices and sniper fire from an invisible enemy. As his tour progressed and casualties mounted, he found his objectivity evaporating and the love for his men growing. Where Youth and Laughter Go is more than a blood-and-guts war story, it is a jarring, “boots on the ground”–level examination of the myriad challenges and personal dilemmas that today’s young service members face as the United States approaches its final endgame in Afghanistan.
"Nikolai Erdman is best known as the author of the plays The Warrant and The Suicide, both written for Vsevolod Meyerhold in the 1920s. A tragic victim of Stalin's campaign to control the arts, Erdman never wrote another full-length play. What has remained veiled in obscurity until now is that Erdman, often nominally in tandem with the playwright Vladimir Mass, was also the prolific author of satirical sketches and theatrical parodies. The extraordinary wit, biting satire and lyrical humour of these short works provide both a fascinating glimpse into the creative method of one of Russia's greatest 20th-century playwrights, and an unparalleled panorama of the often mad world in which he lived. In addition to such legendary works as A Meeting About Laughter, the interludes to Hamlet, The Two Gentlemen of Verona and Pugachyov, this volume contains the transcript of a startling discussion of The Suicide at the Vakhtangov Theatre in 1930, and the only surviving fragments of what was to have been Erdman's third play, The Hypnotist. It is the first collection of Erdman's short plays ever to appear in any language."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This book is a philosophical investigation of the significance of humor and laughter, examining its relation to other human phenomena including truth, nihilism, dreams, friendship, intimacy, aesthetic experience, self-transcendence and education. The author addresses the relative neglect of humor and laughter among philosophers of education with this volume, where the focus is on the significance of humor and laughter for human flourishing. Central questions are threaded through this work: What does the study of humor and laughter bring to philosophy and specifically to philosophy of education? How is humorist thinking different from other modes of human knowing? What might happen if we were to respond to the absurdity of human existence with humor and laughter? What insights can be learned from a philosophical investigation of humor in relationship to other human phenomena such as dreams, friendship, intimacy, aesthetic experience and self-transcendence? And, finally, how can humor and laughter enhance human existence and flourishing? The author presents groundbreaking insights into what can be gained from a study of humor and laughter about human existence in general and flourishing in particular. This work will be of interest to philosophers, especially philosophers of education, as well as to teachers and educators. Its unique blend of philosophical investigation and humorous discourse is both a rigorous and accessible analysis of humor.