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Ever wondered how life would be if you could laugh at anything?Here is the author's attempt to capture comedy in the weirdest situations, from actors stuck in the wrong marriage to runaway kids at the Zoo. Characters here bear heavy resemblance to people living or dead, so don't be surprised if you find your classmate's brother's ex girlfriend's cousin mentioned here for drug peddling.Disclaimer: This book can cause many symptoms like laugh lines, hurt stomachs, watery eyes and an infectious sense of optimism. So please proceed ahead at your own risk.
Abe and his friend Sol are out for a walk together in a part of town they haven't been in before. Passing a Christian church, they notice a curious sign in front that says "$1,000 to anyone who will convert." "I wonder what that's about," says Abe. "I think I'll go in and have a look. I'll be back in a minute; just wait for me." Sol sits on the sidewalk bench and waits patiently for nearly half an hour. Finally, Abe reappears. "Well," asks Sol, "what are they up to? Who are they trying to convert? Why do they care? Did you get the $1,000?" Indignantly Abe replies, "Money. That's all you people care about." Ted Cohen thinks that's not a bad joke. But he also doesn't think it's an easy joke. For a listener or reader to laugh at Abe's conversion, a complicated set of conditions must be met. First, a listener has to recognize that Abe and Sol are Jewish names. Second, that listener has to be familiar with the widespread idea that Jews are more interested in money than anything else. And finally, the listener needs to know this information in advance of the joke, and without anyone telling him or her. Jokes, in short, are complicated transactions in which communities are forged, intimacy is offered, and otherwise offensive stereotypes and cliches lose their sting—at least sometimes. Jokes is a book of jokes and a book about them. Cohen loves a good laugh, but as a philosopher, he is also interested in how jokes work, why they work, and when they don't. The delight at the end of a joke is the result of a complex set of conditions and processes, and Cohen takes us through these conditions in a philosophical exploration of humor. He considers questions of audience, selection of joke topics, the ethnic character of jokes, and their morality, all with plenty of examples that will make you either chuckle or wince. Jokes: more humorous than other philosophy books, more philosophical than other humor books. "Befitting its subject, this study of jokes is . . . light, funny, and thought-provoking. . . . [T]he method fits the material, allowing the author to pepper the book with a diversity of jokes without flattening their humor as a steamroller theory might. Such a book is only as good as its jokes, and most of his are good. . . . [E]ntertainment and ideas in one gossamer package."—Kirkus Reviews "One of the many triumphs of Ted Cohen's Jokes-apart from the not incidental fact that the jokes are so good that he doesn't bother to compete with them-is that it never tries to sound more profound than the jokes it tells. . . . [H]e makes you feel he is doing an unusual kind of philosophy. As though he has managed to turn J. L. Austin into one of the Marx Brothers. . . . Reading Jokes makes you feel that being genial is the most profound thing we ever do-which is something jokes also make us feel-and that doing philosophy is as natural as being amused."—Adam Phillips, London Review of Books "[A] lucid and jargon-free study of the remarkable fact that we divert each other with stories meant to make us laugh. . . . An illuminating study, replete with killer jokes."—Kevin McCardle, The Herald (Glasgow) "Cohen is an ardent joke-maker, keen to offer us a glimpse of how jokes are crafted and to have us dwell rather longer on their effects."—Barry C. Smith, Times Literary Supplement "Because Ted Cohen loves jokes, we come to appreciate them more, and perhaps think further about the quality of good humor and the appropriateness of laughter in our lives."—Steve Carlson, Christian Science Monitor
Jokes are a perfect format for learning vocabulary, idiomatic expressions, and grammar. Jokes are also designed to be retold. If you learn a joke by heart and tell it to other people, then by doing so you will also learn the grammar and vocabulary involved. The book also contains exercises designed to reveal whether you have understood the joke or not: A joke is presented to you but with the paragraphs mixed up. Your task is to put them in the correct order. The joke has a choice of three punch lines. If you select the correct one, this should be an indicator that you have understood the joke. Several two-line jokes are presented together. The task is to match the first line and the second line. A joke is presented with some key words missing. The task is to insert the right word in the right place. Easy English! is a series of books to help you learn and revise your English with minimal effort. You can improve your English by reading texts in English that you might well normally read in your own language e.g. jokes, personality tests, lateral thinking games, wordsearches. doing short exercises to improve specific areas grammar and vocabulary, i.e. the areas that tend to lead to the most mistakes - the aim is just to focus on what you really need rather than overwhelming yourself with a mass of rules, many of which may have no practical daily value Other books in the Easy English! series include: Wordsearches: Widen Your Vocabulary in English Test Your Personality: Have Fun and Learn Useful Phrases Word games, Riddles and Logic Tests: Tax Your Brain and Boost Your English Top 50 Grammar Mistakes: How to Avoid Them Top 50 Vocabulary Mistakes: How to Avoid Them
As John Hodgman says in this book's introduction, “We all know that books are funny. First, they are made of paste and cloth, which is funny, as is the fact that people still buy and read them.” With that in mind, the McSweeney's Joke Book of Book Jokes collects the best book-related humor from the humor-laden archives of McSweeney's Internet Tendency. Open it and be regaled by such sketches, lists, letters, and spoofs as: Postcards from James Joyce to his Brother Stan Winnie-the-Pooh is My Coworker Ikea Product or Lord of the Rings Character? Popular Children's Fairy Tales Reimagined Using Members of My Family The Very Unauthorized Biography of Steven Seagal Chuck Norris Erotica John Updike, Television Writer Jane Eyre Runs for President Cormac McCarthy Writes to the Editor of the Santa Fe New Mexican Holden Caulfield Gives the Commencement Speech to a High School Letters from Odysseus's College Roommate And many dozens more.
Some things are funny -- jokes, puns, sitcoms, Charlie Chaplin, The Far Side, Malvolio with his yellow garters crossed -- but why? Why does humor exist in the first place? Why do we spend so much of our time passing on amusing anecdotes, making wisecracks, watching The Simpsons? In Inside Jokes, Matthew Hurley, Daniel Dennett, and Reginald Adams offer an evolutionary and cognitive perspective. Humor, they propose, evolved out of a computational problem that arose when our long-ago ancestors were furnished with open-ended thinking. Mother Nature -- aka natural selection -- cannot just order the brain to find and fix all our time-pressured misleaps and near-misses. She has to bribe the brain with pleasure. So we find them funny. This wired-in source of pleasure has been tickled relentlessly by humorists over the centuries, and we have become addicted to the endogenous mind candy that is humor.
Provides a simple mnemonic method for remembering jokes and includes sample jokes in various categories
When Ketzel WeinrachÕs beloved brother Potsie goes missing in Las Vegas, she not only must try to find him, she must confront her familyÕs shady history and their ties to the legendary Jewish mob, Murder, Inc., as well as her troubling relationship to her cousin Perry (who runs a strip club on the outskirts of Vegas), her long and apparently not-so-loving marriage to her recently departed husband Morty Tittelman (a self-styled professor of dirty jokes and erotic folklore), and her own failed career as a stand-up comic.
This book argues that when visual jokes are harmful, they harm in a specific way: a subject’s personhood is revoked in a way that differs both in kind and degree depending on whether that person is depicted or described. Such revocation can occur in every role and any stage within the joke’s context, from character to audience member, from moment of depiction to uncritical exposure. Unlike a mere unhumorous insult, which doesn’t require the sympathy of its audience but can operate solely between the target and the bully, a joke requires a particular kind of response from its audience to complete itself—to “deliver”, which requires not only some degree of complicity from audience members, but a complicity earned at the expense of the joke’s referent. This book shows how we need not prevent the occurrence of these things in order to undermine their oppressive power—we only need the right kind of recontextualization: turning those utterances into jokes or turning those jokes against themselves. Unlike other forms of visual oppression, the harms contained within visual jokes can be reconfigured to affirm those they were created to harm, changing their function from jokes which attack others to jokes which attack themselves, empowering those they were created to target by calling into question the problematic conceptions of audiences who are sympathetic to the harmful joke’s initial formulation.
An easy-to-read collection of jokes including such Disney characters as Goofy, Donald Duck, and Mickey Mouse.
A playful literary mystery set in the 1930s and 1990s, Ninochka tells the double tale of two women exiles who are both homesick and sick of home. Tanya, a Russian immigrant living in New York, travels to Paris in an attempt to reconstruct the secret life of Nina B., who was murdered there almost sixty years ago, on the eve of World War II. The murder was never solved, and in an attempt to crack the case, Tanya takes possession of Nina's handbag, which contains her diaries, love letters, kits for embroidering Russian blouses, a mysterious treatise on Eurasian supremacy, and a review of Ninotchka, the film in which Greta Garbo played a KGB agent who finds romance in Paris. Among the potential murder suspects are a charismatic professor and nationalist leader, an aspiring American songwriter, an aging Trotskyite, a Hungarian con artist, a heavy-drinking singer of nostalgic romance, and an athletic Comrade X of unknown origins who was rumored to have returned to the Soviet Union. As Tanya is drawn into this immigrant underworld of displaced people, double agents, and dreamers, she finds herself more and more implicated in the life of the murdered woman. Ultimately, she is forced to return to her native country, where she confronts her own homesickness in the changing post-Soviet world.