Titlebook: All Too Human; Laughter, Humor, and Lydia L. Moland Book 2018 Springer International Publishing AG, part of Springer Nature 2018 Aesthetic

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,Life’s Joke: Bergson, Comedy, and the Meaning of Laughter,etaphysical exposition of the . in . and by the account of fabulation that Bergson only elaborates fully three decades later in .. The more substantive account of the . ultimately shows that, in ., Bergson misses his own point: laughter does not simply serve as a means for correcting human behavior

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2352-8206 their philosophical content but also to its style. The book concludes with an explication of French philosopher Henri Bergson’s claim that laughter is a response to mechanical inelasticity.978-3-030-08227-7978-3-319-91331-5Series ISSN 2352-8206 Series E-ISSN 2352-8214

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Introduction: Taking Laughter Seriously in Nineteenth-Century Philosophy, tangential to philosophy’s core concerns, but beginning with Kant’s immediate successors, the family of concepts relating to the laughable—including comedy, wit, irony, and ridicule—took on new significance. They went from describing something derivative about humans to telling us what we, in the m

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Reconciling Laughter: Hegel on Comedy and Humor,f classical art and of Hegel’s discussion of poetry, and romantic art ends with humor. But we misunderstand these transitional moments unless we recognize that Hegel did not use comedy and humor synonymously. Comedy refers to a dramatic genre with a 2000-year-old history; humor was a relatively rece

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,It’s Tragic, But That’s Great: K. W. F. Solger and Humor as the Key to Metaphysics,fly contextualized Solger within the romantic/idealist era to which he belongs (Sect. 3.1), I provide a very essential account of his metaphysics (Sect. 3.2), as it is only against the background of his “kenotic” metaphysics, centered on the notion of double negation, that Solger’s aesthetics in gen

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,Jean Paul’s Lunacy, or Humor as Trans-Critique,s at odds with the harmonious dialectics proposed by many of his contemporaries. In narrative form, characterization, and figuration Jean Paul insisted on deepening antitheses rather than seeking reconciliation. Cultivating the incommensurate, his novels give form to his definition of humor as “the

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,Caricature, Philosophy and the “Aesthetics of the Ugly”: Some Questions for Rosenkranz,9), who gives it a central role in the context of his remarkable book . (.). Rosenkranz’ legacy on this score is not much discussed (certainly in Anglo-American philosophical circles), but its importance for the development of post-eighteenth-century aesthetics—in particular, for an aesthetics that

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