標題: Titlebook: All Too Human; Laughter, Humor, and Lydia L. Moland Book 2018 Springer International Publishing AG, part of Springer Nature 2018 Aesthetic [打印本頁] 作者: FLAK 時間: 2025-3-21 17:18
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作者: 內部 時間: 2025-3-21 22:40
https://doi.org/10.1007/978-3-030-49807-8n with Hegel in relation to the possibility of a post-romantic art (Sect. 3.4), remarking both similarities and differences between the two thinkers and, with reference to recent scholarship, advancing the hypothesis that Solger anticipated a conception of humor that is at work in the twentieth century “modernist” approach to art.作者: myelography 時間: 2025-3-22 03:27
Derrida, the Subject and the Otherd romanticism’s morally-vacuous aesthetic individualism. Kierkegaard used Hegel’s romantic humor, then, as an anti-aesthetic aesthetics in order to call for a suspension of Hegelian classicism so that a truer form of existential art, namely, the ongoing creation of human being in “co-operation with God,” might emerge.作者: 規(guī)范要多 時間: 2025-3-22 06:54
Reconciling Laughter: Hegel on Comedy and Humor,ive humor— from epigrams to Persian poetry to the obscure novels of T.G. von Hippel—I argue that we better understand Hegel’s “end of art” thesis by tracing ways both comedy and humor can end. By understanding those endings, we also come closer to imagining how art can continue.作者: 我要威脅 時間: 2025-3-22 08:45 作者: Granular 時間: 2025-3-22 16:05
,‘What Time Is It? . . . . Eternity’: Kierkegaard’s Socratic Use of Hegel’s Insights on Romantic Humd romanticism’s morally-vacuous aesthetic individualism. Kierkegaard used Hegel’s romantic humor, then, as an anti-aesthetic aesthetics in order to call for a suspension of Hegelian classicism so that a truer form of existential art, namely, the ongoing creation of human being in “co-operation with God,” might emerge.作者: Encoding 時間: 2025-3-22 20:59 作者: Rebate 時間: 2025-3-23 01:09 作者: FAST 時間: 2025-3-23 04:28
2352-8206 uch as humor, comedy, laughter, irony, wit, and satire.ConsiThis book offers an analysis of humor, comedy, and laughter as philosophical topics in the 19th Century. It traces the introduction of humor as a new aesthetic category inspired by Laurence Sterne’s "Tristram Shandy" and shows Sterne’s deep作者: Generosity 時間: 2025-3-23 08:44 作者: POWER 時間: 2025-3-23 12:04
Deconstruction and the African Trace,f redemption from the tragedy of life. True art revealed suffering and did not try to conceal it; and true redemption came only after utter honesty, recognizing the horrors of life while still laughing at them.作者: 變態(tài) 時間: 2025-3-23 14:54 作者: headlong 時間: 2025-3-23 21:24
Humor as Redemption in the Pessimistic Philosophy of Julius Bahnsen,f redemption from the tragedy of life. True art revealed suffering and did not try to conceal it; and true redemption came only after utter honesty, recognizing the horrors of life while still laughing at them.作者: DEBT 時間: 2025-3-24 01:24
Renata Cornejo,Karin S. Wozonig 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作者: Apraxia 時間: 2025-3-24 02:53
https://doi.org/10.1007/978-3-030-49807-8f 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作者: Complement 時間: 2025-3-24 09:47 作者: infringe 時間: 2025-3-24 13:17
https://doi.org/10.1007/978-3-031-41494-7s 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 作者: 軍械庫 時間: 2025-3-24 16:58 作者: BACLE 時間: 2025-3-24 19:29 作者: 忍受 時間: 2025-3-25 03:08 作者: 減弱不好 時間: 2025-3-25 03:51 作者: DIKE 時間: 2025-3-25 09:26 作者: Between 時間: 2025-3-25 15:07 作者: CHANT 時間: 2025-3-25 17:36
Death At The Gate: Who Let Him In?title indicates. On the surface, its significance might seem to be symptomatic: laughter exposes something essentially human. But in the very first chapter, Bergson observes that laughter and the comic exclusively concern the human, but also “must have a . meaning.” Bergson’s very interest in laught作者: Incorruptible 時間: 2025-3-25 21:25 作者: kindred 時間: 2025-3-26 03:44 作者: Patrimony 時間: 2025-3-26 05:27
Boston Studies in Philosophy, Religion and Public Lifehttp://image.papertrans.cn/a/image/153415.jpg作者: BURSA 時間: 2025-3-26 09:04
https://doi.org/10.1007/978-3-319-91331-5Aesthetic Philosophies of Friedrich Schlegel; Aesthetic Philosophies of Hegel; Aesthetic Philosophies 作者: 搏斗 時間: 2025-3-26 16:29 作者: pineal-gland 時間: 2025-3-26 19:05 作者: 泥土謙卑 時間: 2025-3-26 23:28 作者: entitle 時間: 2025-3-27 02:46 作者: harmony 時間: 2025-3-27 08:14
https://doi.org/10.1057/978-1-137-57758-0r not exaggerating our abilities or importance. Finally, it suggests that the relationship between such humility, “eschatological trust” and hope sheds new light on how best to understand Kierkegaard’s claim that awareness of a “way out” must be present if a use of the comic is to be ethically “l(fā)egi作者: 下垂 時間: 2025-3-27 09:37
Death At The Gate: Who Let Him In?nce. In the second section, I do the same with comedy by drawing parallels between Nietzsche’s later philosophy and the Dionysian comedies of Aristophanes. In so doing, I show how laughter and comedy are central to Nietzsche’s life-affirming ethics and his project of self-creation, but I also note t作者: handle 時間: 2025-3-27 13:52
Death At The Gate: Who Let Him In?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 作者: Canvas 時間: 2025-3-27 18:19 作者: Detain 時間: 2025-3-27 23:52
,Jean Paul’s Lunacy, or Humor as Trans-Critique,claim that literature represents “the only second world” (i.e. the world of the resurrection) “in the first one.” Unlike Friedrich Schiller and the Jena Romantics, Jean Paul’s version of “aesthetic education” grounds the authority of literature on its ability not to synthesize polar opposites, but t作者: 兵團 時間: 2025-3-28 05:26 作者: Carcinogen 時間: 2025-3-28 10:05 作者: MOTIF 時間: 2025-3-28 11:16 作者: 嘮叨 時間: 2025-3-28 16:18
,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 作者: 放棄 時間: 2025-3-28 22:11
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 作者: RAGE 時間: 2025-3-29 00:34
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作者: 悠然 時間: 2025-3-29 06:33
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作者: Exhilarate 時間: 2025-3-29 07:41
,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作者: exceptional 時間: 2025-3-29 12:52
,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 作者: 決定性 時間: 2025-3-29 18:19
,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 作者: Creditee 時間: 2025-3-29 22:05
