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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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.

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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.

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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.

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,‘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.

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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

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