Split Down the Sides: On the Subject of LaughterUniversity Press of America, 1997 - 245 strán (strany) This book is a study of the interrelationship between comedy and selfhood. While most people have a clear idea of what is meant by comedy, the notion of a self is much more enigmatic and therefore requires illumination. The book is accordingly divided into two parts: the first attempts to clarify what is meant by a self, and the second applies the resulting schematization of selfhood to the phenomenon of laughter. The two parts echo one another, contributing both to an understanding of comedy and to the ongoing philosophical question of identity. |
Vyhľadávanie v obsahu knihy
Výsledky 1 - 3 z 52.
Strana 20
... least . On a different level of description , the slug's behaviour can be understood purposively ( in terms of self - maintenance ) , albeit purposiveness of a much simpler and less flexible order than human goal - orientation . - If ...
... least . On a different level of description , the slug's behaviour can be understood purposively ( in terms of self - maintenance ) , albeit purposiveness of a much simpler and less flexible order than human goal - orientation . - If ...
Strana 62
... least in our grasp . - This applies equally to the timeless theatrical comedy of stock types : here the butt of our derision is reduced to a single dominant trait ( of course taken to excess ) , laughable not simply for its norm ...
... least in our grasp . - This applies equally to the timeless theatrical comedy of stock types : here the butt of our derision is reduced to a single dominant trait ( of course taken to excess ) , laughable not simply for its norm ...
Strana 67
... least - dissolves the dyad of seeing and being seen that characterizes outside life : the audience enjoys the unilateral power to look , while the actor can only ever be the one being looked at , the object of a prying gaze . Like the ...
... least - dissolves the dyad of seeing and being seen that characterizes outside life : the audience enjoys the unilateral power to look , while the actor can only ever be the one being looked at , the object of a prying gaze . Like the ...
Obsah
Defining the Subject | 3 |
Self as Structure | 55 |
Self as Individual | 77 |
Autorské práva | |
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actor ambivalence Amphitryon Ancient Greek comedy Aristophanic awareness behaviour bodily body boundaries brain Candomblé causal celebration chapter cognitive comedy comedy's comic commedia dell'arte concept consciousness context contradiction dead death Devil diabolical Dionysus disorder embodied entity Essex girls example existence experience Faber fact Falstaff fear festive fictive folly fool function grotesque Guildenstern happy ending Harmondsworth human humour Ibid individual interaction jokes laughing laughter law of identity London madness Martin Amis matter means medieval memory metaphor mind Molière moral narrator negation negative non-self normally Northrop Frye nose object Oeuvres complètes one's organism ourselves Oxford P. F. Strawson Parfit parody Penguin performance pharmakos philosophical physical play possibility potential presupposes question Rabelais Rachel Papers rational recognition reflection ritual role Rosencrantz Samuel Beckett satire scapegoat self-difference sense sexual simply Slaughterhouse-Five social Socrates sort spectator structure temporal theatrical traditional transgression Trickster unity University Press words