By Alenka Zupancic
ISBN-10: 0262740311
ISBN-13: 9780262740319
Why philosophize approximately comedy? what's the use of investigating the comical from philosophical and psychoanalytic views? In The unusual One In, Alenka Zupančič considers how philosophy and psychoanalysis may also help us comprehend the circulate and the common sense eager about the perform of comedy, and the way comedy might help philosophy and psychoanalysis realize a few of the an important mechanisms and vicissitudes of what's referred to as humanity. Comedy by way of its nature is hard to pin down with strategies and definitions, yet as inventive shape and social perform it's a mode of tarrying with a overseas object—of together with the exception. Philosophy's courting to comedy, Zupančič writes, isn't precisely an easy tale (and certainly contains a few parts of comedy). it may start with the misplaced booklet of Aristotle's Poetics, which mentioned comedy and laughter (and used to be made recognized by way of Umberto Eco's The identify of the Rose ). yet Zupančič attracts on an entire variety of philosophers and exemplars of comedy, from Aristophanes, Molière, Hegel, Freud, and Lacan to George W. Bush and Borat. She distinguishes incisively among comedy and ideologically imposed, "naturalized" cheerfulness. actual, subversive comedy prospers at the brief circuits that identify a right away connection among heterogeneous orders. Zupančič examines the mechanisms and tactics wherein comedy we could the peculiar one in.
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Extra info for The Odd One In: On Comedy
Example text
This also means that we will not find it where some authors, following a sort of ascetic ethics, place it: in other words—and to put it simply—in the question of whether we are making fun of ourselves and our own beliefs, or of others and their beliefs. This distinction is invalid for several reasons, but principally for the following one. The direct parody of oneself and one’s beliefs can flourish very well within the conservative paradigm of combining the concrete and the universal. It can successfully promote the very ideology whose human side and weaknesses are being exposed.
We thus start with an abstract universality, which is not so much “represented” by Chaplin as forced to rise/descend to the concrete universality of the individual we see on the screen. “The Tramp,” “Lone Prospector,” and “Worker” are, in comedy, the very movement of becoming “trampship,” “prospectorship,” “workership”—that is to say, (their) subject. If we think about it for a moment, we can see how in tragedy we are in fact dealing with an opposite motion: we always start with a very concrete and strong personality, a significant individual with a proper name that often gives the tragedy its title.
But, at the same time, these universal powers remain the universal that withdraws from the connection with the concrete: they are the universal that remains unrestricted in its own specific character (gods are individual gods, set up one against the other, yet their divine existence is independent of individuality). To put it simply: the limitation of this kind of universal is precisely that it is not really limited by its own concrete individuality, but remains above it. This, for Hegel, is the weakness (and not, perhaps, the strength) of this universal.
The Odd One In: On Comedy by Alenka Zupancic
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