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Sine Dolore

Relative Painlessness in Shakespeare’s Laughter at War

Daniel Derrin

Christian society balance the need and means for war against a duty not to exult in it or to enjoy constructing an ‘honourable’ selfhood through the destruction of others? Shakespeare’s laughter at war, I argue here, addresses that tension. Among the

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Making Sense of the Remote Areas

Films and Stories from a Tundra Village

Petia Mankova

on the air, on Channel One! I have to call the guys!” and took the phone in his hands. His surprise evoked much laughter—it was a good story. To villagers, such episodes seem to matter more than the representations circulating outside. The enjoyable

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‘This Is a Farce’

Sartrean Ethics in History, 1938–1948 – From Kantian Universalism to Derision

Juliette Simont

Translator : Ârash Aminian Tabrizi

in no way self-destructs.’ 42 ] Which seems to imply lying can be justified in some cases. Laughter as Escape from History I now come to literary and dramatic illustrations of the ethical problematics I have just evoked – and which are characterised

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Laughter in the Ghetto

Cabarets from a Concentration Camp

Lisa Peschel

of humour and laughter since ancient times, but it was not until the twentieth century that clinical psychologists began taking humour seriously. Their research is less concerned with questions regarding what humour is than with what it does – for

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San Sombrèro

A Land of Carnivals, Cocktails and Coups: Henri Bergson's Theory of Laughter and the Problems of Travel Guide Humour

Benjamin Fraser

Although fictional places have certainly been the hallmark of great literature (William Faulkner, Gabriel García Márquez, Juan Benet), a recent travel guide to the fictional land of 'San Sombrèro' shows that their manifestation in popular culture can be questionable. A Bergsonian reading (Laughter, 1900) of the guide's attempt to pair humour with contrived exoticism yields more discomfort than laughs.

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Local Laughter, Global Polemics

Understanding Charlie Hebdo

Jane Weston Vauclair

Charlie Hebdo became a global name following the tragic events of 7 January 2015 in Paris. Following this, two competing, somewhat reductive forms of commentary on Charlie Hebdo rapidly emerged in the global media. Could Charlie Hebdo effectively be sidelined as a case of egregiously irresponsible and offensive satire, even if the attacks per se were inexcusable? Or could its cartoonists instead be championed as martyrs to free speech, having proved to have a backbone of conviction and courage that had been lacking elsewhere in the media? This article argues that a dual set of tensions have come to the fore through Charlie's vertiginous global exposure. These are tensions between the local and the global, and between the ethics of conviction and the ethics of responsibility. It looks to highlight how Charlie Hebdo's contributors have been engaging with these tensions, both in the 'survivor's issue' of 14 January 2015 and in other spaces of commentary.

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Fiona Cullen

Much previous scholarly work has noted the gendered nature of humor and the notion that women use comedy in a different way than do their male peers. Drawing on prior work on gender and humor, and my ethnographic work on teen girl cultures, I explore in this article how young women utilize popular cultural texts as well as everyday and staged comedy as part of a gendered resource that provides potential sites for sex-gender transgression and conformity. Through a series of vignettes, I explore how girls do funny and provide a backdrop to perform youthful gendered identities, as well as establish, maintain, and transgress cultural and social boundaries. Moving on to explore young women and stand-up I question the potential in mobilizing humor as an educational resource and a site in which to explore sex-gender norms with young people.

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Matt Simpson and John Lucas

The Weight of Cows by Mandy Coe (London: Shoestring Press) ISBN 1 899549 97 8 £7.95

Laughter from the Hive by Kate Foley (London: Shoestring Press) ISBN 904886 01 9 £7.95

Glass of an Organic Class by Philip Ramp (Athens: Politika Themata, 2003), £7.95

Comrade Laughter by Andy Croft (London: Flambard, 2004) ISBN 1-873226-66-7 £7.50

Love at the Full by Lucien Becker (translated by Christopher Pilling) (London: Flambard, 2004) ISBN 1-873226-61-6 £7.95

Milena Poems by Desmond Graham (London: Flambard, 2004) ISBN 1-873226-67-5 £7.50

Sudden Maraschinos by Jacqueline Karp (London: Redbeck Press, 2004) ISBN 1-904338-13-5 £6.95

The Gardens of Onkel Arnold by David Jacobs (London: Peterloo Poets, 2004) ISBN 1-904324-22-3 £7.95

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Heterotopia or Carnival Site?

Rethinking the Ethnographic Museum

Jen Walklate

This article seeks to explore the Bakhtinian carnivalesque in relation to museums generally and to ethnographic museums in particular. The Bakhtinian carnivalesque is based on antihierarchicalism, laughter, embodiment, and temporality, and it has the potential to move museums away from a problematic association with heterotopia. Instead, the carnivalesque allows ethnographic museums to be recognized as active agents in the sociopolitical worlds around them, offers a lens through which to examine and move forward some current practices, and forces museums to reconsider their position and necessity. This article also reflects on the value of transdisciplinary approaches in museum studies, positioning literary theory in particular as a valuable analytical resource.

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Montagnes Russes and Calicot

Print Culture and Visual Satire in Restoration Paris

Peggy Davis

Restoration-era discourse on the montagnes russes—early roller coasters—reveals how leisure activity could become a lightning rod for perspectives on public space, tensions among social groups, and expressions of patriotism. Eager to profit from the montagnes russes craze, boulevard theaters hosted a number of plays on the subject. Through the buffoonish character M. Calicot, one such comedy—entitled The Battle of the Mountains— caricatured young clothing-trade salesclerks who frequented roller-coaster parks. The play provoked the ire of some of these men, who “waged war” on the Variety Theater, where the play was performed. The conflict in turn sparked satires in print, visual, and other media. These cultural productions both reflected the short-lived mania for roller coasters and shaped attitudes in their own right, all while employing laughter to deal with postwar trauma.