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/10.1057/978-1-137-57758-0r 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

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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

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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

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,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

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