By Lisa Trahair
Melds philosophical research with early cinematic historical past to increase a clean idea of the concept of comedy.
The Comedy of Philosophy brings sleek debates in continental philosophy to undergo at the old research of early cinematic comedy. in the course of the movies of Mack Sennett, Buster Keaton, Charlie Chaplin, Harold Lloyd, and the Marx Brothers, Lisa Trahair investigates early cinema's exploration of feel and nonsense by using the contributions to the philosophy of comedy made by way of Freud and Bataille and via analyzing major poststructuralist interpretations in their paintings. Trahair explores the shift from the over the top actual slapstick of the Mack Sennett period to the so-called structural comedy of the Nineteen Twenties, and in addition deals a brand new viewpoint at the significance of psychoanalysis for the examine of movie by means of concentrating on the results of Freud's concept of the subconscious for our knowing of visuality.
Read or Download The Comedy of Philosophy: Sense and Nonsense in Early Cinematic Slapstick (Suny Series, Insinuations: Philosophy, Psychoanalysis, Literature) PDF
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Extra info for The Comedy of Philosophy: Sense and Nonsense in Early Cinematic Slapstick (Suny Series, Insinuations: Philosophy, Psychoanalysis, Literature)
Derrida explains: Laughter alone exceeds dialectics and the dialectician: it bursts out only on the basis of an absolute renunciation of meaning, an absolute The Philosophy of Laughter 27 risking of death, what Hegel calls abstract negativity. A negativity that never takes place, that never presents itself, because in doing so it would start to work again. A laughter that literally never appears, because it exceeds phenomenality in general, the absolute possibility of meaning. (“FRGE,” 256) This laughter “that literally never appears” does so on the basis/baselessness of abstract negativity and in so doing gives rise to the doubling of the Hegelian text.
For Hegel, experience is related to the dialectical movement of self-revelation, the inner movement of the knowing process coincidental with the inner movement and transformation of the object known that constitutes the “becoming” of absolute Spirit. Unlike Hegel’s dialectical experience, Bataille’s is not developmental or progressive. ” 23 Hegel, on the other hand, sees experience as the movement toward the absolute, toward Science, and toward Spirit. 24 Bataille also at times considers this experience as a regression from the known to the unknown, a movement he calls backwardation.
The distinction between real death and conceptual death only has meaning by recourse to a diegetic mise-en-abîme. Derrida writes: Bataille, thus, can only use the empty form of the Aufhebung, in an analogical fashion, in order to designate, as was never done before, the transgressive relationship which links the world of meaning to the world of nonmeaning. This displacement is paradigmatic: within the form of writing, an intraphilosophical concept, the speculative concept par excellence, is forced to designate a movement which properly constitutes the excess of every possible philosopheme.