Questions about the ethical and political boundaries of comedy, satire, or irony have inspired widespread anxiety in recent years, as with the 2015 shootings at the offices of Charlie Hebdo in Paris, or the so called ‘locker-room banter’ that defined Donald Trump’s 2016 election campaign. What, then, can a turn to humour offer International Relations? Drawing on literature across International Relations, literary theory, cultural studies and sociology, Alister Wedderburn argues that humour plays an underappreciated role in the making and unmaking of political subjectivities. The book recovers a historical understanding of humour as a way of making a claim to political subjectivity in the face of its denial. This function, Wedderburn argues, is embodied by the ambiguous figure of the parasite, a stock character of Greek comic drama. The book interrogates three separate sites where political actors have used humour ‘parasitically’ in order to make political claims and demands. In so doing, it not only outlines humour’s political potential and limitations, but also demonstrates how everyday practices can draw from, feed into, interrupt, and potentially transform global-political relations. Representing the first monograph-length study on the politics of humour within International Relations, this book makes a timely contribution to debates about the politics of humour, subjectivity and everyday life.

Analyses of humour often focus primarily on the Global North, with little consideration for examples and practices from elsewhere. This book provides a vital contribution to humour theory by developing a Global South perspective. Taking a wide-ranging view across the whole of the continent, the book examines the relationship between humour and politics in Africa. It considers the context of the production and reception of humour in African contexts and argues that humour is more than just symbolic. Moving beyond the idea of humour as a mode of resistance, the book investigates the ‘political work’ that humour does and explores the complex entanglements in which the politics, practices and performances of humour are located.

In The Idealism of Freedom, Klaus Vieweg argues for a Hegelian turn in philosophy. Hegel's idealism of freedom contains a number of epoch-making ideas that articulate a new understanding of freedom, which still shape contemporary philosophy. Hegel establishes a modern logic, as well as the idea of a social state. With his distinction between civil society and the state he makes an innovative contribution to political philosophy. Hegel defends the idea of freedom for all in a modern society and is a sharp critic of every nationalism and racism. Vieweg's study introduces these ideas into perspectives on freedom in contemporary philosophy.

First published in 1939, the original blurb reads: We have learned much lately concerning theories of laughter, yet laughter is only what we do about comedy. What is comedy itself? In this work the history of comic instances is combed in the search for the truth about comedy. Today, when laughter is stifled in so many countries, an exposition of comedy shows it to have a universal and necessary character. Comedy, as its natures reveals, is one criterion of the state of human culture; it is highly contemporary and requires freedom – but freedom for adventure, not for routine. After a chapter devoted to the explanation of a logical theory of comedy, the modern comedians are examined, and the humour of every one, from the Marx Brothers to surrealism, from Gertrude Stein to Mickey Mouse, from James Joyce to Charlie Chaplin, is shown to be a constant, inherent in the same set of unchanging conditions.

This book brings the 'serious' world of politics to the 'superficial' world of contemporary travel writing.

What can comedy tell us about the politics of a nation? In this book, James Brassett builds on his prize-winning research to demonstrate how British comedy can provide intimate and vital understandings of the everyday politics of globalization in Britain. The book explores British comedy and Britain’s global politics from post-war imperial decline through to its awkward embrace of globalization, examining a wide variety of comedic mediums, such as the popular television show The Office and the online satire The Daily Mash. Touching on issues such as empire, the class system and capitalism, the author demonstrates how comedy offers valuable insights on how global market life is experienced, mediated, contested and accommodated.

The Process That Is the World grapples with John Cage not just as a composer, but as a philosopher advocating for an ontology of difference in keeping with the kind posited by Gilles Deleuze. Cage's philosophy is not simply a novel method for composition, but an extensive argument about the nature of reality itself, the construction of subjects within that reality, and the manner in which subjectivity and a self-creative world exist in productive tension with one another. Over the course of the study, these themes are developed in the realms of the ontology of a musical work, performance practices, ethics, and eventually a study of Cagean politics and the connection between aesthetic experience and the generation of new forms of collective becoming-together. The vision of Cage that emerges through this study is not simply that of the maverick composer or the “inventor of genius,” but of a thinker and artist responding to insights about the world-as-process as it extends through the philosophical, artistic, and ethical registers: the world as potential for variance, reinvention, and permanent revolution.

The period between the First World War and the fall of the Berlin Wall is often characterized as the age of extremes--while this era witnessed unprecedented violence and loss of human life, it also saw a surge in humorous entertainment in both democratic and authoritarian societies. The Politics of Humour examines how works such as satirical magazines and comedy films were used both to reaffirm group identity and to exclude those who did not belong. The essays in this collection analyse the political and social context of comedy in Europe and the United States, exploring topics ranging from the shifting targets of ethnic jokes to the incorporation of humour into wartime broadcasting and the uses of satire as a means of resistance. Comedy continues to define the nature of group membership today, and The Politics of Humour offers an intriguing look at how entertainment helped everyday people make sense of the turmoil of the twentieth century.

First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.

This book provides a critical assessment of the broad range of responses by political comedians to the acceleration of neoliberal policy following the 2007 recession. The volume assesses the effectiveness of comedy in its encounter with market logic and material impact in culture, politics and mass media.