Funny Disjointedness By Immanuel Kant

Humor is used in order to conceal the weakness in superstitious beliefs. Like many satires, A Connecticut Yankee in King Arthur’s Court does not blatantly announce its theme. Twain uses “humor [to] disarm the reader, but if the reader is careful they can see the darker sides of the humor” (Berkove 243). The main catalyst for humors is the famous magician

In many Shakespearean comedies puns are used through fools, for example in Twelfth Night most puns are said by Feste the local fool. However, Feste is far from a fool or clown, Feste is the epitome of irony although he portrayed as a fool and is meant to provide comedic relief; he is actually a wise man. He undermines the high class with the use of puns and jokes. In Act III of Twelfth Night, Viola asks Feste about his “tabor,” and Feste makes and explains his pun to the audience. When Viola asked if he 'lives by' his drum, she wanted to know if he played it professionally. Of course the wise fool, Feste responds as if she meant: “'Do you live next to the drum? While his answer means that he lives next to the church, Viola misinterprets him to mean he makes his living at the church, as a preacher which causes the audience to question Viola’s intelligence however they still find comedy in Feste’s pun. Puns are a delightful way to play with any language. Shakespeare used them frequently, often in rapid-fire, back-and-forth scenes between his wittiest and most foolish characters. They are primarily for laughs, but they can also reveal compelling subtext and make subtle judgments about current societal

Discuss the irony of the following statement and the situation which it describes on pg. 153. “…there fooled what I later realized was a sickeningly comic aspect of an unfunny situation: the men talked in near-whispers.”

Yet, even in evaluating how anger is emotionally imposed on the audience due to the absurdity of the proposal, it’s impossible to disregard the role of humor. There are obvious elements of humor throughout the proposal and amusement in the very nature of the proposal is expected. However, any sense of humor abruptly disappears at the heart of the critism. When the proposer begins stating “I can think of no one objection that will possibly be raised against this proposal” the humor stops and the voice of Swift, as well as sharp criticism, begins. Although humor may be an integral part of the proposal and certainly a partial indication of the use of Horatian satire, the fact that humor isn’t present throughout the whole proposal suggests that the use of hilarity is secondary. Rather, this contrast of humor and emotionally imposed irritation only helps to emphasize the role of anger. This is especially evident when one considers the irony that litters the humorous proposal.

Liberals believe the causes of war are miscommunication, mistrust, and misperceptions. As a solution, Immanuel Kant, a German philosopher, believed that to overcome international anarchy and achieve perpetual peace, there needed to be collective action (interdependency between states), and a federation of states in which state sovereignty will be left intact (international organizations). However, for this to occur, states must have a democratic government. This later became known as the Kantian Triangle.

Frances Gasparino of Rochester Institute of Technology suggests “the generative methodology offers the capability for the jokes and segments… to be analyzed against Burkean theory of comedic enlightenment. By looking to show that a means-end joke is an appropriate way in which to convey a message it would be seen that the message… would not be eclipsed by… the underlying message, to question the media and not take what is said for fact [got] across to the audience.” This tool of comedic critique can be dually entertaining as well as enlightening. The seemingly realistic script coupled with the serious expressions and tone of the actors creates the perfect milieu to reach the intellectual viewer as well as the average, blue-collar viewer; thus, increasing their total

is the good will. A good will is good in itself, not just for what it

1. When Hellman and Hellman describe researchers participating in randomized controlled clinical trials as physician-scientists; they use that term to express the tension between the two titles (pg. 260). As a physician, the researcher is obligated to act in the best interest of the patient (pg. 260). The physician must not treat the patient as a means only (pg. 260). This means that the physician can’t just use the subject to further research. Physicians must give the subject the best treatment possible. If we refer to Kant, a physician’s role is pretty much just like Kant’s ethical view. A physician must view their subject as valuable. They also must treat their subject with respect. The other side of the researcher is scientists. As a scientist, the researcher is focused with benefitting humanity (pg. 260). The scientist must answer questions so that the public can be given the proper answers safely and efficiently (pg. 260). Unlike the physician, the scientist isn’t

Deontology is the ethical view that some actions are morally forbidden or permitted regardless of consequences. One of the most influential deontological philosophers in history is Immanuel Kant who developed the idea of the Categorical Imperative. Kant believed that the only thing of intrinsic moral worth is a good will. Kant says in his work Morality and Rationality “The good will is not good because of what it affects or accomplishes or because of it’s adequacy to achieve some proposed end; it is good only because of it’s willing, i.e., it is good of itself”. A maxim is the generalized rule that characterizes the motives for a person’s actions. For Kant, a will that is good is one that is acting by

Satire is a specific classification of writing that occasionally makes utilization of realistic and performing expressions with the aim of scorning society into self-change. With social criticism being its fundamental objective, it uses dark sarcasm as its primary device to get the point across. Satire impacts people to reconsider themselves so as to alter senseless thoughts and behaviors. Different techniques are utilized in delivering the satirical impact, those of which use wit as their primary weapon. These methodologies mix the acing of matching unimportant and authentic matters as one joke, demonstrating compliment yet meaning the contrary to show ambiguity, and asking rhetorical questions. Moreover, the creator may downplay an issue keeping in mind the end goal to move the group of audience towards the genuine significance of the theme, antagonistically; distortion is utilized to bring down the effect of an issue to its lesser quality. Aggregately, these procedures are practiced to draw out the human follies and vices in society. In Molière 's Tartuffe and Jonathan Swift 's article A Modest Proposal, both diagonally condemn and criticize human conduct and the discernment we have towards others. Through a comedian conveyance, these creators offer an understanding past the apparently self-evident, and expect to enhance this flawed custom of one sidedness as opposed to disposing of it.

The CP rearranged for joke telling accounts not for information conveying meaningful and useful knowledge as Grice’s model (and therefore bona fide mode) does, but rather for information devised to prompt a humorous response. Thus, when the speaker is in the non-bona fide mode of joke telling, s/he is not committed to the truth of what s/he says. The hearer, on his/her part, has the option of either rejecting the speaker’s utterance or switching to the non-bona fide mode (Raskin 1985 and Partington 2006). In the case of jokes, script opposition allows the formation of an incongruity , the resolution of which requires the speaker to leave the realm of the bona fide mode and apply the rules that substantiate the non-bona fide mode, thus looking

The question is, how should one define polygamy in a more detailed way? Polygamy is a multifaceted phenomenon and an outcome of power relations with deep cultural, economic, social and political

Humour and satire are two concepts that are both wide ranging and diverse, from dark, to light hearted, with each producing a different effect. Humour in the main, is something that is used to please the audience, its function is to invoke laughter amongst its audience. Satire is used to create a comical critical view of the subject at hand, this can range from a light hearted comical way, to a judgemental way, with each style giving the text a different meaning, however this does not mean that satire cannot be humorous, which can evident in the use of parody and irony within texts. Within literature both concepts play an important role to how the text is viewed, humour can include word play, grammatical jokes, to even inside jokes with the author and reader, and with satire, including that of irony and parody, with each style and type delivering humour in its own unique way. These differing styles of humour can be found in a variety of forms including Jasper Forde’s The Eyre Affair (2001), with its silly atmosphere, word play and grammar jokes, and the use of light hearted satire and parody to brighten up the text, and Julian Barnes A History of the World in 10 1/2 Chapters (1989), where there is a more serious atmosphere, with a more critical, satirical eye on history and characters, as well as using irony to achieve its comical effect, and the position of the world. Each text is humorous and satirical in its own right, and with each author using different techniques to

Kant believed that there are different concepts and intuitions in which intuitions are put under concepts. Kant refers these intuitions into what he calls the three-fold synthesis. Kant describes the three fold synthesis as “the capacities in the understanding to compare, connect, and unify the fragmentary manifold items in intuition” (A97). To put it in different terms, the three fold synthesis describes the necessary components for intuition of what is happening in the outside world. It allows us to Kant believed that the three fold synthesis is divided into three different types of synthesis. According to Kant, it is required that all of the synthesis work in unison in order for experience to happen. Experience is what makes possible the synthesis of apprehension, in return makes the possibility of the synthesis of reproduction, which creates the possibility of the synthesis of recondition. Therefore, Kant argues, the synthesis of recondition is contingent on experience. Kant also stated that for each of the three fold synthesis, there are both empirical and pure levels. In other words, each of the three fold synthesis have two ways of being interpreted in the mind, one based on our intellects because it is gathered through experience, and another based upon the fact that the manifold works in unison with the others and are dependent on each other for experience to happen.

In eighteenth-century England, the proper use of wit in literary writing was highly regarded. While there are numerous view points on that which truly constitutes wit, the conceptions offered by Joseph Addison and Samuel Johnson are among the most recognized and accepted. On page 2653 of The Norton Anthology of English Literature, Addison’s notions on that which he calls “true wit” are eloquently reasoned: “In order therefore that the resemblances in the ideas be wit, it is necessary that the ideas should not lie too near one another in the nature of things; for where the likeness is obvious, it gives no surprise” (Addison 2653). Where “false wit” deals in the mere association or comparison of one thing to another, “true wit” offers the reader something unusual—a unique and unexpected “resemblance of ideas” (Addison 2654). In similar regard, Johnson’s views on wit—relayed in the aforementioned anthology on page 2948—express a need for more than the mundane, a contradiction to that which is commonly observed: “But wit, abstracted from its effects upon he hearer, may be more rigorously and philosophically considered as a kind of discordia concors [harmonious discord]; a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike” (Johnson 2948). Though Joseph Addison’s and Samuel Johnson’s notions of true and intellectual wit are discernable within a number of eighteenth-century works, these ideals are