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9781786615091

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This fascinating collection of essays reveals that the comic is not funny. It's about things close to the tragic, the grotesque, impotence, and crying--all the things that make up what we call our world. Ultimately, it's appropriate that there is such close etymological affinity between kosmos and komodia. --Roland Breeur, Husserl-Archives: Centre for Phenomenology and Continental Philosophy This important collection brings together a transdisciplinary group of scholars to explore the comic and comedy in relation to philosophy. A ground-breaking series of essays invite us to take 'the comic very seriously', while also offering a varied range of perspectives on topics drawn from theatre, performance, film, and literature. --Jim Davis, professor of theatre studies, University of Warwick This fascinating collection of essays reveals that the comic is not funny. It's about things close to the tragic, the grotesque, impotence, and crying--all the things that make up what we call our world. Ultimately, it's appropriate that there is such close etymological affinity between kosmos and komodia. This important collection brings together a transdisciplinary group of scholars to explore the comic and comedy in relation to philosophy. A ground-breaking series of essays invite us to take 'the comic very seriously', while also offering a varied range of perspectives on topics drawn from theatre, performance, film, and literature.

This important collection brings together a transdisciplinary group of scholars to explore the comic and comedy in relation to philosophy. A ground-breaking series of essays invite us to take 'the comic very seriously', while also offering a varied range of perspectives on topics drawn from theatre, performance, film, and literature.--Jim Davis, professor of theatre studies, University of Warwick This fascinating collection of essays reveals that the comic is not funny. It's about things close to the tragic, the grotesque, impotence, and crying--all the things that make up what we call our world. Ultimately, it's appropriate that there is such close etymological affinity between kosmos and komodia.--Roland Breeur, Husserl-Archives: Centre for Phenomenology and Continental Philosophy

This fascinating collection of essays reveals that the comic is not funny. It's about things close to the tragic, the grotesque, impotence, and crying--all the things that make up what we call our world. Ultimately, it's appropriate that there is such close etymological affinity between kosmos and komodia. --Roland Breeur, Husserl-Archives: Centre for Phenomenology and Continental Philosophy This important collection brings together a transdisciplinary group of scholars to explore the comic and comedy in relation to philosophy. A ground-breaking series of essays invite us to take 'the comic very seriously', while also offering a varied range of perspectives on topics drawn from theatre, performance, film, and literature. --Jim Davis, professor of theatre studies, University of Warwick

This fascinating collection of essays reveals that the comic is not funny. It's about things close to the tragic, the grotesque, impotence, and crying--all the things that make up what we call our world. Ultimately, it's appropriate that there is such close etymological affinity between kosmos and komodia.--Roland Breeur, Husserl-Archives: Centre for Phenomenology and Continental Philosophy This important collection brings together a transdisciplinary group of scholars to explore the comic and comedy in relation to philosophy. A ground-breaking series of essays invite us to take 'the comic very seriously', while also offering a varied range of perspectives on topics drawn from theatre, performance, film, and literature.--Jim Davis, Professor of Theatre Studies, University of Warwick

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Lisa Trahair teaches in Film Studies at the University of New South Wales, Australia. She is author of The Comedy of Philosophy: Sense and Nonsense in Early Cinematic Slapstick (2007). She has published widely on film comedy and on the philosophy of comedy in journals devoted to film and the theoretical humanities and has co-edited several special issues of journals devoted to the intersection of film and philosophy. Her current projects include directing the Cinematic Thinking Network and co-authoring a book on Understanding Cinematic Thinking (with Gregory Flaxman and Robert Sinnerbrink). Josephine Gray is (with Anmar Taha) artistic director of Iraqi Bodies, a physical theatre group based in Gothenburg, Sweden, dedicated to exploring the links between movement and gesture, dance and physical theatre. Her experimental practice is anchored in the theory and method of Antonin Artaud, Jerzy Grotowski, Eugène Ionesco and Samuel Beckett, among others. She is a graduate of L'école Internationale de Théâtre de Jacques Lecoq and has a Masters Degree in Philosophy from Katholieke Universiteit Leuven, for which she wrote a thesis on the philosophy of comic performance in the work of Henri Bergson and Jacques Lecoq.

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