Throughout history, comedians and clowns have enjoyed a certain freedom to speak frankly often denied to others in hegemonic systems. More recently, professional comedians have developed platforms of comic license from which to critique the traditional political establishment and have managed to play an important role in interrogating and mediating the processes of politics in contemporary society. This collection will examine the questions that arise when of comedy and critique intersect by bringing together both critical theorists and comedy scholars with a view to exploring the nature of comedy, its potential role in critical theory and the forms it can take as a practice of resistance.

Comedy is a powerful contemporary source of influence and information. In the still-evolving digital era, the opportunity to consume and share comedy has never been as available. And yet, despite its vast cultural imprint, comedy is a little-understood vehicle for serious public engagement in urgent social justice issues – even though humor offers frames of hope and optimism that can encourage participation in social problems. Moreover, in the midst of a merger of entertainment and news in the contemporary information ecology, and a decline in perceptions of trust in government and traditional media institutions, comedy may be a unique force for change in pressing social justice challenges. Comedians who say something serious about the world while they make us laugh are capable of mobilizing the masses, focusing a critical lens on injustices, and injecting hope and optimism into seemingly hopeless problems. By combining communication and social justice frameworks with contemporary comedy examples, authors Caty Borum Chattoo and Lauren Feldman show us how comedy can help to serve as a vehicle of change. Through rich case studies, audience research, and interviews with comedians and social justice leaders and strategists, A Comedian and an Activist Walk Into a Bar: The Serious Role of Comedy in Social Justice explains how comedy – both in the entertainment marketplace and as cultural strategy – can engage audiences with issues such as global poverty, climate change, immigration, and sexual assault, and how activists work with comedy to reach and empower publics in the networked, participatory digital media age.

This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.

From Thomas Hobbes' fear of the power of laughter to the compulsory, packaged "fun" of the contemporary mass media, Billig takes the reader on a stimulating tour of the strange world of humour. Both a significant work of scholarship and a novel contribution to the understanding of the humourous, this is a seriously engaging book' - David Inglis, University of Aberdeen This delightful book tackles the prevailing assumption that laughter and humour are inherently good. In developing a critique of humour the author proposes a social theory that places humour - in the form of ridicule - as central to social life. Billig argues that all cultures use ridicule as a disciplinary means to uphold norms of conduct and conventions of meaning. Historically, theories of humour reflect wider visions of politics, morality and aesthetics. For example, Bergson argued that humour contains an element of cruelty while Freud suggested that we deceive ourselves about the true nature of our laughter. Billig discusses these and other theories, while using the topic of humour to throw light on the perennial social problems of regulation, control and emancipation.

Ancient philosophers were very interested in questions about laughter, humor and comedy. They theorized about laughter and its causes, moralized about the appropriate uses of humor and what it is appropriate to laugh at, and wrote treaties on comedic composition. This volume explores themes that were important for ancient philosophers: the psychology of laughter, the ethical and social norms governing laughter and humor, and the philosophical uses of humor and comedic technique.

First published in 1961, this is the autobiography of Harpo Marx, the silent comedian of The Marx Brothers fame. Writing of his life before, during, and after becoming famous by incorporating lovely and humorous stories and anecdotes, Harp Marx tells of growing up in a rough neighborhood and being poor, being bullied and dropping out of school, teaching himself to read, write, tell time, and to play the piano and harp. He speaks of his close relationships with his family members, particularly his mother and brother Leonard (Chico), who would become his partner-in-crime on screen, and the profound effect that the death of his parents Sam and Minnie had on him. Filled with insider tales of his antics on and off stage, and the hard graft he and his brothers put into reaching their level of success, the reader becomes privy to a rare glimpse into Marx’ thoughts on everything and everyone he had the privilege of working with. The book reveals the friendships he forged and the blows he was dealt in show-business, and of his marriage to his wife, actress Susan Fleming, with whom he adopted four children and built a ranch on which they lived happily ever after, along with numerous animals. A thoroughly enjoyable read. “This is a riotous story which is reasonably mad and as accurate as a Marx brother can make it. Despite only a year and a half of schooling, Harpo, or perhaps his collaborator, is the best writer of the Marx Brother. Highly recommended.”—Library Journal “A funny, affectionate and unpretentious autobiography done with a sharply professional assist from Rowland Barber.”—New York Times Book Review “This is a racy autobiography by the mute Marx Brother with the rolling eyes, oversized pants and red wig who could send a glissando reeling over his harp.[...] It is enjoyable reading and polished writing...”—Kirkus Review

Updated and enlarged, this groundbreaking collection surveys the major critical currents and approaches in drama, theater, and performance