Observations of the Viennese psychoanalyst on curious plays on words that occur in dreams, and the unconscious sources of pleasure in jokes, wit, and humor.

Why do we laugh? The answer, argued Freud in this groundbreaking study of humor, is that jokes, like dreams, satisfy our unconscious desires. The Joke and Its Relation to the Unconscious explains how jokes provide immense pleasure by releasing us from our inhibitions and allowing us to express sexual, aggressive, playful, or cynical instincts that would otherwise remain hidden. In elaborating this theory, Freud brings together a rich collection of puns, witticisms, one-liners, and anecdotes, which, as Freud shows, are a method of giving ourselves away. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Cutting-edge philosophers, psychoanalysts, literary theorists, and scholars use Freud and Lacan to shed light on laughter, humor, and the comic. Bringing together clinic, theory, and scholarship this compilation of essays offers an original mix with powerful interpretive implications.

Communication is one of the most challenging human phenomena, and the same is true of its paradigmatic verbal realization as a dialogue. Not only is communication crucial for virtually all interpersonal relations; dialogue is often seen as offering us also a paradigm for important intra-individual processes. The best known example is undoubtedly the idea of concep tualizing thinking as an internal dialogue, "inward dialogue carried on by the mind within itself without spoken sound", as Plato called it in the Sophist. At first, the study of communication seems to be too vaguely defmed to have much promise. It is up to us, so to speak, to decide what to say and how to say it. However, on eloser scrutiny, the process of communication is seen to be subject to various subtle constraints. They are due inter alia to the nature of the parties of the communicative act, and most importantly, to the properties of the language or other method of representation presupposed in that particuIar act of communication. It is therefore not surprising that in the study of communication as a cognitive process the critical issues revolve around the nature of the representations and the nature of the computations that create, maintain and interpret these representations. The term "repre sentation" as used here indicates a particular way of specifying information about a given subject.

A graphic tale presented through the collaborative efforts of a slam poet and the creator of Hothead Paisan follows the experiences of nineteen-year-old Sasha, who after losing her father to cancer, takes a form-filling job at a hospital, where she encounters an array of colorful characters. Original.

Žižek as comedian: jokes in the service of philosophy. “A serious and good philosophical work could be written consisting entirely of jokes.”—Ludwig Wittgenstein The good news is that this book offers an entertaining but enlightening compilation of Žižekisms. Unlike any other book by Slavoj Žižek, this compact arrangement of jokes culled from his writings provides an index to certain philosophical, political, and sexual themes that preoccupy him. Žižek's Jokes contains the set-ups and punch lines—as well as the offenses and insults—that Žižek is famous for, all in less than 200 pages. So what's the bad news? There is no bad news. There's just the inimitable Slavoj Žižek, disguised as an impossibly erudite, politically incorrect uncle, beginning a sentence, “There is an old Jewish joke, loved by Derrida...“ For Žižek, jokes are amusing stories that offer a shortcut to philosophical insight. He illustrates the logic of the Hegelian triad, for example, with three variations of the “Not tonight, dear, I have a headache” classic: first the wife claims a migraine; then the husband does; then the wife exclaims, “Darling, I have a terrible migraine, so let's have some sex to refresh me!” A punch line about a beer bottle provides a Lacanian lesson about one signifier. And a “truly obscene” version of the famous “aristocrats” joke has the family offering a short course in Hegelian thought rather than a display of unspeakables. Žižek's Jokes contains every joke cited, paraphrased, or narrated in Žižek's work in English (including some in unpublished manuscripts), including different versions of the same joke that make different points in different contexts. The larger point being that comedy is central to Žižek's seriousness.