Laugh

P.P.Grzybowski, S.Iwasiów: Wspólnota śmiechu. [w:] „Refleksje - Zachodniopomorski Dwumiesięcznik Oświatowy” nr 4/2020, Zachodniopomorskie Centrum Doskonalenia Nauczycieli, ISSN 2450-8748, s.31-37.
Wywiad poświęcony zagadnieniu śmiechu jako czynnikowi poprawiania jakości życia i budowania wspólnoty - nie tylko w kontekście szkolnym. Autorzy rozmawiają o korzeniach zainteresowania śmiechem jako kategorią badawczą oraz elementem działalności społecznej, a także o współczesnych okolicznościach śmiechu w życiu indywidualnym i sferze publicznej.

P.P.Grzybowski: Śmiech życia i śmierci. Od osobistych historii po edukację do pamięci o okupacji, gettach i obozach koncentracyjnych. Wydawnictwo Uniwersytetu Kazimierza Wielkiego, Bydgoszcz 2019. 290 s., ISBN 978-83-8018-265-3.
W książce zostały opisane okoliczności występowania zjawiska śmiechu w czasach kryzysu społecznego związanego z wojną i okupacją. Dzięki relacjom, wspomnieniom i świadectwom uczestników dramatycznych wydarzeń w okupowanej Polsce, gettach i obozach koncentracyjnych, oraz wyborowi utworów komicznych z czasów wojny i okupacji, czytelnik zorientuje się, jak istotną funkcję pełnił śmiech jako czynnik m.in. oporu, poprawiania jakości życia i kształtowania wspólnoty.
Autor przedstawia przykłady aktywności „ludzi śmiechu” podczas drugiej wojny światowej, w ramach twórczości kulturalnej, działalności konspiracyjnej, w folklorze ulicy oraz fragmenty historii osób zarówno znanych z kultury masowej (Adam Grzymała-Siedlecki, Marian Hemar, Anna Jachnina, Jerzy Jurandot, Aleksander Kamiński, Szymon Kobyliński, Janusz Korczak, Bożena Krzywobłocka, Eryk Lipiński, Antoni Marianowicz, Marian Walentynowicz, Władysław Szpilman i in.), mało znanych, jak i anonimowych, które rozśmieszając i śmiejąc się z innymi poprawiały jakość życia doświadczających wojennej traumy.
Książka ta może zainteresować osoby pasjonujące się historią drugiej wojny światowej i Holokaustu w ujęciu międzykulturowym, zajmujące się edukacją historyczną związaną z miejscami pamięci narodowej, a także terapią śmiechem realizowaną z ofiarami kryzysów społecznych.

P.P.Grzybowski: The Laughter of Life and Death. Personal Stories of the Occupation, Ghettos and Concentration Camps to Educate and Remember. trans. Agata Cienciała, John Eric Starnes, Wydawnictwo Uniwersytetu Kazimierza Wielkiego, Bydgoszcz 2020. 276 s. ISBN 978-83-8018-322-3

The book comprises some descriptions of the circumstances in which the phenomenon of laughter occurred in times of social crisis associated with the Second World War and the occupation of Poland during that time. Owing to the reports, memories, and testimonies provided by the participants of the dramatic events in occupied Poland, the ghettos, and concentration camps, as well as the collection of humorous works from the times of the war and occupation, the reader will realize what an important function was fulfilled by laughter, as a factor of resistance, improving the quality of life, and shaping a community.
The author presents some examples of the activity of the “people of laughter” during World War II, within cultural creation, underground activity and in street folklore. He also presents some fragments of the personal stories of both the people known from mass culture in Poland (Adam Grzymała-Siedlecki, Marian Hemar, Anna Jachnina, Jerzy Jurandot, Aleksander Kamiński, Szymon Kobyliński, Janusz Korczak, Bożena Krzywobłocka, Eryk Lipiński, Antoni Marianowicz, Marian Walentynowicz, Władysław Szpilman, etc.) and little known or anonymous ones, who by making others laugh and laughing with them improved the quality of life of the people experiencing the trauma of war and occupation.
The book is interesting for people eagerly studying the history of World War II and the Holocaust in its intercultural approach. Furthermore, those who deal with historical education associated with national memory sites and with laughter therapy for the victims of social crises will find new inspiration through the anecdotes and stories contained herein.

The authors reflect on the relational climate of therapy and its effects. On the basis of clinical situations, they focus particularly on moments of laughter or exchanged smiles, which are at the same time moments of significant emotional sharing between therapist and patient, and transformational micro-movements in the therapeutic process. In respect to the latter, smiling and laughter who confirm intersubjective alliance, far from denying, support the acceptance of the tragic in existence. These brief and involuntary, expressive and intersubjective movements, help individuals make peace with themselves and go in the direction – so essential in care work – of an assent to life.

Charlie Chaplin made people laugh and he believed that “a day without laughter is a day wasted” for one who doesn’t enjoy a good laugh with family and friends. Life gives us enough opportunities or reasons to laugh our heart out. Only we don’t have enough time to embrace those chances. Due to stress, depression, lack of sleep, negative thoughts and feeling of isolation we aren't letting ourselves to smile at our own thoughts, leave alone laughing at something. Dr. Madan Kataria was the father of this Laughter therapy in India. He used this exercise to promote health through laughter around the world because he knew that laughter has some real health benefits.

Laughter yoga is a unique style of yoga that involves laughing voluntarily. This new twist to the ancient practice of yoga is probably the only exercise routine that will leave you happier and healthier. It is an excellent cardio workout and what starts as a forced laughter becomes a real one and more contagious than a common cold. It combines yogic breathing and laughter exercise to make you healthy.

In his novel Il nome della rosa, Umberto Eco seems to express-also through the imagined words of the second book of Aristotle's Poetics-a hypothesis of philosophical laughter based on disharmony. As William of Baskerville realizes over the course of the story, the difficulty of believing in a solid relationship between knowledge, language, and reality makes it impossible to reconstruct the way in which things actually are: in response to the severity of the monastic attitude in considering the wordly reality and the truths of theology, a sceptic smile stands out. This point of view finds a confirmation even in times and authors different from those explicitly discussed in Eco's writings.

Öz
Modern dünya içinde mitolojik bir karakter taşıyan Harga halkının güzel dünyasının ardında görülen dehşeti ve kurban ritüellerini gösteren Midsommar(Ritüel) filminin inceleneceği metinde öncelikle filmin genel yapısına dair bir şema çizilecektir. Ardından özellikle Bataille’ın kurban ve
erotizm anlayışları genel yapının parçalara ayrılarak bir düzleme kavuşması adına temayla birleştirilecektir. Ölüm, ihanet, nefret ve yaşam olgusunun temel alındığı yorumlamada son bir düzlem olarak ölüm karşısında açığa çıkan kathartik gülme ediminin işlevselliği tartışılacaktır.
Özellikle sonuca gelirken kurban etme, ölüm ve yaşam düzleminde insanın yüz yüze kaldığı dehşet irdelenirken şu sorular temellendirilecektir; Yaşam kutsalın yakınında mıdır? Yaşamı olumlamak için ölümle mutlak bir münasebet mi gereklidir? Ritüeller yaşam ve ölüm arasında nasıl bir bağlantı kurmaktadır? Ölüm karşısında gülmek ölüme-doğruluğumuzun kabulünde bize nasıl bir yol sunmaktadır? Ari Aster’in ortaya koyduğu görsel illüzyonlar beraberinde temellenen kurban anlayışı, ölümden yaşama ve yaşamın yeniden kurulmasına yöneliktir. Dani’nin yaşamındaki kırılma noktaları temizlik, yenilenme ve saflıkla özdeşleşen kurban anlayışını tersyüz ederek; kirlilik ve murdar olana yönelen bir iz bırakmaktadır. İnsan yaşamındaki geçişlilikleri ve tökezleme noktalarını sergileyen Midsommar insan yaşantısındaki kayıp ve değişimleri sergilemektedir. Bunlar karşısında gülebilme edimi ritüelize biçimde kutsal ve murdar arasında gidip gelen yaşantıyı imgelerken, aynı zamanda insanın kendine yolculuğuna da vahşeti
temellendirerek erişmektedir. Erotizm, ölüm, dehşet ve vahşet bizleri insan olmanın temeline bir yolculuğa çıkarmaktadır.
Anahtar Kelimeler: Midsommar, Ritüel, Kurban, Ölüm, Gülme

Abstract
There will be a diagram about the movie Midsommar, in the general structure of the text, which shows the horror and the rituals of sacrifices, behind the beautiful world of the Harga people, who have a mythological identity the modern world. In particular, will be a combination of Bataille's understanding of sacrifice and eroticism with the theme, to bring the general structure into pieces to arrive at a distinct view. In the interpretation based on the phenomenon of death, betrayal, hatred, and life, the cathartic laughter that emerged as a last face of death is the basis of the following questions, especially when examining the horrors that people face in the order of death and life: is life clinging to the sacred? Is there a necessity for an absolute relationship with death to affirm life? How do the rituals connect life and death? How does laughter in the face of death offer us a way of admitting our righteousness to death? The understanding of sacrifice, which is based on the visual illusions revealed by Ari Aster, is aimed at living from death and
reconstructing life. The breaking points in Dani's life are by inverting the sacrifice concept that is identified with cleanliness, renewal, and purity; it leaves a trace towards the pollution and the impure. Midsommar, which exhibits the transitions and stumbling points in human life, exhibits
the loss and changes in human life. In the face of these, the act of laughing in a ritualized manner visualizes the life between the sacred and the impure, while at the same time reaching the human journey based on savagery. Eroticism, death, horror, and brutality take us on a journey to the foundation of being human.
Keywords: Midsommar, Ritual, Victim, Death, Laughing

« Entre mon marxisme et mon décadentisme, il manquait la médiation d’un troisième terme qui est justement le christianisme ». Ainsi s’exprime Pasolini en 1964. Cette thèse propose de réexaminer La ricotta à partir d’une notion théologique : la réserve eschatologique élaborée par Jean-Baptiste Metz en dialogue avec les théologiens de la libération. A cette lumière, l’examen du procès de La ricotta et de son conflit central autour du rire, du sacré et du blasphème, offre la possibilité d’appréhender à nouveaux frais la portée politique des choix esthétiques de Pasolini puis de restaurer la trame historique sur laquelle se détache son œuvre. La ricotta répondait à une commande de film sur la fin du monde. L’approche par l’eschatologie éclaire la réponse pasolinienne : son récit de Passion lui permet de se positionner comme marxiste athée, à l’intérieur d’une culture chrétienne assumée et revivifiée. Enfin, la réserve eschatologique qui travaille l’esthétique du peuple dans La ricotta, notamment dans letraitement des voix, ouvre le pastiche pasolinien au temps des figurants.“Somewhere between my Marxism and my Decadentism, a third term was missing which is, in fact, Christianity”, dixit Pasolini in 1964. This thesis will re-examine La ricotta, through a theological prism : using the Eschatological Reservations developed by Johann Baptist Metz in tandem with the Liberation Theologists. In the light of this concept, the study of the trial of La ricotta and its central tension built around the comic, the sacred and the blasphemous, will allow us to consider the political weight of Pasolini’s aesthetic choices and to reconstruct the historic background of his work. La ricotta was commissioned as a film about the end of the world. One may shed new light on Pasolini’s creation by using eschatological theory. Through his interpretation of the Passion of Christ, he appears as a Marxist atheist within his asserted and revitalized Christian culture. To conclude, the Eschatological Reservations influence Pasolini’s aesthetic interpretation of the poor and their voices in Laricotta, and herald a new era, the Age of the Extras

Popular Humor Magazines as The New-Stream of Traditional Anatolian Theatre

Laughter is a space of resistance for subalterns and used as weapon against oppressors. Laughter is an effective opposing voice which organizes symbolic resistance and the field of counter-culture which produces hidden scenarios for oppressed and sub-cultural societies and as a structural component of carnival, which is memory of subalterns, creates a collective/cognitive map to produce, support and transport cultural codes of resistance. Therefore it is the site of resistance. When it was active, traditional Anatolian theater was the marker of collective cultural identity of subalterns. Due to disconnection with intellectuals, traditional theaters could not take part in modernization project of Turkish Republic, that’s why moved back to theatrical field. That situation does not indicate that traditional theaters lost their resistant power, but transfer that essence to another structure. Popular humor magazines are one of those structures; especially Gırgır and Leman. Popular humor magazines are the successors of Meddah, Karagöz and Ortaoyunu forms and pursue their symbolic resistance against repressive dominant culture.

Author Thomas Flindt and business partner Ejvind Jacobsen are presenting a book on laughter at work. Studies include workplace satisfaction, increased sales and fewer sickdays from using laughter to become less stressed and more content and happy.

Scheda dei contenuti del seguente articolo, riguardante le diverse interpretazioni del fenomeno della risata contenute nel dialogo "De vero falsoque bono" di Lorenzo Valla:

Li Jingjing, L’atto del ridere: segno di malvagità o di umanità? La visione della natura umana nel De vero falsoque bono di Lorenzo Valla, «SPOLIA. Annual Journal of Medieval Studies», 14, n.s. 4 (2018), pp. 4-25.

Oltre all'analisi delle quattro parti dell'articolo, è presente un'integrazione bibliografica.