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Aleksandar Bokovi
Humour
Summary
The paper deals with a theoretical definition of humour, its relationship with
the categories of laughter, irony as a rhetorical figure, then the relationship between
humour and romantic irony, and between humour and the comic. It provides an overview of various theories of humour, starting from theories of comedy and laughter
from the era of antiquity, through the establishment of a modern notion of humour in
the era of Renaissance drama (Ben Johnson) and discussions of the aesthetic and
literary-theoretical definition of the notion of humour which, from the era of Romanticism, focus on the distinction between the category of humour and the closely related notions and forms of the comic. Many philosophers, psychologists and literary
theorists have pointed out the differences between the two in the course of history,
and the most important ones among them are dealt with in the paper: Plato, Aristotle,

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Cicero, Quintilian, T. Hobbes, F. Hutchison, Schlegel, J. P. Richter, Novalis, L. Tieck, A. Schoppenhauer, T. Lipps, L. Pirandello, H. Bergson, C. Lasch, D. H. Parker,
N. Hartmann, Maurier, O. Ducrot, G. Genette, U. Ecco. Dealing with largely different theories and postulates of humour from a broad historical perspective, the author
decided not to view the theoretical postulates in a linear fashion, historically, but
rather to approach them problematically, grouping different and historically very
distant theories around a problem, more precisely, the establishment and determination of the boundaries between humour and categories closely related to it. In this
way, the paper deals more thoroughly with the polemic between the so-called theories of superiority and theories of incongruity, that is, the notion of the comic in philosophers of antiquity, R. Descartes, T. Hobbes, Stendhal, C. Baudelaire, F. Nietzsche,
H. Bergson, and partly S. Freud and S. Langer on the one hand, and F. Hutchison, E.
Kant, Hazlitt, A. Schoppenhauer, C. Lasch and D. H. Parker on the other. The author
also sheds light on and continues the ongoing polemic with one of the most influential theories of the comic, Bergsons theory of humour, while trying at the same time
to establish a definition of humour as emotion, against the background of the views
of cognitive or philosophical psychology of the second half of the 20th century. The
definition of humour as emotion is followed through Wittgensteins philosophical
thought, that is, his definitions of the notions of thought, language, thinking and
meaning. Defined as emotion, humour is also brought into connection, firm and
indissoluble, with the structure and the semantics of verbal utterances and ethical
notions. In this way, through the above-mentioned interdisciplinary approach, the
author provides a conceptual-theoretical framework on the basis of which humour is
directly brought into connection with the use of language and language games. In
addition to this, the author points out, this theoretical-conceptual framework does
not aspire towards a theory in the sense of being able to present humour by means of
a single statement, feeling or act, but towards the kind of theory that shows humour
to be the result of many different kinds of statements, feelings and situations, thus
enabling a fruitful exchange between the existing, diverse theoretical postulates.