الضحك بوصفه تاريخاً هداماً دراسة في النقد الثقافي "الفخر المفاجئ"

by Barry Sanders, بيري ساندرز, نجم سهيل (ترجمة)

ست معنياً بالكوميديا - وعوالم الكوميديا القديمة والجديدة، ونسخ دانتي الإلهية او رومنسيات شكسبير. لقد درست الاجناس ليس من النقاد الادبيين فحسب بل ممن الانثروبولوجيين وعلماء الفلكلور وعلماء النفس والمؤرخين والمنظرين السياسيين وكان ذلك شيئاً رائعاً. اريد جلب الانتباه تحديداً الى الضحك، وما يدفع اليه بأسلوب مقنع وممتع ورفيع الثقافة: النكات لكي نحصل على قصة الضحك المروي، يطوف هذا الكتاب على نحو واسع كما هو حال The Great Wooly نفسه، من ارض كنعان الى بلاد الاغريق وروما، حول اوربا والتريث عند انكلترا في 25 تشرين الاول/ أكتوبر1400، يوم وفاة تشوسر، الذي حفر على صخرة عند قبر الشاعر في كنيسة ويستمنستر. ولفهم شاف لتأثير تشوسر العميق على تاريخ الضحك، وتتعلق فصول الختام بالضغوط السياسية الساحقة ضد الضحك في عصر النهضة وما نتج عنها من تجريم الضاحكين في عصر التنوير. في الفصل الاتي وحتى الفصل الاخير اتحرى عن الضحك الشنيع والغريب، وانتهى بوصف شخصي للمهرج الذي غير على نحو جذري الكوميديا المعاصرة - انه ليني بروس.على القارئ ان يكون حارساً متيقظاً في اي موضوع تاريخي آخر، يتوجب، ولا يخطأ في التعريفات المعاصرة إزاء تلك التاريخية. ويصيب هذا الحقيقة حتى في نشاط يبدو واضحاً جلياً مثل "القراءة". لكن على سبيل المثال عندما يستعمل شارلمان عبارة " لقد قرأت"، فهو يعني غالباً ان المطران آلكوين، مرشدة الروحي، قد تلى عليه ذلك بصوت عال. وعلى أية حال، فلا خطأ في صوت الضحك الصادر من القلب مهما كانت آثاره، ولا أحد يمكنه ان يضحك بدلاً منك. يشير علينا المؤرخ كيث توماس أن " علينا متابعة القراءة حتى نتمكن من سماع الناس لا يتحدثون فقط بل يضحكون.

400 pages, Paperback

First published October 30, 1995

Reviews

[Apio · Rating 1 out of 5]

Sudden Stupidity:
Laughing at an Academic
Thoughts upon reading Sudden Glory: Laughter as Subversive History by Barry Sanders

Academics are quite skillful at twisting, muddling and blurring meanings. This seems to be particularly true if they specialize in the humanities, the so-called liberal arts. Having earned a degree in this arena, suddenly one becaomes an expert in babbling the most absurd nonsense about anything and everything. Barry Sanders' book Sudden Glory: Laughter as subversive History is a prime example. Its title promises something subversive, more specifically, the treatment of laughter as something subversive. And in the preface, there are moments when that promise almost peeps out with its clownish face spewing bits of delightful poetic nonsense. But there the delight and the poetry seem to end.

Very early in the introduction, some questions arise about just what Sanders means by subversion. In fact, it becomes difficult not to think that perhaps the only thing he truly hopes to subvert is precisely whatever may be subversive in laughter. He immediately tries to link laughter--that most joyful expression of freedom from belief--with religion. In fact, he implies that laughter has its origins in religion (though, happily, being an academic of our times at one of the hipper private colleges, he is too immersed in the muddle of post-modern thought not to contradict himself repeatedly). Such a claim is certainly one way to undermine everything that is truly subversive in laughter. Simply link it to the institution that has acted throughout history the central ideological support for all the institutions of power. Sanders forgets (or perhaps ignores) that one of the central strategies of religion in enforcing the ruling order has been to lay claim precisely to those human traits that have the most potential--if left free--to lead to self-determination, refusal of authority, insubordination, for a spiritual realm, thus defanging them and transforming them into tools for upholding the ruling order. But Sanders is apparently among those who choose to ignore the obvious institutional and controlling nature of religion. Not that this is surprising since, as an academicm his world is the institutional world, and this book gives no evidence that he wants to defy it.

In this light, it is not at all surprising that he turns to academic feminism as an additional prop for his recuperative meanderings. Here we find that particularly awful form of feminism, based on sloppy anthropology, speculative history and a sort of cultural quasi-essentialism, that sees certain ways of acting in the world as having specifically feminine or masculine traits, particularly connecting it with a fairly religious idealization of Motherhood... That bizarre twist where after years of radical women fighting to free themselves from the limits of the institution of the family, this institution gets brought back in the name of feminism....

Thus, in a book supposedly about "laughter as subversive history", we find laughter--thatmost delightful outburst of joyful disdain--being chained to religion, gender roles, even the idea of the family... Indeed, the only thing that seems to be getting subverted so far is precisely the potential of laughter as a joyous outburst subversiveagainst the sacred, the institutionalized, the expected,

In fact, in the first and second chapters after the introduction--"The Hebrews: Sacred Discontent" and "The Ancient World: Divine Origins of Laughter"--Sanders is quite explicit about his belief in the religious origins of laughter. Even though later, in the third chapter, he recognizes that philosopher tries to tame laughter, he seems unaware that before this, religion (when it didn't forbid laughter) was doing the same thing. It was not creating laughter, but seeking to rein it in, so that its destructive force, capable of killing gods, would never achieve this end, but rather gets turned towards upholding all authority by mocking non-conformity.

But Sanders continually contradicts himself on this matter. He himself keeps on stating that laughter is basically anti-authoritarian in nature, and this would inevitably make it blasphemous. And he repeatedly quotes those who speak of laughter as having a specifically anti-religious origin. Outstanding along these lines is the story he cites from Milan Kundera. Kundera attributes the origins of laughter to the Devil, laughing at the meaninglessness of the universe. The servant of divinity try to imitate the Devil in order to drive back his laughter. Here Kundera gives laughter a specifically diabolical, anti-theistic origin. Religion (the angel) takes hold of it to bring it under control. Kundera's (and Sanders') weakness is in not pointing out that the Devil's laughter was not merely derisive, but also joyful. I have frequently laughed at the meaninglessness of the universe, as if it is laughter at the greatest of jokes, it is also a joyful laughter, for it is precisely this meaninglessness, this godlessness, that proclaims that each of us has the freedom to create his or her own meanings... And that is what is subversive in laughter.

[Dorar Ali · Rating 3 out of 5]

الضحك، مادة للأحاديث اليومية فقط
أم أكثر من ذلك
اختصر الكاتب النظريات المحيطة بالضحك، و تاريخ الضحك والقوانين وما دار حول الضحك.

[Tim · Rating 5 out of 5]

a challenging and jolly read about the history of laughter from the ancients to the the 20th century, which gives high marks for Chaucer along the way. He emphasizes too heavily the somber side of Christian thought on laughter (see Screech's, Laughter at the Foot of the Cross for a more complete view), but ranges widely across Western history, especially emphasizing word origins and the freedom laughter brings. A book to read again very shortly.