This book identifies the significance of the body through a feminist reconceptualisation of laughter as a means of insight. It positions itself within the emerging scholarship on religion and humour but distinguishes itself by moving away from the emphasis on humour and instead focuses on the place and role of laughter. Through a feminist reading of laughter, which is grounded in the philosophical and psychological works of William James, this book emphasises the importance of the body to offer an exploration of laughter as a means of insight. In doing so, it challenges the classificatory orders of knowledge by recognising and arguing for the value of the body in the creation of knowledge and understanding. To demonstrate the centrality of the body for insight laughter, and thus the creation of knowledge, this book engages with laughter within three thematic areas: religious experience, gendered experiences of laughter, and the ethics of laughter. This book will be of interest to students and researchers in religious studies, theology, gender studies, humour studies, philosophy, and the history of ideas.

"This book identifies the significance of the body through a feminist reconceptualisation of laughter as a means of insight. It positions itself within the emerging scholarship on religion and humour but distinguishes itself by moving away from the emphasis on humour and instead focuses on the place and role of laughter. Through a feminist reading of laughter, which is grounded in the philosophical and psychological works of William James, this book emphasises the importance of the body to offer an exploration of laughter as a means of insight. In doing so, it challenges the classificatory orders of knowledge by recognising and arguing for the value of the body in the creation of knowledge and understanding. To demonstrate the centrality of the body for insight laughter, and thus the creation of knowledge, this book engages with laughter within three thematic areas: religious experience, gendered experiences (of laughter), and the ethics of laughter. This book will be of interest to students and researchers in Religious Studies, Theology, Gender Studies, Humour Studies, Philosophy, and the History of Ideas"--

Interested in preserving her family folklore, Jeannie B. Thomas recorded detailed oral histories from her mother and two grandmothers. While analyzing the tapes of these sessions, she notices the inappropriate laughter often accompanied the retelling of painful stories. In this book, Thomas combines these personal narratives with original scholarship drawing on the work of Mikhail Bakhtin and Julia Kristeva to uncover meaning behind the startling presence of unconventional laughter in women's histories.

Angela Carter's provocations to laughter and her enchantment with ludic narrative strategies are two key aspects of her aesthetic practice, neither of which has been the focus of sustained study. Ludics and Laughter as Feminist Aesthetic: Angela Carter at Play responds to this lacuna in Carter criticism. This international collection of eleven essays from acclaimed Carter scholars and emerging voices in the field of Carter studies seeks to reclaim play as a serious undertaking for feminist writing and scholarship and to foreground laughter as a potent affect. While Carter's work turned to comedy in the later years, from the first publication in 1966 until her last in 1992, her fiction, poetry and journalism engaged in sharp social and cultural critique; she habitually engaged this critique through ludic structures and wickedly funny narratives that challenged conventional norms and ways of thinking. Contributors explore the diverse ways in which Carter compelled a complex and often uneasy laughter by means of a controversial aesthetic that merges a persistently ludic sensibility with a biting intransigent wit. This volume draws on theories of play, surrealism, feminism, as well as studies of feminist humour and Carter's own journals and diaries to reveal the ways in which her work moves readers towards the unexpected. This volume will be of relevance both to scholars of Carter's work and of feminist humour more generally; as well, it will be of interest to students and general readers of Carter's fiction, journalism and poetry.

Can we take seriously religious experience, spirituality, and mysticism, without reducing them to either cultural-linguistic by-products or simply asserting their validity as a dogmatic fact? The contributors to this volume argue that we can, and they offer a new way: the "participatory turn," which proposes that individuals and communities have an integral and irreducible role in bringing forth ontologically rich religious worlds. They explore the ways this approach weaves together and gives voice to a number of robust trends in contemporary religious scholarship, including the renewed study of lived spirituality, the postmodern emphasis on embodied and gendered subjectivity, the admission of alternate epistemic perspectives, the irreducibility of religious pluralism, and the pragmatist emphasis on transformation—all trends that raise serious challenges to the currently prevalent linguistic paradigm. The first part of the book situates the participatory turn in the context of contemporary Religious Studies; the second part shows how this approach can be applied to various global traditions, ancient and contemporary, from Western esotericism to Jewish mysticism, Christianity, Hinduism, Sufism, and socially engaged Buddhism.

Portrays a range of medieval heroines to ascertain how humor might have been used and enjoyed by medieval women

One of a three-book collection, The 365 Most Important Bible Passages for Women is a daily devotional designed to encourage women to live the lives God designed for them. This year-long devotional is both unique and simple. Features include: -- More Scripture throughout -- A comprehensive overview and accompanying mediation for each passage -- Daily Scriptures that encourage women to engage in and enjoy reading the Bible -- Bible passages specifically targeted at women -- Focus on the Bible passages that reveal the divine character of God, Jesus, and the Holy Spirit in relation to godly womanhood, and -- Insightful comments and applications to daily life.

From dour old women to buzzkills who can't take a joke, the stereotype of the humourless feminist has repeatedly been deployed to derail and delegitimize the women's rights movement. This collection skips the tired debates that ask whether feminists can be funny—we know the answer to this already—to instead investigate contemporary expressions and functions of humour within international feminist movements and communities. This interdisciplinary volume showcases critical analyses of cultural texts and events, personal accounts of producing and encountering feminist humour, and creative interruptions that pair laughter with insight. As a whole, this work seeks to sideline caricatures of the humourless feminist by promoting a vision of a diverse movement vibrant with innovative, generous, threatening, and, ultimately, triumphant laughter.

Laughing Gods, Weeping Virgins analyses how laughter has been used as a symbol in myths, rituals and festivals of Western religions, and has thus been inscribed in religious discourse. The Mesopotamian Anu, the Israelite Jahweh, the Greek Dionysos, the Gnostic Christ and the late modern Jesus were all laughing gods. Through their laughter, gods prove both their superiority and their proximity to humans. In this comprehensive study, Professor Gilhus examines the relationship between corporeal human laughter and spiritual divine laughter from c`ussical antiquity, to the Christian West and the modern era. She combines the study of the history of religion with social-scientific approaches, to provide an original and pertinent exploration of a universal human phenomenon, and its significance for the development of religions.

For the first time in scholarship, this essay collection interprets modernity through the literary micro-genres of the aphorism, the epigram, the maxim, and the fragment. Situating Friedrich Nietzsche and Oscar Wilde as forerunners of modern aphoristic culture, the collection analyses the relationship between aphoristic consciousness and literary modernism in the expanded purview of the long twentieth century, through the work of a wide range of authors, including Samuel Beckett, Max Beerbohm, Jorge Luis Borges, Katherine Mansfield, and Stevie Smith. From the romantic fragment to the tweet, Aphoristic Modernity offers a compelling exploration of the short form's pervasive presence both as a standalone artefact and as part of a larger textual and cultural matrix.