Humor, a topic that engaged Sigmund Freud both early and late in his career, is richly intertwined with character, with creativity, and with the theory and practice of psychoanalytic therapy. Yet, until very recently, analysts ignored Freud's lead and relegated humor to the periphery of their concerns. Humor and Psyche not only remedies previous neglect of the role of humor in the psychoanalytic situation but opens to a broad and balanced consideration of the role of humor in psychological life. Section I provides historical and theoretical perspectives on the concept of humor. Contributors review Freudian and post-Freudian theories of humor, address the inseparability of humor and play, adumbrate a postmodernist perspective on humor, and focus on the unique cognitive and affective properties of humor. In Section II contributors turn to the relationship of humor to various aspects of the therapeutic process, including the relationship of humor to transference interpretation, the enlivening effects of humor on the therapeutic process, and the multiple meanings of humorous exchanges between therapists and patients. Section III concludes the volume with three fascinating essays on the relationship of humor to character and creativity. They focus, respectively, on the role of humor in the 25-year correspondence of Freud and Sándor Ferenczi, on the interweaving of D. W. Winnicott's comic spirit and theoretical innovations, and on the relationship between humor and creativity in the music of the American composer Charles Ives. Taken together, the contributors reestablish the importance of humor as a topic of psychotherapeutic relevance more than 70 years after Freud's final essay on the topic. Delightfully readable from beginning to end, Humor and Psyche edifies as it entertains.

It is the age-old saying that “laughter is the best medicine”. Scientific research has substantiated the claim made by this proverb by verifying the positive effects it has on both our mind and body, but what is it about a good joke, comic, or sitcom that makes us laugh? Humor, Psyche and Society is a compilation of Berger’s previously published articles and new chapters on the nature of humour, its importance for our psyches, and its social and political significance. Written in an accessible style, it uses semiotics, psychoanalytic theory, sociological theory, as well as other theories of humour to explore the multifaceted nature of humour, various styles of jokes and sitcoms. Using Berger’s typology of forty-five techniques found in all forms of humour, developed to explain what makes us laugh, this book analyses a variety of humorous texts. Balancing theory, entertaining jokes and other humorous texts, as well as the author’s illustrations, the chapters in this book delve into a diverse range of topics such as humour and the creative process, humour and health, and visual humour; along with an examination of the sitcoms Frasier and Cheers; and finally, the exploration of jokes including Jewish jokes, and jokes on Russia and Communism, and Trump. This book will be of particular interest to university students studying courses in humour, comedy, popular culture, applied semiotics, American politics and culture, and cultural studies. Due to the accessible nature of this book, the general public may find it to be both a fascinating and entertaining read.

Humor permeates every aspect of society and has done so for thousands of years. People experience it daily through television, newspapers, literature, and contact with others. Rarely do social researchers analyze humor or try to determine what makes it such a dominating force in our lives. The types of jokes a person enjoys contribute significantly to the definition of that person as well as to the character of a given society. Arthur Asa Berger explores these and other related topics in An Anatomy of Humor. He shows how humor can range from the simple pun to complex plots in Elizabethan plays.Berger examines a number of topics ethnicity, race, gender, politics each with its own comic dimension. Laughter is beneficial to both our physical and mental health, according to Berger. He discerns a multiplicity of ironies that are intrinsic to the analysis of humor. He discovers as much complexity and ambiguity in a cartoon, such as Mickey Mouse, as he finds in an important piece of literature, such as Huckleberry Finn. An Anatomy of Humor is an intriguing and enjoyable read for people interested in humor and the impact of popular and mass culture on society. It will also be of interest to professionals in communication and psychologists concerned with the creative process.

Rosen and Luebbert have edited a collection providing a diverse sampling of theoretical and scientific approaches to understanding important markers connected with the evolution of the psyche. Markers from our evolutionary path can be discerned in the structure of the human brain, in our similarities to our infrahuman ancestors, and in contemporary behaviors that, as the essays make clear, continue to serve purposes best understood in our original environment of evolutionary adaptedness. Written by some of the leading investigators in this field, they show why evolutionary psychology is the most useful paradigm for overcoming the current disintegration of the psychological sciences. All those with an interest in the origin of the human mind will find this book enlightening. It is an important collection for students, scholars, and other researchers of the psyche.

Drawing on the authors’ diverse backgrounds and expertise, this is the first academic volume dedicated to the rarely discussed topic of laughter and humour in positive psychology.

This book is the first to understand a painter's style as an expression of a style of perceiving. Machotka establishes that the way a painter sees the world and thinks about it sets up the range of styles within which he can choose to work. Of course, a painter also works within his historical setting, and Machotka sets the two lives in the context of the revolution in landscape painting launched by the Society of Six in the 1920s and the Bay Area Figurative painting in the 1950s. While doing this, he also presents a biography of each artist which is as sympathetic as it is closely observed.

For many Ukrainians, 1991 was a crucial point when their long-held dream of independence came true. The image of the future life in independent Ukraine was then almost identical to folklore images of Ukraine as the land of milk and honey. "Living the Independence Dream" takes a multi-dimensional look at the period of regained independence as a time of advancement towards the realization of collective dreams shaping the post-Soviet nation, even through everyday disappointments, anxiety, and uncertainty. The collection features personal accounts of several generations of Ukrainians who found themselves displaced by political upheavals in foreign lands, as well as the voices of recently displaced people who left the Donbas or other regions of Ukraine following the outbreak of the Russian aggression. It revisits the legacy of Soviet dissidents and explores the ideologies of Ukrainian language revival and the ways that memory and language construct Ukrainian identity and generate vital energy amidst war. The collection "Living the Independence Dream" aims to analyze the agency of contemporary Ukrainian people and the role of media, literature, and digital folklore in creating new messages, meanings, and values formed during the Independence decades.