The psychological meaning and importance of laughter is explored in this insightful volume by the eminent psychologist and author. One of the great, simple pleasures of life, laughter is also one of its great mysteries. In Why and How We Laugh, psychoanalyst Dr. Samuel Kahn explores the many purposes, causes, and effects of laughter. He examines laughter as a form of communication and as an important contributor to physical and psychological health. Dr. Kahn also looks at the curious nature of what makes us laugh. With clinical expertise and relatable examples, he covers the different kinds of laughter, from polite chuckles to nervous titters to convulsive belly laughs. He also uncovers what makes various kinds of jokes funny, as well as the laughter-inducing quality of certain surprising, profane, or even frightening events.
Throughout his corpus, Kant repeatedly and resolutely denies that there is a duty to promote one’s own happiness, and most present-day Kantians seem to agree with him. In Kant, Ought Implies Can, the Principle of Alternate Possibilities, and Happiness, Samuel Kahn argues that this denial rests on two main ideas: (1) a conception of duty that makes the principle of ought implies can (OIC) and the principle of alternate possibilities (PAP) analytic, and (2) the claim that humans necessarily promote their own happiness. This book defends OIC and PAP but nonetheless attacks the second idea, and it supplements this attack with two additional arguments—an interpersonal one and an intrapersonal one—for the claim that a modern day Kantian ethics should affirm a duty to promote one’s own happiness.
The main body of this Element, about Kant's theory of conscience, is divided into two sections. The first focuses on exegesis of Kant's ethics. One of the overarching theses of this section of the Element is that, although many of Kant's claims about conscience are prima facie inconsistent, a close examination of context generally can dissolve apparent contradictions. The second section of the Element focuses on philosophical issues in Kantian ethics. One of the overarching theses of this section of the Element is that many positions traditionally associated with Kantian ethics, including the denial of moral luck, the nonaccidental rightness condition, and the guise of the objectively good, are at variance with Kant's ethics.
Samuel David Luzzatto (1800-1865), known by his Hebrew acronym Shadal, was the leading Italian Jewish scholar of the 19th century. A linguist, educator, and religious thinker, he devoted his talents above all to the interpretation of the Bible. As a master of Hebrew grammar and usage, he focused on the plain meaning of the text. Although he was a devout believer in the divinity, unity, and antiquity of the Torah, Shadal approached the text in a remarkably free spirit of inquiry, drawing upon a wide variety of sources, ancient and contemporary, Jewish and non-Jewish. As a result, his interpretations may strike even the modern reader as fresh and novel.Shadal sets the tone with his very first comment on the Book of Genesis (Bereshit):"The wise understand that the intent of the Torah is not to teach of the natural sciences, but that the Torah was given only to direct humankind on the path of righteousness and justice?. Therefore it is not proper for the Torah scholar to force the Scriptures from their literal meaning to make them conform with the natural sciences, nor is it proper for the critic to deny the Divine origin of the Torah if he finds things in its stories that do not conform with scientific research."Shadal's treatment of Genesis, as well as the other books of the Torah, consisted of his Italian translation of the text and his Hebrew-language commentary. Here is an all-English version of both the text translation and the commentary, first published in 1998 but now revised and updated to reflect new and newly available sources of information and the latest Shadal-related scholarship.
Christabel, Kubla Khan, Fancy in nubibus, and Song from Zapolya by Samuel Taylor Coleridge. The frontispiece has been designed & engraved on the wood by L. Pissaro; the border and initial letters were designed by L. Pissarro & engraved by E. Pissarro. Reproduction of 1904 Edition.
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