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Il riso. Saggio sul significato del comico
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Il riso. Saggio sul significato del comico

3.72 of 5 stars 3.72  ·  rating details  ·  463 ratings  ·  37 reviews
Il comico in generale, il comico delle forme ed il comico dei movimenti, forza d'espansione del comico, il comico delle situazioni, il comico delle parole, il carattere comico. Henri Bergson uno dei più grandi filosofi contemporanei, ricevette nel 1928 per la sua produzione il premio Nobel.
Paperback, Economica Laterza #19, 164 pages
Published 2007 by Laterza (first published 1900)
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This is a really interesting read. I was expecting this to say something like, “Comedy is due to the unexpected – something we don’t expect happens and so we laugh”. That is, I was expecting to be bored out of my mind. Then a lot of his examples were from plays I’ve never read – so it would be like someone talking about comedy with sole reference to Friends or Seinfeld – two shows I’ve never seen an entire episode of – this made following some of his points much harder than it ought to have been ...more
Joselito Honestly and Brilliantly
Philosophers are people who pick the obvious and easy, discuss them, and end up making them difficult and incomprehensible. We all know, for instance, what "time" (7:30 am) and "space" (I found a parking space for my car!) are. But here comes the philosopher who'll say that since time isn't eternity, then there was a time when there was no time, in a place before there were places and spaces, and then somehow at the instant between nothingness and somethingness there was a pure energy as big as ...more

ثمة ضحك يحيرك ويأخذك للبحث بمساره ومصدر ينبوعه
ولكنك كلما اقتربت من نهاية المسار واوشكت على معرفته
ضللت بمسارك اذ ما اعمق النفس

الضحك الذي يثيره الهزل

يبحث الكاتب عن هدف المجتمع من الضحك والسبب الذي يحدث اللانسجام والتمدد الذي يولد
بدوره الاثر الهزلي ولماذا يشعر المجتمع والفرد بحاجته الى التظاهر وعن سبب الشيء المضحك
اذالضحك عند المجتمع حالة من اللامبالاة وعدم الاكتراث ودغدغة حساسية وغالباً اللاجتماعي
هو المضحك, كما ان الضحك يشجع الاحتكاك ومعرفه الذات والاخر ويقود الفرد لتحسين
avast! trick or tentacle?
There seems to be such a cultural gap between Bergson and me that this book is inherently difficult to relate to. Some of this gap is in the passing of a hundred and thirteen years. But some might also be in nationality: there's an interesting 2006 article on cross-cultural humour by Stewart Lee here.

At the core I just don't find funny the things that Bergson is talking about as being comic. If I disagree on the prompt for laughter it makes it very diffcult to consider the truth in what he descr
Aug 17, 2007 Hillary rated it 4 of 5 stars  ·  review of another edition
Recommends it for: people who like the funny
I don't have this exact edition. I just read the version on Project Gutenberg, which was even cheaper than the Dover copy. It's way fun stuff, especially for philosophy--well-written, smart, thoughtful without being pompous. His examples are a bit outdated and Frenchified, but then, it was written a long time ago, in France. His connections to William James make sense, as he writes in a similar style that's oddly expansive at the same time that's it's brief and light. Especially interesting if y ...more
نرمين الشامى
من اسوأ ماقرأت

كترجمه وكأسلوب

حسيت بمعاناة شديدة وانا بقرأ الكتاب ده
كتاب قمه فى الملل والتطويل
والكارثه انه طبع 23 طبعة انا مذهولة
فضلت فى الكتاب شهوركل مده اقرأ صفحه او2 وعنادى مش راضى يخلينى اسيب الكتاب من غير ما اخلصه
وبعد انتهاء الكتاب او بمعنى اصح انتهاء التجربة العصيبة دى هرمى الكتاب من الشباك بكل سرور
I read this essay before listening to this episode from the Partially Examined Life:

Here are my reading notes:

- What's funny is rigidity where flexibility is socially expected.
- We laugh socially to correct people.
- We laugh at vanity a lot.
- Laughter is social and devoid of emotions: if we feel for a victim, we won't be able to laugh at them.
- Distraction in a broad sense is necessary to humor.
- Comedy can come from repetition, inversion, or interference
محمد عبادة
Read an Arabic translation of it by the Syrian great translator Sami El-Dorooby. A great piece of intellectual exploration.
This is one of those books where I disagree with the argument being made, but I don't have a sound counter-argument. Bergson's basic point is that comedy comes from the reduction of life into the mechanical--people become absentminded puppets or mechanically wooden, situations are as repetitive and regimented as clockwork, and characters are types (like the cogs in a comic machine). I think Bergson probably had an early 20th century modernist fascination with machinery and progress, which colors ...more
Pierre E. Loignon
Tout le monde aime rire!
Chacun l’admettra, y compris le philosophe Bergson qui, toutefois, ira ensuite se demander pourquoi.
Et moi, lecteur de philosophe, je me suis demandé pourquoi Bergson s’est ainsi interrogé à propos du rire.
Alors, dans un premier temps, voyons comment s’articule la réflexion de Bergson.
Il remarque, pour amorcer sa réflexion, que seul l’homme rit.
De plus, selon lui, le rire implique une certaine « insensibilité » envers son objet puisque l’on n’ose pas rire de ce qui nou
Voilà un petit ouvrage absolument brillant, merveilleusement bien écrit par l'un des très grands auteur français. Le rire est quelque chose de simple à priori mais trop souvent pris par le petit bout de la lorgnette. En quelques pages, Bergson réussit à isoler les origines du rire, sa mécanique interne grâce à une qualité d'analyse stupéfiante. Le raisonnement est implacable (un modèle pour les dissertations), intelligemment illustré par les auteurs classiques (Molière en particulier), un régal. ...more
Ameera H.  Al-mousa

الضحك في هذا الكتاب ليس أداة تسلية , بل الأولى أن يكون حافز تفكير, كما يذكر ذلك برغسون حين كتب عن الضحك وعلاقته بالتصلب والسهو وبالتكرار وبالاوتوماتية كمحاور تناول الضحك في الكتاب .
يتسائل الضحك ماذا يعني ؟ ماذا يوجد في عمق الشيء المضحك ؟
ويحلل ذلك بعقل المُفكر الحزين الذي يرى أن ساعة الأنس ليس خالية من نكه مرارة تفرضها تراجيدية الحياة ويتساوى بهذه المرارة الفيلسوف واللامبالي من الناس , الممثل والمشاهد .

تناول الهزل بالذات أقل مما تناول المكان الذي يجب التفتيش عنه فيه , وهزل المسارح والمشاهد ال
بسام عبد العزيز
مر وقت طويل منذ ان قرات كتاب بمثل هذا السوء..
يوضع في قائمة الكتب التي تستحق الإلقاء في سلة الهملات بجدارة..
لا يستحق مني حتى عناء كتابة مراجعة عنه بعدما أضعت ما يكفي من ساعات ثمينة في قراءة مثل هذا الغباء!!
Although I read Bergson as a philosophy student which predisposed me to try and try to find the gems this book must surely contain, I just couldn't get beyond the archaic and hyperbolic style. Typographically it is full of ALL CAPS shouting (was that in the original or just this edition?), apparently to make the key concepts stand out. The problem is that the examples don't deliver (or perhaps they are just too specific to the wrong era--too dated--and thus not general enough to make the univers ...more
prix nobel de littérature 1927

" Du mécanique plaqué sur du vivant ".

Cette formule n'est pas elle-même plaquée mécaniquement par Bergson sur le rire ! Bien au contraire, c'est un Bergson à la fois psychologue, sociologue, philosophe de l'art et moraliste qui écrit Le Rire.

Essai sur la signification du comique en 1900, au cœur d'une œuvre dont ce livre est une étape majeure, et d'un moment dont il traverse tous les enjeux.

Une diversité infinie donc, mais plus que jamais dans une intuition, dan
When I keep focused on how Bergson's thought on laughter and the comic fits in with the rest of his philosophy, this book seems interesting and creative. When I read it as just another theory of the comic, it seems narrow and heavy-handed.

There's a strong parallel between the comic (as Bergson analyzes it) and the cruel, and the author's own unpacking of this similarity was disappointingly brief and shallow. Then again, I read this quickly and might have missed something.
Ahmed Azimov
حديث الكتاب عن الضحك بيد أنه على الأغلب مُصنّف تراجيدي بحت.

التيمه الأساسيه تقول، لامضحك إلا ماهو إنساني، اللامبالاة واللاشعور هي الوسط المناسب للضحك، وأخيرا الاتصال مُجتمعيا أو الاستجابه الجماعيه.

الضحك تشويه، الضحك قيد مُجتمعي، الضحك لم يتساوى بالفن بعد إلا في أن يكون جمالا بذاته.

مآخذي على ماقرأت تتلخص في اقتصار برغسون على نهج ظاهراتي بعيدا عن أي ابعاد سيكولوجيه - عدا القلّة - واقتصاره على الاقتباس من الكتابات الباروكيه كشواهد على ملاحظاته.
very nice insightful short work by Bergson on the comic
Facile writing, but Bergson follows the well tread tracks of his antecedents in focussing on only a small subset of cases. Interestingly, Bergson motive for laughter is simultaneously the main motive for horror - the notion of man solely as object. Nietzsche said most pithely everything the Bergson said and more: "Laughter is an epigram on the death of a feeling."
Actually a pretty good theory on laughter and comedy, but it was hard to follow sometimes as Bergson relied on an extensive familiarity with a bunch of French plays, so,e of which I know nothing about. Fortunately he also referred to Shakespeare, but primarily as examples of tragedy, as a contrast to comedy.
Interesting exploration of what the comic is, in gesture, in words, in character. Only problem: examples primarily from French dramatic comedies. Ideas, finally, focus on how the human falls towards the mechanical, and that laughter is socially valuable as corrective.
Paul Toth
I can't imagine a more lucid explanation of literary comic effects and how to implement them. This little-known classic should erase the need for any writer to bother with other books explaining comic technique, and it does so in 96 pages of large print. Essential.
Taymara Jagmohan
The diction was quite verbose.
He just ruined my minutes.
I didn't learn much.
Laughter i guess, is something unexplained; alike my worldly love of "love".

Christopher Klein
A bit dated at this point. Interesting as a historical document. Aphoristic. An important thinker, not necessarily based on this. Some gems. A fairly quick read.
J'ai trouvé que son point de vue était trop subjectif et qu'il dévalorisait vraiment le rire, il n'a pas assez pris en compte les côtés positifs du rire selon moi.
Ongelofelijk hoe dit werkje uit 1900 nog zo actueel aanvoelt.
Dit is hét standaardwerk om de principes omtrent het komische te doorgronden en begrijpen.
Echt top!
A fine introduction to the meaning of what is comical, baring it down to the core, which sadly is mostly missing from what is considered comedy today.
Sep 08, 2012 Benito is currently reading it  ·  review of another edition
Strangely dry for an essay on Laughter, but very enlightening, and hey - maybe that's just the French philosopher's odd sense of humour?
He attempts to break down what makes something funny - not very well, although it provides a few laughs itself.
Aingheal Apryll
Very interesting ideas, but the style of writing was not my cup of tea (a lot of empty vessels, in my humble opinion).
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Henri Bergson (1859–1941) was one of the most famous and influential French philosophers of the late 19th century-early 20th century. Although his international fame reached cult-like heights during his lifetime, his influence decreased notably after the second World War. While such French thinkers as Merleau-Ponty, Sartre, and Lévinas explicitly acknowledged his influence on their thought, it is ...more
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“Might not certain vices have the same relation to character that the rigidity of a fixed idea as to intellect? Whether as a moral kink or a crooked twist given to the will, vice has often the appearance of a curvature for the soul. Doubtless there are vices into which the soul plunges deeply with all its pregnant potency, which it rejuvenates and drags along with it into a moving circle of reincarnations. Those are tragic vices. But the vice capable of making us comic is, on the contrary, that which is brought from without, like a ready-made frame into which we are to step. It lends us its own rigidity instead of borrowing from us our flexibility. We do not render it more complicated; on the contrary, it simplifies us. Here, as we shall see later in the concluding section of this study, lies the essential difference between comedy and drama. A drama, even when portraying passions or vices that bear a name, so completely incorporates them that the person is forgotten, their general characteristics effaced, and we no longer think of them at all, but rather of the person in whom they are assimilated; hence, the title of a drama can seldom be anything else than a proper noun. On the other hand, many comedies have a common noun as their title: L'Avare, Le Joueur etc.” 3 likes
“Sans doute une chute est toujours une chute, mais autre chose est de se laisser choir dans un puits parce qu’on regardait n’importe où ailleurs, autre chose y tomber parce qu’on visait une étoile. C’est bien une étoile que Don Quichotte contemplait.” 3 likes
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