Arts
On the cutting room floor: a bit of the introduction; the transformer humming on a hard-to-reach piece of equipment; the word "table d'hôte" which I probably could have translated as "common table" but which essentially doesn't exist in modern life anymore so I couldn't think of a self-evident translation.In this section I have a hard time with Bergson's contention that you have to put your emotions out of bounds in order to laugh. He doesn't really justify it. Later in the essay he comes back to it in a more convincing way, but here it reads strangely. Why would being in full sympathy with every object in the world cast a "gloom" over existence? What's stranger is that it doesn't help his main contention here, which is that laughter is fundamentally social. It's fundamentally social - yet we put all sympathy aside? He comes back to this. I just want you to know that if you're slightly baffled at this, I hear you. For information regarding your data privacy, visit acast.com/privacy