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How can men take joy in nonsense? They do so, wherever there is laughter
in fact, one can almost say that wherever there is happiness there is joy in
nonsense. It gives us pleasure to turn experience into its opposite, to turn
purposefulness into purposelessness, necessity into arbitrariness
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in such a way that the process does no harm and is performed simply out of
high spirits. For it frees us momentarily from the forces of necessity,
purposefulness, and experience, in which we usually see our merciless
masters. We can laugh and play when the expected (which usually frightens us
and makes us tense) is discharged without doing harm. It is the slaves' joy at
)the Saturnalia. (213 human all too human
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In relation to Zarathustra laughter, play and dance are affirmative powers of
transmutation: dance transmutes heavy in to light, laughter transmutes suffering into
joy and the play of throwing (the dice) transmutes low into high. But in relation to
Dionysus dance, laughter and play are affirmative powers of reflection and
development. Dance affirms becoming and the being of becoming; laughter, roars of
laughter, affirm multiplicity and the unity of multiplicity; play affirms chance and
.9"necessity of chance

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.Deleuze p. 193-194 9 ,
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There is no other power but affirmation, no other quality, no other element: the
whole of negation is converted in its substance, transmuted in its quality, nothing
remains of its own power or autonomy. This is the conversion of heavy into light, of
low into high, of pain into joy. This trinity of dance, play and laughter creates the
transubstantiation of nothingness, the transmutation of the negative and the
transvaluation or change of power of negation. What Zarathustra calls "the
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For a significant man, the one thought he values greatly, to the laughter and scorn of
insignificant men, is a key to hidden treasure chambers; for those others it is nothing
.(but a piece of old iron. (183, human all to human

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Concerning the art of comedy,we can actually say that it involves
a certain condescension of the Thing to the level of the object.Yet
what is at stake, in good comedies, is not simply an abasement of
some sublime object that thus reveals its ridiculous aspect.Although
this kind of abasement can make us laugh (consistent with the
Freudian definition according to which laughter plays the part of
discharging the libidinal energy previously invested in sustaining

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the sublime aspect of the object),we all know that this is not enough
for a good comedy to work.As Hegel knew very well, genuine comic
,laughter is not a scornful laughter, it is not the laughter of Schadenfreude
and there is much more to comedy than just a variation on the
statement the emperor is naked. First of all, we could say that true
comedies are not so much involved in unveiling and disclosing the
addendum
nudity or emptiness behind appearances as they are involved in constructing
.(emptiness (or nudity


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