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The article explores the concept of aesthetic disobedience proposed by philosopher Jonathan Neufeld based on the definition of civil disobedience presented by philosopher John Rawls in his book "A Theory of Justice." Topics discussed include the involvement of both artists and audience members in acts of aesthetic disobedience, the violation of relevant artistic norms observed in the 1989 protest artwork "Do Women Have to Be Naked to Get Into the Met. Museum?," by anonymous artist collective Guerilla Girls, and the activism demonstrated by performers in Peter Handke's play "Publikumbeschimpfung (Offending the Audience)."

An introduction to a series of articles about ethical and aesthetic issues related to stand-up comedy is presented.

ABSTRACT In this article, I consider the standard interpretation of the superiority theory of humor attributed to Plato, Aristotle, and Hobbes, according to which the theory allegedly places feelings of superiority at the center of humor and comic amusement. The view that feelings of superiority are at the heart of all comic amusement is wildly implausible. Therefore textual evidence for the interpretation of Plato, Aristotle, or Hobbes as offering the superiority theory as an essentialist theory of humor is worth careful consideration. Through textual analysis I argue that not one of these three philosophers defends an essentialist theory of comic amusement. I also discuss the way various theories of humor relate to one another and the proper place of a superiority theory in humor theory in light of my analysis. [ABSTRACT FROM AUTHOR]