The medness and laughter narrative of disruptive humor in art

Abstract

Madness and laughter in art’s destructive humorous expression encompass extraordinary, extreme, exorbitant, abnormal, satirical and alegorical representations, from Renaissance till today. In virtue of this purpose  it’s seen that humor image lies outside the context of madness and the mad, sickness and the sick. The former is conveyed via allegorical and satirical forms that tells the truth. Laughter, on the other hand, is presented as pejorative properties that boasts over the faults and flaws of human rather than being a reaction against mere comedy. These two aformentioned elements have been contrarian satirical statements in artistic context, and communicated with debasing, critical descriptions revealing the vandal human mind. Therefore the resulting mockery both rejects and defames its subject. Such tokens of strong critique are observed to be in close relation with folklore and transform into impressive languages of allegory in the art sphere. The projection of madness and laughter images in art works, more clearly when the archive of the language they use is considered alongside satire, is both the harshest manifestation of human darkness in cosmic scale and the essence of the deeper roots of her inner journey, a historical perspective of civilization. The aforementioned factors that compose an insistent language from repetitive forms against the hierarchy of flaws endemic to human and her societies are statements strongly emphasizing the tragic aspect in persistent terms. In this vein the research will lean towards consciousness’ representations speaking of the essence, beyond the semantics of madness, the mad and her laughter. Together with the discussion detailed so far madness and laugther metaphors’ jagged comedic meanings and associated concepts will be explained. The scope of the methodology will be limited to the evaluation of madness’, the mad’s and (her) laugther’s destructive satirial perspectives and their evolution through time down from Renaissance, within the scope of related art and philosophy literature, including references to key art works when relevant.