Includes the full French text, accompanied by French-English vocabulary. Notes and a detailed introduction in English put the work in its social and historical context.

First published in 1985. Routledge is an imprint of Taylor & Francis, an informa company.

The nineteenth century in France spawned numerous 'fous litteraires, one of the most fascinating being Jean-Pierre Brisset (1837-1919). An individualist among individualists, he dismantled the existing French tongue, reshaping it to suit his own grandiose purposes, which were to explain afresh the development of human beings (from frogs) and of their language (from croaks). Continuous and ubiquitous punning was a unique feature of his writing. In this study, Redfern examines such themes as the nature of literary madness, the phenomenon of deadpan humour, the role of analogy, and the place of institutional religion in Brisset's creative rewritng of the creation. (Legenda 2001)

The culmination of a lifetime's fascination with humor in all its forms, this book is the first in any language to embrace such an impressive span of authors and such a broad range of topics in French literary humor.
In nine wide-ranging chapters Walter Redfern considers diverse writers and topics, including: Diderot, viewed as a laughing philosopher, mainly through his fiction (Les Bijoux indiscrets, Le Neeu de Rameau, and Jacques le fataliste); humorlessness, corraling Rousseau, Sade, the Christian God, and Jean-Pierre Brisset; the aesthete Huysmans, in both his avatars, Symbolist and Naturalist (A Rebours, Sac au dos, and other texts); the dramatic use of parrots by Flaubert, Queneau, and Beckett; Valles and la blague; exaggeration in Valles and Cd'eline (Mort a credit and L'Enfant); the fiction, plays, and autobiography of Sartre; bad jokes in Beckett; wordplay in Tournier's fiction (especially Roi des aulnes and Les Meteores).
Five interleaved "riffs" on laughter, dreams, black humor, politics, and taste, carry the enquiry into questions of humor outside of the purely French context, enhancing a book that impresses as much with its vivacity of style as with the breadth and depth of its scholarship.

Albert Londres (1884-1932) was a much-translated French investigative journalist, distinguished by the application of humour to serious reporting. His journalistic coverage was extremely wide (Europe, Soviet Russia, the Middle East, the Far East, Africa, South America), as were his themes: war, revolution, racism, prison and asylum conditions, the slave trade, colonialism, sport. This study compares and contrasts Londres with other globetrotting reporters from France, Britain and the USA who deal courageously and innovatively with history in the making. The approach is historical, sociological and rhetorical. The author investigates the shifting borderline between journalism and literature and critically examines the numerous cliches about, and by, journalists.

Stimulating, challenging, engaging, dauntingly well informed and wide-ranging, Professor Redfern's revised book on puns offers massive returns both to the specialist researcher and the interested general reader. Taking his examples back to ancient literatures, but drawing especially on English, American and French cultures (popular and high), he defies the way in which the pun has so often been denigrated as a poor relation within the family of humorous modes, and his sparkling and inventive prose fully justifies that approach. Every page offers original examples amid material from his sources, tellingly examined but without the dogmatic imposition of a preconceived (and therefore, perhaps, inadequate) theory. That exclusion, criticised by earlier reviewers, perceptibly enhances the chapters he presents, which cover, among other matters, the psychology and psychopathology of word-play, the history of punning (particularly enlightening on the English 18th and 19th centuries, though Hugo, Flaubert and others also figure strongly), how punning links with etymology, anagram, neologism and rhetorical tropes such as metaphor, irony, litotes and syllepsis, the commercialisation of puns in the advertising industry and their exploitation by the press, and an intriguing extension of wordplay into the visual as developed in film and TV, as well as by artists like Arcimboldo and Duchamp.