Rereading Huizinga Arnade, Peter; Howell, Martha; van der Lem, Anton
2019, 20190801, 2019-08-01
eBook
This edited volume is a reappraisal of the legacy and historiographical impact of Johan Huizinga's 1919 masterwork for the centenary of its publication in the field of medieval history, art history, ...and cultural studies.
Este artigo discute a relação entre apropriação lúdica e produção de sentido nos videogames. Por apropriação lúdica, referimo-nos ao ato de realizar ações dentro-do-jogo (in-game actions) que não ...foram desenhadas ou esperadas pelos criadores de determinado jogo, expandindo assim as possibilidades de produção de interações significativas nesta mídia. Este trabalho está dividido em três grandes blocos. Primeiramente, retomamos a discussão sobre certos aspectos dos jogos, a partir de teóricos como Johan Huizinga, Roger Caillois e Jacques Henriot. Em seguida, apresentamos os conceitos de liberdade lúdica e apropriação lúdica, conforme desenvolvidos por Maude Bonenfant. Por fim, analisamos um episódio de apropriação lúdica pela comunidade de jogadores de Halo: Combat Evolved, buscando assim exemplificar, a partir de um caso concreto, os conceitos trabalhados ao longo do texto.
Sledging, or 'trash talk' or 'chirping', as it's known in other parts of the world, has long been part of competitive sport. However, more recent times have seen the issue of sledging, and its place ...in sport, debated with many athletes, fans and academics arguing that sledging has moved outside the notion of 'sportsmanship' and gone beyond light hearted, good natured banter. They argue it is now characterized as hurtful, insulting, offensive and intimidating - a tactic that has moved beyond fair play and, in many instances, no longer acceptable. This paper seeks to explore this issue in greater depth. In particular, this paper seeks to ask, 'is sledging part of play, or is it a characteristic of play's corruption?' The argument proceeds by adopting a conception of play grounded in the work of Johan Huizinga. Play may be understood as a core component of even professional sport, not least in that play lies at the moral core of the 'spirit of sport' in fairplay and respect for one's opponents. Using examples to illuminate the changing nature of play and sledging, it will be argued that sledging in its modern form leads to the corruption of this 'spirit of sport'. The insights of sports and philosophy academics and scholars are drawn upon, as are the insights of surveyed sports fans and amateur athletes who highlight their views on sledging and its place in modern sport. By doing so, sledging's role in sport and its most dominant characteristics, according to those to watch professional sport and play at the community level, become clear, helping to articulate the difference between a form of sledging that is still playful and a part of play, and sledging that is characteristic of play's corruption.
Budapest at the fin de siècle was famed and emulated for its cosmopolitan urban culture and nightlife. It was also the second-largest Jewish city in Europe. Mary Gluck delves into the popular culture ...of Budapest’s coffee houses, music halls, and humor magazines to uncover the enormous influence of assimilated Jews in creating modernist Budapest between 1867 and 1914. She explores the paradox of Budapest in this era: because much of the Jewish population embraced and promoted a secular, metropolitan culture, their influence as Jews was both profound and invisible.
Northrop Frye and Johan Huizinga Denham, Robert
University of Toronto quarterly,
12/2019, Letnik:
88, Številka:
4
Journal Article
Recenzirano
This article is a series of reflections on the uses Northrop Frye made of Johan Huizinga’s thesis about the play element in culture. It also glances at Frye’s view of homo ludens found in Proverbs ...8:30–1 and in Hermann Hesse’s The Glass Bead Game.
Since the 1950s, play has become part of arts education, and nowadays “doing” or creating something by playing is becoming more and more prominent in artistic training, but also in education in ...general and in (postschool) professional trainings. Based on the historical insights of Johan Huizinga (1949), the author analyzes the role of play for arts education. Especially Huizinga’s theories of play as “pre-cultural” and going beyond the ethics of good and bad open an interesting perspective. How does “play” play a role in the processes of socialization, qualification, and subjectification in the post-Bologna educational realm in which measuring (assessments, audits, contact hours, competences) has become an obsession? The author argues that the spirit of the avant-garde artist can stimulate the process of subjectification and of civil action. This is a “dismeasuring” potency of art education that needs to be cultivated to prepare students for a constantly changing future in which civil society will play a primordial role. It is a matter of preparing them for what one cannot prepare for.
Recent scholars of religion have begun to explore the relationship between religion and fiction. Within this context, Johan Huizinga's theory of religion as make believe or play has received ...considerable attention. James Cameron's film Avatar (2009) has inspired behaviour that can be thought of as religious, despite the film's clear foundations in fiction. Scholarship on fan communities has debated whether such groups can be considered religions. This article develops Huizinga's account using Kendall Walton's theory of make believe. Walton's theory enables the interpretation of fiction into overlapping games of make believe in fan communities. The conversational threads on Avatar Forums show how norms of discourse that preclude disagreement allow the frames of reality and fiction to blur. These norms of discourse provide a means of understanding the process by which media myths can become the basis of fiction-based value structures within the cultic milieu. However, the theory also presents significant problems for theorists of religion in terms of the structure of religious belief and religious experience.
Geschiedenis vertellen van Dam, Beatrix
Internationale neerlandistiek,
07/2017, Letnik:
55, Številka:
2
Journal Article
Recenzirano
Odprti dostop
This article investigates how different narrating strategies influence the way in which we acquire historical knowledge through narrative. It analyses description and reference as narrating ...strategies that signalize that what is told is consonant with reality (emersive narrating strategies). These narrating strategies are commonly used in non-fictional texts. Immersive strategies are a different set of narrating strategies like dramatized scenes, focalisation, and secondary illusion that aim at creating the illusion that what is told is present in the moment of reading. While immersive strategies are usually expected in fictional contexts, I show that they can also be found in texts whose main purpose is to represent reality like the popular historiographical texts De duizelingwekkende jaren (2009) The Vertigo Years, <xref ref-type="bibr" rid="bib0005">2008 by Philipp Blom or In Europa (<xref ref-type="bibr" rid="bib0015">2004) In Europe, 2008 by Geert Mak. The chore of this article is to explain why in certain contexts immersive strategies can be used to support the idea that the text gives a reliable picture of a (past) reality. Using the rhetorical concepts of evidentia and energeia I show why appealing to the reader’s imagination by giving the impression that the reader is part of the narrated world can be productively integrated into a narration whose main aim is to communicate factual knowledge.
INTRODUCTION: THE METAPHOR OF HISTORICAL DISTANCE DEN HOLLANDER, JAAP; PAUL, HERMAN; PETERS, RIK
History and theory :Studies in the philosophy of history,
12/2011, Letnik:
50, Številka:
4
Journal Article
Recenzirano
What does "historical distance" mean? Starting with Johan Huizinga, the famous Dutch historian who refused to lecture on contemporary history, this introductory article argues that "historical ...distance" is a metaphor used in a variety of intellectual contexts. Accordingly, the metaphor has ontological, epistemological, moral, aesthetic, as well as methodological connotations. This implies that historical distance cannot be reduced to a single "problem" or "concept." At the same time, this wide variety of meanings associated with distance helps explain why an easily recognizable tradition of scholarly reflection on historical distance does not exist. In a broad survey of nineteenth-and twentieth-century historical theory, this article nonetheless attempts to show that distance has been a major, if seldom explicitly articulated, theme in European and American philosophy of history. In doing so, it pays special attention to those few authors who in recent years have taken up the metaphor for critical study. Finally, the paper summarizes some of the main arguments put forward in the articles comprising this issue on historical distance.
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