{"title":"Mask","authors":"Joe Moshenska","doi":"10.11126/stanford/9780804798501.003.0007","DOIUrl":"https://doi.org/10.11126/stanford/9780804798501.003.0007","url":null,"abstract":"This chapter begins with a wooden doll from the seventeenth century that is juxtaposed with the statues from Audley End considered in the previous chapter on the basis of their equally fixed, impassive visages. This feature is used to consider the way in which children, especially when at play, have been seen as troublingly masked, inscrutable, alien beings. It discusses accounts from the sixteenth century, notably John Harington’s, that recognize in play periods of vacant, blank, neutral time. It then proceeds to an extended reading of Bruegel’s painting Children’s Games, and especially a consideration of the reading of this work by the Nazi art historian Hans Sedlmayr. This painting, and Sedlmayr’s remarkable and deeply disquieting account, are seen as encapsulating the ways in which child’s play’s resistance to interpretation can provoke fear and horror--a possibility linked to the periodic association of children with witchcraft and demonic possession.","PeriodicalId":111654,"journal":{"name":"Iconoclasm As Child's Play","volume":"04 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132619846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Doll","authors":"Joe Moshenska","doi":"10.11126/stanford/9780804798501.003.0003","DOIUrl":"https://doi.org/10.11126/stanford/9780804798501.003.0003","url":null,"abstract":"This chapter opens with a father in Cologne in the 1590s who snapped the arms from a crucifix and gave it to his children as a toy. Returning to the sermon by Edgeworth discussed in the preface, the chapter considers this broken object as what Edgeworth calls an “idoll”--a hybridization of doll and idoll. This possibility is linked to the wider presence of “holy dolls” in medieval Christianity, but ultimately the doll is explored not as a stable and readily identifiable category but as a way of conceiving of ambiguous objects that may be more or less human at different moments and subjected alternatingly to violence and care. The implications of this possibility are explored in relation to a medieval Christ child, a broken crucifix, and a contemporary representation of a shattered doll.","PeriodicalId":111654,"journal":{"name":"Iconoclasm As Child's Play","volume":"20 S8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132772078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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