Joe Moshenska
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引用次数: 0

摘要

这一章从埃塞克斯郡奥德利庄园的一组中世纪木制雕像开始,这些雕像之所以能幸存下来,部分原因是它们曾被孩子们当作玩具使用过一段时间。它考虑了这些物体所经过的不均匀轨迹——作为神圣的东西、玩具和艺术的东西存在于不同的点上——来考虑更广泛的时间叙事,其中游戏(尤其是儿童的游戏)经常被折叠起来。它考虑了从柏拉图到托马斯·艾略特和蒙田等文艺复兴时期的人物的教育和习惯计划的方式,将游戏解释为一种线性的习惯过程,但它认为,这些叙述涉及一种防御性的简化方式,即游戏实际上可以在时间中展开并通过时间展开,试图限制和驯服其意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Play
This chapter opens with a set of medieval wooden statues in Audley End House in Essex that survived in part because they spent a period being used by children as toys. It considers the uneven trajectories through which these objects have passed--existing at different points as holy things, playthings, and art-things--to consider the wider temporal narratives into which play (and especially the playing of children) is often folded. It considers the way in which educative and habituating schemes from Plato to Renaissance figures such as Thomas Elyot and Montaigne involve the interpretation of play as a linear process of habituation, but it argues that these narratives involve a defensive simplification of the way in which play can in fact unfold in and through time, an attempt to limit and tame its meanings.
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