Johan heizinga homo ludens. Johan Huizinga “Man playing

23.09.2019

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Johan Heizinga (1872-1945) is famous for his work "Homo ludens" ("Man playing"), in which he defends the thesis about the playful nature of culture. If his concept does not negate the importance of labor as a culture-forming factor in history, then, in any case, it challenges it. Play is older than culture, play precedes culture, play creates culture - this is the leitmotif of Huizinga's concept.

He justifies his interest in the person playing Huizinga as follows: people turned out to be not as intelligent as the light 18th century naively suggested in their reverence for Reason. And the name of the man, Homo faber, is incomplete. A playing person expresses the same essential function of life as a creative person, and must take his place next to Homo faber.

The game in the Huizinga concept is a cultural-historical universal. As a social impulse older than culture itself, play has since ancient times filled life and, like yeast, forced the forms of archaic culture to grow. The spirit that forms the language, each time playfully jumped from the level of the material to the level of thought. The cult grew into a sacred game. Poetry was born in play and began to live thanks to playful forms. Music and dance were all games. Wisdom and knowledge found their expression in consecrated competitions. The law stood out from the customs of the social game. Settlement of disputes with the help of weapons and the conventions of aristocratic life were based on game forms. Huizinga is convinced that culture in its oldest forms is "played". "It comes from play, like a living fetus that is separated from the mother's body," writes the author. "It develops in play and as play." "Culture is conceived not as a game or from a game, but in a game."

A review of the history of culture, its various eras, leads the scientist to the conclusion that the play element in culture is decreasing. The displacement of the game, which began in the 18th century, actually ends by the 19th century. The spirit of society, according to Huizinga, is beginning to take possession of a sober, prosaic concept of utility. It is a shameful misconception that economic forces and economic interests determine the course of history. The spirit of rationalism and utilitarianism killed the sacrament and declared man free from guilt and sin. Labor and production become an ideal, and soon an idol. Culture is much less played than in previous periods.

The indisputable dignity and relevance of the Dutch scientist's research is due to the fact that the analysis of the history of culture under the sign of play is linked by the author with the life processes and cataclysms of modern consciousness, with the prospects of the cultural movement. Late bourgeois culture is losing its tradition of play; in the same place where it looks like she is playing, Huizinga notes, this game is fake. The author warns of corruption, destruction of a culture moving away from its origins. The game, filled with aesthetic moments, "losing" and creating spiritual values - previously a culture-creating factor - has now been reborn into a surrogate for gaming activity - into sports. It turned into a scientifically and technically organized passion. From the unity of the spiritual and the physical, he retained the base physical side. The cultural game is a public and public game. The more participants and fewer viewers there are, the more fruitful it is for the individual.

The spiritual tension of the cultural game, according to Huizinga, even art has lost. In art, two sides of artistic activity have been distinguished: free-creative and socially significant. A lot of people consume art, but do not have it as a necessary part of their life, much less create it themselves.

The game is based on the perception of the presented rules, thereby orienting the child to comply with certain rules of adulthood. By virtue of its characteristics, play is the best way to achieve the development of a child's creativity without the use of coercive methods.

The book continues the publication of selected works of the outstanding Dutch historian and culturologist. The classic work of Homo Ludens [The Man Playing] is devoted to the all-encompassing essence of the phenomenon of play and its universal significance in human civilization. The articles Tasks of the history of culture, On the historical ideals of life, The political and military significance of knightly ideas in the late Middle Ages, and the Problem of the Renaissance comprehensively consider the still topical philosophical and methodological issues in the field of history and culturology. reveal the theoretical and moral foundations of J. Heizinga's approach to history and culture The published works, with their analysis of the fundamental problems of the theory and history of culture, are marked by high scientific value, clarity and convincing presentation, brightness and variety of factual material, breadth of coverage, undoubted artistic merit.

Homo Ludens. Articles on the history of culture

HOMO LUDENS. ARTIKELEN OVER DE CULTUURGESCHIEDENIS

Scientific commentary by D.E. Kharitonovich

The publication is carried out with the financial support of the "Nederiands Literatir Productie- en Vertalingenfonds"

ISBN 5-89493-010-3

WARNING. NARRATION TEXT IN GAME CONTEXT

Two books made Johan Heizinga famous. These are "Autumn of the Middle Ages" (I volume of this edition) and "Homo ludens" [The playing man]. Throughout the whole "Autumn of the Middle Ages" a well-known expression from the First Epistle to the Corinthians runs as a refrain: "Videmus nunc per speculum in aenigmate, tunc autem facie ad faciem" Cor. 13, 12]. From the point of view of the narrative, this comparison evokes the memory of Stendhal, who likened the novel to a mirror lying on the high road. It impassively and objectively reflects everything that floats by. Isn't that the story? To be dispassionate and objective - is this not what the historian is striving for? However, is it possible to rely on a mirror - speculum - with all the speculations that follow from this?

The mirror is par excellence a symbol of uncertainty. The fragility of the arising reflections, the inscrutability and mystery behind the looking glass, it seems, conceal an inevitable self-deception. But what, then, is the objectivity of the historian - objectivity, the striving for which is invariably accompanied by ambiguity, as Joseph Brodsky would later say? And this is what Huizinga himself said: "It is my deeply rooted conviction that the entire mental work of a historian is constantly passing through a series of antinomies" (one of the most graphic examples is the article The Problem of the Renaissance published in this volume).

The very concept of a mirror is antinomic. Doesn't the phrase from the First Epistle to the Corinthians speak about this? A mirror dim here will clear up there. The river of historical Time will be transformed into the ocean of Eternity, whose memory invariably keeps in itself the Spirit of God, once reflected there, an image from Tyutchev's future: "When the last hour of nature strikes ..." - Brodsky returned to the past: "I always thought that if the Spirit of God was worn over the waters ... "Lev Losev, pointing out that for Brodsky the face of God is forever preserved in the memory of the ocean mirror, speaks of

"The Autumn of the Middle Ages" arose as a man's response to a monstrously inhuman period in European history. But not only that. The culture that saves us from the onset of barbarism requires understanding. The justification of history, without which the existence of religious consciousness is inconceivable (namely, consciousness, and not a worldview that should not be irrational in a thinking person!), We derive from the spiritualized - and spiritualizing - fruits of creative genius. However, it is necessary to find a certain universal rule, a certain universal sphere of activity, say even a certain universal space that reconciles people, gives them at least some chances, justifying their sometimes unbearable existence. This is not about the moral justification of history and, of course, not about theodicy, but about the ineradicable need to apply the measure of the human mind to the cosmic infinity of the spiritual component of human life.

The age-old paradox of freedom, realistically achievable only on an imaginary horizon, is given an impressive resolution by the phenomenon of play. A person is a person only insofar as he has the ability at will to act and be the subject of the game. And indeed - "created in the image and likeness of God", to the key question about his name, he, unconsciously joining in from an early age the game imposed on him, artlessly calls the name assigned to him, never answering the question asked seriously, namely: "I am ". Under the guise of his own name, each of us plays out his life, in the universal essence of the game, which is similar to the serious masquerade dances of primitive tribes. "After being expelled from paradise / a person lives playing" (Lev Losev).

"Autumn of the Middle Ages", this bizarre collection of play texts, with the author's clear interest in the anthropology and sociology of culture, leads to the next step: from the sphere of culture to the sphere of human existence. The world is on the eve of a second, even more monstrous world war. During the entre deux guerres, Huizinga does everything in his power to protect culture. He serves on the International Commission for Intellectual Cooperation, the predecessor of UNESCO. Publishes a number of important works on historiography and cultural history, including the bitter, warning treatise In the Shadow of Tomorrow. Diagnosis of the spiritual troubles of our time. And so, in 1938, Homo ludens appeared, where individual and social life, all the historical and cultural development of mankind is described in terms of a game, like a game.

Long ago become a classic, this fundamental research reveals the essence of the phenomenon of play and its significance in human civilization. But the most noticeable thing here is the humanistic background of this concept, which can be traced at different stages of the cultural history of many countries and peoples. The inclination and ability of a person to clothe all aspects of his life in forms of play behavior is a confirmation of the objective value of his inherent creative aspirations - his most important asset.

The feeling and situation of the game, giving, as direct experience convinces us, the maximum possible freedom to its participants, are implemented within the context, which is reduced to the emergence of certain rigidly outlined rules - the rules of the game. No context, no rules. The meaning and significance of the game are entirely determined by the relationship of the immediate, phenomenal text of the game - to one way or another mediated universal, that is, including the whole world, the context of human existence. This is very clear in the case of a work of art - an example of such a game, the context of which is the entire universe.

Introduction

Huizinga justifies his interest in a person playing in the following way: people turned out to be not as intelligent as the light 18th century naively suggested in its veneration of Reason. And the name of the man, Homo faber, is incomplete. A playing person expresses the same essential function of life as a creative person, and must take his place next to Homo faber.

The purpose of the course work is to study the creativity of Huizing and his work "Man playing" related to child psychology.

To solve this goal, in the process of its implementation, the following tasks were implemented:

Study play as a cultural phenomenon,

Formation of the personality of a preschooler through play.

The subject of analysis is the study of a person playing.

When analyzing the material, the method of scientific description was used, including the techniques of observation, interpretation and comparison, as well as the lexicographic method.

The object of the study is preschool age.

Chapter 1. Play as a cultural phenomenon

1.1. Play and sophistication

The desire to show oneself first manifests itself in as many forms as the opportunities given by a given society. The ways in which people compete with each other are as different as the things they fight for and the actions in which they take part. All the lot decides, either strength and dexterity, or a bloody battle. Compete in courage or endurance, skill or knowledge, bravery and cunning. The task is given to measure strength or skill, to do something especially difficult, some difficult thing, to forge a sword, to find an unusual rhyme. Participants are asked questions that need to be answered. Competition can take such forms as divine judgment, betting, litigation, making a vow, or making riddles. In all these forms, it, in essence, remains a game, and in this quality of play lies the starting point for understanding the function of competition in culture.

At the beginning of any competition is a game, that is, an agreement that within the boundaries of place and time, according to certain rules, in a certain form, do something that brings the resolution of a certain tension and is at the same time outside the ordinary course of life. What should be done and what will be the gain is a question that looms as secondary in the game problem.

The customs of competition and the importance attached to them are noted in all cultures with an extraordinary similarity. This almost perfect formal similarity in itself proves how strongly all playful, agonal activity is connected with the deep foundation of a person's mental life and the life of society.

Introduction .. 3

Chapter 1. Play as a cultural phenomenon ... 6

1.1. Play and sophistication. 6

1.2. The importance of play in the development of a child's personality ... 17

Chapter 2. Formation of a preschooler's personality through play .. 26

2.1. Organization of independent activities of children and planning of educational work to guide the game .. 26

2.2. Creative play in the pedagogical process of the kindergarten. thirty

Conclusion. 39

References .. 42

References

Anikeeva N.P. Education by play. Moscow: Education, 1987.
Bure R.S. Education in the learning process in the classroom in kindergarten. M .: Pedagogy, 1981.
Volkov B.S., Volkova N.V. Methods for studying the psyche of a child. M., 1994.
Vygotsky L.S. Play and its role in the mental development of the child. // Questions of psychology. 1996. No. 6.
Halperin P.Ya., Elkonin D.B., Zaporozhets A.V. To the analysis of the theory of J. Piaget about the development of children's thinking. Afterword to the book by D. Fleywell "Genetic psychology of J. Piaget". M., 1967.
Zenkovsky V.V. Childhood psychology. M., 1995
Kazakova T.G. Develop creativity in preschoolers. M., 1984.
Lisina M.I. Problems of ontogenesis of communication. M., 1986.
A.A. Lyublinskaya Child psychology: a textbook for students of pedagogical institutes. Moscow: Education, 1971.
Makarova E.G. In the beginning was childhood: Teacher's notes. M .: Pedagogy, 1990.
Mikhailenko N.Ya. Pedagogical principles of organizing a plot game. // Preschool education. 1989. No. 4.
Mikhailova A. Drawing preschoolers: process or result? // Preschool education. 1994. - No. 4.
Obukhova L.F. Child psychology: theories, facts, problems. M .: Trivola, 1995.
Obukhova L.F. Piaget's concept: pros and cons. M., 1981.
Features of the psychological development of children 6-7 years of age. / Ed. D.B. Elkonina, A.L. Wenger. M., 1988.
Palagina N.N. Imagination in the early stages of ontogenesis. M., 1992.
Articles on the history of culture / Composition. D. V. Silvestrov. Moscow: Progress of Traditions, 1997
Ekki L. Theater and play activities. // Preschool education. 1991, - No. 7.
Elkonin A.B. Child psychology. M .: Education, 1960.
Elkonin D.B. "Symbolism and its functions in the play of children // Preschool education" 1966. No. 3
Elkonin D.B. Psychology of the game. M .: Pedagogy, 1978.
Emotional development of a preschooler / Ed. A.D. Kosheleva. M .: Education, 1985.
Jung K. Conflicts of the child's soul. M .: Canon, 1995.

I. The nature and significance of play as a cultural phenomenon

The essay is devoted to the all-encompassing essence of the phenomenon of play (Dutch. Spel) and its universal significance in human civilization. Huizinga believes that play cannot be reduced to cultural phenomena, since it is older than them and is still observed in animals. On the contrary, culture itself (speech, myth, cult, science) has a playful nature. Huizinga first defines the essence of play as frivolity (25), but explains that playing animals, unlike humans, do not laugh, i.e. play can still involve seriousness (59). He then defines play as "free action" since it is devoid of coercion and is indulged in "free time" (27) and in a special "play space". At the same time, the game implies a strict internal order, which implies the presence of a certain gaming community.

II. Concept and expression of the concept of play in language

Turning to an analysis of the word "game" Huizinga notices that it is found in all peoples. He begins with the language of ancient civilization, where play is designated in three ways as paidia ("childishness"), atyurma ("nonsense") and agon ("competition"). Huizinga notes that some researchers of antiquity (Bolkestein) oppose paidia and agon, i.e. game and competition (Wedijver), but these two concepts, nevertheless, express a single phenomenon. Different words for the game are also found in Sanskrit: kridati (fun of children and animals), divyati (casting lots), tandeln (imitate, ridicule). In Japanese, play coincides with politeness, and in Semitic languages, with mockery. In the Germanic languages there is no word generalizing for the game, but in the Romance languages it is. Reflecting on sex play, Huizinga emphasizes redundancy over biological mating. He also opposes play to any biological necessity, be it self-defense or getting food.

III. Play and competition as a culture-creating function

Reflecting on the relationship between play and culture, Huizinga notes that culture is born of play and culture has the character of play (60). He once again points to tension and uncertainty as a criterion for play. He distinguishes between solitary (solitaire), agonal (sports) and gambling (dice) games. Returning to the contrast between play and competition in Greek, he calls this fact "an accidental gap in the formation of an abstract concept of play" (63). From Huizinga's point of view, competition is the essence of the game - an expression of the will to power or "agonal instinct" (105). He connects gambling with an attempt to find out the will of the gods. In this context, he interprets potlatch (72). The bravado that grows out of this becomes the foundation of virtue and the foundation of ethics. Huizinga concludes that "without the maintenance of a certain play behavior, culture is generally impossible" (105).

IV. Game and justice

Considering legal proceedings, Huizinga also notices there an element of play, acting (robes and wigs) and competition ("litigation"). In antiquity, chance and the lot of the gods were also an integral element of any court.

V. Game and warfare

Comparing war and play, Huizinga cites the example of medieval tournaments, where the initially bloody struggle degenerated into a magnificent show-off competition. However, he notes that competition raises strife to a cultural level, implying respect for the enemy and the concept of honor. It is on this that the concepts of chivalry and international law grow, which constitute the essence of humanity.

VI-XI

In the 6th chapter, Huizinga examines the expression of agonal instinct in the form of solving riddles, in the 7th - in the form of a competition of poets, in the 8th - in the play of the imagination, in the 9th - in the form of a philosophical play of the mind, in the 10th - in the form of music, in the 11th chapter he examines cultures through the prism of play - lat. sub specie ludi... Huizinga reiterates his main idea: "culture, in its initial phases, is played" (168).

XII. Game element of modern culture

Huizinga does not ignore the latest expressions of the game, by which he understands sport - a phenomenon that came in the 19th century from English culture. According to Huizinga, a tournament is a competition, but not yet a sport, for there is still a lot of theatricality in it. Sport, on the other hand, is born from a team ball game, where bodily exercise and democracy are in the first place. In the context of the realization of the agonal instinct, Huizinga examines the modern movement of scouts. Noting the waning of play in modern civilization, Huizinga warns about the possibility of a culture collapse into barbarism and chaos.

Game characteristics

Access to the game is free, the game itself is a manifestation of freedom.
Play is not “ordinary” or “real” life.
Play differs from “normal” or “real” life in both location and duration. "Its course and meaning are contained in itself" (29)
The game sets the order and the order is. The game requires absolute and complete order.
The game is in no way connected with material interests and cannot bring any profit.

Literature

Huizinga J. Homo Ludens; Articles on the history of culture. / Per. with a goal. D. V. Silvestrova - M .: Progress - Tradition, 1997 .-- 416 p. ISBN 5-89493-010-3

Links

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See what "Homo Ludens" is in other dictionaries:

Homo ludens- Saltar a navegación, búsqueda Homo Ludens Autor Johan Huizinga País Países Bajos Idioma neerlandés Tema (s)… Wikipedia Español

Homo ludens- est un terme utilisé pour la première fois par Johan Huizinga dans son ouvrage Homo ludens, essai sur la fonction sociale du jeu. L homme est d abord qualifié par les lumières d Homo sapiens (qui sait) auquel s ajoute l Homo faber (qui fabrique) ... Wikipédia en Français

From Latin: (homo pudens) A playing man. The title of the book (1938) by the scientist Johan Huizing (1872 1945). Encyclopedic Dictionary of winged words and expressions. M .: "Lokid Press". Vadim Serov. 2003 ... Dictionary of winged words and expressions

- (lat.) a person playing (Huizinga). Philosophical Encyclopedic Dictionary. M .: Soviet encyclopedia. Ch. edition: L. F. Ilyichev, P. N. Fedoseev, S. M. Kovalev, V. G. Panov. 1983 ... Philosophical Encyclopedia

Homo ludens- Der homo ludens [ˈhɔmoː ˈluːdeːns] (lat. Hŏmō lūdēns ›der spielende Mensch‹) ist ein Erklärungsmodell des lebenden Menschen, wonach dieser seine Fähigkeiten im besonderen über das Spielie au entwickele ...

Homo ludens- Este artículo trata sobre el libro de Johan Huizinga. Para la asociación de jugadores española, véase Asociación Homo Ludens. Homo Ludens Autor Johan Huizinga Tema (s) juego, deporte… Wikipedia Español

Homo ludens- Ho | mo lu | dens, der; (bildungsspr.): (als Typus gesehener) spielender u. dadurch schöpferischer Mensch. * * * I Homo ludens Mit diesem lateinischen Ausdruck wird der spielende (lateinisch ludens = ... ... Universal-Lexikon

HOMO LUDENS- (lat.) literally a human player. The most complete sociological elaboration of the term is contained in the work of Johannes Guisinga (Homo ludens, 1944). He argues that play precedes culture in the development of human societies. Guisinga offers ... ... Comprehensive explanatory sociological dictionary

Homo ludens- Ho | mo lu | dens 〈m .; Gen .:; Pl .: unz.〉 Der spielende, d. h. schöpferische Mensch ... Lexikalische Deutsches Wörterbuch

The Washington Post / Getty Images

“Homo Ludens: A Man Playing” by Johan Huizinga in a summary (St. Petersburg, Ivan Limbach Publishing House, 2011).

Context

Johan Huizinga (1872-1945) - Rector of Leiden University and one of the founders of cultural studies. The period of Huizinga's scientific activity fell on the interwar period, which he either for a long time ahead of, or hopelessly lagged behind. Remaining a consistent humanist in the spirit of the Renaissance era so beloved by him, Huizinga defended the university from Nazi delegations and broke off relations with old friends who joined the ranks of fascist parties. The term "fair play" that appears in the book applies to its author as well.

The classic study of the playful element of culture "Homo ludens" was published in 1938. This work is an analysis of the universal reconciling space for a society at the crossroads of two wars. The book followed the "Autumn of the Middle Ages", published in 1919. Both of these works definitely deserve to be read in their entirety, and no retelling will replace Huizinga's books, but it can become the point after which the reader decides to take this step (after all, we are talking about five hundred pages of not the simplest text).

Game properties

Huizinga argues that "the game exists before any culture, hovers over it", that any culture exists as a game, "is played out." Hence the term "playing man", which, according to the author, points to the same important and defining function of our species as the "doer" (homo faber).

Play is a function that is not conditioned by biology, logic or ethics. Moreover, not only people play, but also animals. Research is impossible without answering the question of what a game is. With all the variety of forms, any game is united by several important factors: rules, special space-time conditions and pleasure. Huizinga proposes the following definition: “From the point of view of form, we can call play a kind of free activity, which is perceived as not real, not connected with everyday life and nevertheless capable of completely capturing the player; which is not conditioned by any immediate material interests or delivered benefits; which takes place in a specially designated space and time, in an orderly manner and in accordance with certain rules. " It is worth mentioning separately the adversarial element inherent in almost any game activity, and the uniting properties of the game, the formation of teams and communities.

The habitual opposition of the playful and the serious exists only as an abstraction. While “the semantic content of the serious is determined and exhausted by the denial of play<…>the semantic content of the game, on the contrary, is in no way described through the concept of the frivolous and is not exhausted by it.<…>Seriousness tends to exclude the game, while the game easily includes the serious. "

Game in different languages

All peoples have played and played, and in a surprisingly similar way, which leads Huizingu to think that play is the predecessor of culture, and not its by-product; but not every language has an overarching concept for expressing the idea of a game as such.

In modern languages, the concept of play has become so universal, suitable for both music and verbal puns, sports, social and natural phenomena. So, in ancient Greek, there is a special suffix associated with children's play: "In the complete independence of this suffix, the final inexpressibility of the concept of play is already symbolically expressed." At the same time, sports tournaments, which we also call games, are not described. They represented an important part of the life of the Greeks and were described by a separate term for competition and struggle - "agon".

In Sanskrit, there are four main roots for play. In addition to their usual meaning, they are applied to a natural phenomenon (play of the wind, play of waves) and to acting (in the sense of "as if"). In the Chinese language, there are two concepts used to denote a game, one of which semantically gravitates towards activities that a person is given with attention, but carelessness ("examination", "picking beads", "enjoying the moonlight"), and the other is comparable to Greek the concept of competition. The Japanese language operates with the concept of play language, which means courteous speech, appropriate in relation to persons of higher status. This is probably due to the fact that "a high-ranking person is seen at such a height where her actions are driven only by the pleasure she wishes herself." In the Semitic languages (Arabic, Syriac, Hebrew), the concept of play is closely related to the concept of laughter, sometimes to music. Latin, unlike all the above-mentioned languages, uses the capacious concept of "ludus", which, with the help of various derivatives, covers all areas of game behavior.

Game, celebration and sacrament

The holiday, like the game, marks the end of everyday life. In archaic cultures, holidays are part of a mystical cult, however, games are not alien to them - the ancient Greek Dionysias, for example, were accompanied by theatrical performances. These games are quite serious and truly sacred in nature - there is a known case when an Indian of the Kwakiutl tribe killed his daughter, who caught him making a mask for the holiday. It is common for the mind of a savage to plunge into an enacted cult, to sincerely believe and fully accept the rules of the game. He, like a child, is identified with the character whose mask is on his face.

Mass or singles competition is an integral part of early cultures. Agon can take the form of an innocent and even humorous competition, or a bloody battle - at the heart of any struggle is a game element. The field in which you need to prove your courage, endurance, strength, intelligence, eloquence and even generosity is a playing space with its own strict rules. Despite the fact that many heroes of the myths of Ancient Greece, Mahabharata, Songs of the Nibelungs win competitions with the help of cunning, they do not become shielbreakers, players who break the rules of the game, but only set the competition in a new direction, making cunning an object of struggle.

Huizinga pays special attention to the custom of the already mentioned Kwakiutl tribe - a competition in generosity called potlatch. This struggle between the two houses consists in the exchange of gifts, where each tries to surpass the other and reaches its climax in the destruction of the owner of his own property "racing" with a rival. Such "games for the sake of glory and honor" exist in many other archaic cultures, acquiring the form of "competitions in blasphemy" or "duels of bragging" among some peoples.