ACADEMY OF MEDICAL AND SOCIAL MANAGEMENT Saint - Petersburg

game concept KULUTRY J. Huizinga

Summary of Cultural Studies

ctudentki Faculty

Economics and Management

I rate

Yaropolovoy NK

Saint - Petersburg

1999

Contents

Introduction .......... 3

I. The nature and value of games as cultural phenomena ....... 5

II. The game and the match as kulturosozidayuschaya function ..... 10

III. Relationship between culture and games. 14

3.1. Relationship of the game and law 14

3.2. Relationship of the game and battle .......... 15

3.3. Interaction of the game and filofstvovaniya .......... 17

3.4. Relationship games and poetry .............. 19

3.5. Game art form ....... 21

Chapter IV. Culture and the era from the perspective of the game ..... 22

Conclusion. 26

Literature .... 28
Introduction

phenomenon of culture is reflected in the writings of various scholars, representatives of different philosophical directions. In the last century was dominated
gun-labor concepts kulturogeneza. XX Century is looking for other answers to the question: "How in the natural
been created radically new phenomenon - culture? "

One of these responses was the game concept of culture.

Man has always had the ability and tendency to externalize all forms of gaming behavior
of his life. This is a confirmation of the objective value of the inherent limitations of his creative aspirations - his most important asset.

game - especially freedom of action. All the researchers stress the impartial nature of the game. it is essential to the individual as the biological
function as a society want to force a prisoner in her sense. Game, rather than work, was formative element of human culture. before
modify the environment, man made it in his own imagination, in the field of play (8, 133).

feeling and the situation is game, giving the greatest possible freedom to the participants, are implemented within the context, which is reduced to
the appearance of any rigidly-defined rules - rules of the game. The meaning and value of the game entirely determined by the ratio of direct,
Text phenomenal game - to somehow mediated universal, ie, include all of the world, the context of human existence.

Games holistic concept of culture has been formulated by the Netherlands idealist philosopher and historian J. Huizinga
(1872 1945.) In the work, "Homo Ludens; Article on the history of culture" (1938). The concept of playing the genesis of culture is also reflected in the writings of Gadamer,
which analyzed the history and culture as a kind of game in the field of language, as well as in E. Fink Basic phenomena of human existence, as
unique opportunity of human life (8, 134).

Problems game sounds particularly acute in our hectic and often very ominous time. That is
made such a topical issue is inextricably fused with the elements game puerilism. (The concept is introduced by J. Huizinga, as a demonstration of visible properties of the game, thirst
gross sensation, attraction to mass spectacles).

vital need to establish itself, to find a foothold, when there are collapsing values, so long seemed unshakable,
forcing the company to seek support not have lost their confidence in authorities, and young people - in a sense, fawning for the future at the dawn of time
puerilistskoy herald of the coming era, elite hero loner, a sudden some stranger from the almost heavenly world, strongly interferes in the musty
a human quagmire. Soon, however, on the forefront gray homogeneous mass with their constant addiction to red, bloody flood washing off the ancient
foundations of ethics and culture. In the fragile, transitional periods is sharply increased interest in young people sometimes become paranoid nature. So it was with
spread among the Soviet and then the European Youth Trotskyism, nurturing the Komsomol, the emergence of Hitler, the Red Guards (21, 14).

should be noted that the phenomenon puerotsentrizma manifests itself in the educational boom, characteristic of modern times in general and
We present a new time in particular. In the inherently violent action learning is beginning sublimated fear of society to unpredictable
younger generation, and apparently empty desire to prevent an imminent aggression - the natural, alas, the reaction to any changes were.

Thus, consideration of human culture from the perspective of the game seems urgent at present. Research J.
Huizinga allows to distinguish between "pure game" deeply humanistic, from barbarism and barbarism.

goal of this work is opening game concept of culture, formulated by J. Huizinga. Achievement
goal requires the setting following tasks :

- to define the game, its nature and significance as a cultural phenomenon;

- consider kulturosozidayuschuyu feature games and competitions;

- analyze the relationship game and culture on the example of law, war, philosophical, poetry and
art;

- show the culture of different eras from the perspective of the game.

To address these problems the author turned to the work of J. Huizinga "Homo Ludens; Article
the history of culture "(20). Ego is a fundamental study into the game concept of culture reveals the essence of the phenomenon of the game and its significance in
human civilization.

We also used different textbooks and dictionaries for Cultural Research (1, 3, 9, 11,
12, 13, 15), among which particular mention Dictionary "Cultural Studies. XX century. "(13), which is intended to delimit
Cultural Studies as an integrative field of knowledge ..

also been used in the study of psychologists, who view the game as the leading
type of human activity at some stage of development, as well as one of the most effective methods of psychotherapy (2, 5, 6, 7, 8); efforts, identify
relationship with the game art, creativity (24, 16, 17); research, considering the game as a phenomenon of consciousness (4.14) and culture (19). This allowed
a better understanding of the importance of play in human life, its role and place in culture.



I. The nature and value of games as cultural phenomena
Disclosure

game concept of culture, formulated by J. Huizinga suggests first of all determine
that by investing in the concept of the game, what does her character and importance as a cultural phenomenon.

First I must say that the game, from the standpoint of the researcher, a much older culture, so
the concept of culture implies a human community, and the animals "are not waiting for the appearance of man, to teach them to play" (21, p.21).

game transcends the purely biological or purely physical activity, as already in the simplest
forms, including in the animals' lives, the game is more than a purely physiological phenomenon, due to mental or physiological reactions.
The researcher points out that the game is something that goes beyond the immediate desire to maintain life. As if it was not called in
Anyway, the focus of the game constitutes the light of certain intangible element that was included in the essence of the game.

the definition of the main functions of the game repeatedly applied scientists of various specializations (physiologists,
psychologists, philosophers, teachers). The synthesis of these theories can highlight the following provisions:

- game - the release of excess of vitality;

- the game - the instinct of imitation;

- game - needs a relaxation;

- game - an exercise on the threshold of serious activity;

- game teaches a limit;

- the game maintains its own individuality (2,6,7,10,14,23)

However, J. Huizinga finds this explanation unsatisfactory because, according to the researchers, could adopt these provisions, but in
case if at least one of them was exhaustive, it would exclude all others or, as a kind of "higher unity embraces them and absorbs
themselves "(21, p.22).

psychologists and physiologists seeking to penetrate into the body of the game, not showing interest in its aesthetic
features, so the original quality of the game slip away from the descriptions. For example, the intensity of the game can not be explained any biological analysis - and in this
is the essence of the game. The author rightly raises the question: the nature could give their offspring such useful features as the release of energy, relaxation after
expenditure of energy, preparing for the rigors of life needs and desires of compensation of non-existent, merely to
a mechanical exercise and reactions, so why she gave the game, with its tension, joy, fun? This element of the game, as a comic
resisting any analysis, any logical interpretation. This element defines the essence of the game.

J. Huizinga argues that the game belongs to the realm of the irrational, as the game goes on animals
and the human world, it can not be justified by any rationalist bonds. After all, rooted in his right mind would mean that it
limits - the human world. The existence of the game is not associated with any stage of any culture, nor with any form of ideology "game, whatever it
essence, is not something tangible "(21, p.23). Even the animals, she pulled out of the boundaries of the physical
existence. From the perspective of the world, conceived as a deterministic, that is as pure force interaction, the game is something excessive. Only with the invasion
spirit, which nullifies this determinism, the existence of the game is possible, conceivable, intelligible.

existence of the game says superlogical nature of the situation in space: animals can play,
therefore, they are more than instruments; man plays, and knows that he played, therefore, it is more than a reasonable creature, since the game
unreasonable.

"cleared" the concept of playing the game of life and animals in the lives of children, seeing it there, where biology and
psychology it is not affected, J. Huizinga gives the notion of games in culture as follows: the game is presented as a kind of datum, which precedes
very culture that accompanies and permeates it from the sources, up to a phase of culture, which at the moment
experiencing himself observer (21, p.24). The observer detects the presence of game as a certain feature or quality of behavior, distinct from ordinary
behavior in life. He will be interested in the game as some form of activity, form, endowed with meaning, and how
social function. He tries to understand the game the way it sees itself playing in its primary meaning. If he comes to the conclusion that the game
based on the treatment of a certain way, it wants to observe how they manifest themselves in the game, and try to understand the game, as a factor of cultural
life.

Thus, the most notable initial public manifestations of human activity has permeated
a trick: for example, language is first and higher instrument, which man creates in order to be able to communicate, educate, edit (1). With
language man elevates things to the scope of the spirit. Therefore, every abstract expression there is the image of the speech, every speech pattern is nothing like a game
words "(21, p.24). Permeated with a trick and the myth, which is also "have shaped implementation of existence, only more developed than the single word" (21, p.24). So
same and the cult: after early societies made their svyashennodeytsviya in net games. Next Huizinga makes an insignificant conclusion: the myth and culture conceive
the great driving forces of cultural life - law and order, communication and entrepreneurship, craft and art, poetry, learning, science, so they all go in the same soil
game action.

In the game we have to deal with such a function of living creatures, which can be fully determined as little
Biologically, both logically and ethically. The concept of the game remains aloof from all the other intelligent forms that could be expressed
structure of the spiritual and social life. (4, p.48).

comprehensively study the phenomenon of games allowed by J. Huizinga identify the following signs of her:

- game - free action: the game under duress can not be a game;

- the game is not "everyday" or "real" life. Game - a way out of this life in the transient area
activities with its own aspirations. Every game is capable at all times fully captures those who participated in it. Therefore
contrasting game - gravity is always subject to fluctuations. Underestimating the game borders on the revaluation of seriousness. The nature of the game is not due
by outside interests: not being everyday life, she stands outside the process to meet the immediate needs and passions. It interrupts the process, and
located in more elevated than a strictly biological process, the scope of food - pairing - self-defense;

- third, a hallmark of the game - a closed, limited. She "played" in certain
boundaries of space and time. It is within the meaning enclosed in itself;

- game establishes the procedure, she is the order - and this order is immutable. This deep connection
with the idea of order is the reason why the game is so much lies in the aesthetic. The game tends to be beautiful. Dates that
used to denote elements of the game for the most part lie in the field of aesthetics: stress equilibrium, oscillations, rotation, contrast, variation,
complication and the denouement, resolution;

- sign next game - voltage. It is an element of tension that informs the game or other aesthetic
content, because the game puts pressure forces the player to the test: his physical strength, perseverance, ingenuity, courage, endurance, and
spiritual strength, as he, possessed by the desire to win, forced to stay within the permissible;

- in each game - its rules. They determine what should be effective in the highlighted game of the temporary
world. Rules of the game is unquestionable and binding and not subject to any doubt, is because any player to deviate from the rules and game world that hour as
destroyed;

- An important feature of the game by J. Huizinga admits that playing create a new community - a group that retains its composition and
after the game ended;

- Finally, the last feature of the game - its isolation, expressed in the mystery. In
confirmation of his thoughts Huizinga cites evidence of the game of primitive peoples, for example, the initiation rite, surrounded by secrecy, prevention
women to participate in them, etc. Also, otherness and mystery of the game is expressed in the dressing, when donned a mask, expressed very different creature.

Thus, the game, in terms of game concept of culture J. Huizinga, this is a certain freedom of action, which is recognized as
"Unreal", unrelated to everyday life, but, nevertheless, capable of fully capture the play; which is not driven by any immediate
interests (material or be profitable), which takes place in specially designated space and time, and ordered in accordance with certain
rules, and brings to life associations, seeking to surround himself with mystery, or emphasizes its unusual relative to other world
distinctive clothing and appearance (21, P.31-32).

feature game here is reduced to two aspects: the game - a struggle for something, or showing that something. Both
functions can and will unite as the game shows "fight for something, or is transformed into a contest is
who is able to show something better than others ..

"Show" or "present" - means "to put before his eyes."