Dissertations / Theses on the topic 'Homo ludens'

Die Spielraumkonzeptionen des Architekten Werner Ruhnaus (1922–2015) sind eng mit der gesellschafts- und architekturpolitischen DNA der bundesrepublikanischen Nachkriegsmoderne verwoben. Von den Theaterbauten in Münster und Gelsenkirchen in den 1950er Jahren, die programmatisch für Offenheit und Transparenz, Gemeinschaft und Mündigkeit stehen, über die variablen Spielraumentwürfe vermittels eines „Podienklaviers“, bis hin zur Entwicklung der „Spielstraße“ als Teil des Kulturprogramms der Olympischen Spiele 1972 in München, die auf kommunikationstheoretischer Grundlage Formen der Spektakelkritik spielerisch-partizipatorisch realisierte, lässt sich ein post-heroisches Verständnis von Architektur als Spielraum nachzeichnen. Ruhnaus Konzeptionen, die in der Regel aus kollaborativen, partizipativen Arbeitsformen entstanden, können als Befragung von Mensch und Architektur im Zeichen einer anti-totalitären Moderne verstanden werden.

Die Spielraumkonzeptionen des Architekten Werner Ruhnaus (1922–2015) sind eng mit der gesellschafts- und architekturpolitischen DNA der bundesrepublikanischen Nachkriegsmoderne verwoben. Von den Theaterbauten in Münster und Gelsenkirchen in den 1950er Jahren, die programmatisch für Offenheit und Transparenz, Gemeinschaft und Mündigkeit stehen, über die variablen Spielraumentwürfe vermittels eines „Podienklaviers“, bis hin zur Entwicklung der „Spielstraße“ als Teil des Kulturprogramms der Olympischen Spiele 1972 in München, die auf kommunikationstheoretischer Grundlage Formen der Spektakelkritik spielerisch-partizipatorisch realisierte, lässt sich ein post-heroisches Verständnis von Architektur als Spielraum nachzeichnen. Ruhnaus Konzeptionen, die in der Regel aus kollaborativen, partizipativen Arbeitsformen entstanden, können als Befragung von Mensch und Architektur im Zeichen einer anti-totalitären Moderne verstanden werden.

Dans ce travail, nous avons exploré certains courants qui font du choro une pratique musicale collective vivante et en expansion dans différentes villes du monde. Nous nous intéressons à la continuité des rencontres entre chorões qui, depuis les dernières décennies du XIXe siècle, cultivent cette pratique musicale en groupe, à la fois ludique, créative et collaborative, dont le processus continu d’enseignement & apprentissage se déroule pendant la réalisation même dujeu. Nous observons des chemins parcourus par ces musiciens qui expérimentent la puissance créatrice et libératrice de l’art en pleine époque de la reproductibilité technique au cœur de sociétés spectaclistes. À titre d’exemple, nous avons transcrit quatre morceaux qui représentent le corpus enregistré par le musicien Pixinguinha et les Batutas, dans lesquellesnous pouvons vérifier clairement certains des codes de jeu traditionnels encore vivants dans la musique de chorões contemporains : un jeu de ritournelles, car c’est un jeu libre et transformant. Nous avons vu que sa qualité et sa durée n’existent que dans l’action réelle de personnes, dans le récit et l’improvisation, dans le bien-être hédoniste, dans la création qui se renouvelle une génération après l’autre, toujours vivante dans la puissance de la roda musicale collaborative et amicale
The goal of the research work hearby presented was to explore the choro as an ensemble musical practice established all over the world, gathering chorões since the last decades of the nineteenth century, emphasizing the interaction and collaborative ambience in a continuous teaching & learning process, caracteristic of its tradition. In contrast with nowadays’tendencies, which establish almost mechanical reproductions, individual paths and experiences were examined, accessing musicians’ artistic, creative and liberating power. In order to illustrate these features, music recorded by Pixinguinha and the Batutas was transcribed, where some of the traditional performance codes can be verified, which are still cultivated by living chorões, particularly the use of ritornelli as a free and life-changing way of playing. Quality and timing of execution have proven to be actually possible only in realtime performance where people engage in a stream of narration, improvisation and overall hedonist pleasure, fruit of this creative activity which has been passed on by generations, dueto the invaluable collaborative and friendly musical interaction it promotes

Si Duchamp, Kaprow ou Fahlstr6m !'érigent en modèle pour l'art, le jeu est pour Dada auréolé du parfum sulfureux du blasphème. Avec les surréalistes, il acquiert une dimension heuristique et marque le refus du pouvoir de la raison. Symptôme et solution, le jeu offre un champ d'expérimentation jugé salutaire et susceptible de renouveler la pratique artistique. Reprenant le projet des avant-gardes, les situationnistes le hissent en finalité de leur action, au titre d'une royauté pascalienne qu'il s'agit d'offrir à tous. Les contextes idéologiques et artistiques déterminent différents moments du rapport entre !'art et le jeu, qui sont autant d'acceptions du terme. Or, dès lors qu'il devient un des paradigmes dominants de !'art actuel et que la société !'assimile au divertissement, les artistes doivent réinventer de nouvelles règles et manières de jouer. Réponse à un état d'urgence, le jeu reste une voie alternative pour repenser la société, l'art et l'artiste, désormais comparable au Bateleur, au Joker ou au triek. Ster. Philosophes, historiens et sociologues ayant étudié cette notion labile de jeu proposent un cadre de réflexion pour penser certaines pratiques artistiques des XXe et XXIe siècles à !'aune de cet empire du comme si et de l'incertitude. Enracinée dans la tradition philosophique, la comparaison de !'art avec le jeu repose pour partie sur le pouvoir métaphorique de cette activité de second degré, de ces structures modélisant des rapports de force et des contraintes, et de ces instruments symboliques permettant de rejouer sa partie avec le monde. Se logeant en creux dans la création artistique ou brandi comme une arme, le jeu est facteur de désordre et de transgression. Paraissant gratuit et futile, il est champ du possible. Métaphore active, il incarne un outil de modélisation satirique et de subversion du système.

Zugl.: Bremen, Univ., Diss., 1997 u.d.T.: Korol, Martin: Der Rückzug des deutschen Geistes aus der Politik zwischen 1916 und 1918.
Gedr. Ausg. im Selbstverl. M. Korol, Bremen, Tartu. Computerdatei im Fernzugriff.

Den här uppsatsen är en undersökning av undervisningsmetoden storyline och den eventuella möjligheten att använda sig av rollspel i lärande och undervisning. Det jag frågar mig är

• hur väl storyline står sig som läro- och undervisningsmetod

• vilka eventuella pedagogiska och didaktiska kvalitéer som rollspel har och

• om storyline och rollspel kan påverka jämställdheten i undervisning och skolan i en positiv riktning.

Uppsatsen är helt igenom en litteraturanalys där jag studerat ett antal böcker och uppsatser om de teorier som ligger till grund för metoden, själva storylinemetoden, rollspel, berättande och lek. Jag tillför dessutom analysen en extra dimension genom min tjugoåriga erfarenhet av rollspel.

Arbetet ger följande resultat:

Till att börja med att storyline, vilande på vetenskaplig grund, står sig väl som metod för lärande och undervisning. Inte minst för dess fokus på bl a elevernas förkunskaper, aktivt lärande och elevernas kritiska tänkande.

För det andra att rollspel absolut har pedagogiska och didaktiska kvalitéer. Bland annat visar sig detta genom att rollspelandets många positiva sidor passar för lärande och undervisning, och att berättande och lek – självklara delar av fenomenet – också har många goda lärande och undervisande kvalitéer.

Vad gäller den tredje frågeställningen blir resultatet mer osäkert. Jag hittar inte några övertygande bevis för att rollspel och storyline främjar jämställdhet, även om det finns vissa tecken som pekar i den riktningen.

Som det allra sista i uppsatsen lyfter jag fram olika problem och svårigheter med storyline och rollspel. Det finns flera stycken, men inga som inte går att hantera eller åtgärda, konstaterar jag.

The significance of technology and technological devices in the modern western society is steadily expanding, and affecting how the consumers of these products interact with one another. Both through these devices, but also how they interact without them the importance of studying these forms of interaction is therefore of rising significance. This thesis explores the world of online-gaming in order to map out how the players use, and are affected by the virtual aspects of the platform they use to create and reproduce their social bonds with one another. By analysing the relationship between the virtual and the actual it is possible to shed light on the potentials as well as the limits of online communication. The thesis purpose is to add to a deeper understanding within the anthropological discipline for interpersonal interaction within the frames of virtual spaces. The research has been conducted through a qualitative ethnographic field study with a guild of players who interact through the game World of Warcraft. This thesis will show that there is a strong interaction between the virtual worlds and the actual world. Thus it is possible for events that occurred in either space to affect the player.

碩士
國立臺灣師範大學
教育學系
100
This study aims at probing into Johan Huizinga’s “Homo Ludens” idea and its application for education. Using conceptual analysis and educational hermeneutics, this study illustrates Huizinga’s life and thoughts at first, and then depicts the human picture of “Homo Ludens”, and finally argues the legitimacy and necessity to regard “Homo Ludnes” as one model among educated persons in the history of education thoughts. The conclusions of this study are as follows: 1. Play is a kind of activity combining seriousness and unseriousness. People play by contest and representation. And play has a close connection with culture 2. The relation between play and culture is close, because of that culture activities have play forms, and its development is inseparable with play. 3. The human pictures of “Homo Ludens” can distinguish to two types, one is the ideal, and the other is non-ideal. The ideal “Homo Ludens” has the legitimacy and necessity to make as a teaching method and educational purpose. 4.Developing a wholly discovery of the relationship between play and education is necessary. Beside the effects that positive researches offer, it should extend to the ontology level.

Orientação: Pedro Carlos Bobone Ressano Garcia
Enquanto humanos, partilhamos consciências numa camada invisível, essa camada é a nossa memória coletiva que existe só porque representamos. Fora dela, toda a nossa existência desapareceria connosco enquanto indivíduos singulares. A partir do momento em que representamos uma ideia, seja de que forma for, estamos a criar informação, quando a partilhamos, ela transforma-se e é reinterpretada. A arquitetura vive desta partilha de informação, da representação e comunicação de conceitos e experiências. Através dos meios digitais, esta partilha de informação chegou a um momento em que é instantânea, o que transforma a sua interpretação em algo ainda mais complexo. A camada invisível da nossa consciência partilhada existe num espaço virtual que está cada vez mais visível. O humano existe hoje no ciberespaço com características diferentes daquelas que foi habituado pela realidade do mundo. Neste espaço existimos enquanto seres virtuais e nele deixamos uma marca da nossa passagem, vivemos realmente como o homo ludens, o ser humano que Johan Huizinga descreveu como o homem que joga, mais tarde adaptado por Nieuwenhuys Constant no projeto da Nova Babilónia. O espaço que criei no âmbito do ensaio, THE CITY, é uma pesquisa sobre como podemos enquanto arquitetos interpretar o ciberespaço e pensá-lo não só como repositório de informações mas também como espaço sensorial. Um espaço digital que habitamos com a mente através do aparelho visual de realidade virtual e com o corpo através de uma plataforma.
As humans, we share consciousness in an invisible layer, this layer is our collective memory that exists only because we represent. Outside of it, our entire existence would disappear with us as singular individuals. From the moment we represent an idea, in any form, we are creating information, when we share it, it is transformed and reinterpreted. Architecture lives from this sharing of information, representation and communication of theoretical or practical concepts. Through digital media, this sharing of information has reached a point where it is instantaneous, which makes its interpretation even more complex. The invisible layer of our shared consciousness exists in a space and is increasingly visible. The human exists today in cyberspace with characteristics different from those we have been accustomed by the reality of the world. In this space we exist as virtual beings and in it we leave a mark of our passage, we really live as the homo ludens, the human that Huizinga described as the man who plays, later adapted by Constant in the project of New Babylon. The space I created within the essay, THE CITY, is a survey of how we as architects interpret cyberspace and think of it not only as a deposit of information but also as a sensory space. A digital space that we inhabit with the mind through the virtual reality using the visual apparatus and with the body balance through a platform.

Title: Multidisciplinary approach to the phenomenon of a game Objectives: The objective of this thesis is to pursue an explanation of a game as a term and to demonstrate via multidisciplinary approach the scope and impact of a game. Sectional objectives are conceptual clarification of a game, description of its basic characteristics, determination of eligible classification, and analysis of historical development of games. Methods: There are progressive, diachronic, and probe methods applied in this thesis. The interpretation of text also utilized the hermeneutic method. Results: The first part of the thesis provides basic information regarding a game. It aims to explain a game as a term via selected definitions. It also contains the classification of games and characteristics of a game. Furthermore, the first part includes a chapter describing the history of a game from their origin all the way to the present. The main goal of this thesis is fulfilled in the second part. Utilizing analysis of particular disciplinary approaches, it proves the remarkable scope and impact of the phenomenon called a game. Keywords: game, culture, homo ludens, sportive games, kinanthropology, experience, temporality

Text in Afrikaans
Abstracts in Afrikaans, English and seSotho
Die ikoniese konsep van die spelende mens (homo ludens) - soos verwoord deur Johan Huizinga – verkry opnuut trefkrag weens ʼn hedendaagse bekoring met virtuele spel. Nel (2014; 2015a; 2015b), Burger (2013), Viljoen (2011; 2013), Anker (2011) en Barnes (2014) bevind dat die eietydse fassinasie met ludieke spel uitdrukking vind in die narratiewe struktuur van verskeie Afrikaanse literêre tekste. Hierdie navorsingsverslag fokus op drie kritieke ontwikkelingsfases van spel: pre-Huizinga, Huizinga en post-Huizinga. Rigtinggewende antieke Griekse spelkonsepte van Heraklitus en Plato, waarop voortgebou is deur Huizinga (1949; 1951), asook die revisionistiese idees van Caillois (1961) word benut as teoretiese steierwerk vir ʼn lesing van die literêre speldiskoers in Klimtol (Van Heerden 2013); Afstande (Sleigh 2010) en Sirkusboere (Loots 2011). Die beskrywing en interpretasie van spelmerkers lei daartoe dat nie net die narratiewe struktuur ín die romans nie, maar ook die romans sélf, as vorm van kultuurskeppende spel beskou kan word.
Due to contemporary fascination with virtual games, the seminal concept of the playing person (homo ludens) − as articulated by Huizinga – has regained prominence. Nel (2014; 2015a; 2015b), Burger (2013), Viljoen (2011; 2013), Anker (2011) and Barnes (2014) observe a preoccupation with ludics in the narrative structure of various Afrikaans literary texts. This report focuses on three critical developmental stages of play: pre-Huizinga, Huizinga and post-Huizinga. Classic hypotheses by Heraclitus and Plato that manifested in Huizinga's (1949; 1950) notions on the play-element in culture as well as revisionist ideas by Caillois (1961) will be utilised as theoretical framework for an exploration of the ludic discourse in Klimtol (Van Heerden 2013), Afstande (Sleigh 2010) and Sirkusboere (Loots 2011). The description and interpretation of various play markers signify that not only the narrative structure of the novels, but the novels themselves, might be regarded as ludic play that shapes culture.
Ka ntlha ya kgatlhego ya ga jaana ya metshamekopono, mogopolo wa boitshimololedi wa motho yo o tshamekang (homo ludens) - jaaka o tlhalositswe ke Huizinga – o boetse o botlhokwa. Nel (2014; 2015a; 2015b), Burger (2013), Viljoen (2011; 2013), Anker (2011) le Barnes (2014) ba ela tlhoko metshamekwane ya popego ya puo mo dikwalong di le mmalwa tsa Afrikaans. Pegelo eno e totile dikgato di le tharo tsa botlhokwa tsa go gola ga motshameko: pele ga Huizinga, ka nako ya Huizinga le morago ga Huizinga. Tiori ya tlelasiki ya ga Heraclitus le Plato e e tlhageletseng mo megopolong ya ga Huizinga (1949; 1950) e e malebana le elemente ya motshameko mo setsong gammogo le megopolo ya poeletso ya ga Caillois (1961) di tlaa dirisiwa jaaka letlhomeso la tiori go sekaseka puisano e e ka ga motshamekwane mo Klimtol (Van Heerden 2013), Afstande (Sleigh 2010) le Sirkusboere (Loots 2011). Tlhaloso le thanolo ya batlhami ba ba farologaneng ba metshameko e bontsha gore fa se fela popego ya kanelo ya dipadi e e bopang setso, mme dipadi ka botsona di ka tsewa e le metshamekwana e e bopang setso.
Afrikaans and Theory of Literature
M.A. (Afrikaans)