Pub Date : 2019-04-16DOI: 10.11126/stanford/9780804798501.003.0004
Joe Moshenska
This chapter opens with a movable image of a dove, representing the Holy Spirit, that was made into a plaything in sixteenth century Germany. It relates this specific object to a wider range of articulated and jointed figures involved in late medieval piety that were often attacked as empty puppets by reformers. It uses these objects to think not about puppets per se but rather about the jointedness or constitutive brokenness of holy things more broadly, particularly relics poised between the sacred and the disgusting. These objects are related to the unstable place of playfulness and the material in Erasmus’s writings, and to the wider place of creative breaking and the disgusting in modern art.
{"title":"Puppet","authors":"Joe Moshenska","doi":"10.11126/stanford/9780804798501.003.0004","DOIUrl":"https://doi.org/10.11126/stanford/9780804798501.003.0004","url":null,"abstract":"This chapter opens with a movable image of a dove, representing the Holy Spirit, that was made into a plaything in sixteenth century Germany. It relates this specific object to a wider range of articulated and jointed figures involved in late medieval piety that were often attacked as empty puppets by reformers. It uses these objects to think not about puppets per se but rather about the jointedness or constitutive brokenness of holy things more broadly, particularly relics poised between the sacred and the disgusting. These objects are related to the unstable place of playfulness and the material in Erasmus’s writings, and to the wider place of creative breaking and the disgusting in modern art.","PeriodicalId":111654,"journal":{"name":"Iconoclasm As Child's Play","volume":"13 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":"123890412","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}
Pub Date : 2019-04-16DOI: 10.11126/stanford/9780804798501.003.0008
Joe Moshenska
The conclusion returns to the larger narratives into which play has often been folded in order to reconsider them in relation to the complexities of iconoclastic child’s play. It suggests that neat temporalities in which play and seriousness contrast and alternate with one another need to be replaced with trajectories that have room for sudden alteration and reversal. Drawing in part from the writings of Hans Blumenberg, Bruno Latour, Michel Serres, Siegfried Kracauer, and Igor Kopytoff, it suggests that we think of objects (including artworks) in terms of their “toy potential”--the perennial possibility that an object might both come to be, and cease to be, a plaything. The implications of this possibility are illustrated via a reading of an episode from Spenser’s Faerie Queene in which a malevolent allegorical dragon is startlingly transformed into a child’s plaything.
{"title":"Conclusion: Toy","authors":"Joe Moshenska","doi":"10.11126/stanford/9780804798501.003.0008","DOIUrl":"https://doi.org/10.11126/stanford/9780804798501.003.0008","url":null,"abstract":"The conclusion returns to the larger narratives into which play has often been folded in order to reconsider them in relation to the complexities of iconoclastic child’s play. It suggests that neat temporalities in which play and seriousness contrast and alternate with one another need to be replaced with trajectories that have room for sudden alteration and reversal. Drawing in part from the writings of Hans Blumenberg, Bruno Latour, Michel Serres, Siegfried Kracauer, and Igor Kopytoff, it suggests that we think of objects (including artworks) in terms of their “toy potential”--the perennial possibility that an object might both come to be, and cease to be, a plaything. The implications of this possibility are illustrated via a reading of an episode from Spenser’s Faerie Queene in which a malevolent allegorical dragon is startlingly transformed into a child’s plaything.","PeriodicalId":111654,"journal":{"name":"Iconoclasm As Child's Play","volume":"33 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":"127032757","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}
Debdeep Mukhopadhyay, Stjepan Picek, Rajat Sadhukhan
{"title":"TRIFLE","authors":"Debdeep Mukhopadhyay, Stjepan Picek, Rajat Sadhukhan","doi":"10.2307/j.ctvqsdnhx.5","DOIUrl":"https://doi.org/10.2307/j.ctvqsdnhx.5","url":null,"abstract":"","PeriodicalId":111654,"journal":{"name":"Iconoclasm As Child's Play","volume":"21 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":"131706109","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}
Pub Date : 2019-04-16DOI: 10.11126/stanford/9780804798501.003.0005
Joe Moshenska
This chapter opens with an ambiguous set of objects collected by a Dutch woman named Margrieta van Varick and described as “Indian Babies,” possibly brought with her from the Dutch East Indies to New England, and relates them to the practice of iconoclastic child’s play in Malaysia. It repositions iconoclastic child’s play in a fraught colonial context and asks how the play of other cultures is to be interpreted. Beginning with ethnographic and psychoanalytic discussions of child’s play by Lévi-Strauss, Winnicott, and others, it then moves to consider the category of the fetish as one that has long been intertwined with the status of children and their playing. It uses the contested status of this category--as an object both replete with, and devoid of, meaning--to reconsider the fetish as plaything both in sixteenth-century Guinea and in Adorno’s writing on artworks and children’s games.
本章以一组模棱两可的物品开头，这些物品是由一位名叫玛格丽塔·范·瓦里克(Margrieta van Varick)的荷兰妇女收集的，被描述为“印度婴儿”，可能是她从荷属东印度群岛带到新英格兰的，并将它们与马来西亚反传统儿童游戏的做法联系起来。它在令人担忧的殖民背景下重新定位了反传统的儿童游戏，并询问如何解释其他文化的游戏。从lassivi - strauss, Winnicott和其他人对儿童游戏的人种学和精神分析讨论开始，然后转向考虑恋物的类别，因为它长期以来与儿童的地位和他们的游戏交织在一起。它利用这一类别的争议地位——作为一个既充满意义又缺乏意义的对象——来重新考虑在16世纪的几内亚和阿多诺关于艺术品和儿童游戏的写作中作为玩物的恋物。
{"title":"Fetish","authors":"Joe Moshenska","doi":"10.11126/stanford/9780804798501.003.0005","DOIUrl":"https://doi.org/10.11126/stanford/9780804798501.003.0005","url":null,"abstract":"This chapter opens with an ambiguous set of objects collected by a Dutch woman named Margrieta van Varick and described as “Indian Babies,” possibly brought with her from the Dutch East Indies to New England, and relates them to the practice of iconoclastic child’s play in Malaysia. It repositions iconoclastic child’s play in a fraught colonial context and asks how the play of other cultures is to be interpreted. Beginning with ethnographic and psychoanalytic discussions of child’s play by Lévi-Strauss, Winnicott, and others, it then moves to consider the category of the fetish as one that has long been intertwined with the status of children and their playing. It uses the contested status of this category--as an object both replete with, and devoid of, meaning--to reconsider the fetish as plaything both in sixteenth-century Guinea and in Adorno’s writing on artworks and children’s games.","PeriodicalId":111654,"journal":{"name":"Iconoclasm As Child's Play","volume":"8 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":"116955625","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}
Pub Date : 2019-04-16DOI: 10.1093/acref/9780192803511.013.1302
Joe Moshenska
This chapter begins with lists compiled in Lincolnshire in the 1550s. These lists show that objects including pyxes--containers for the Eucharist--were given to children as playthings. The chapter links this practice to the widespread discourse that sought to demean traditional religion as a mere trifling with inane and worthless things, but it argues that the practice of iconoclastic child’s play differs from this polemic in that the object actually lingers as a potential locus for newly emerging meanings. This possibility is linked to the wider complexities surrounding the status of trifles and inanities in the history of Christian thought and its consistent inversions of value, as well as to the self-reflexive interrogation of the status of trifles in the writings of Thomas More.
{"title":"Trifle","authors":"Joe Moshenska","doi":"10.1093/acref/9780192803511.013.1302","DOIUrl":"https://doi.org/10.1093/acref/9780192803511.013.1302","url":null,"abstract":"This chapter begins with lists compiled in Lincolnshire in the 1550s. These lists show that objects including pyxes--containers for the Eucharist--were given to children as playthings. The chapter links this practice to the widespread discourse that sought to demean traditional religion as a mere trifling with inane and worthless things, but it argues that the practice of iconoclastic child’s play differs from this polemic in that the object actually lingers as a potential locus for newly emerging meanings. This possibility is linked to the wider complexities surrounding the status of trifles and inanities in the history of Christian thought and its consistent inversions of value, as well as to the self-reflexive interrogation of the status of trifles in the writings of Thomas More.","PeriodicalId":111654,"journal":{"name":"Iconoclasm As Child's Play","volume":"20 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":"127463972","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}
Pub Date : 2019-04-16DOI: 10.11126/stanford/9780804798501.003.0007
Joe Moshenska
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.
{"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}
Pub Date : 2019-04-16DOI: 10.11126/stanford/9780804798501.003.0006
Joe Moshenska
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.
{"title":"Play","authors":"Joe Moshenska","doi":"10.11126/stanford/9780804798501.003.0006","DOIUrl":"https://doi.org/10.11126/stanford/9780804798501.003.0006","url":null,"abstract":"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.","PeriodicalId":111654,"journal":{"name":"Iconoclasm As Child's Play","volume":"22 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":"132837703","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：