Nicholas of Cusa and his daringly speculative theology seem odd matches for Blaise Pascal, the constant critic of the philosophies en vogue during his life. A commonality they share is their mutual concern for the apparent disproportion between the infinite God and the finite human. In this paper, I compare and analyse the shape this question takes in Cusanus's De ludo globi and Pascal's Pensées. Both men observe a sort of ‘ludic’ character inherent to the pursuit of bridging finite and (...) infinite. Cusanus's ‘ball game’ realises the universe and the human being's pursuit of salvation as a circular field in which the player seeks to reach the vanishing point of its centre. Pascal likewise portrays human life as a cosmic game that everyone must ‘play’ with their ethical decisions. Ultimately, they both come to register Christ as the agent and object of their games, the divine player who fashions finitude into infinity. I conclude by sketching a way to reconcile Pascal with natural theology based on his universal game. (shrink)

This volume contains 3 papers published here for the first time as well as 13 studies from the years 1979-2001 in revised and in part expanded form.

(1) Syntaktická součást vymezuje, co je výrokem (a obecněji výrazem) jazyka, který stojí v základě tohoto kalkulu; (2) Axiomatická součást vymezuje, který výrok je správně odvoditelný ze kterých jiných výroků (a tím i které výroky jsou teorémy daného kalkulu); a (3) sémantická součást vymezuje, jaký má který výraz denotát a zda, či relativně k jaké interpretaci je který výrok pravdivý (a tím i které výroky jsou tautologiemi tohoto kalkulu1).

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 213-245.

Les premiers Irlandais aimaient les jeux de société. Cela ressort clairement du matériel de jeu découvert et des nombreuses références aux jeux de société dans la littérature vernaculaire. Bien qu’une grande partie de la littérature séculaire présente des récits se déroulant dans un passé imaginaire, les textes peuvent néanmoins être étudiés pour donner un aperçu des attitudes à l’égard du jeu, tant pour les hommes que pour les femmes. Avant les échecs, le jeu le plus important était le fidchell local, (...) un jeu de stratégie pure dérivé du ludus latrunculorum romain. Une sélection de références au fidchell dans la prose et la poésie, principalement de l’ancien et du moyen irlandais (viie‑xiiie s.), permet d’explorer le rôle des femmes en tant que joueuses entre elles et contre les hommes, en se concentrant sur les thèmes suivants : le statut, le contexte social et physique des jeux, la matérialité des équipements de jeu des femmes, la relation entre jeux et alcool, le jeu, l’érotisme et son absence, et les attitudes envers les compétences intellectuelles féminines. (shrink)

Part of the ingenious quality of LEGO is that it is a system of play, fundamentally based on interconnecting sets of parts and open‐endedness. Nowadays, themed and specialized LEGO playsets far outnumber the more free‐form building oriented sets we might see on store shelves. Everything from the themed LEGO Space and LEGO City to extensions of the imaginary franchise universes of Star Wars, Harry Potter, and The Simpsons suggest a kind of play experience where purely imagination‐driven building becomes secondary to (...) the kinds of storytelling and narrative play that LEGO playsets encourage. The different kinds of play—LEGO playset building compared to LEGO video game playing—can be thought of as ludus (more structured, goal‐oriented play) and paidia (exuberant, spontaneous free play). LEGO in many ways serves as a helpful analogy for how philosophical thinking can lead people toward new connections between their thoughts and ideas. LEGO and philosophy invite them to question the nature of play. (shrink)

This article discusses the connection between the goddess Fortuna and games, with a particular focus on the period going from late republican Rome to late antiquity. There seems to be an irresolvable tension between the divine status of Fortuna and the randomness inherent to the theme of the “game of fortuna” (ludus fortunae), to the extent that when the ludus appears, fortuna can be personified, but she is never clearly identified as a deity. This semantic tension was exploited (...) by a variety of authors to probe and redefine the boundaries between chance and divine will. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 127.4 (2006) 607-611MuseSearchJournalsThis JournalContents[Access article in PDF]Reviewed byPaul Allen Miller University of South Carolina e-mail: [email protected] Habinek. The World of Roman Song: From Ritualized Speech to Social Order. Baltimore: Johns Hopkins University Press, 2005. x + 329 pp. Cloth, $52.It has become increasingly evident that the texts we study from ancient Rome are embedded objects, implicated in a rich field of symbolic systems and corporeal (...) practices. The image of the poem as an isolated aesthetic object has become untenable as the field has become dominated by concepts of intertextuality, performativity, social construction, and self-fashioning. The text in books like Tony Corbeill's Controlling Laughter (Princeton 1996) is less an object than an action. Thomas Habinek's The World of Roman Song represents an attempt to make good on the promise of these developments by rethinking the entirety of Roman literature as an embedded social process of "song," of marked speech, that stands at the origins of the Roman social order. Ritual hymns, funereal laudations, convivial play, and comedic performances become so many moments in the constitution of what it means to be Roman, even as conflicts between center and periphery, masculine and feminine, vir and cinaedus are both played out and resisted in the various genres that constitute the world of ritualized speech and its formal derivatives.Any such sweeping endeavor brings with it both a necessary boldness—asking us to rethink the history of Roman culture from a new perspective—and the danger of reductiveness. For the most part, these are dangers that Habinek manages skillfully to skirt through a combination of fine-grained philological analysis and a sophisticated, but never overbearing, theoretical apparatus. The World of Roman Song features close readings of the usage of words such as cano, carmen, dico, ludus, convivia, and sodalis, from their earliest attestations through their appearance in later imperial literature. It also deploys an intellectual armature that draws upon contemporary anthropology, Frankfurt-school Marxism, object-relations psychoanalysis, and the theories of Bourdieu, Bakhtin, and Bataille. Yet, as we shall see, the very methodology that makes this sweeping [End Page 607] and important survey possible—the examination not of texts but of lemmata to trace the memes of Roman self-constitution through formalized language—leads to certain unavoidable distortions. Complex textual systems become reduced to exemplary moments of embeddedness. This reduction is an enabling gesture that like any mode of analysis, however, ultimately produces its own limit.For this reader, the heart of the book is to be found in chapter 4, "Song and Play." Here Habinek traces the relation between three primary sets of terms: dico, dictum, and implicitly dictator, meaning to make an authoritative statement; cano, canto, and carmen, meaning to perform a song (carmen) of one's own (cano), or to repeat that of another (canto), so as to establish a relation between the singer and the constituted social, and ultimately cosmic, whole, via ritualized speech; and ludo, ludus, and lusus, referring to scripted or formalized movements of the body. Thus a poetic ludus, such as that described in Catullus 50 between the poet and Licinius Calvus, would refer not so much to the acts of song (carmina) to which the game of composition gave rise as to the formalized interchange and embodied practice of writing capping verses in different meters in a convivial setting. The previous chapter, "Song and Speech," had established the difference between loquor and dico, with the former referring to unmarked speech and the latter to the making of statements that the speaker asserts as authoritative and hence true. It is thus possible for the terms cano and dico to overlap and those of ludo and cano as well. Nevertheless, the ultimate dream of aristocratic Roman manhood (and, as any number of feminists would point out, of patriarchy as a whole) is for carmen—the ritualized speech that constitutes the community as a living unity—to assume the status of dictum, authoritative speech freed from the... (shrink)

In the emerging academic field of game studies, Roger Caillois’ Les Jeux et les hommes has already received the status of an obligatory reference. It is honoured as one of the few classic texts in game theory, but some also argue that it is not useful for analysing digital games. Caillois’ book is of particular interest for cultural theorists, though, because it presents a theory of games and play while also addressing the meaning of play. After analysing more closely why (...) Caillois’ theory falls short when it is applied to digital games, we suggest a slight modification of its categories. Starting from the four game dimensions outlined by Caillois - competition, chance, simulation and vertigo - and his two modes of playing, paidia and ludus, we build on his theory by distinguishing two additional game characteristics, called repens and repositio. Both deal with the internal, temporal organization of a game. Repens is a specific characteristic of games that appeals to the player’s desire to discover, explore and get to know the surprises a game has in store and to make progress by learning from these surprises. Repositio denotes complementary experiences: having to retry, return, replay and repeat a certain action while getting better at it with every try. The balance, or unbalance, between repens and repositio, as characteristic elements of many digital games, determines to a large extent their attraction. Finally, repens and repositio are not only indicators of fun in the playing of digital games; they also hint at basic elements in learning theories and social theory. The study of the interplay between repens and repositio can help in clarifying the possibilities and limitations of digital games for learning purposes. (shrink)

This article examines the first-century c.e.Laus Pisonis, an anonymous panegyric for a certain Piso that lays particular emphasis on his skill at lyre-playing, ball games and the board game, the ludus latrunculorum. Whereas this focus has often been a cause of consternation among critics, this article argues that play is a crucial element of the poem's poetic and political operations. The first section shows that the poem employs images of poetic maturity and of temporality in order to justify a (...) light or ludic topic for an allegedly young poet. The second section identifies a hitherto unobserved telestich in the passage describing the ludus latrunculorum and argues that this letter game defines a positive period of play within the poem. The third section further demonstrates that this letter game is aimed specifically at the patron Piso as he is represented within the poem. That is, the poet parallels Piso's potential to uncover the telestich in the text and his ability to uncover the poet's hidden talent. The concluding fourth section explores the wider impact of this reinterpretation of the Laus Pisonis for the literary history of the Early Principate. It proposes that the poem's playfulness should not be seen as reflecting the progressive disempowerment of the political elite. Rather, the poem is an early case of Roman political discourse encroaching on the value of the trivial and the boundaries of otium. The Laus Pisonis makes play political. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Playtexts: Ludics in Contemporary LiteratureWalter E. BromanPlaytexts: Ludics in Contemporary Literature, by Warren Motte; 233 pp. Lincoln: University of Nebraska Press, 1995, $31.50.When readers early encounter such stuff as “Thus in the category of agôn, for example, hide-and-seek would tend toward paidia, whereas chess would tend toward ludus” (p. 7), they suspect that this book will be a rugged and humorless read, in spite of the fun (...) hinted at in the title. Much of the book turns out to fulfill this dread. There is no escaping the sour smell of academic jargon: “to privilege,” “to foreground,” “to marginalize,” “diegetic frame,” etc., or the tangled infelicities of academic prose.Professor Motte sets out to examine a series of texts, “... each text considered a different ludic economy with its own rules and norms, but all texts defined as language games” (p. 15). While struggling through the discussions of Gombrowicz’s Ferdydurke, André Breton’s Nadja, or Albertine Sarrazin’s Astragal, one catches glimpses of a book that might have assumed sumptuous flesh. This is especially true in the chapter on Nabakov’s Pale Fire, which is quite interesting and well written. Nabakov’s is “an agonistic game that pits Kinbote against Slade, the Sladeans against Kinbote, Kinbote against us the readers, Nabakov against Kinbote, we the readers against Nabakov” (p. 81). This is a game in which Nabakov offers his readers “a full partnership in the creative process” (p. 82). I was forced to recognize that I had enjoyed reading Pale Fire, all the while only being aware of a minim of these ludic convolutions!A major problem with this book and with the books Professor Motte discusses can be shown most vividly in the chapter on Georges Perec’s La Disparition, where the game is to write an entire novel without using the letter “e.” This “literary machine” is supposed to be geared for expressing the iron impositions of life and its ineluctable loss and lack. I suspect that this semantic juice is squeezed out only by critical legerdemain. The discussion merely succeeds in convincing me that this literary tour de force might be suitable for Guinness’s Book of Records, but would likely be a boring read. It reminds me of a Rube Goldberg contraption or of Johnson’s dog walking on its “hinder legs.” Calling this a lipogram linked to Greek antiquity does little to rinse away the sweaty scent of useless exertion.Professor Motte includes a quotation from Eco referring to Swift’s book-making machine in the Grand Academy of Lagado, which provides a sinister and ludicrous image of much of this ludic literature. Eco sees the text as a “combinatory, ludic machine” (p. 191). This literature as machine and game is remarkable for its lack of any concern for the reader: “... the game is finally less vital for us than it seems to have been for Gombrowicz” (p. 68). Compare this with Dryden who took it as axiomatic that the audience’s “concernment” is of vital importance. Now, though, the readerly text is supplanted by the writerly (p. 163). René Bellato builds up “a narrative technique based on the systematic [End Page 243] frustration of the reader’s expectations...” (p. 166). A kind of apex of readerly boredom is devised in Harry Matthew’s literary machine “Matthew’s algorithm”—exemplified by the permutational poetics in Le Savoir des rois, where the same verse is given endless alterations of word order. There lurks a sniffy implication that if you don’t go along with this sort of game you aren’t a good reader. I don’t mind straining to be a good reader if the reward is commensurate with the effort. Professor Motte never explains why we ought to bother.Professor Motte presents various interesting theories of play, as diverse as Huizinga’s Homo Ludens and Freud, but his own position is not easy to discern. He seems to be sympathetic with Calvino’s notion that “all literature is play” (p. 142). For this to be true, the definition of ludics or play would have to have a Humpty Dumpty squishiness. It would have to be ample... (shrink)

Die Bedeutung des Spiels in der Lebenswelt der mittelalterlichen Klöster und Orden ist bislang nicht als Phänomen von kultureller Tragweite erörtert worden, denn der (scheinbare) Antagonismus aus kontemplativem Leben einerseits und heiterem Spiel andererseits verhinderte, dass der religiosus ludens wissenschaftlich Beachtung fand. Die im Band vereinigten, interdisziplinären Analysen der theologischen, liturgischen, kunstgeschichtlichen, rechtlichen und sozialen Dimensionen von Ball-, Würfel-, Brett-, Karten- und Wissensspielen verdeutlichen erstmals die gestalterische Kraft der Ordensleute zur Erfindung, Adaption und Vermittlung von Spielen wie deren Sinngehalten innerhalb (...) der vormodernen Gesellschaft. Im Aufzeigen der innovativen und mannigfaltigen Wege der Legitimation und Delegitimation monastischen und außermonastischen Spiels, aus denen Ordensleute zudem wegweisende und gesamtgesellschaftlich tragfähige Kategorisierungen des ludus entwickelten und nahezu sämtliche Lebensentwürfe der Vormoderne erklärten, stellt der Band nicht nur eine neuartige Perspektive auf das Spiel und die vita religiosa vor. Zugleich öffnet er ein noch unbekanntes Fenster zum Verständnis kultureller Mechanismen im Mittelalter. (shrink)

The evolutionary function of love is to create a strong bond between the partners with reproduction in view. In order to achieve this goal, humans use various sexual/reproductive strategies, which have evolved due to specific reproductive benefits. The use of particular strategies depends on many factors but one of the most important is early childhood experiences, on which life history theory focuses. John Lee identified 6 basic love styles: eros, ludus, storge, pragma, agape, and mania. Our goal was to (...) check whether love styles may be treated as sexual/reproductive strategies in the context of LHT - slow or fast strategy. In our study we found that people who prefer the slow reproductive strategy are inclined to show passionate, pragmatic and friendly love, and those who prefer the fast strategy, treated love as a game. A low level of environmental stress in childhood results in preferring eros, storge and agape love styles, belonging to the slow strategy, and a high one results in preferring ludus, which belongs to the fast strategy. People representing eros, storge or pragma styles have restricted sociosexual orientation so they prefer long-term relationships, whereas those with the ludus style are people with unrestricted orientation, preferring short-term relationships. Besides, storge, agape and pragma seem to determine preferring qualities connected with parental effort in one’s partner, mania - with mating effort, and eros - with both kinds of effort. No correlation was found between the love style and the number of children. (shrink)

English summary: The philosophy of play during the Middle Ages and the Renaissance has been largely neglected by scholars, despite the fact that influential thinkers, such as Albertus Magnus and Thomas Aquinas, perceived recreational play to be a vital part of a philosopher's life. By exploring a heterogeneous collection of diverse philosophical approaches to ludic practices, this innovative study provides the first in-depth discussion of the complexity of medieval and early-modern ludic philosophy. Particular attention is devoted to the relationship between (...) play and philosophy, which the influential Aristotelian discourse on play, initiated by Albert and Thomas, conceptualized as a contradictory dichotomy. By focusing on the manifold epistemic transformations which occurred during the Renaissance, this study analyses how philosophers in various contexts developed alternative or complementary theories of the connection between ludus and philosophia. German description: Die philosophische Geschichte des Spielens nach der Antike lasst man in der Regel mit Friedrich Schillers von Kant inspirierten Briefen Uber die asthetische Erziehung des Menschen beginnen, ohne die ihnen vorausgehende Vielfalt philosophischer Auseinandersetzung mit ludischen Praktiken naher zu betrachten. Vorliegende Studie versteht sich als erster Beitrag zur Erschliessung dieser bislang vernachlassigten spielphilosophischen Ansatze zwischen Mittelalter und Fruher Neuzeit. Dabei wird insbesondere das Verhaltnis von Spielen und Philosophieren in den Blick genommen, das schon bei scholastischen Autoren im Zentrum ludischer Reflexionen stand. So etablierten Gelehrte wie Albertus Magnus oder Thomas von Aquin bereits im 13. Jahrhundert eine strenge Trennung zwischen dem als Rekreation konzipierten Spielen und dem Ernst des Philosophierens, indem sie ludische Erholung mit Ruckgriff auf Aristoteles zum notwendigen Gegenstuck der Kontemplation erklarten. Die Arbeit zeigt, wie Philosophen zwischen Spatmittelalter und Fruher Neuzeit im Zuge vielfaltiger epistemischer Transformationen das Verhaltnis von philosophia und ludus komplementar oder alternativ zu diesem einflussreichen aristotelischen Deutungsschema bestimmten. Unter diesen heterogenen Ansatzen finden sich ein allegorisches Globusspiel des Nikolaus von Kues, die erste philosophischen Therapie ubermassiger Spielleidenschaft und eine naturphilosophische Beschreibung des Tennisspiels am rinascimentalen Hof von Ferrara. (shrink)

Les premiers Irlandais aimaient les jeux de société. Cela ressort clairement du matériel de jeu découvert et des nombreuses références aux jeux de société dans la littérature vernaculaire. Bien qu’une grande partie de la littérature séculaire présente des récits se déroulant dans un passé imaginaire, les textes peuvent néanmoins être étudiés pour donner un aperçu des attitudes à l’égard du jeu, tant pour les hommes que pour les femmes. Avant les échecs, le jeu le plus important était le fidchell local, (...) un jeu de stratégie pure dérivé du ludus latrunculorum romain. Une sélection de références au fidchell dans la prose et la poésie, principalement de l’ancien et du moyen irlandais ( vii e - xiii e s.), permet d’explorer le rôle des femmes en tant que joueuses entre elles et contre les hommes, en se concentrant sur les thèmes suivants : le statut, le contexte social et physique des jeux, la matérialité des équipements de jeu des femmes, la relation entre jeux et alcool, le jeu, l’érotisme et son absence, et les attitudes envers les compétences intellectuelles féminines. (shrink)

The formal study of both astronomy and astrology in later medieval Europe was firmly based in the universities. Instruction in astrology is attested by the presence of an educational board game, known as the ludus astronomorum, in several university-related miscellanies of fifteenth-century English provenance. William Fulke also published an edition of the game a century later , which is attested in a number of Elizabethan libraries. The game serves to rehearse for its players the celestial motions and astrological principles (...) described by Ptolemy. It also employs principles of stellar rays described by al-Kindi in his De radiis stellarum. (shrink)

El juego es hoy la forma que explica y hace concebible, entre otros fenómenos, la subjetividad, la economía, la política, el amor, la guerra y el trabajo, reemplazando mediaciones previas como la poesía, el teatro, la fotografía, la novela y el cine. Sin embargo, carecemos de una genealogía. Así como existen historias de juegos particulares y de otras formas artísticas, la historia del juego suele quedar reducida al sumario del libro de Johan Huizinga, Homo Ludens, y de sus epígonos. A (...) ello se añade que bajo el marbete game studies se ha desarrollado una disciplina que metonimiza juego y videojuego, obliterando el potencial hermenéutico historicista de lo lúdico. Así, en este texto pretendo dos cosas: argumentar a favor de la necesidad de ampliar el espectro formalista de los game studies y ofrecer una distinción entre las dimensiones designativas de la noción de juego para entender sus concepciones premodernas, modernas y posmodernas. Además, propongo retrotraer a la noción de "juego libre" de Immanuel Kant la noción apodíctica de juego de Huizinga y al período pre-capitalista la aparición de una "cultura del ocio" relevante para entender la superación ludocapitalista de la dicotomía ocio-trabajo. (shrink)