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In May 2011, a conference on riddles and word games in Greek and Latin poetry took place at the Institute of Classical Studies of the University of Warsaw. The conference was intended as an open forum where specialists working in different fields of classical studies could meet to discuss the varied manifestations of riddles and other technopaegnia - both terms being understood broadly to encompass the full range of play with language in classical antiquity, in keeping with the use made of the two terms in ancient and early modern theoretical discussions. This volume offers revised versions of the papers presented during the conference. Contributions by scholars from Europe and the USA treat a number of interconnected topics, including: ancient and modern attempts to formulate a definition of the riddle; poetic games at Greek symposia; experimentation with language in late classical poetry; riddles in the book cultures of the Hellenistic age and late antiquity; the functions of word games carved in stone, written on papyrus, or inscribed on the wall as graffiti; authors famed for their obscurity, such as Heraclitus and Lycophron; wordplay in Neo-Latin poetry; oracles, magic squares, pattern poetry, palindromes and acrostichs.
Free Play is about the inner sources of spontaneous creation. It is about why we create and what we learn when we do. It is about the flow of unhindered creative energy: the joy of making art in all its varied forms. An international bestseller and beloved classic, Free Play is an inspiring and provocative book, directed toward people in any field who want to contact, honor, and strengthen their own creative powers. It reveals how inspiration arises within us, how that inspiration may be blocked, derailed or obscured, and how finally it can be liberated—how we can be liberated—to speak or sing, write or paint, dance or play, with our own authentic voice. Stephen Nachmanovitch, a pioneer in free improvisation, integrates material from a wide variety of sources among the arts, sciences, and spiritual traditions of humanity, drawing on unusual quotes, amusing and illuminating anecdotes, and original metaphors. The whole enterprise of improvisation in life and art, of recovering free play and awakening creativity, is about being true to ourselves and our visions. Free Play brings us into direct, active contact with boundless creative energies that we may not even know we had.
Free Play is about the inner sources of spontaneous creation. It is about why we create and what we learn when we do. It is about the flow of unhindered creative energy: the joy of making art in all its varied forms. An international bestseller and beloved classic, Free Play is an inspiring and provocative book, directed toward people in any field who want to contact, honor, and strengthen their own creative powers. It reveals how inspiration arises within us, how that inspiration may be blocked, derailed or obscured, and how finally it can be liberated—how we can be liberated—to speak or sing, write or paint, dance or play, with our own authentic voice. Stephen Nachmanovitch, a pioneer in free improvisation, integrates material from a wide variety of sources among the arts, sciences, and spiritual traditions of humanity, drawing on unusual quotes, amusing and illuminating anecdotes, and original metaphors. The whole enterprise of improvisation in life and art, of recovering free play and awakening creativity, is about being true to ourselves and our visions. Free Play brings us into direct, active contact with boundless creative energies that we may not even know we had.
Having defined his critical position in these ways, Krieger relates it to other schools of criticism and applies its methods to the analysis of works by Shakespeare, Pope, Arnold, Hawthorne, and others.
We need reasons to write. Specific, tangible reasons give creativity a chance against a blustering, attention-grabbing world. The Whimsical Muse provides eighty-four concrete reasons to write. Eighty-four exercises that you can begin right now. They require no planning or preparation. Just open the book and go. In under a minute, your creative juices will be flowing. All of the prompts here can be adapted to suit the moment. Each one has two parts: "Quick" and "Lingering." If you are really strapped for time, opt for a "Quick" activity that can be done in a matter of minutes. Don't be surprised if your energy and your spirits lift as you start working. It turns out that getting words on the page ignites our gusto and fearlessness. And I predict it won't take long for you to see your imagination for the remarkable resource it is. Remember: the more you use your imagination, the more imagination you'll have, and the more you'll write.
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. How do keyboards make music playable? Drawing on theories of media, systems, and cultural techniques, Keys to Play spans Greek myth and contemporary Japanese digital games to chart a genealogy of musical play and its animation via improvisation, performance, and recreation. As a paradigmatic digital interface, the keyboard forms a field of play on which the book’s diverse objects of inquiry—from clavichords to PCs and eighteenth-century musical dice games to the latest rhythm-action titles—enter into analogical relations. Remapping the keyboard’s topography by way of Mozart and Super Mario, who head an expansive cast of historical and virtual actors, Keys to Play invites readers to unlock ludic dimensions of music that are at once old and new.
Creative inspiration is everywhere! We can find inspiration in our daily lives, in our past, and in experiencing another’s art. If we choose to make art, we must first make a place for it in our lives. By setting up a time and protecting the space where art happens, we silence the critic and invite the muse to reveal herself. 1. Creativity is all about play. 2. When we engage in artistic endeavors, we’re tapping into those feelings of wonder, joy, curiosity, and discovery. 3. The reader will find exercises to try, questions to answer, and new ways to uncover the creativity that resides in all of us. Discover how to begin, where to locate ideas, what practice offers, when it’s time to move beyond a block, and why sharing your art is important.
Should we take the idea of play seriously? Since the publication of Huizinga's Homo Ludens in 1938, a provocative literature has developed in philosophy and social science that does. Combs argues that we should understand play both as a generic concept with considerable power to explain human activity, and as a contemporary procept that demystifies some of the puzzling trends and innovations emerging in the quickly developing new social world of the 21st century. Combs explores the thesis that play has a central role in our understanding of human activity and social and political organization in the new millennium. He argues that the human desire for play is strong and given the continuation of certain major historical innovations now shaping the world, it may well be that 21st-century people will increasingly exercise their desire for play and that the world will increasingly be organized around the principle and practice of play. It may now seem a truism that people prefer to have fun, but that has not always been the case. If, as Combs argues, the preference for fun is becoming central to human activity, we need to explore why that preference is becoming dominant and what kind of social organization and consequences such a change entails. A provocative look at social change in the 20th century that will be of interest to scholars, students, and researchers of sociology and anthropology.
A massive volume of lyrics, poems, and various writings by the best-selling author of the Pleides Series and the Moonweaver books. Also is included a large writing workbook for the aspiring writer. A good companion to the Book of Clouds and the Divine Plan.
Eugen Fink is considered one of the clearest interpreters of phenomenology and was the preferred conversational partner of Edmund Husserl and Martin Heidegger. In Play as Symbol of the World, Fink offers an original phenomenology of play as he attempts to understand the world through the experience of play. He affirms the philosophical significance of play, why it is more than idle amusement, and reflects on the movement from "child's play" to "cosmic play." Well-known for its nontechnical, literary style, this skillful translation by Ian Alexander Moore and Christopher Turner invites engagement with Fink's philosophy of play and related writings on sports, festivals, and ancient cult practices.