the main / Journey

Man playing as a phenomenon of a culture of having. Johan Hasing - Homo Ludens. Chapter I. Character and value of the game as a cultural phenomena

The philosophy of life in the works of the famous Dutch historian and cultural philosopher Yohan Hezing (1872-1945) - the author of the Gaming Concept of Culture. In its fundamental work "Homo Ludens" (a person playing) (1938), Hözing offered to rethink the concept of culture, based on the presence of a game element in cultural life.

The book consists of 12 chapters. They reveal such problems as nature and the value of the game as the phenomena of culture; Concept and expression of the concept of the game in the language; The game and contest as a function of the formation of a culture is determined by the theoretical concept of the game, its genesis is investigated, the main signs and the cultural value of the game in the life of the peoples of various historical eras. Then J. Heating moves to the analysis of the game in various spheres of culture: game and justice; game and war; game and wisdom, game and poetry, game forms of philosophy; Gaming forms of art. This book ends with the consideration of game elements in the styles of various cultural eras - in the Roman Empire and Middle Ages, Renaissance, Baroque and Rococo, Romanticism and Sentimentalism.
In the final XII chapter of the "Gaming Element of Modern Culture", the author appeals to Western culture of the 20th century, exploring sports games and commerce, the game content of art and science, gaming customs of parliament, political parties, international politics.

According to J. Heising, if you analyze any human activity to the most limits of our knowledge, it will seem no more than the game. This gives it reason to believe that human culture occurs and deployed in the game. The culture itself, according to J. Heising, is gaming in nature (Gurevich 2001: 88).

Hasing believes that the game is older than culture. In his concept is a cultural and historical universal. The game "As a public impulse, older than culture itself, since ancient times filled life and, like yeast, encouraged the form of archaic culture. The cult unfolded in the sacred game. Poetry was born in the game and began to live with playing forms. Music and dance were completely game. Wisdom and knowledge found their expression in consecrated competitions. The right stood out of the customs of the social game. The gaming forms were based on the settlement of disputes with the help of weapons and conventions of the aristocratic life. The conclusion was supposed to follow one: the culture in its oldest phases is played. It does not come out of the game, like a lively fruit, which is separated from the parent body; It develops in the game and as a game. "

The concept of culture is usually associated with the human community. Human civilization did not add any significant sign to the overall concept of the game. All the main features of the game are already present in the animal game. The game as such is overpaying the framework of biological, or, in any case, purely physical activity. The game is a meaningful function with many farewees.

Already in their most easy forms, including in the life of animals, the game is something more than a purely physiological phenomenon or a physiologically determined mental response. And how such a game turns the boundaries of purely biological or at least pure physical activity. The game is a function that is executed meaning. In the game, at the same time plays something outside of the immediate desire to maintain life, something that makes sense in what is happening. Any game means something. Call the active principle, which gives the game of her essence, the spirit - it would be too, called his instinct - it would be a blank sound. No matter how we consider it, in any case, this focus of the game is a certain intangible element, which is included in the essence of the game.

Culture arises in the form of the game, it is originally played and thus fixed in the life of society, is transmitted from generation to generation. So it was in all archaic traditional societies. Culture and game are inextricably linked with each other. But as the culture develops, the gaming element can be supplied to the background, dissolve in the sacred sphere, crystallize in science, poetry, right, politics, but it is possible to change the place of the game in culture: it can again manifest itself in full force, involving in their circle and Inxiating whirlwinds huge masses. The sacred ritual and festive competition - these are two constantly and everywhere renewable forms, inside of which culture grows as a game and in the game.

Gaming space creates an unconditional order within itself. Thus, it can be said that the game creates order, more so, and there is an order. In the imperfect world, the game is capable of creating, albeit temporary, but perfection. Moreover, the order set by the game is immutable for its participants. It has a tendency to be beautiful, and the words we characterize the elements of the game belong to, as a rule, the sphere of aesthetic: voltage, balance, contrast, variability, tie and omission, resolution. Hasing indicates that the sphere of the game is executed by rhythm and harmony, i.e. The top qualities that a person can detect in the surrounding world.

Everyone, according to Heising, who appeals to the analysis of the phenomenon of the game, finds it in culture as a given value that existed before the culture itself, accompanying and permeating it from the very beginning to the phase of the culture in which he lives himself. The most important types of initial activities of human society are intertwined with the game. Mankind is all over and again, the second, is the fictional world. In myth and cult are born by driving forces of cultural life.

Hasing believes that in the game we are dealing with the function of a living being, which can equally be determined only biologically, only lexically or only ethically. The game is primarily free activities. It is necessary as an individual as a biological function, and the society is needed due to the meaning of its expressive value in it.

According to Heising, the game rather than labor was the formative element of human culture. Before you really change Wednesday, a person did it in his imagination, in the field of the game. It operates with a wide concept of culture: it is not reduced to either spiritual culture, it is not exhausted by it, especially does not imply the prevailing orientation on the artistic culture. Although in force deeply idealism in matters of history, Hasinging interprets the genesis of culture one-way, seeing the basis for the origin of cultural forms at all times in the spiritual aspirations and the illusions of humanity, in his ideals and dreams. Nevertheless, the functioning culture is considered Hasing, in all era, as a whole, as a system in which everything interacts: Economy, politics, life, morals, art.

Direct goals of the game are the struggle for something and the presentation of something. In accordance with these goals, the types of games are divided into competition and performance. J. Heyzing notes that every game, on the one hand, represents (represents) the struggle for something, and on the other - is the competition for better present something. Thus, these two goals interpenetrate one to another and mutually understanding each other. In each case, one of them comes to the fore.

However, at the same time, Haseing notes that the goal of the game from the point of view of common sense is illusory, but it is possible to understand it only when you find yourself out of the game. Particularly stubborn people cling to the illusions of love, which is obviously also similar to the game world - with all the distinguished features that have been addressed above. A person is often unable to escape themselves beyond the magic circle of love, while life itself somehow does not poucher him out from there; Only then comes the insight (as well as to the one who has lost and the cards are thoughtful).

The game as a view has two types: a) representation (for example, performance) and b) imagination (Himself someone else). The word represents means to put something before your eyes. This can be given to nature itself or created by a person.

As shown by Y.Hyöving, the game is initially inherent in the competition. It as confrontation and confrontation is obviously in animal games, it prevails in the game of archaic crops. For primitive thinking, it is generally characterized by the dualistic division of the world on the male and female began, to earth and the sky, opposing each other; Each creature or thing belongs to one or the other side, and thus the entire space is considered from the point of view of rivalry. The interaction and rivalry of the parties set a common way of life. The worldview dualism of archaic crops is clearly manifested in their holidays, rites, songs, dances, in which an element of competition of different groups appear expressively. Each victory advocates for the winner testimony of the power of good forces before evil, so the competitions have a sacred (sacred) meaning - this is not just a spectacle for spending free time. The Will of Gods was detected in competitions. It often happened that two troops before encountered, allocated one warrior for the fight, which could solve the outcome of the confrontation. In modern armed conflicts, the sacred moment is felt, of course, much weaker, but at all the games, as before, did not lose a competitive aspect at all.

Elements of the game The author "Homo Ludens" detects in various fields of human activity and throughout the entire history of mankind. They are present in art, poetry ("Elements and means of poetry ... It is easier to understand both game functions"), wisdom and philosophy, justice (competition of the trial, especially in the Anglo-Saxon countries) and even in the war (from the archaic competition to attempts to create international norms Maintenance of hostilities). In the same way, we can talk about the presence of game elements in a variety of cultures.

Hasing highlights whole cultures and epochs that are "under the sign of the game" (SUB SPECIE Ludi). To them, he referred, for example, Roman civilization, despite the fact that many researchers refused to her in a gaming character. But as it was possible to not notice the gaming nature of culture, whose business card was the motto of "bread and spectacle". Moreover, the role of the organizer of the latter took on not only the state, but also by individuals, and the organization of the spectacle (battles of gladiators, chariot competitions, etc.) was a matter of very expensive, often to break even very rich people. (Kozerin, Konok 2002)

The spiritual situation of Renaissance is also indicated by Haseing as a game, despite the seriousness, with which humanists approached the "resurrection" of antiquity. He likes the splendor of the Renaissance culture to a cheerful and festive masquerade, dressing up in the outfit of a fantastic or perfect past.

But, perhaps, the gaming aspects achieve their peak in the European culture of the XVII-XVIII centuries. Heating notes: To enjoy the art of Rubens, Vondel, Bernini, should not take their forms "completely seriously", it is necessary to take into account a significant playing point, manifested in their work. The forms of the baroque artificial form, more of the "artificial" forms, even when they are depicted by something sacred. Even more artificiality is manifested in a suit of epoch-fitting camisoles, short and wide pantalons, shoes overloaded with decorations (bows, ribbons, lace), wigs. Hasing, not without reason, characterizes this costume as a playful.

Finally, the Rococo era brings the element of the game to the extreme. The determination of the era, according to the author "Homo Ludens," can not do without the adjective "playful" (Speels). Whether it is about Maissen porcelain or shepherd idylli, painting Watto or poetry ass, enthusiasm Eastern or American exotic - everywhere we are faced with the game start, which are not equal in the previous history of European culture. And the game perched almost all parties to the life of the XVIII century, no wonder the name of the "century of adventurers":

"The art of government management: policies of the cabinets, political intrigues and advantages - a truly has never been to such an extent. All-powerful ministers or princes in their peaceful acts, fortunately, still limited to the incompleteness of the tool and the ineffectiveness of funds, without special concerns of a social and economic nature and not permanently shredded by renormal tips of instances, independently with a kind smile and courteous words on the lips are subjected to fatal risk and welfare His countries are as if they are going to sacrifice an elephant or a horse in a chess game. "

The elements of the game are permeated communities characteristic of this epochifice and artistic societies, religious sects and even Masonic lodges. The sophisticated public is grouped into various camps and parties for any occasion. Philosophers and scientists find adepts or ill-wishers in the society, depending on the position they are defended. In the same vein, the passion of the era should also be considered by the collection of various rarity, herbaria, minerals, etc. The ability to go to the game before the Haseing selflessness found very productive for culture - especially such as Rococo, who has found the balance of gaming and serious.

The glittering development of the game principle received in the music of the XVIII century. So in 1709 there was a contest between the city of Agendem and D.Skarlatti in the game on the Clavesis and the authority, conducted by order of Cardinal Ottoboni. In 1717, Augustus strong, Kurfürste Saxony and the King of Poland, was going to arrange a competition between I.S. Bach and L. Marshan, who were not held due to the latter failure. Finally, the gallant-e-epoch of the struggle of musical "parties": Bononchini against Handel, "Buffons" against opera, glitch against piccchini. We are not talking about the collision of the "parties" of all kinds of opera primaadn.

The XIX century, in comparison with its predecessor, radically rearranged accents in the system of value guidelines. The ideal is becoming labor and production, and the dominants of the cultural process are public benefits, education and science. The main public and intellectual currents of this century oppose the gaming factor. "He did not give food or liberalism nor socialism. Experimental and analytical science, philosophy, political utilitarianism and reformism, the ideas of manchester school are all examples exclusively and absolutely serious activities. And when the romantic inspiration was dried in art and literature, then here - in realism and naturalism, but first of all in impressionism, they began to noticeably prevail the forms of expressiveness, more alien to the concept of the game than all that previously flourished in culture. If some century perceived himself and everything is seriously serious, then it was the XIX century. "

In the XX century The first place in the game advanced sports. Competitions in force, dexterity, endurance, arts are becoming mass, accompanied by theatrical spectacles. But commerce penetrates into the sport, it acquires the features of professionalism, when the spirit of the game disappears. Everywhere thrives the desire for records. The spirit of adversary covers economic life, penetrates the scope of art, scientific controversy. The game element acquires the quality of "Puerylism" - naivety and guys. Such is the need for banal entertainment, thirst for coarse sensations, thrust for mass spectacles, accompanied by salutes, greetings, slogans, external symbolism and marchs. You can add a lack of a sense of humor, suspicion and intolerance, immense exaggeration of praise, exposure to illusions. Perhaps many of these features have met before, but they did not have that mass and cruelty, which they are peculiar in our day.

J. Haseing explains this by the entry of the semi-graphic mass into spiritual communication, the devaluation of moral values \u200b\u200band too much conductivity, which the technique and the organization attached to society. Evil passions are heated by the social and political struggle, fake makes any contest. "In all these phenomena of the Spirit, voluntarily sacrificing with their maturity, concludes y.Hyazing, - we are able to see only the signs of threatening decomposition. In order to regain the consecrated, dignity and style, the culture should go in other ways. " The foundation of the culture is laid in a noble game, it should not lose their game content, for culture implies well-known self-restraint and composure, the ability to not see in their own aspirations something ultimate and higher, but consider itself inside certain, voluntary borders. Genuine culture requires an honest game, decency, following the rules. The violator of the game rules destroys the culture itself. "In order for the gaming content of culture to be creating or aiming culture, it must be clean. It should not be in blinding or apostasy from the norms prescribed by reason, humanity or faith. " It should not be a false shine, the historical inflation of the consciousness of the masses with the help of propaganda and specially "grown" game forms. The moral conscience determines the value of human behavior in all types of vital activity, including in the game.
It should be emphasized that the book Homo Ludens was written in Black Years of Europe, the years of the onset of fascist regimes, when in Europe, the cult of propaganda, lies, violence, narrow-naughty persecution occurred in Europe. Hasing refuses these phenomena in the right to be called culture.

The fascist regime very widely used game forms - torch processions and thousands of rallies, awards and signs of distinction, parades and marches, sports and youth unions. All this did not regret money and time. It would seem that you can put the sign of equality between the game and the culture. But J. Hair publishes his book as a protest against a false game, against the use of game forms in antihuman purposes, in defense of the "real" game.

Culture arises during the game - here is the original background of the title concept. Culture is initially played. Those activities that are directly aimed at meeting life needs, in archaic society prefer to find a game form. The human hostel rises to superbiological forms that give it higher value through games. In these games, according to Heising, society expresses its understanding of life and peace.

"Do not understand the case in such a way that the game is not enough to grow or suddenly transformed into a culture, but rather, so that the culture in its initial phases is characterized by something gaming, which seems to be in the form and atmospheres of the game. In this duty of culture and games, the game is primary, objectively perceived, specifically defined by the fact, while the culture is only a characteristic that our historical judgment binds to this case. "

In the progressive movement of culture, the hypothetical initial ratio of the game and the bottom does not remain unchanged. According to Heising, the playing moment as a whole as the culture is developing retreats to the background. It is mainly dissolved, is assimilated by the sacred sphere, crystallizes in knowledge and in poetry, in the legal consciousness, in the forms of political life. Nevertheless, at all times and everywhere, incl. And in the forms of highly developed culture, the game instinct can again appear in full force, involving a separate person or a lot of people in the whirlwind of the Giant Game.

"The game cannot be denyed. You can deny almost any abstraction: the right, beauty, truth, good, spirit, god. You can deny the seriousness. The game is impossible. "

VII. Play and poetry

Sphere of poetry. - Vital feature of poetry in the field of culture. - Vates. - Poetry was born in the game. - Social poetic game. - Inga Fuka. - Pantun. - Haiku. - Forms of poetic contests. - Cours d "Amour. - Tasks in poetic form. - Improvisation. - System of knowledge in the form of poetry. - Legal texts in verses. - Poetry and right. - Poetic content of myth. - Can the myth be serious? - The myth expresses the game phase Culture. - The game tone of the youngest Eddy. - All poetic forms of gaming. - Poetic motifs and game motifs. - Poetic exercises as a competition. - Poetic language is the language of the game. - language of poetic images and game. - Poetic darkness. - Dark Lyrics Nature.

Who will try to talk about the origins of the Greek Lyubomatry, in their connection with the ancient sacred competition games in wisdom, will inevitably be that and the matter will fall on or on the face that runs between the religious and poetic methods of expression between the religious and philosophical and poetic methods. Therefore, it would be desirable to first raise the question of the essence of poetic creation. In a certain sense, this question asks the central topic of reasoning on the relationship between the game and the culture. For if the girlfriend, science, right, state administration and military affairs in a highly organized society, apparently, gradually come out of that contact with the game, which, apparently, in the early stages of culture, they were so peculiar, poetic creativity born in the sphere Games still feel in this area as at home. Rininis - a game of a gaming nature. Poetry enters the game in a certain field of the Spirit, in a certain one's own world, which spirit creates for themselves, where things have a different person than in "ordinary life", and where they are binding not logical, but other connections. If it is serious to understand what it is possible to exhaustively express in the words of wipe life, the poetry never happens completely serious. It is located on the other side of serious - in that pristine country, where children, animals, savage, clairnifants, in the kingdom of dreams, delight, intoxication, laughter. For understanding of poetry, it is necessary to break like a child's soul, as if a magic shirt, and the wisdom of a child to put the adult wisdom. Such is the last and pronounced Vico for two centuries ago the original essence of poetry, the closer to the right thing about the pure concept of the game.

Poesis Doctrinae Tanquam Somnium, Poetry - as if the dream of knowledge, reads a deep judgment of Francis Bacon. In the mythical ideas of primitive peoples on the foundations of being, as in the embryo, the meaning is already concluded, which will later be realized and expressed in logical forms and terms, philology and theology are striving to penetrate the addition of the mythological core of early beliefs. In the light of the initial unity of poetic art, sacred teachings, wisdom, the cult of all the functional importance of ancient cultures will be perceived in a new way.

The first background of such an understanding is to free yourself from the opinion that poetic art has only aesthetic function or that it can be explained and comprehended from the aesthetic grounds. In every living, blooming civilization, and above all in archaic cultures, poetry performs the vital, social and liturgical function. Every ancient poetic art is at the same time at the same time and the cult, festive fun, joint game, manifestation of art, test or mystery, wise teaching conviction, witchcraft conspiracy, prediction, prophecy, anywhere else, perhaps not to find such a striking unity of all kinds of motives as In the third song of Finnish folk epic, Kalevala. The prophetic old man Vynyamyinen is in the middle of the young Bushroom, who dared to cause him to a duel. At first, they compete in the knowledge of the nature of things, then the origin of all things, and the young Joukhainen dared to qualify for its participation in the act of creation. But then the old magician "comes" him in the ground, in the swamp, in the water: first, on the belt and to the armpits, and there the most mouths, - while he finally promises to give him his sister aino. Sitting on the song of the songs, Vynyamyinen sings three hours in a row to remove his mighty spell and smooth the reckless. All forms of competition that we reported above are: a duel in Hula and a boat, male rivalry, competition in cosmological knowledge - are connected here in a stormy and at the same time reserved stream of poetic imagination.

Poet - Vates, obsessed, inspired, frantic. He is dedicated, SJA "IR is so angry with the ancient Arabs. In the myths of Edda, the one who wished to become a poet, drinks honey, cooked from the blood of Quashir, the wisest of creatures, - after all, no one could ask a question for which He did not answer. From the poet-clairvoyant only gradually the figures of the prophet, priests, a priest, a miniature, a poetry, a demagogue, Sofist and Riotor, a legislator, speaker, demagogue, Sofist and Riotor. On the ancient poets of Greece, a clearly social function is still entrusted. They appeal To the people, exhort and instruct it. They lead the people, and only later come spitters.

The Wattes Figure in some of her faces is in the ancient Yellow literature Thulr, called the Anglo-Saxon Thyle. An impressive example of Tula - Starcade; Sakson Grammar correctly translates this word as Wattes. Tul performs on several fields: then prosecutive liturgical formulas, as the performer in a sacred dramatic representation, then bringing a sacrifice, as a wizard. Sometimes he seems to be nothing more than the court poet and speaker. And even the word scurra, the crumble, also transmits his craft. The appropriate verb of thylja means to utter the necessary words during worship, as well as to spend or mumble only. Tul is the keeper of all mythological knowledge and all poetic legends. This is a wise elder, whom the history and traditions, whose word sounds during the celebrations, who can lead the genealogies of heroes and know. His case is the advantage of competing in eloquence and in all kinds of knowledge. In this function we encounter it in the Unfer of Beowulf. MANNJAFNA6R, what we have already spoken earlier, or compete with giants and karlants are also included in the field of activity Tula. The famous Anglo-Saxon poems Watchid and a wanderer can be considered typical specimens of creativity of such versatile Poets. All these features are completely naturally built by the image of an archaic poet, whose function at all times was, apparently, and sacral, and literary. And this feature, sacred or not always be rooted in a particular form of the game.

If you add a few more words about the ancient German type of Wattes, then it will not seem at all a risky desire to detect the descendants of Tula in the feudal Middle Ages, on the one hand, in the face of Spielman, Jongler, on the other - also in Gerold. The task of these latter, which had already been discussed in connection with competitions in Hula, in a significant part was common with the task of Kultredner ("cult speakers") of antiquity. They are keepers of history, traditions and genealogy, Vities during celebrations, where are primarily housing or well. Poetry in its initial function of the early culture factor is born in the game and as a game. This is a holy game, but also in its involvement of holiness, it constantly remains on the verge of entertainment, jokes, frivolism. There is still no speech about the conscious satisfaction of the desire for a beautiful long time. It is unconsciously contained in the experiences of the sacred act, which in the word becomes a poetic form and is perceived as a miracle, as a festive intoxication, like ecstasy. But this is not all, because at the same time poetic skills also bloom in joyful and exciting mass games and in passionate, exciting group competitions, ordinary in archaic society. Nothing could be more nutritious soil for the explosion of poetic feelings than the joyful festivities of the rapprochement of floors for the celebration of spring or other major events in the life of the tribe.

This last aspect we wanted to touch - poetry as a form captured in the word, all the newly repeated game of attraction and repulsion between young men and girls, in competition of comic wit and virtuosity - in itself, is undoubtedly the same, as is the purely sacral function. Poetic art. A rich material concerning this time somewhat intricate the socially agonal poetry, which still declares itself as a game within the framework of this culture, brought with him de Josselin de Jong from the expedition to the island of Burur and Babar Ost-India Archipelago. Thanks to the courtesy of the author, I can give some items from not yet published research. Residents of the Middle Buru, or Wound, know the festive alternate singing, called Inga Fuka. Sitting against a friend, men and women accompanied by drums sing each other songs that they either reproduce or improvise. There are not less than five types of inga foca singing. All of them are based on the alternation of stanza and antistroy, stroke and controversy, question, and response, lunge and backstage. Sometimes they are close to the riddle. The most important of them is called "INGA-FUKA OF PRESIDENT AND SUBJECT", and each vehicle begins in words: "For each other, follow-up," as in the children's game. The formal poetic agent here is Assonance, connecting the Tesu and Antithesis by the repetition of the same word, varying words. Poetic acts here as a sense game, lunge, hint, the game of words, as well as the game of sounds, where the meaning sometimes is completely lost. Such poetry is amenable to description only in terms of the game. It is subordinate to the fine scheme of the rules of request. Its content is a love hint, instruction in everyday wisdom, as well as knuckles and ridicule.

Although the inga foca is fixed by the legacy of the stanza transmitted from generation to generation, there is a place for improvisation. Already existing plugs are improved by successful additions and variations. Virtuosity is valued especially high, there is also no shortage in fiction. The mood and the impact of the specimens given in the translation of this poetry resemble Malay Pantun, from which literature about. The boor is not quite independent, but also a very distant shape of a Japanese hayk.

In addition to the Inga Fuka itself, the inhabitants of the wound know other forms of poetry based on the same formal principle - as, for example, a very thorough exchange of views on the scheme of the "preceding-and-submission" between the birth of the bride and groom in the ceremony of the exchange of gifts on the occasion Weddings.

A completely different kind of poetry discovered de Josselin de Jong on about. Vetan Babar Group of Southeast Islands. Here we face exclusively with improvisation. Babara residents sing a lot more than the inhabitants of Buru, both together, and alone, and the greatest part during work. Keeping in Croomes Coconut Palms to Pressing Juice, men sing then sad songs - complaints, then mocked songs, addressing a friend sitting on the next tree. Sometimes these songs are moving to a fierce song duel, which previously brought to a mortal battle and even the murder. All these songs consist of two lines that differ as a "trunk" and "crown", or the "top", however, the "Question-answer" scheme is no longer absent, or is not pronounced enough. For the poetry of Babara, the fact that the effect is searched mainly in the game-varying of song melodies, and not in the game with the values \u200b\u200bof words or language consonents.

Malay Pantun - Quarters with cross rhythm, where the first two lines cause some image or a certain fact, and the last two completed verse with a fairly remote hint, - detects all sorts of mental features. The word Pantun right up to the XVI century. Meaning, as a rule, comparison or proverb and only in the second place - katro. The final string is called Djawab in Yavansky language - the answer, permission. So, it is obvious that all this was a mystery game before it became a common poetic form. The raying grain is concluded in the hint, he inspires the rhymed consonance.

It is relatively close to Pantun, without a doubt, a Japanese poetic form, commonly called Haiku, in its modern form - a small poem of three lines of five, seven and five syllables, respectively. It usually transmits only a subtle impression inspired by paintings from the life of plants, animals, people, nature, sometimes with a lyrical sorrow or nostalgic sadness, sometimes with a tint of the lightest humor. Here are two examples.

What alarmed
on the heart! Let us be gone
in the messenger willow.

Kimono dry
in the sun. Oh, the sleeve
dead crumbs!

Initially, the haiku, too, apparently, was a first-chained rhyme rhyme, where one began, and the other had to continue.

The characteristic form of gaming poetry we find in the preserving the customs of reading Kalevaly, when two singers, sitting on the bench against each other and holding hands, swinging back and forth, compete in the pronunciation of stanf. A similar custom is already described in the ancient Sagah.

The session as a public game, with the intention, which can hardly say that it is aimed at bringing the beautiful, occurs everywhere in a variety of forms. At the same time, the element of the competition is rarely absent, which affects the alternateness of singing, in the poetic dispute, the poetic tournament, on the one hand, on the other - in improvisation as a way to be freed from one or another prohibition. It is striking that the latter is very close to the motif of the sphinx riddle, which was already mentioned above.

The rich development of all these forms is found in East Asia. In its fine and ingenious interpretation and reconstruction of the ancient Chinese texts, the grain gave abundant examples of choirs with alternation of the icing and responding stanza; These obstacles performed by young men and girls sounded in ancient China on holidays dedicated to the change of seasons. Watching this still live custom in Annama, Nguien Van Juan could fix it in his work that we have already mentioned on another occasion. Sometimes, at the same time, poetic argument - in order to achieve love - is built on the strip of proverbs, which, whereas indisputable evidence reinforce the arguments. The same form: the proof where every coupler ends with the proverb, - was used in the French Debats XV century. If you put on one side of the festive songs in defense of love now, as they meet in a poetic form in Chinese literature and in the Annamics folk lifestyle, and on the other side - the ancient human markets in Hula and boasting, called Mofakhara and Monafara and full insults and slander, and Also drum fights in the Eskimos, which replaced them with legal proceedings, it becomes clear that in this row there is a place for the court Cour D "Amour times of the troubadurov. After the old thesis was well rejected, according to which the Poetry of Troubadurov was displayed from the practice of such vessels of love And it was explained by her, in Romanesque philology, a controversial question remained whether these Cours D "Amour existed really or should be considered as a literary fiction. Many were leaning towards the latter, but no doubt came into this too far. The court of love as a poetic game in justice, with its definitely positive practical value, is also well replied by the businesses of Languedoc XII century., As well as the customs of the Far East and the Far North. In general, the scope of action in all these cases is the same. Here we are talking about the gaming form of an exclusively controversial and casuistic treatment with questions of a love nature. Also, the Eskimos beat the drums mostly in cases associated with women. Love dilemma and Catechisis of Love make up the subject of consideration, the purpose of which is to protect the reputation, meaning nothing but the honor. The legal proceedings with the removal of evidence from the analogies and precedents are reproduced. From the genres of Poetry Troubadur Castiamen - a complaint, Tenzone - Spread, Partimen - alternate singing, Joc Partit - the game of questions and answers are in the most close connection with the songs in defense of love. At the beginning of all this is not actually legal proceedings, but the most ancient match for the sake of honor in the affairs of love.

In the light of gaming culture on an agonual basis, other forms of poetic game should be considered. For example, the task may be to find a way out of a predicament with the help of poetic improvisation. Here, again, the question is not whether such a practice was accompanied in any period of the history of culture sober life of everyday life. It is important that in the game motive, inseparable from the game riddles, and in fact, the identical game in the Phanti, the human spirit has seen the expression of the struggle for life and that the poetic function, consciously in any way aimed at creating a wonderful, found in such a game to the highest degree fruitful Soil for the development of poetic art. We turn first of all for example from the sphere of love. Pupils of a certain Dr. Tana on the way to school each time passed by the house of one girl who lived next door to the teacher. And with this every time they said: "You are so good, well, the right, true treasure." Having become angry, she listened to them once and said: "So, in your opinion, I am good. Well, I'll tell you one phrase you. And who of you can answer this, that I am loved; otherwise Let you be ashamed to proceed by my door. " And she said this phrase. None of the disciples could answer her, and in the following days they had to get to the house of their teacher at the same way. Here is the epic slyamvara, and the matchmaker to Bruunhild in the form of idyll about the rural school in Annama.

The ability to improvise in verses, in parallel, the string behind the line was in the whole Far East talent, without which it was almost impossible to do. The success of the Annamics Embassy to the Beijing Dvor was often depended on the improvisatory talent of his leader. Every minute it was necessary to be ready to answer countless questions and all kinds of riddles that the emperor asked and his tangerines. A kind of diplomacy in the form of the game.

The mass of useful information was reported in the poetic form of questions and answers. The young man is woven, the girl meets consent. Future newlyweds want to open a shop together. The young man asks the girl to call all medicines. And immediately follows the full list of Pharmacpei. The same outlines the art of the account, product information, the use of the calendar in agriculture. Sometimes it's just a mystery of the intelligence that lovers are experiencing each other, or the case concerns knowledge in the literature. Above it has already been indicated that the form of catechism is directly closed to the riddles. In fact, it is also a form of exams that have such exceptional importance in the public building of the countries of the Far East.

In more developed cultures, the archaic position continues to be maintained for a long time, when a poetic form that is perceived not only as satisfying a purely aesthetic need, it serves to express all that is important or vital for the existence of society. The poetic form is preceded by a literary prose. All that is sacred or highly commonly stated by poems. Not only hymns or parables, but also the extensive treatises are built along the usual metric or stubbic scheme: such are the Ancient Indian educational books, sutras and sastras, and equally the ancient creations of the Greek scholarship; The poetic form casts his philosophy of EmPedocle, and still Lucretia follows him in this. Only in part can be explained by the poetic form of the presentation almost all the teachings of antiquity of the idea of \u200b\u200butility: they say, without having books, society is thus easier stores its texts in memory. The main thing is that, if you can put it, life itself in the archaic phase of Kul-tours still builds itself metric and stubbly. The verse still looks like a more natural means of expression, if it comes to the sublime. In Japan, until the coup of 1868, the essence of serious state documents was set forth in poetic form. The history of rights with special attention refers to the footsteps of "poetry in the right" ("Dichtung Im Recht") found on the German soil. The place is widely known from the Ancient-Christ law, where the definition of the need to sell the inheritance of orphans suddenly flows into lyrical alliteration:

"The second need is as follows: if the year will fall out, and he wanders the hunger on the country, and about the child will die with hunger, then let the mother sell the child's inheritance and buy him a cow and a branch, etc. - the third need: if child Not at all and goals, and the harsh blades and winter sizzle are nearing, everyone hurries to the court to his yard, his house, in a warm lair, a firing beast is looking for hollow tree and quiet under the hill, where he can save his life, then crying shouting helpless child, and mourns her bare feet, his bare hands, his carelessness, his father, who was supposed to defend him from hunger and molly winter, and he lies, buried, so deeply and in such darkness, under the ground, for four nails, under the oak lid. "

Here we are dealing, in my opinion, not with the intentional decoration of the text by the invasion of game elements, but with the fact that the statement of legal formulas was still in a high spiritual sphere, where the poetic usament was a natural expressive means. It is this sudden breakthrough to poetry especially characterized by the above example from the Frisian law, in a sense, even more convincing than one old-visa redemption (Thrugg6Attal), which speaks the world's restoration of all allyterizable stanodas, testifies to the payment of Dani, stricter measures all new Browse, and then, arranged that the one who breaks the world will be deprived of the world everywhere, the very unfolding images stretching this "everywhere" up to the most distant limits.

Here, still, we are clearly dealing with a purely literary development of a certain case from the field of law; Hardly these verses could ever serve as a document that has practical strength. All this is vividly places us in that atmosphere of the pristine unity of poetry and sacred sayings, which this relationship is just evidenced.

Everything that poetry grows in the game: in the sacred game of worshiping the gods, in the festive game of courtship, in the fighting game of the fight with pravabla, insults and a mockery, in the game wit and resourcefulness.

What extent preserves the game property of poetry with the development and growth of the originality of culture?

Myth, in whatever shape it retains the tradition, there is always poetry. In the ways of poetry, the means of imagination, he conveys a story about things, which seem to be entitled. He can be full of the deepest and most sacred meaning. Apparently, he expresses communications that can never be described rationally. Despite the sacred, mystical character inherent in myth at that stage of the culture, which he corresponds to and to which it relates, - that is, with the full recognition of unconditional sincerity, with which it was then approached, - the question remains invariably, whether the myth can ever be Or named completely serious. Myth is serious as much as serious poetry can be. In the total flow of everything that goes beyond logically suspended judgment, and poetry, and myth rushes to the game area. But it does not mean at all - the area is lower. Perhaps such that the myth is playing - it takes to height, where the mind is not able to follow him.

The border between the thoughtful as possible - and impossible the human spirit spends gradually, as the culture grows. For a savage with its limited logic of the ordering of the world, actually everything is possible. Myth, with his incredible absurdities, with its immense exaggeration and confusion of relations and connections, with his carefree inconsistencies and inherent in the game variations, it does not seem inconceivable to him. And yet I will ask you if the savage was having a savage for his faith in the most sacred myths from the very beginning a certain element of humor is noticed? Myth, together with poetry, is born in the field of the game, but also faith savage, like his whole life, more than half lies in the same sphere.

As soon as the myth becomes literature, that is, in the established form of a legend is made by the property of culture, which is extinguished from the sphere of imagination of a primitive person, it falls under the influence of the distinction of the game - and seriousness. He is sacred, hence he cannot but be serious. But he still continues to speak in the language of a primitive person, that is, in a language expressing figurative views, where the opposition of the game and seriousness does not make sense. We have long been so hot with the images of Greek mythology and are so ready in our romantic admiration to put the images of Eada next to them, that, as a rule, we are prone not to notice how the barbaric are those and others. Only a collision with a much less affected by the ancient Indian mythological material and unbridled phantasmagories from all kinds of ends of the Earth, which, according to the will of the ethnologists, rush to our mental eyes, leads us to the opinion that with attentive consideration of the figures for Greek or ancient German mythology in their logical and aesthetic qualities, Not to mention ethical, quite or almost at all differ from the unrestrained fantasy of the ancient Indian, African or Australian mythological material. In accordance with our standards (which, naturally, cannot be taken over the last word in scientific research) and those, and others, as a rule, are deprived of style, the same tasteless and fresh. Language of savages - all these adheres of Hermes, as well as Odin or Torah. There is no doubt: at that time, when mythological representations are transmitted in any well-established form, they are no longer responding to the spiritual level achieved by this time. Myth in order for it to be read as a sacred element of culture, now needs either in mystical interpretation, or should be cultivated exclusively as literature. As the element of faith disappears from the myth, the game tone peculiar to him initially sounds more stronger. Already about the Homere can not be talked as a believer. Nevertheless, myth as a poetic form of the expression of the Divine, even after the loss of the previous value of them to be adequately reproducing the entire compound, continues to maintain an important function and besides purely aesthetic. Aristotle and Plato still set out the deepest essence of their philosophical thought in the form of myth: Plato is a myth about the soul, Aristotle has an idea of \u200b\u200bthe love of things to a stationary worldwide.

To understand the playing tone inherent in myth, no mythology can be clearer than the first treatises of the younger Edenda. Gylfaginning [Gulvi's Vision] and SkaldskaParmal [Poetry Language]. There is a mythological material, entirely and fully the literature, the literature, which due to its pagan character would have to be officially rejected, but that, nevertheless, the property of culture was in honor and in the go. The authors were Christians and even people of spiritual title. They describe mythical incidents in a tone, in which the joke and humor are clearly audible. However, this is not a tone of a Christian, which, by virtue of his faith, feels asked himself over the defeated paganism and mocks him, and even less tone of the convert, which fights with the past as a devilish darkness, is rather tone half of faith, half the seriousness, as he is Present in mythological thinking, the tone, which in the former good pagan times, apparently, hardly sounded otherwise. The combination of ridiculous mythological topics, pure primitive fantasy - as, for example, in narrations about Hrunner, Groa, AURVANDILE - and highly developed poetic techniques, in the same way consistent with the essence of the myth, which is always consistently directed towards the most sublime form of expression. The name of the first treatise GYLFaginning, that is, the drawing of Gulvi, gives a lot of food for reflection. It is written in the old form of a cosmogonical dialogue with questions and answers. Similar speeches leads the torus in the wards of Utgard-Loki. About the game here rightly says G. Nekel. Ganglery asks the ancient sacred questions about the origin of things, the wind, about winter and summer. Answers offer a raystery not otherwise as in the form of a bizarre mythological figure. The beginning of the SKALDSKAPARMAL tract is also completely in the field of the game: Primitive deprived style of fantasy about stupid giants and evil, cunning Karlah coarse, causing laughing incidents, wonders that in the end the essence of nothing but a deception of feelings. Mythology in its final stage, there is no doubt about it. But if it appears to be a fresh, ridiculous, delranously fantastic, you should not take these features for the later, recent distortion of heroic mythology began. On the contrary, they are all - and just because they are deprived of the style - originally belonged to the area of \u200b\u200bthe myth.

Poetic forms are diverse: metric forms, stubphic forms; Poetics such as rhyme and assembly, alternation of stanza and refrain; Such forms of expression, like dramatic, epic, lyrical. And all these forms were numerous, in the whole world, they are not different as exclusively to them like. It is true for the motives in poetry and in the narration in general. Their number seems unawrtable, but they are all returning - again and again, everywhere and at all times. All these motifs and forms are so familiar to us that for us one existence would seem to be already talking for itself, and we rarely wonder about the all-pervastant base, which put them to be such, and not otherwise. This is the foundation of the far extended uniformity of poetic expressiveness into all the periods known to us the existence of human society, apparently, should be pretty much in the fact that this kind of self-expression of the creative word is rooted in the function, which is older and pristized by all cultural life. And this feature is a game.

Let us sum up again, what kind of signs of the game are actually presented. This is some behavior carried out at certain boundaries of the place, time, sense, the viewing orderly, flowing according to voluntarily adopted rules and beyond the sphere of material benefits or necessity. The mood of the game is the mood of abundance and delight, sacred or festive, depending on whether the game is a sacred or fun. Such behavior is accompanied by a sensation of tension and lifting and brings with them the removal of voltage and joy.

It is hardly possible to deny that this area of \u200b\u200bthe game belongs by its nature all types of poetic form: metric or rhythmic membership of the pronouncing or surrounding speech, accurate contact with rhymes and associates, a particular concealment of the meaning, skillful construction of the phrase. And one who, together with the Valerie field, calls poetry the game, namely, the game with words and language, does not resort to the metaphor, but grabs the deepest meaning of the word of poetry.

The relationship of poetry and game affects not only the external form of speech. It is equally tangible to the forms of figurative embodiments, motifs and their versions and expressions. Whether we have a deal with mythical images, with epic, dramatic or lyrical, with the sagas of the old days or with a modern novel - everywhere there is a conscious or unconscious goal: through the word to cause mental stress, causing the attention of the listener (or reader). Always envisaged here is an accurate hit, achieving an expressive effect. The substrate is always the case of human life or the moment of human experience, capable of transmitting this sincere voltage. All these cases and moments, however, are few. In the broadest sense, they can be reduced mainly to the situations of struggle, love or both together. Thus, we have already approached the area, which it was believed to turn on as a generalizing part in the value of the category of the game, - namely to rivalry. In the vast majority of cases, the central theme of some poetic and in general, the literary integer is the task that the hero has to be performed, the test, which he must be subjected to, the obstacle that he must overcome. The very name of the hero or protagonist for the active person of the narrative is already talking about many. The task before him should be unusually difficult, it would seem impracticable. It is most often related to the challenge, with the execution of some desire, with the test of skill, promise or vow. Immediately it is clear that all these motives directly return us to the game-match game, agona. The second series of motives causing stress is based on the Hero's personality concealment. He is unrecognizable as he is in fact, because he hides his essence, because he himself does not know or can change, transform his appearance. In a word, the hero performs in a mask, disguised, under the cover of the mystery. And again we are in the possessions of the ancient sacred game, the innermost essence of which opens only dedicated.

An integral from the contests, almost always placing the goal to surpass the opponent, the archaic poetry is hardly separated from the fourth fight with mystical and intricate riddles. How rivalry breeds wisdom, so the poetic game creates a beautiful word. Both are subject to the system of the game rules, defining and terms of art, and symbols, both sacral and purely poetic; Most often they are essence, both. And the competition in riddles, and poetry suggests a circle of dedicated to which used and there, and there is a special language. The significance of the solution in both areas is depends only on the question whether it corresponds to the rules of the game. The poet is the one who is able to speak in the language of art. The language of poetry differs from the usual language in that it intentionally uses special images that are not understood by everyone. Every language expresses itself in images. The abyss between the existing and comprehended can be overcome only by flying through it the spark of imagination. Captured with the word The concept is destined to always remain inadequate flow of life. Programmed in the image of the word clothes the things of ex-presses, highlights their rays of concepts. While the language of everyday life, it is practically and universally used tools, invariably erases the imagery of the words and expressions used, suggesting their strictly logical independence, poetry deliberately cultivates the image generated system.

The fact that the language of poetry does with the images, there is a game. It is she who has them in the stylistic orderliness, she climbs them with secrets, so every image - playing - permits some kind of riddle.

In archaic cultures, the poetic language is still a predominant means of expressiveness. Poetry performs a wider, more vital function than satisfying literary aspirations. It transfers the cult on the word itself, it makes judgments in the field of social relations, it becomes carrier of wisdom, law and custom. All this she does, without changing its gaming entity, because the pristine culture does not go beyond the scope of igro. Forms of its manifestation - mostly universal games. Even useful activities proceeds in the advantage of one or another connection with Igor. As the spiritual and material development of the culture, those areas are expanding, where the features of the game are missing or poorly, - at the expense of those where the game does not know obstacles. Culture generally acquires seriousness. Law and war, knowledge, technique and crafts, seems to lose contact with Igro. Even the cult, in the holy attraction, who had once extensive opportunities for expressions in a game form, will affirm, apparently, this process. Poetry remains the stronghold of the flowering and noble game.

The gaming nature of the language of poetic images is so obvious that it is hardly necessary to prove it using numerous arguments or illustrate those or other examples. Based on the substantial value that poetry classes were represented for archaic culture, there is nothing to be surprised that it was there that the technique of poetic art developed to the highest degree of rigor and refinement. It is here that it is about the code of carefully painted rules subordinate to the strict system that have forced strength and at the same time with infinite possibilities of varying. This system as some noble science preserves and reproduces the tradition. It is not by chance that such a sophisticated cultivation of poetry art can be noted equally in two peoples, who in their very remote land from each other almost no contact with richest and more ancient cultures, able to influence their literature: this is an ancient Arabia and Iceland Edda and sag. Let us leave aside the features of the metric and aside and illustrate what was said on a single example, namely the Ancient Yellow Kenning.

The one who calls the "Spike Speech" is the language, the "bottom of the chamber of the winds" - the land, the "wolf of the wood" - the wind, whenever I ask my listeners a poetic riddle, which they silently guess. And the poet, and his opponent should be known hundreds of such mysteries. The most important things, for example, gold were endowed with dozens of poetic names. One of the treatises of the youngest Ededy, SkaldskaParmal, that is, the language of poetry, lists countless poetic expressions. Kenning serves as a latter and check of knowledge in the field of mythology. Each of the gods have many nicknames hinting on his adventure, his appearance or relationship with cosmic elements. "How do Heymdal describe? It is called the son of nine mothers, or the guard of the Gods, or White Asom, the enemy of Loki, those who found Frey's necklace", etc.

A close connection of poetic art with a mystery gives himself many signs. It is too clear from scalds by technical blunders. There is an ancient requirement that the ancient Greeks once adhered: it states that the word poet should be dark. Troubadurov, whose art, how no other demonstrates its function of a joint game, Trobar Clus, literally closed poetry, poetry with a sweaty meaning, was revered as a special merit.

Modern directions in lyrics, who are deliberately rushing to what is not available for everyone, and the mysteriousness of the meaning of the word makes the main point of their creativity, thereby remain completely true to the essence of their art. Together with the narrow circle of readers, understanding their language, in any case, familiar with him, such poets form a closed cultural group a very ancient type. That's just the question, whether the surrounding culture is able to sufficiently appreciate and recognize them in poetry, so that the channel formed, in which their art could fulfill their vital function constituting the meaning of its existence.

Sphere of poetry. - Vital feature of poetry in the field of culture. - Vates. - Poetry was born in the game. - Social poetic game. - Inga Fuka. - Pantun. - Haiku. - Forms of poetic contests. - Cours d "Amour. - Tasks in poetic form. - Improvisation. - System of knowledge in the form of poetry. - Legal texts in verses. - Poetry and right. - Poetic content of myth. - Can the myth be serious? - The myth expresses the game phase Culture. - The game tone of the youngest Eddy. - All poetic forms of gaming. - Poetic motifs and game motifs. - Poetic exercises as a competition. - Poetic language is the language of the game. - language of poetic images and game. - Poetic darkness. - Dark Lyrics Nature.

Introduction 3.

1. Game concept of culture 5

2. Game features 7

3. Signs, functions and laws of the game 9

4. Game element in different fields of activity 12

4.1. Game in legal proceedings 12

4.2. Manifestation of the game in the war 15

4.3. Poetry in the game as verbal contest 16

4.4. Music and dance 17

4.5. Sport as game 18

Conclusion 20.

References 21.

Introduction

Johan Hasing (1872-1945) - Dutch cultureologist. He considers non-existent objective laws of history and, therefore, it is impossible to build an objective historical and cultural theory. The goal and the way of knowledge, he sees in identifying the main moods and the worldview of the era, which is achieved through the "Survey" of the researcher in the spiritual essence of events. Its main works are the "autumn of the Middle Ages", "in the shade of tomorrow: an analysis of the cultural ailment of our time", "man and culture".

Haseing believed that the normal state of culture could be in the presence of three conditions: the equilibrium of spiritual and material values; focus on the ideal going beyond individuality; and domination over nature. The absence of these conditions determines the depletion and deckling of European culture.

The scientist encourages society to self-protection. Do not hoped for mind and science, he advises to limit the rights of the mind to give the place of faith.

One of the most famous works of Heising, which won extraordinary popularity, was the work of Homo Ludens (1938), which is characterized by a new approach in illumination of the essence, origin and evolution of culture. It contains the cultural concept of J. Heising. In the preface, he wrote that human culture occurs and deployed in the game. ". The book has a subtitle" Experience of determining the playing element of culture ". In this work, he tried to" make the concept of the game, as far as I can express him, part of the concept of culture as a whole. "

This belief originated from him in 1903, and in 1933 he dedicated to this problem with introductory speech when elected by the Rector of the University of Leiden, calling it "on the borders of the game and serious in culture." Then these ideas expounded in Zurich, Vienna, London in the reports "Gaming Element of Culture". In this work, the humanistic, lifeless, morally bright, creative world J. Hezinggi was most fully embodied, his Menonite Education was manifested.

The original concept of culture as the game is deployed in the work of Y. Hasing "Homo Ludens". Generic, or universal, characteristic of a person attracted many: Homo Sapiens - a reasonable man or Homo Faber - a man creator, such definitions have become common. J. Hasing, without rejecting them, chooses another aspect, believing that "human culture arises and deployed in the game as a game."

"There is one old thought, testifying that if we consider everything to end everything we know about human behavior, it will seem just igro. To the one who is satisfied with this metaphysical statement, there is no need to read this book. For me, it does not give any reason to evade attempts to distinguish the game as a special factor in everything that is in this world. For a long time, I have ever more definitely went to the conviction that human culture arises and unfolds in the game as a game. "

The book consists of 12 chapters. They reveal such problems as nature and the value of the game as the phenomena of culture; Concept and expression of the concept of the game in the language; Game and contest as a function of forming a culture. In these chapters, the theoretical concept of the game is determined, its genesis, the main signs and the cultural value of the game in the life of the peoples of various historical eras are investigated. Then heating moves to the analysis of the game in various spheres of culture: game and justice; Game and war; Game and wise, game and poetry, game forms of philosophy; Gaming forms of art. This book ends with the consideration of game elements in the styles of various cultural eras - in the Roman Empire and Middle Ages, Renaissance, Baroque and Rococo, Romanticism and Sentimentalism. In the final XII chapter of the "Game Element of Modern Culture", the author appeals to Western culture of the 20th century, exploring sports games and commerce, the game content of art and science, gaming customs of parliament, political parties, international politics. However, in modern culture, he reveals the signs of threatening decomposition and loss of game forms, the spread of false and deception, violation of ethical rules ("Game Rules").

1. The game concept of culture.

In its fundamental work "Homo Ludens. The experience of studying the game element in culture" Hözing suggested rethinking the concept of culture, based on the presence of a game element in cultural life. Interest in the game is not accidental in the cultural philosophy of the twentieth century - this is a kind of form of self-consciousness of the era, when the demand for the game (sports, quizzes, crosswords, etc.) is extremely increasing in the life of life, which is an attempt to escape from the extreme politicization and ideology of life.

Hözing considers the history of culture as a replacing cultural and historical integrity, which interacts the many elements associated with the spiritual life and the work of man. Their difference is manifested in the relationships in them "games" and "seriousness". According to Hasing, it is the game that is more than labor that was a formative element of human culture, as it performed a wider vita function than practical, utilitarian activities. The game is "the expression of a vital struggle", the very deep manifestation of life. The game "is gained in the field of the activity of the Spirit, in the spirit created for himself, where things are different than in the" ordinary life ", the face and are interconnected by other, not logical, connections .. it stands on the other side of serious ... "Long before a person has accumulated the strength to change the world around him, he created his" Wednesday "in the field of the game. The function of the game, approves Haseing, "older and prone to all cultural life." "Playing older culture. Animals play just like people." The fundamental factors of the game were already in the life of animals: a fight, demonstration, challenge, praise, dishwasiness, pretense, restrictive rules: Peacocks bloom the tail and demonstrate their outfit, TETEREVA perform dancing, crows compete in flight, shahals decorate their nests ... "Competition and performance Therefore, do not occur from culture as entertainment, but precede culture. "

In his opinion, if you analyze any human activity to the very limits of our knowledge, it will seem no more than playing. The culture is gaming. The game is considered not as a biological function, but as a phenomenon of culture and analyzed in the language of cultural thinking. The concept of culture is usually associated with the human community. Human civilization did not add any significant sign to the overall concept of the game. All the main features of the game are already present in the animal game. "The game as such overcomes the framework of biological or, in any case, purely physical activity. The game is a meaningful function with many mismages. "

The game, how she understands Hasing, this is "the action flowing at a certain framework of place, time and sense, in the foreseeable order, according to voluntarily accepted rules and outside the sphere of material benefits or necessity. The mood of the game is an extension and inspiration - a sacred or just festive. The action itself is accompanied by feelings of lifting and voltage, and brings with me joy and discharge. " The game is always freedom of a person, and not oppressive dependence on the circumstances, and inspiration from its capabilities, which gives the scope of life forces, stimulates the improvement of a person, and all this on the verge of jokes, entertainment, the imperishability of human passions and emotions.

In archaic cultures, he finds Haseing, the game covered all spheres of life, and therefore the opposite of the "game" and "seriousness" does not matter.

In later epochs there is a separation of the sphere "Games" and "seriousness". This is due to the infinite differentiation of culture.

In the 20th century, hesing claims, there is almost a complete loss of the game element, the culture becomes too serious, and therefore there are all signs of decline today. One such signs is, for example, "Puerylism" (from Lat. Puer - a child) of a modern Western society, when there is a mixing of imaginary seriousness and misunderstood the game. At the same time, Hasing warns that a real game should be distinguished from "purple", consciously guys, infantile Balagan, which is increasingly immersed by modern civilization. This is, on the one hand, the infinite pseudo-solente political burning (election companies, intrigues, the fall of the cabinets, etc.), and with another-aspect of games that cease to be simply entertainment (professional sport).

Exercising "Diagnostics of the evil of our time", Hasing notes that the lack of genuine noble game deforms the personality, disgusts it from the mind. There is an irrationalization of culture, turning to the culture of the instinct. The game concept of the Haseing culture, to a certain extent, the bold hypothesis of a humanist, who knew the terrible essence of fascism on his own experience and tried to protect the identity in the modern world.

2. Characteristics of the game.

"The game is isolated from the" ordinary "life a place of action and a duration", that is, has its own playing space. "Inside the gaming space reigns its own, unconditional order." The procedure is created by the rules that cannot be disrupted, because then the entire game building collapses. This game is a "free action", it is not related to material benefit, but gives joyful arousal, reveals human abilities, splits groups. The game brings up a "Public Man", capable of voluntarily and consciously participating in the life of the team, suppress its selfish interests, guided by the concepts of solidarity, honor, self-denial.

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