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Toy Stories: Analyzing the Child in Nineteenth-Century Literature explores the stakes of recurrent depictions of children's violent, damaging, and tenuously restorative play with objects within a long nineteenth century of fictional and educational writing. As Vanessa Smith shows us, these scenes of aggression and anxiety cannot be squared with the standard picture of domestic childhood across that period. Instead, they seem to attest to the kinds of enactments of infant distress we would normally associate with post-psychoanalytic modernity, creating a ripple effect in the literary texts that nest them: regressing developmental narratives, giving new value to wooden characters, exposing Realism's solid objects to odd fracture, and troubling distinctions between artificial and authentic interiority. Toy Stories is the first study to take these scenes of anger and overwhelm seriously, challenging received ideas about both the nineteenth century and its literary forms. Radically re-conceiving nineteenth-century childhood and its literary depiction as anticipat­ing the scenes, theories, and methodologies of early child analysis, Toy Stories proposes a shared literary and psychoanalytic discernment about child's play that in turn provides a deep context for understanding both the “development” of the novel and the keen British uptake of Melanie Klein's and Anna Freud's interventions in child therapy. In doing so, the book provides a necessary reframing of the work of Klein and Freud and their fractious disagreement about the interior life of the child and its object-mediated manifestations.

HISTOIRE JEU SCIENCE: les combinaisons que suggère ce triptyque sont exploitées ici de manière très diverse. La littérature interroge l'Histoire, mais elle prend aussi place dans ses réseaux. La science est à la fois l'objet des textes et le discours qui permet d'en explorer les conditions fondamentales. Le jeu qui s'interpose ouvre l'aire de la création et propose une ouverture à l'imagination et à la fantaisie. Ce recueil veut se positionner au carrefour des littératures européennes, au centre des discussions actuelles sur la méthodologie et la déontologie, au coeur d'un débat sur la présence du livre à l'heure des cultures virtuelles. Avant tout pourtant ce sont la joie de lire, le bonheur devant la richesse des textes et le plaisir que procure une réflexion partagée qui ont inspiré les auteurs de ce livre.

Collecting diverse critical perspectives on the topic of play—from dolls, bilboquets, and lotteries, to writing itself—this volume offers new insights into how play was used to represent and reimagine the world in eighteenth-century France. In documenting various modes of play, contributors theorize its relation to law, religion, politics, and economics. Equally important was the role of “play” in plays, and the function of theatrical performance in mirroring, and often contesting, our place in the universe. These essays remind us that the spirit of play was very much alive during the “Age of Reason,” providing ways for its practitioners to consider more “serious” themes such as free will and determinism, illusions and equivocations, or chance and inequality. Standing at the intersection of multiple intellectual avenues, this is the first comprehensive study in English devoted to the different guises of play in Enlightenment France, certain to interest curious readers across disciplinary backgrounds.

Rulers of Literary Playgrounds: Politics of Intergenerational Play in Children's Literature offers multifaceted reflection on interdependences between children and adults as they engage in play in literary texts and in real life. This volume brings together international children's literature scholars who each look at children's texts as key vehicles of intergenerational play reflecting ideologies of childhood and as objects with which children and adults interact physically, emotionally, and cognitively. Each chapter applies a distinct theoretical approach to selected children's texts, including individual and social play, constructive play, or play deprivation. This collection of essays constitutes a timely voice in the current discussion about the importance of children's play and adults'contribution to it vis-à-vis the increasing limitations of opportunities for children's playful time in contemporary societies.

Alice James: an exemplary nineteenth-century neurasthenic and diarist. William James: a foundational figure for American psychology and philosophy. Henry James: a preeminent author and literary critic. These three iconic figures of nineteenth-century American culture and letters were also siblings, children of the storied James family, yet the diarist, the psychologist, and the novelist have seemed to occupy distinct realms of cultural authority and to speak to different audiences (or, in the case of Alice, to no audience at all). Their writings have rarely been considered together.In Philosophical Siblings Jane F. Thrailkill asks what new story is illuminated when we study their writings collectively. By approaching the Jameses as intimate thinkers operating on a common field of play, Thrailkill reveals the siblings'shared project—part psychological, part philosophical—of showing how minds meet in a world teeming with possibilities and risks. Scientists in nineteenth-century psychology labs were studying isolated individuals, tracking eye movements, and timing reactions to better understand the human machine. In contrast, the Jameses'models for discovery were philosophical toys: ludic devices that light up quirks of perception and are devilishly fun as well. With childlike humor, the siblings'intellectual playfulness is both message and medium, manifested in an expressive style that exploits incongruity, delights in absurdities, and sometimes, teasingly, inflicts the sting of critique.Most important, the Jameses'writings model how human beings accomplish high-wire acts of perception and creation. Alice, William, and Henry James did not merely present a new, interactive theory of mind; they dramatized it in their writings as a curiosity-based practice. Philosophical Siblings accepts their invitation to mindful play and offers a fresh way of thinking about literary encounters more generally, one that approaches even the weightiest texts with serious lightness.

Four hundred years after William Shakespeare's death, his works continue to not only fill playhouses around the world, but also be adapted in various forms for consumption in popular culture, including in film, television, comics and graphic novels, and digital media. Drawing on theories of play and adaptation, Playfulness in Shakespearean Adaptations demonstrates how the practices of Shakespearean adaptations are frequently products of playful, and sometimes irreverent, engagements that allow new ‘Shakespeares'to emerge, revealing Shakespeare's ongoing impact in popular culture. Significantly, this collection explores the role of play in the construction of meaning in Shakespearean adaptations—adaptations of both the works of Shakespeare, and of Shakespeare the man—and contributes to the growing scholarly interest in playfulness both past and present. The chapters in Playfulness in Shakespearean Adaptations engage with the diverse ways that play is used in Shakespearean adaptations on stage, screen, and page, examining how these adaptations draw out existing humour in Shakespeare's works, the ways that play is used as a pedagogical aid to help explain complex language, themes, and emotions found in Shakespeare's works, and more generally how play and playfulness can make Shakespeare ‘relatable,'‘relevant,'and entertaining for successive generations of audiences and readers.

Playful Wisdom examines how Henry David Thoreau's thinking about religious “play” created a theological legacy in American literature—one that includes Emily Dickinson, Jack Kerouac, Thomas Merton, Annie Dillard, and Marilynne Robinson. Although these writers differ in many ways, they share with Thoreau an improvisational “looseness” or “mobility” in their thinking about the sacred, a sense that religious experience unsettles fixed belief and alters the very shape of the perceiving self. From this perspective, Robert Leigh Davis argues, unswerving orthodoxy is not as crucial to a life of faith as a light-handed responsiveness of spirit that constantly revises fixed assumptions in light of new experiences. Dickinson describes this responsiveness as “nimble believing” and Thoreau calls it “holy play.” Scholars of literature, religion, and philosophy will find this book particularly useful.

While we owe much to twentieth and twenty-first century researchers'careful studies of children's linguistic and dramatic play, authors of literature, especially children's literature, have matched and even anticipated these researchers in revealing play's power—authors well aware of the way children use play to experiment with their position in the world. This volume explores the work of authors of literature as well as film, both those who write for children and those who use children as their central characters, who explore the empowering and subversive potentials of children at play. Play gives children imaginative agency over limited lives and allows for experimentation with established social roles; play's disruptive potential also may prove dangerous not only for children but for the society that restricts them.

Drawing evidence from transatlantic literary texts of childhood as well as from nineteenth and early twentieth century children's and family card, board, and parlor games and games manuals, Nineteenth-Century Fictions of Childhood and the Politics of Play aims to reveal what might be thought of as'playful literary citizenship,'or some of the motivations inherent in later nineteenth and early twentieth century Anglo-American play pursuits as they relate to interest in shaping citizens through investment in'good'literature. Tracing play, as a societal and historical construct, as it surfaces time and again in children's literary texts as well as children's literary texts as they surface time and again in situations and environments of children's play, this book underscores how play and literature are consistently deployed in tandem in attempts to create ideal citizens – even as those ideals varied greatly and were dependent on factors such as gender, ethnicity, colonial status, and class.

First published in 1998, this volume explores the period 1585-1649, identifying it as rich in innovative drama which challenged the boundaries between social, political and cultural activities of various kinds. Molly Smith examines ways in which texts by Renaissance authors reflect, question and influence their society's ideological concerns. In the drama of Kyd, Shakespeare, Beaumont and Fletcher, Webster, Middleton, Massinger and Ford, she identifies the simultaneously serious and playful appropriation of popular cultural practices, an appropriation which is expertly reversed by authorities in the political drama of Charles I's public trial and execution in 1649. This compelling interpretation of Renaissance drama will prove of value to students of literature and social history.

Playing with Possibilities sits at the heart of all creative endeavours. This collection brings together a multidisciplinary group of thinkers and writers to explore the potential of play to shape and reshape who we are and the worlds in which we live. It offers a series of encounters with playful possibilities, and asks us to question, consider and ultimately celebrate the importance of fanciful approaches to living. This book is a companion to The Possibilities of Creativity (2016).

'How is play constituent in the formation of the Greek modernist novel? Reflecting competition with European and North American models as well as internal antagonism with more established literary genres in Greece, the novel after the 1930s employed playfulness as a means to demonstrate or even perform its novelty. Innovations unexpectedly came from the Greek periphery rather than Athens, and the Greek novel swiftly exchanged a passively understood realism for communicative patterns that actively involve the reader and educate him into bringing scraps of plot into a meaningful synthesis. Featuring key Greek authors such as Yannis Skarimbas, Stratis Tsirkas and Nikos Kachtitsis, this is a comprehensive and innovative study of Greek modernist prose fiction and the first of its kind to appear in English. Eleni Papargyriou is Lecturer in Modern Greek Literature at Kings College London.'

Queen Victoria was famously not amused, and the age to which she gave her name is not generally known for its playfulness or sense of fun. But play was pervasive in Victorian society and in the realist novels that were central to that culture. In Serious Play, J. Jeffrey Franklin examines the role of play in three areas—gambling, theatricality, and aesthetic theory—demonstrating in the process how the realist novel served as a vehicle for play while play in turn entered and helped define the form of realism.Franklin's analysis focuses on close readings of eight novels by Charlotte Bronte, George Eliot, Charles Kingsley, William Thackeray, and Anthony Trollope, as well as works by Immanuel Kant, Adam Smith, John Ruskin, and Matthew Arnold. The readings are grounded in histories and cultural studies of gambling, recreation, the stock market, theater and antitheatrical prejudice, the performance of gender roles, working-class protest, aesthetic theory, and especially the novel genre itself. While the treatments of gambling, theatricality, and aesthetics are specific, the book shows how play links each of them to broader, culturally defining issues that Victorian writings frequently express: values versus value, the artificial versus the authentic, and the real versus the illusory.Serious Play demonstrates, as no previous study has, how play functioned as a linchpin concept within the discursive infrastructure of Victorian society, challenging critical commonplaces about the unplayfulness of the Victorians and the ideological conservatism of realism.'Serious Play provides a completely new insight into the Victorian realist novel.... All the major theories of play are subjected to penetrating analysis through which their respective shortcomings and their historical conditioning are highlighted, so that the book can also be read as one of the most comprehensive assessments of modern play theories to date.'—Wolfgang Iser

Sugestivo y cautivado, José de la Colina se deja seducir por el rostro lúdico de la literatura en una serie de ensayos que, sin dejar de ser resultado de un conocimiento profundo y extenso, han eludido intencionalmente la rigurosidad académica. Dejando de lado su habitual género narrativo, De la Colina analiza todos aquellos juegos literarios que el lector gustoso no puede ignorar.

In sixteenth- and seventeenth-century Spain, debating the acceptability of games and recreation was serious business. With Lector Ludens, Michael Scham uses Cervantes's Don Quijote and Novelas ejemplares as the basis for a wide-ranging exploration of early modern Spanish views on recreations ranging from cards and dice to hunting, attending the theater, and reading fiction.Shifting fluidly between modern theories of play, little-known Spanish treatises on leisure and games, and the evidence in Cervantes's own works, Scham illuminates Cervantes's intense fascination with games, play, and leisure, as well as the tensions in early modern Spain between the stern moralizing of the Counter-Reformation and the playfulness of Renaissance humanism.

Nineteenth-century Britain was a world in play. The Victorians invented the weekend and built hundreds of parks and playgrounds. In the wake of Darwin, they re-imagined nature as a contest for survival. The playful child became a symbol of the future. A world in play means two things: a world in flux and a world trapped, like Alice in Wonderland, in a ludic microcosm of itself. The book explores the extent to which play (competition, leisure, mischief, luck, festivity, imagination) pervades nineteenth-century literature and culture and forms the foundations of the modern self. Play made the Victorian world cohere and betrayed the illusoriness of that coherence. This is the paradox of modernity. Kaiser gives an account of how certain Victorian misfits—working-class melodramatists of the 1830s, the reclusive Emily Brontë, free spirits Robert Louis Stevenson and John Muir, mischievous Oscar Wilde—struggled to make sense of this new world. In so doing, they discovered the art of modern life.

Renowned Hopkins expert Joseph J. Feeney, SJ, offers a fresh take on Gerard Manley Hopkins which shakes our understanding of his poetry and his life and points towards the next phase in Hopkins studies. While affirming the received view of Hopkins as a major poet of nature, religion, and psychology, Feeney finds a pervasive, rarely noticed playfulness by employing both the theory of play and close reading of his texts. This new Hopkins lived a playful life from childhood till death as a student who loved puns and jokes and wrote parodies, comic verse, and satires; as a Jesuit who played and organized games and had'a gift for mimicry;'and most significantly, as a poet and prose stylist who rewards readers with unexpected displays of whimsy and incongruity, even, strikingly, in'The Wreck of the Deutschland,''The Windhover,'and the'Terrible Sonnets.'Feeney convincingly argues that Hopkins's distinctive playfulness is inextricably bound to his sense of fun, his creativity, his style, and his competitiveness with other poets. In unexpected images, quirky metaphors, strange perspectives, puns, coinages, twisted syntax, wordmusic, and sprung rhythm, we see his playful streak burst forth to adorn those works critics consider his most brilliant. No one who absorbs this book's radical readings will ever see and hear Hopkins's poetry and prose quite the way they used to.

Time and again, early modern plays show people at work: shoemaking, grave-digging, and professional acting are just some of the forms of labour that theatregoers could have seen depicted on stage in 1599 and 1600. Tom Rutter demonstrates how such representations were shaped by the theatre's own problematic relationship with work: actors earned their living through playing, a practice that many considered idle and illegitimate, while plays were criticised for enticing servants and apprentices from their labour. As a result, the drama of Shakespeare's time became the focal point of wider debates over what counted as work, who should have to do it, and how it should be valued. This book describes changing beliefs about work in the sixteenth century, and shows how different ways of conceptualising the work of the governing class inform Shakespeare's histories. It identifies important contrasts between plays written for the adult and child repertories.