Home« Faites vos jeux ». Game and space in texts and of texts

Home« Faites vos jeux ». Game and space in texts and of texts

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Published on Thursday, September 08, 2022 by Céline Guilleux

Summary

The conference organised by the PhD course in Linguistic and Literary Studies (XXXVI cycle) of the Universities of Udine and Trieste (Italy) aims at bringing together young students and researchers to explore the concept of 'play/game' in and of texts. During the three-day conference, participants will reflect and analyse how the concepts of 'play/game' and 'space' interact and contribute to the construction of meanings in literary, linguistic as well as philological and medieval studies.

Announcement

Doctoral conference, University of Udine - University of Trieste, Udine, March 22-24, 2023

Argument

To speak seriously about play is a terrible corruption of play.(Fink, Oasis of Happiness, p. 15)

The XXXVI PhD cycle of the course in Language and Literary Studies of the University of Udine andUniversity of Trieste is pleased to announce the doctoral conference “Faites vos jeux: game and space intexts and of texts”, which will take place on March 22-24, 2023 in Udine.

The theoretical debate revolving around the topic of game is deeply rooted and took different shapes according to space and time. However, it goes without saying that the 20th century gave a new impulse to these studies, as game started to be theorized from several disciplinary perspectives (psychology, sociology, anthropology, esthetics, philosophy, literature, and linguistics). Regardless of the adopted approach, in most cases it is the limitedness of game, also in terms of spatiality, that is theorized preliminarily.

In the first seminal work of this field, Homo ludens (1949) by Johan Huizinga, the connection betweenplay and space in different cultures is analyzed from a primarily anthropological perspective. Accordingto this author, the playground is an inherently different space from that of ordinary life: “the arena, the card-table, the magic circle, the temple, the stage, the screen, the tennis court, the court of justice, etc. are all in form and function play-grounds, i.e. forbidden spots, isolated, hedged round, hallowed, withinwhich special rules obtain” (Huizinga 1949: 10).

Starting from these premises, in Man, Play and Games (1958), Roger Caillois defines play as an activity that is separated from ordinary life, “circumscribed within limits of space and time, defined and fixed inadvance” (Caillois 2001: 9). Unlike Huizinga, however, Caillois adopts a pluralistic approach, shiftingfrom the concept of ‘play’ to that of ‘games’ (agon, alea, mimicry, ilinx), which may degenerate when a contamination between the world of play and the world of reality occurs – thus when the previously established limits of space and time are crossed (cf. Caillois 2001: 61-74). The definition put forth by Benveniste in Le jeu comme structure (1947) is similar to the ones proposed by Huizinga and Caillois. As amatter of fact, this linguist points out that the formal and regulated character of game takes place withinstrict limits and conditions and constitutes a closed totality compared to the real world (cf. Benveniste 1947: 161).

Contemporaneously with Caillois, Eugen Fink reflects on the connection between play and space, aswell, proposing the image of ‘oasis of happiness’. When they play, men distance themselves from thehustle and bustle of life and are brought to an oasis of happiness (cf. Fink 2016: 20), an “enigmatic field” (Fink 2016: 25) where traditional spatial-temporal coordinates as well as the border between the actual and the imaginary world are constantly being renegotiated, thus leading to the player’s ‘schizophrenia’ highlighted by Rovatti (2008: XIII).

In the postmodern era, in line with the fragmentation of society, knowledge, space, and time, the discontinuity elements of game are accentuated. As highlighted by Sidoti (2007: 107, our translation), “games which require dilated time, open and wide spaces are the first to fall” and game adapts pervasively to the progressive erosion of spatial frontiers: “if we see it less it is because it is omnipresent, or nearly so” (Bartezzaghi 2001, our translation). This spatial redefinition may be observed, for instance, in digital games, “[which] tend to replace linearity with non linear spatial organization” (Jenkins 2003: 121). The narration of game, therefore, inhabits the threshold between a virtual and a physical space, between which an actual contamination is triggered (Jagoda 2018: 241).

The aim of this conference is therefore to explore the connection between game and space from the perspective of literary, linguistic, translatological, as well as philological studies. The necessary methodological premise for this is to consider not only games in texts, but also texts themselves as a playspace. Texts are recurrently conceived of in terms of space, as is shown by the existence of countlessspatial metaphors, such as the beginning and end of a text, or elements of textual deixis which refer to the collocation of its parts (cf. Merlini Barbaresi 2008: 217-219). Indeed, as highlighted by Westphal, “[f]orif writing is a creeping forward in time, it also spreads itself out on the space of the page” (Westphal2011: 20). While examining his chaîne phonétique in temporal terms, Saussure uses the geometry of the line with the aim of defining it formally; he claims that the alignment of acoustic significants in chains becomes apparent solely when they are represented through writing, i.e. when the spatial line of graphic signs replaces the sequence in time (Saussure 1966: 88). In the same vein, Lotman foresees the so-called otgraničennost’, “demarcation”, between his three criteria to define a text. According to him, texts shouldbe characterized by a clear beginning and end (Lotman 1977: 52-53). Genette (1997) employs a spatial metaphor, as well: while analyzing paratexts, he calls them “thresholds” of the actual texts. Furthermore, paratextuality has been recently applied to the study of manuscripts (cf. inter alia Ciotti - Lin 2016). In this field, paratexts provide us with spatial and temporal information, which may be explicit (for instance through colophons, prefaces, or postfaces) or implicit (accessible through paleographic and codicological analyses). Finally, with the most recent reflections about hypertexts and multimodality, texts become open, multidimensional spaces, where “everything signifies ceaselessly and several times” (Barthes 1974:12).

Within this theoretical framework which, although based on a 20th century perspective, does in no wayintend to limit the conference to contemporaneous studies, we invite participants to submit abstracts inthe following research fields (which are to be considered as mere suggestions and do not exclude otherresearch lines):

Literature, cinema and new media

  • Representation of specific game spaces: ballrooms, sports courts/grounds/fields, stages,chessboards, gaming tables/game boards… (S. Zweig, The Royal Game; D. Delillo, Underworld; F.Dostoevskij, The Gambler; A.S. Puškin, The Queen of Spades; M. Aub, Juego de Cartas);
  • Analysis of the relationship between individuals and space in the mimetic game and masquerade (P.de Marivaux, The Game of Love and Chance; A. Schnitzler, Rhapsody: A Dream Novel, Les Garçons etGuillaume, à table ! by G. Gallienne);
  • Resemantization of objects and game spaces in literary works and theatre plays (L. Pirandello, SixCharacters in Search of an Author; F. Mernissi, Dreams of Trespass: Tales of a Harem Girlhood; Dogville by L.von Trier);
  • The Renaissance and Baroque court as game spaces;
  • The literary text as a game space: combinatory literature (I. Calvino, The Castle of Crossed Destinies; G.Perec, Life: A User's Manual; R. Queneau, Exercises in Style; L. Carroll, The Game of Logic; but also J. L.Borges, J. Cortázar and J. Bergamín) and literary crosswords (L. Sciascia, Cruciverba);
  • The game between authors and readers in crime/detective novels (F. Dürrenmatt, The Judge and HisHangman; P. Auster, City of Glass; T. Pynchon, The Crying of Lot 49);
  • Contamination and interaction between the play world and the real world (Free guy by S. Levy; BlackMirror by C. Brooker);
  • Texts as spaces of game inventions (Eschaton in D.F. Wallace, Infinite Jest; Quidditch in J.K. Rowling,Harry Potter Saga);
  • Meanings, implications, and spaces of chance and gamble (P. Auster, The Music of Chance, Blind Chanceby K. Kieślowski; Wheel of Fortune and Fantasy by R. Hamaguchi).

Linguistics and translation studies

  • Wordplays within textual spaces;
  • Theoretical reflections and translational analyses of wordplays in textual spaces, for instance in literaryworks or audiovisuals (cfr. inter alia Vandaele 2002);
  • Games in the space of learning: recreational linguistics;
  • Games in digital spaces: the language of videogames and gamers (anglicisms and distinctive features)as well as videogame translation and localization;
  • Game metaphors in negotiations or other discourse spaces;
  • The concept of space within games (and consequent translation issues): toponyms and other cultureboundreferences, for instance in boardgames or digital games;
  • German vs American games: different game styles and consequences on the linguistic-textual level;
  • Gambling in the space of translation: risk-taking in the translating process (cf. inter alia Pym 2015,2020; Künzli 2004).

Philology and medieval studies

  • Lexicon and semantics of ‘play’ and ‘game’ (plega vs gamen in Old English or ludus vs iocus in Latin);
  • Game representation in the space of medieval texts: for instance, Alcuin’s propositiones or‘mathematical games’; the swimming contest between Breca and Beowulf; game and competition inHemings þáttr Áslákssonar;
  • Texts as spaces where authors play with the meaning as well as with the ‘visible’ and/or phonic aspectof language (kenningar or heiti, runic acrostics and cryptography, anagrams, wordplays, puns,alliteration, rhyme, formulas, and other rhetorical-stylistic aspects);
  • ‘Intellectual’ games in the space of texts: riddles and enigmas;
  • Aspects of textual criticism, such as the interplay between authors and copyists in text transmission;
  • Playing beyond the borders of texts: medievalism (‘Neo-medievalism’ or Middle Ages in PopularCulture, for instance the roleplay Dungeons & Dragons, the imaginary Middle Ages in Game of Thrones,the riddle-game between Bilbo and Gollum in The Hobbit by J. R. R. Tolkien), Digital Humanities (see,for instance, the paper by Karen Arthur titled Playing the Editing Game with an Electronic Sir Gawain andthe Green Knight).

Participation guidelines

The conference will take place in Udine on March 22-24, 2023.

The languages of the conference will be Italian and English.

Applicants must send a pdf file (named according to the following system: GiocoUdine_Surname_PresentationTitle) by e-mail to giocoudine2023@gmail.com 

by 30th September 2022.

The file must include:

  • Name, surname, affiliation, brief biobibliographical profile (maximum 200 words);
  • Title of the proposal;
  • Discipline of the proposal (literature, cinema, and new media; linguistics and translation studies; philology and medieval studies);
  • Abstract in Italian or in English containing up to 250 words, followed by essential bibliographicalreferences (excluded from word count).

The organizing committee will confirm proposal acceptance by 16th November 2022 by sending an email.

In case of acceptance, participants will have up to 20 minutes to give their talk.

Conference papers will be published after a review process.

Organizing committee

  • Davide Belgradi,
  • Erika Capovilla,
  • Federica Di Giuseppe,
  • Antonio Di Vilio,
  • Elena Fogolin,
  • Giorgia Lo Nigro,
  • Giulia Pedrini.

Scientific committee

  • Sergia Adamo (University of Trieste),
  • Leonardo Buonomo (University of Trieste),
  • Nadine Celotti (University of Trieste),
  • Silvia Contarini (University of Udine),
  • Margherita De Michiel (University of Trieste),
  • Alessio Decaria (University of Udine),
  • Alessandra Ferraro (University of Udine),
  • Neil Anthony Harris (University of Udine),
  • Renata Londero (University of Udine),
  • Marella Magris (University of Trieste),
  • Paolo Panizzo (University of Trieste),
  • Elena Polledri (University of Udine),
  • Federica Rocco (University of Udine),
  • Francesca Todesco (University of Udine).

Contact information

Bibliography

Abrahams, Roger D. (1972), “The literary study of the riddle”, in Texas Studies in Literature and Language,14(1), pp. 177-97.

Arthur, Karen (1998), “Playing the editing game with an electronic Sir Gawain and the Green Knight”,in Exemplaria, 10(1), pp. 69-96.

Bartezzaghi, Stefano (2001), “I diritti dell’Homo Ludens”, in La Repubblica, 6 gennaio 2001 (from: https://ricerca.repubblica.it/repubblica/archivio/repubblica/2001/01/06/diritti-dell-homoludens.html; last access 10/04/2022).

Bartezzaghi, Stefano (2004), Incontri con la Sfinge. Nuove lezioni di enigmistica, Torino, Einaudi.

Bartezzaghi, Stefano (2008), “Il gioco infinito. Forme, linguaggi, sconfinamenti, patologie”, in Aut Aut,337, pp. 3-21.

Bartezzaghi, Stefano (2016), La ludoteca di Babele. Dal dado ai social network, a che gioco stiamo giocando, Torino,De Agostini/Utet.

Bartezzaghi, Stefano (2017), Parole in gioco. Per una semiotica del gioco linguistico, Firenze/Milano, Bompiani.

Barthes, Roland (1974), S/Z [1970], Malden/Oxford/Melbourne/Berlin, Blackwell, translated by R.Miller.

Battaglia, Marco (2014), “Óðins nǫfn. Gli epiteti di Odino nelle þulur dell’Edda di Snorri Sturluson”, inIl Nome del Testo. Rivista Letteraria di Onomastica Letteraria, 16, pp. 247-260.

Battaglia, Marco (2021), Snorri Sturluson : Edda, Sesto San Giovanni, Meltemi.

Benveniste, Émile (1947), “Le jeu comme structure”, in Deucalion. Cahiers de philosophie 2, pp. 161-167.

Birkett, Tom (2017), Reading the Runes in Old English and Old Norse Poetry, London/New York, Routledge.

Caillois, Roger (2001), Man, Play and Games [1958], Urbana/Chicago, University of Illinois Press, translated by M. Barash Rovatti [orig. title Les jeux et les hommes].

Caïra, Olivier (2007), Jeux de rôle. Les forges de la fiction, Paris, CNRS éditions.

Caïra, Olivier (2019), “Jusqu’où on peut changer le monde”, in André, D. - Quadrat, A. (dir.), Le Jeu derôle sur table, un laboratoire de l’imaginaire, Paris, Classiques Garnier, pp. 199-212.

Cambi, Franco (2007), “Il gioco nella modernità: le prassi e le teorie”, in Cambi, F. - Staccioli, G. (eds.),Il gioco in occidente. Storia, teorie, pratiche, Roma, Armando, pp. 49-61.

Centro Italiano di Studi sull’Alto Medioevo (2017), Il Gioco nella società e nella cultura dell’Alto Medioevo, 2 volumes, Spoleto, Presso la Sede del Centro.

Ciotti, Giovanni - Lin, Hang (2016), Tracing Manuscripts in Time and Space through Paratexts (Studies in Manuscript Cultures 7), Berlin/Boston, de Gruyter.

D’Arcens, Louise (2016), The Cambridge Companion to Medievalism, Cambridge, Cambridge University Press.

Dal Lago, Alessandro-Rovatti Pier Aldo (1993), Per gioco. Piccolo manuale dell’esperienza ludica, Milano, Cortina.

Dewa, Roberta (1995), “The runic riddles of the Exeter Book: language games and Anglo-Saxonscholarship”, in Nottingham Medieval Studies, 39, pp. 26-36.

Duprat, Anne, et. al. (2021), Le Projet Asterion – prototype de jeu narratif en ligne. 2021, https://lestreilles.hypotheses.org/4425.

Fink, Eugen (2016), Oasis of Happiness. Thoughts toward an Ontology of Play [1957], in Id., Play as Symbol of the World and Other Writings, Bloomington/Indianapolis, Indiana University Press, translated by I. A.Moore & C. Turner [orig. title Oase des Glücks].

Genette, Gérard (1997), Paratexts. Thresholds of Interpretations [1987], Cambridge, Cambridge University Press, translated by J. E. Lewin [orig. title Seuils].

Henry, Jenkins (2003), “Game design as narrative architecture”, in Wardrip-Fruin, N. - Harrigan, P. (eds.), First Person: New Media as Story, Performance, and Game, Cambridge (MA), MIT Press, p. 121.

Huizinga, Johan (1949), Homo ludens. A Study of the Play-Element in Culture [1939], London/Boston/Henley, Routledge & Kegan Paul.

Kendrick, Laura (2009), “Games medievalists play: how to make earnest of game and still enjoy it”, in New Literary History, 40(1), pp. 43-61.

Jagoda, Patrick (2018), “Digital games and narrative”, in Garrett, M. (eds.), The Cambridge Companion to Narrative Theory (Cambridge Companions to Literature), Cambridge, Cambridge University Press, pp. 231-247.

Künzli, Alexander (2004), “Risk taking: trainee translators vs professional translators. A case study”, in The Journal of Specialised Translation, 2, pp. 34-49.

Lotman, Jurij M. (1977), The Structure of the Artistic Text [1970], Ann Arbor, University of Michigan, translated by R. Vroon [orig. title Struktura chudožestvennogo teksta].

Merlini Barbaresi, Lavinia (2008), “Il tempo dello spazio testuale”, in Arduini, P. - Audano, S. - Borghini, A. - Cavarzere, A. - Mazzoli, G. - Paduano, G. - Russo, A. (eds.), Studi Offerti ad Alessandro Perutelli, Roma, Aracne Editrice, pp. 217-226.

Morales Benito, Lidia (2022) (a cura di), La literatura lúdica latinoamericana (Cuadernos del CIHLA), 36.Niles, J. D. (2006), Old English Enigmatic Poems and the Play of Texts, Turnhout, Brepols.

Orchard, Andy (2021a), The Old English and Anglo-Latin Riddle Tradition, Cambridge (MA), Harvard University Press.

Orchard, Andy (2021b), A Commentary on the Old English and Anglo-Latin Riddle Tradition, Cambridge (MA), Harvard University Press.

Pym, Anthony (2015), “Translating as risk management”, in Journal of Pragmatics, 85, pp. 67-80.

Pym, Anthony (2020), “Translation, risk management and cognition”, in Alves, F. - Jakobsen, A. L. (eds.), The Routledge Handbook of Translation and Cognition, London, Routledge, pp. 445-458.

Rovatti, Pier Aldo (2008), “Prefazione”, in Oasi del gioco [1957], Milano, Cortina, ed. by A. Calligaris, pp.VII-XV.

Ryan, Marie-Laurie (1998), “The text as world versus the text as game: possible worlds semantics andpostmodern theory”, in Journal of Literary Semantics, 27(3), pp. 137-163.

Saussure, Ferdinand de (1966), Course in General Linguistics [1916], New York/Toronto/London, McGraw-Hill Book Company, translated by W. Baskin [orig. title Cours de Linguistique Générale].

Schiller, Friedrich (2004), On the Aesthetic Education of Man [1795], Mineola/New York, Dover Publications, translated by R. Snell [orig. title Über die ästhetische Erziehung des Menschen. In einer Reihe vonBriefen].

Sidoti, Beniamino (2007), “Gioco e lucidità nel postmoderno”, in Cambi, F. (eds.), Il Gioco in Occidente: Storia, teorie e pratiche, Roma, Armando, pp. 100-113.

Stanley, Eric Gerald (2001a), “Playing upon words I”, in Neuphilologische Mitteilungen, 102(3), pp. 339-356.

Stanley, Eric Gerald (2001b), “Playing upon words II”, in Neuphilologische Mitteilungen, 102(4), pp. 451-468.

Vandaele, Jeroen (2002) (a cura di), Translating Humour, London, Routledge.

Westphal, Bertand (2011), Geocriticism. Real and Fictional Spaces [2007], New York, palgrave macmillan, translated by R. T. Tally JR. [orig. title La Géocritique. Réel, Fiction, Espace].

Places

  • Palazzo Antonini - via Tarcisio Petracco, 8
    Udine, Italian Republic (33100)

Event format

Full on-site event


Date(s)

  • Friday, September 30, 2022

Attached files

Keywords

  • play, game, literature, linguistics, translation, philology, Middle Ages

Contact(s)

  • Federica Di Giuseppe
    courriel : giocoudine2023 [at] gmail [dot] com

Information source

  • Federica Di Giuseppe
    courriel : giocoudine2023 [at] gmail [dot] com

To cite this announcement

« « Faites vos jeux ». Game and space in texts and of texts », Call for papers, Calenda, Published on Thursday, September 08, 2022, https://calenda.org/1014953

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