What ontological changes does commercialization make to the relation of the crowd and the game played on the field? In chapter 1, I will use Johan Huizinga's ideas on sport and play from Homo...Show moreWhat ontological changes does commercialization make to the relation of the crowd and the game played on the field? In chapter 1, I will use Johan Huizinga's ideas on sport and play from Homo Ludens to prove that before we can speak of any changes brought about by commercialization, this relation must be accounted for nondualistically. In chapter 2, I will use Gadamer’s non-dualistic ontology of play and spectator that he develops in Truth and Method to prove that the spectator opens a possibility for play to transform into art, where, when the transformation is fully realized, the relation between play and spectator becomes one of “aesthetic non-differentiation”. I will also show that the proof of such a transformation having taken place in the case of football, hinges on a “perception of a meaningful whole” on the part of the spectator. In chapter 3, I will prove the existence of such a perception, by looking at the language of 'justice' surrounding football and I will prove also that these utterances point to a blockage in the transformation. In chapter 4, I will find the source of this blockage in commodification of football and its transformation into a spectacle.Show less
This thesis is an attempt to come to a meaningful reading of the self-reflexive and ironic work Being John Malkovich, by Spike Jonze (dir.) and Charlie Kaufman (script). My lead question is how the...Show moreThis thesis is an attempt to come to a meaningful reading of the self-reflexive and ironic work Being John Malkovich, by Spike Jonze (dir.) and Charlie Kaufman (script). My lead question is how the structural element of the mise-en-abyme functions within the meaning production process. This structural relation between part and whole is traditionally thought of as a relatively stable synecdoche: a miniature of the whole reflecting its meaning. However, I find that it may also function as a self-reflexive, instable synecdoche: a miniature questioning the very possibility of the work’s meaning production. Traditionally, the first option refers us to the field of hermeneutics, the second to deconstruction. The primary objective of this thesis is to find out how these two reading strategies relate and differ: and how these differences negotiate the boundary between a hermeneutic or a deconstructive mise-en-abyme in Being John Malkovich.Show less
Het thema van dit paper is het spelbegrip zoals dat in het eerste deel van Hans-Georg Gadamer's Wahrheit und Methode wordt ontwikkeld. Het paper begint met een analyse van de esthetische ervaring...Show moreHet thema van dit paper is het spelbegrip zoals dat in het eerste deel van Hans-Georg Gadamer's Wahrheit und Methode wordt ontwikkeld. Het paper begint met een analyse van de esthetische ervaring zoals Gadamer die ontwikkelt in relatie tot Kant's opvatting daarvan, aan de hand van een analyse van het spelbegrip. Daarna volgt een analyse van Gadamer's hermeneutische ervaring in het licht van het spelbegrip. Afsluitend is er een korte bespreking van de ervaring van taal in termen van het spel. De conclusie is dat het spelbegrip zoals Gadamer het ontwikkelt in Wahrheit und Methode niet alleen de blauwdruk vormt voor de esthetische ervaring, maar voor alle ervaring in het algemeen (waaronder de hermeneutische ervaring en de ervaring van taal).Show less
