Concept of Play in Adorno's Aesthetic Theory -From the Perspective of History of Ideas
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This paper aims to clarify Adorno's concept of play (game, Spiel) in his Aesthetic Theory. It leads to his claim that play is blind to practical reality and its reason. Although the concept of play is related to other key concepts sublime and art the necessity to discuss it has been overlooked. To show this, Chapter I briefly examines precedent research. Moreover, this necessity is underpinned by the perspective of the history of ideas, in that it can be endorsed not only on the basis of Adorno's philosophy, but also on the basis of historical background. Thereupon, Adorno's concept of play is researched in detail in Chapter II and III. In his book Aesthetic Theory, the concept of play is appropriated most clearly in two contexts: In criticism of Kant's concept of the sublime, and criticism of Huizinga's 'Magic Circle' thesis. By examining the former, Adorno's claim on the concept of play becomes explicit. And, two reasons for the claim immaturity, content are elaborated by examining the latter. As a result, play is for him in principle distinguished from art and is merely a repetition. Remarkably, this implies that video games, a type of play, can hardly be conceived of as art. In this context, this article concludes in (IV) with a brief consideration of the implications for Game Studies. This emphasizes that it is most plausible to apply the concept of reflection to video games in order to define them as art.
Abstract
This paper aims to clarify Adorno's concept of play (game, Spiel) in his Aesthetic Theory. It leads to his claim that play is blind to practical reality and its reason. Although the concept of play is related to other key concepts sublime and art the necessity to discuss it has been overlooked. To show this, Chapter I briefly examines precedent research. Moreover, this necessity is underpinned by the perspective of the history of ideas, in that it can be endorsed not only on the basis of Adorno's philosophy, but also on the basis of historical background. Thereupon, Adorno's concept of play is researched in detail in Chapter II and III. In his book Aesthetic Theory, the concept of play is appropriated most clearly in two contexts: In criticism of Kant's concept of the sublime, and criticism of Huizinga's 'Magic Circle' thesis. By examining the former, Adorno's claim on the concept of play becomes explicit. And, two reasons for the claim immaturity, content are elaborated by examining the latter. As a result, play is for him in principle distinguished from art and is merely a repetition. Remarkably, this implies that video games, a type of play, can hardly be conceived of as art. In this context, this article concludes in (IV) with a brief consideration of the implications for Game Studies. This emphasizes that it is most plausible to apply the concept of reflection to video games in order to define them as art.
참고문헌 (31)
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