Download Play, Performance, and Identity: How Institutions Structure by Matt Omasta PDF

By Matt Omasta

Play is helping outline who we're as humans. notwithstanding, some of the leisurely/ludic actions humans perform are created and ruled by means of company entities with social, political, and company agendas. As such, it's serious that students comprehend and explicate the ideological underpinnings of played-through studies and the way they impact the player/performers who have interaction in them.

This booklet explores how humans play and why their play concerns, with a selected curiosity in how ludic reviews are frequently developed and regulated via the pursuits of associations, together with companies, non-profit organisations, govt corporations, non secular enterprises, and non-governmental organisations (NGOs). every one bankruptcy explores assorted websites of play. From subject parks to comedian conventions to massively-multiplayer on-line video games, they probe what roles the designers of those reviews build for gamers, and the way such play may well impact contributors' identities and ideologies. students of functionality reports, relaxation reviews, media experiences and sociology will locate this e-book an important reference while learning features of play.

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Additional info for Play, Performance, and Identity: How Institutions Structure Ludic Spaces

Sample text

This gives Damon, who is rather shy, a method by which he can be a hero without needing to talk much. He can become, within the world of the game, the strong, silent warrior striking fear in the hearts of his enemies. This heroic identity derives status from both physical strength and silence. His stoicism is level-headed and practical, his physical skills earned over a long lifetime of fighting large monsters. The archetype of the strong, silent hero is perhaps as much of an homage to Western films as to fantasy novels, reflecting the hegemonic cultural value that it is manly to keep emotion and fear hidden behind physical strength.

To extend the definition of this play adventure further, we might also categorize the shark-cage dive as “risky play,” that is, “thrilling and exciting forms of play that involve a risk of physical injury” and that “primarily [take] place outdoors” (Sandseter and Kennair 2011, 258). We might also include Geertz’s (1972) notion of deep play in which, roughly speaking, all participants are “in over their heads” (254). While the activity – Geertz was studying Balinese cock-fighting – may appear foolishly violent or worse, the stakes played for are nothing less than the essence of status: “esteem, honor, dignity, [and] respect” (255).

We might also include Geertz’s (1972) notion of deep play in which, roughly speaking, all participants are “in over their heads” (254). While the activity – Geertz was studying Balinese cock-fighting – may appear foolishly violent or worse, the stakes played for are nothing less than the essence of status: “esteem, honor, dignity, [and] respect” (255). ” At our location in Gansbaai, the fixed limits of shark-cage diving time takes about half a day, starting early in the morning. The shark-cage diving company we chose claimed additional cultural capital thanks to celebrity endorsements – besides Brad Pitt, whose wetsuit I apparently did not wear, there were also Leonardo DiCaprio and Prince Harry – as well as connections with National Geographic and the Discovery Channel, enough to convince most tourist-consumers these are shark-cage guides who know their business.

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