To understand play, we need a bottom-up phenomenology of play. This phenomenology highlights the paradox that it is the players who play the game, but it is also the game which makes us players. Yet what is it that plays us, when we play? Do we play the game, or does the game play us? These questions concern the relation between the playing subject and play as something larger than the individual – play as craft, play as rhythm, play between normality and otherness, even play as religion, as a sense of spiritual play between self and other. This goes deeper than the welfare-political or educational intention to make people play or play more, or to advise individuals to play in a correct and useful way. Exploring topics such as identity, otherness, and disability, as well as activities including skiing, yoga, dance and street sport, this interdisciplinary study continues the work of the late Henning Eichberg and sheds new light on the questions that play at the borders of philosophy, anthropology, and the sociology of sport and leisure. Play in Philosophy and Social Thought is a fascinating resource for students of philosophy of sport, cultural studies, sport sciences and anthropological studies. It is also a thought-provoking read for sport and play philosophers, sociologists, anthropologists, cultural studies scholars, and practitioners working with play.

Play is a vital component of the social life and well-being of both children and adults. This book examines the concept of play and considers a variety of the related philosophical issues. It also includes meta-analyses from a range of philosophers and theorists, as well as an exploration of some key applied ethical considerations. The main objective of The Philosophy of Play is to provide a richer understanding of the concept and nature of play and its relation to human life and values, and to build disciplinary and paradigmatic bridges between scholars of philosophy and scholars of play. Including specific chapters dedicated to children and play, and exploring the work of key thinkers such as Plato, Sartre, Wittgenstein, Gadamer, Deleuze and Nietzsche, this book is invaluable reading for any advanced student, researcher or practitioner with an interest in education, playwork, leisure studies, applied ethics or the philosophy of sport.

This book brings together some of the finest recent critical and expository work on Mead, written by American and European thinkers from diverse traditions. For English-speaking audiences it provides an introduction to recent European work on Mead. The essays reveal the richness of Mead's thought, and will stimulate those who have thought about him from very specific vantage points (behaviorism, symbolic interactionism, pragmatism, etc.) to consider him in new ways.

Philosophy can transform your life. But the only philosophy that can save you is your own. Yet how do you find your own in an age of misinformation and unbridled spin, when truth is unfashionable and hype hyper-attractive. Where is the air needed to breathe the honest spirit of inquiry? How to Play Philosophy is a breezy array of lyrical, creative essays that explore timeless and timely ideas about who we are, how we live and what we think. MIT-trained philosopher Michael Picard gives airing to numerous philosophers from conflicting traditions and builds an intellectual background to enable readers to draw their own conclusions. Written in a spirit of free and playful inquiry, the essays were composed originally to support public participatory philosophy, or Café Philosophy, which the author has facilitated for decades. Subjects include Play it With Feeling (Desire, Stress, Anger); Games We Play (Intimacy, Loyalty, Betrayal) and Playing Fair (Values, Good, Integrity), alongside epistemological topics including Truth (Knowledge, Certainty, Objectivity) and the perennial metaphysical quandaries (Human Nature, The Sacred, God). Written for everyone interested in exploring age-old subjects in an age of disposable content, How to Play Philosophy offers playful provocations with the aim of enabling independent thinking and deeper public conversations.

Play, Philosophy and Performance is a cutting-edge collection of essays exploring the philosophy of play. It showcases the most innovative, interdisciplinary work in the rapidly developing field of Play Studies. How we play, and the relation of play to the human condition, is becoming increasingly recognised as a field of scholarly inquiry as well as a significant element of social practice, public policy and socio-cultural understanding. Drawing on approaches ranging through morality and ethics, language and the nature of reality, aesthetics, digital culture and gaming, and written by an international group of emerging and established scholars, this book examines how our performance at play describes, shapes and influences our performance as human beings. This is essential reading for anybody with an interest in leisure, education, childhood, gaming, the arts, playwork or many branches of philosophical enquiry.

"Games are a unique art form. The game designer doesn't just create a world; they create who you will be in that world. They tell you what abilities to use and what goals to take on. In other words, they specify a form of agency. Games work in the medium of agency. And to play them, we take on alternate agencies and submerge ourselves in them. What can we learn about our own rationality and agency, from thinking about games? We learn that we have a considerable degree of fluidity with our agency. First, we have the capacity for a peculiar sort of motivational inversion. For some of us, winning is not the point. We take on an interest in winning temporarily, so that we can play the game. Thus, we are capable of taking on temporary and disposable ends. We can submerge ourselves in alternate agencies, letting them dominate our consciousness, and then dropping them the moment the game is over. Games are, then, a way of recording forms of agency, of encoding them in artifacts. Our games are a library of agencies. And exploring that library can help us develop our own agency and autonomy. But this technology can also be used for art. Games can sculpt our practical activity, for the sake of the beauty of our own actions. Games are part of a crucial, but overlooked category of art - the process arts. These are the arts which evoke an activity, and then ask you to appreciate your own activity. And games are a special place where we can foster beautiful experiences of our own activity. Because our struggles, in games, can be designed to fit our capacities. Games can present a harmonious world, where our abilities fit the task, and where we pursue obvious goals and act under clear values. Games are a kind of existential balm against the difficult and exhausting value clarity of the world. But this presents a special danger. Games can be a fantasy of value clarity. And when that fantasy leaks out into the world, we can be tempted to oversimplify our enduring values. Then, the pleasures of games can seduce us away from our autonomy, and reduce our agency."--