بازی‌ها و بازی‌کردن در هنر و ادبیات اروپایی، قرن‌های 16 و 17 (فرهنگ‌های بازی)

This collection of essays examines the vogue for games and game playing as expressed in art and literature in sixteenth- and seventeenth-century Europe. Focusing on games as a leitmotif of creative expression, these scholarly inquiries are framed as a response to two main questions: how were games used to convey special meanings in art and literature, and how did games speak to greater issues in European society? In chapters dealing with chess, playing cards, board games, dice, gambling, and outdoor and sportive games, essayists show how games were used by artists, writers, game makers and collectors, in the service of love and war, didactic and moralistic instruction, commercial enterprise, politics and diplomacy, and assertions of civic and personal identity. Offering innovative iconographical and literary interpretations, their analyses reveal how games 'played, written about, illustrated and collected' functioned as metaphors for a host of broader cultural issues related to gender relations and feminine power, class distinctions and status, ethical and sexual comportment, philosophical and religious ideas, and conditions of the mind Cover 1 Table of Contents 8 List of Illustrations 10 Acknowledgments 16 Introduction 18 A Passion for Games 18 Robin O’Bryan 18 Part I. Chess and Luxury Playing Cards 74 1. “Mad Chess” with a Mad Dwarf Jester 76 Robin O’Bryan 76 2. Changing Hands 94 Jean Desmarets, Stefano della Bella, and the Jeux de Cartes 94 Naomi Lebens 94 Part II. Gambling and Games of Chance 118 3. “A game played home” 120 The Gendered Stakes of Gambling in Shakespeare’s Plays 120 Megan Herrold 120 4. “Now if the devil have bones,/ These dice are made of his” 140 Dice Games on the English Stage in the Seventeenth Century 140 Kevin Chovanec 140 5. The World Upside Down 158 Giuseppe Maria Mitelli’s Games and the Performance of Identity in the Early Modern World 158 Patricia Rocco 158 Part III. Outdoor and Sportive Games 182 6. “To catch the fellow, and come back again” 184 Games of Prisoner’s Base in Early Modern English Drama 184 Bethany Packard 184 7. Against Opposition (at Home) 204 Middleton and Rowley’s The World Tossed at Tennis as Tennis 204 Mark Kaethler 204 Part IV. Games on Display 220 8. Ordering the World 222 Games in the Architectural Iconography of Stirling Castle, Scotland 222 Giovanna Guidicini 222 9. The Games of Philipp Hainhofer 250 Ludic Appreciation and Use in Early Modern Art Cabinets 250 Greger Sundin 250 Index 278 List of Illustrations 10 Fig. I.1 Ambrogio Brambilla, “Il piacevole e nuovo giuoco novamente trovato detto pela il chiu” (The pleasant and new game recently found called skin the owl) [Game of Skin the Owl], 1589 29 Fig. I.2 Giuseppe Maria Mitelli, Il giuocatore, from Le ventiquattr’hore dell’humana felicità (The twenty-four hours of human happiness), 1675 39 Fig. I.3 Georges de La Tour, The Cheat with the Ace of Clubs, c. 1630–34 40 Fig. I.4 Coryn Boel (after David Teniers the Younger), Two Monkeys Playing Backgammon, 1635–68 43 Fig. I.5 Lubin Bauguin, Still Life with Chessboard, 1630 57 Fig. 1.1 Giulio Campi, Partita a scacchi (The Game of Chess), c. 1530–32 77 Fig. 1.2 Liberale da Verona, The Chess Game, c. 1475 79 Fig. 1.3 Knight and a lady playing chess, 1330–40 80 Fig. 1.4 Schematic of Queen’s chess moves 87 Fig. 2.1 Stefano della Bella, fifteen of thirty-nine playing cards (and one title card) from the Cartes des rois de France (Game of French Kings), 1698 (fourth state, first state c. 1644) 97 Fig. 2.2 Stefano della Bella, thirteen of fifty-two playing cards (and one title card) from the Jeu de la géographie (Game of Geography), 1698 (fourth state, first state c. 1644) 98 Fig. 2.3 Stefano della Bella, thirteen of fifty-two playing cards (and one title card) from the Jeu des fables (Game of Fables), 1698 (fourth state, first state c. 1644) 101 Fig. 2.4 Stefano della Bella, title card and thirteen of fifty-two playing cards from the Jeu des reynes renommées (Game of Famous Queens), 1698 (fourth state, first state c. 1644) 102 Fig. 2.5 Stefano della Bella, nine studies for the Jeu des reynes renommées (Game of Famous Queens), c. 1644 105 Fig. 2.6 Stefano della Bella (after) and Pierre Mortier (published by), wrapper and booklet of explanatory text for the Jeu des reynes renommées (Game of Famous Queens), c. 1721 (1st ed. c. 1692) 110 Fig. 5.1 Giuseppe Maria Mitelli, Gioco importantissimo del fornaro, banco che mai falisce (The most important game of the baker—the bank which never fails) [Game of the Baker], 1692 163 Fig. 5.2 Giuseppe Maria Mitelli, Signora gola tira tutto (Mrs. Glutton takes all) [Game of Gluttony], 1699 167 Fig. 5.3 Giuseppe Maria Mitelli, Gioco gustoso della Simona e Filippa, compagne fedeli (The tasteful game of Simona and Filippa, faithful companions) [Game of Simona and Filippa], 1695 171 Fig. 5.4 Giuseppe Maria Mitelli, La cucagna nuova, trovato nella porcolandria l’anno 1703 da seigoffo quale raconta esservi tutte le delitie e chi dessidera andarvi gli ariva prestissimo con il pensiere con tutta facilita e finalmente qui chi sempre vive 174 Fig. 6.1 Schematic of prisoner’s base playing ground 188 Fig. 6.2 Francis Willughby’s depiction of a prisoner’s base playing ground. A to C is a post or bar serving as base for one team. B to D serves as base for the other. The chains of connected Os represent teams of players holding hands. M is the prison for 189 Fig. 7.1 Title page of A Courtly Masque: the Device called, The World Tossed at Tennis, 1620 . 208 Fig. 8.1 View of the south facade of James V’s Palace and Bowling Green at Stirling Castle 225 Fig. 8.2 Ornamented playing cards. Top row, from left to right: Le Diable (the Devil); Le Fou (the Fool), both from Jean Noblet’s deck; The Fool from the Visconti-Sforza deck. Bottom row, right to left: The King of Falcons, from the Stuttgart Playing Card 227 Fig. 8.3 Schematic of the south, east, and north facades of the royal apartments at Stirling Castle 231 Fig. 8.4 Sculptures from James V’s Palace at Stirling Castle. Reading clockwise: top row, left to right: Devil in bay 3, south facade; Boy throwing a ball in bay 4, south facade; Lady with floating scarf in bay 15, north facade. Bottom row, right to left: 233 Fig. 8.5 Statue of the Fool in bay 7, east facade of James V’s Palace at Stirling Castle 242 Fig. 9.1 The Pomeranian art cabinet, Berlin, 1610–17 253 Fig. 9.2 The Gustavus Adolphus art cabinet, Uppsala, 1625–31 254 Fig. 9.3 A combined draughts game (left), a Game of the Goose (right), and a “Tower game” (the eight spandrel ovals), Berlin 257 Fig. 9.4 Game of the Goose, Uppsala 258 Fig. 9.5 Two of Hainhofer’s Kronbrautspiele 260 Fig. 9.6 Tafelspiel, Uppsala 261 Fig. 9.7 Jacob van der Heyden, two women and a man playing a ball game on a table, 1608. 262 Fig. 9.8 Nicolas de Larmessin II, Habit de tabletier (dealer in fancy turnery, chessboards, etc.) from Les costumes grotesques, 1695 263 Fig. 9.9 Matthias Gerung, Die Melancholie im Garten des Lebens (detail), 1558 265 Fig. 9.10 Singwürfel (singing dice), Uppsala 267 Fig. 9.11 Vexierkartenspiel, Uppsala 268 Fig. 9.12 Tourniquet (roulette), Uppsala. 270 Fig. 9.13 Unknown game, Uppsala 271 This collection of essays examines the vogue for games and game playing as expressed in art, architecture, and literature in sixteenth- and seventeenth-century Europe. Moving beyond previous scholarship on game theory, game monographs, and period and regional studies on games, this volume analyzes a range of artistic and literary works produced in England, Scotland, Italy, France, and Germany, which used the game topos to illuminate special themes. In essays dealing with chess, playing cards, dice, gambling, and board and children's games, scholars show how games not only functioned as recreational pastimes, but were also used for demonstrations of wit and skill, courtship rituals, didactic and moralistic instruction, commercial enterprises, and displays of status. Offering new iconographical and literary interpretations, these studies reveal how game play became a metaphor for broader cultural issues related to gender, age, and class differences, social order, politics and religion, and ethical and sexual behavior.