约翰·赫伊津哈

Agora

约翰·赫伊津哈

1872–1945

初步了解有意简化——人物介绍讲得更多

文化在游戏中并作为游戏而产生：法律、战争、诗歌和哲学都源于有自身规则、时间和空间的竞赛与仪式；历史应当把握一个时代的人如何生活和感受——中世纪晚期是秋天，而不是黎明。

定位

自然科学与人文科学 · 西欧 · 社会与历史, 美学

在格罗宁根和莱顿任教的荷兰文化史家：《中世纪的秋天》（1919）把十四、十五世纪的勃艮第解读为中世纪形式的晚期繁盛，而非黎明；《游戏的人》（1938）把法律、战争、诗歌和哲学追溯到游戏。

核心思想

游戏作为文化的源泉
中世纪的秋天
生活形式的历史
文化批判

在星图中打开

影响

影响了 2

诺贝特·埃利亚斯

影响了
Elias drew on Huizinga’s picture of volatile late-medieval emotions (Autumn of the Middle Ages, 1919) as a baseline for growing affect control (Über den Prozess der Zivilisation, 1939). N. Elias, Über den Prozess der Zivilisation (1939), vol. I; J. Huizinga, Herfsttij der Middeleeuwen (1919)
依据: AI 草稿
诺贝特·埃利亚斯 › 1897–1990
汉斯-格奥尔格·伽达默尔

影响了
Gadamer drew on Huizinga’s Homo Ludens (1938) for play, which absorbs the players, as clue to the ontology of the artwork (Truth and Method, 1960). H.-G. Gadamer, Wahrheit und Methode (1960), “Spiel als Leitfaden der ontologischen Explikation”; J. Huizinga, Homo ludens (1938)
依据: AI 草稿
汉斯-格奥尔格·伽达默尔 › 1900–2002

批评

批评了 1

雅各布·布克哈特

批评了
Huizinga argued that Burckhardt drew the Renaissance too sharply against the Middle Ages: fifteenth-century culture north of the Alps was a late form of medieval life (1919). J. Huizinga, Herfsttij der Middeleeuwen, 1919; ‘Het probleem der Renaissance’, 1920
依据: AI 草稿
雅各布·布克哈特 › 1818–1897

作品

1919中世纪的秋天
研究十四、十五世纪法国和尼德兰的生活、思想与艺术：从编年史和绘画（包括凡·艾克兄弟的作品）中解读骑士精神、虔诚、爱情与死亡，视之为一种晚期文化成熟乃至过熟的形式。
1938游戏的人：文化中游戏成分的研究
游戏比文化更古老：它是一种有自己规则、时间和空间的自由活动；赫伊津哈在法律、战争、诗歌、哲学和艺术中追寻它，并警告现代文化正在失去其游戏成分。

立场

Huizinga is on the map as a founder of modern cultural history and as the theorist of play. “The Autumn of the Middle Ages” (1919) studied the forms of life, thought and feeling in Burgundy and the Netherlands of the fourteenth and fifteenth centuries – chivalry, piety, love, the image of death – through chronicles, poetry and painting. Against Jacob Burckhardt’s view of the period as the dawn of the Renaissance, he read it as the late, over-ripe flowering of medieval culture, whose forms had become elaborate and rigid. “Homo Ludens” (1938) argued that play is older than culture: a free activity, set apart from ordinary life by its own rules, time and space, from which law, war, poetry, knowledge and philosophy developed as contests and rituals. In modern mass culture, he feared, the play element was degenerating into either grim seriousness or mere amusement. In the 1930s he became a critic of his time: “In the Shadow of Tomorrow” (1935) diagnosed a crisis of culture marked by irrationalism, propaganda and the cult of the state. Gadamer took up his concept of play in “Truth and Method”, Norbert Elias drew on his picture of medieval emotional life, and Roger Caillois developed his theory of games further.

生平与背景

Johan Huizinga was born on 7 December 1872 in Groningen, the son of a professor of physiology. He studied Dutch, comparative linguistics and Sanskrit in Groningen and Leipzig and took his doctorate in 1897 with a thesis on the jester in ancient Indian drama. After teaching history at a secondary school in Haarlem, he became professor of history at Groningen (1905) and at Leiden (from 1915), where he was rector in 1932–33. In 1933, as rector, he expelled the German Nazi student functionary Johann von Leers from an international student conference held at Leiden. After the German authorities closed Leiden University in November 1940, he was taken hostage in August 1942 and held in the camp of Sint-Michielsgestel until October; released for reasons of health, he was banished to De Steeg near Arnhem. He died there on 1 February 1945, a few months before the liberation.