Simple race games, played with dice and without choice of move, are known from antiquity. In the late sixteenth century, specific examples of this class of game emerged from Italy and, assisted by the medium of printing, spread rapidly into other countries of Europe. Pre-eminent among these was the Game of the Goose, which was to spawn thousands of variants over the succeeding centuries to the present day, including educational, polemical and promotional versions mirroring many aspects of human life. The paper deals with the early history of these games, concentrating on their philosophical background, numerology and symbolism.

Why do we play games—with and upon each other as well as ourselves? When are winners also losers, and vice-versa? How and to what end do we stretch the spaces of play? What happens when players go ‘out of bounds,’ or when games go ‘too far’? Moreover, what happens when we push the parameters of inquiry: when we play with traditional narratives of ludic culture, when we re-write the rules? An innovative volume of fifteen interdisciplinary essays at the nexus of material culture, performance studies, and game theory, Playthings in Early Modernity emphasizes the rules of the game(s) as well as the breaking of those rules. Thus, the titular ‘plaything’ is understood as both an object and a person, and play, in the early modern world, is treated not merely as a pastime, a leisurely pursuit, but as a pivotal part of daily life, a strategic psychosocial endeavor. FOR PRIVATE AND NON-COMMERCIAL USE ONLY

This essay considers how a historical legacy of printed games dating back to the sixteenth century in Italy laid the foundation for modern board games like those produced by Milton Bradley. The technology of print and the broad publics it reached enabled the spread of a common gaming culture- one built upon shared visual structures in game boards. Modern board games, of course, relied upon similar rules and replicated the ludic functions of their Renaissance progenitors. But perhaps more importantly, they built upon and perpetuated entrenched narratives about how fortune and morality contributed to lived experiences, presenting their viewers and players with a familiar printed imagination of the game of life.

This dissertation addresses the social significance of parlour games as forms of cultural expression in medieval and early modern England and France by exploring how the convergence of textual materialities, players, and narratives manifested in interactive texts, board games, and playing cards. Medieval games, I argue, do not always fit neatly into traditional or modern theoretical game models, and modern blanket definitions of ‘game’—often stemming from the study of digital games—provide an anachronistic understanding of how medieval people imagined their games and game-worlds. Chapter 1 explores what the idea of ‘game’ meant for medieval authors, readers, and players in what I call ‘game-texts’—literary texts that blurred the modern boundaries between what we would consider ‘game’ and ‘literature’ and whose mechanics are often thought to be outside the definition of ‘game.’ Chapter 2 examines how recreational mathematics puzzles and chess problems penned in manuscript collections operate as sites of pleasure, edification, and meditative playspaces in different social contexts from the gentry households to clerical cloisters. The mechanics, layout, narrative, and compilation of chess problems rendered them useful for learning the art and skill of the game in England. Chapter 3 traces the circulation, manuscript contexts, and afterlives of two game-text genres in England—the demandes d’amour and the fortune-telling string games—in order to understand how they functioned as places of engagement and entertainment for poets, scribes, and players. Chapter 4 illustrates how narrative and geography became driving forces for the development and rise of the modern thematic game in Early Modern Europe. This chapter charts how changing ideas of spatiality enabled tabletop games to shift from abstract structures enjoyed by players in the Middle Ages, in which game narratives take place off a board, to ludic objects that incorporated real-life elements in their design of fictional worlds—thereby fashioning spaces that could visually accommodate narrative on the board itself. This dissertation places games into a more nuanced historical and cultural context, showing not only the varied methods by which medieval players enjoyed games but also how these ideas developed and changed over time.

This article draws attention to the social and political import of balls games and acts of play in the urban space of Grand Ducal Florence. At the same time that the Medici were commissioning artworks that rhetorically promoted a unified identity of Florence and a spectre of control over the city space through the apparatus of public games like calcio in livrea, young men engaged in transitory activities of play in the street that contributed to community identity and belonging in space. Teasing out the transgressive and political potential of the ludic apart from and apart of the festal demonstrates how games in the city produced moments of community in an early modern public sphere- a sphere carved out through use of and performance in urban space, a sphere sometimes contending with and in contention with legislation, control, and authority by the Grand Duchy. Play shaped the production, use, and meaning of the urban environment both in daily life and during special events. In turn, the city's socially invested topography contributed to the construction of Florentine identity, within, between, and beyond factions.

Orientalizing bronze cauldrons with attachments in the form of griffin and lion promote ushered in radically novel ways of sensory interaction with material and visual culture. Report on research conducted at the National Gallery of Art, Center for Advanced Study in the Visual Arts in Fall 2015.

"During the European Renaissance, the idea that human beings need periodical rest from their ordinary occupations became commonplace. Medical writing justified a variety of physical activities as beneficial to the preservation of health. Under the influence of Aristotle, moral literature coined the notion of the art of amusing oneself and one's interlocutors, by keeping the mean between excessive laughter and excessive seriousness. Christian writers produced their own categories, by which many pastimes could be disapproved of. Italy hosted a school of legal writing on games, mainly concerned with gambling. The legal discourse was not dominated by prohibitions - because political power could find reasons for tolerating or even promoting some forms of recreation. Social hierarchy, gender and age clearly affected the ways in which specific pastimes were practised and perceived. Thus, leisure existed and mattered well before the Industrial Revolution: its theory and practice significantly shaped an epoch and its self-image. List of Figures Preface PART 1: INTRODUCTION Games and Leisure between history and social theory PART 2: THE NEED FOR RECREATION Paradise Lost A saint, an archer and his bow (story of an exemplum) A right to be idle? PART 3: THE MEDICAL DISCOURSE Motion and rest Ancient and modern forms of exercise 'The manner of governing health' Amor et alea PART 4: THE MORAL DISCOURSE Reason versus Joy A virtue to remember A view from Paris Games without a chance Juego(s) A time for play? PART 5: GAMES AND LAW Ius commune De ludo Panem et circenses The regulation of extravagance PART 6: VARIETIES OF PASTIMES Leisure and social hierarchy Plaisirs des dames Children's games Medieval and Renaissance taxonomies PART 7: CONCLUSION Appendix: the European Vocabulary of Recreation Notes Bibliography Index"

April 15 to 18, 2015 at the Swiss Museum of Games, La Tour-de-Peilz. For further information see http://www.museedujeu.ch/fr/specialistes/boardgamstudies or contact boardgamestudies2015@gmail.com