• Contenu principal
  • Menu
OpenEdition Books
  • Accueil
  • Catalogue de 16095 livres
  • Éditeurs
  • Auteurs
  • Facebook
  • X
  • Partager
    • Facebook

    • X

    • Accueil
    • Catalogue de 16095 livres
    • Éditeurs
    • Auteurs
  • Ressources numériques en sciences humaines et sociales

    • OpenEdition
  • Nos plateformes

    • OpenEdition Books
    • OpenEdition Journals
    • Hypothèses
    • Calenda
  • Bibliothèques

    • OpenEdition Freemium
  • Suivez-nous

  • Lettre d’information
OpenEdition Search

Redirection vers OpenEdition Search.

À quel endroit ?
  • Presses universitaires de Liège
  • ›
  • Jeu / Play / Spiel
  • ›
  • Play as Metaphor
  • ›
  • Part four. Childhood at play
  • ›
  • Chapter III. Playing at being grown up
  • Presses universitaires de Liège
  • Presses universitaires de Liège
    Presses universitaires de Liège
    Informations sur la couverture
    Table des matières
    Liens vers le livre
    Informations sur la couverture
    Table des matières
    Formats de lecture

    Plan

    Plan détaillé Texte intégral Ball games Archytas’ rattle A musical education Games of skill and gymnastics Notes de bas de page

    Play as Metaphor

    Ce livre est recensé par

    Précédent Suivant
    Table des matières

    Chapter III. Playing at being grown up

    p. 291-306

    Texte intégral Ball games Archytas’ rattle A musical education Games of skill and gymnastics Notes de bas de page

    Texte intégral

    Ball games

    1In Greece, sphaira, ‘the ball’, is one of the attributes of the pre-adult age group. It was one of the objects manufactured to delight, entertain, and train young girls and boys. Children begin their discovery of the world with this enticing toy (athurma). Its shape also symbolises the celestial globe; it is a kind of cosmic sphere, encircled in gold, that Adrastaeus offers to little Zeus in Apollonius of Rhodes.92 It accompanies a child’s growth from the very beginning. On several jugs, very young children, crouching or crawling, naked or wrapped up in their swaddling clothes, move around with a ball in a domestic space indicated by a stool or table.93 Their first game seems to be to throw a light object that is easy to get hold of in a house, that cannot break or get damaged, like a nut, an acorn, a knucklebone, a ball or a ball of wool.94 On a chous in the Louvre (fig. 4.4; 425-400),95 a long-haired boy, with a string of amulets across his chest, is bending over and reaching for a large spherical object painted in relief; he may be trying to catch the ball or ball of wool that seems to have bounced against the frame of the scene.96 The liveliness of his movement is emphasised by the floating ribbons from his headband. His body is painted in white, perhaps to indicate that he still belongs indoors, in the gynaeceum. In other scenes, the child is sometimes aiming at a jug, which is used as a plaything.97 The eagerness of the little ones conveys the image of a child training the coordination of its movements and bodes for its harmonious physical development. On a chous in a private collection (fig. 4.5; c. 420),98 a nude kneeling boy is throwing a ball into the air; the depiction of a strigil behind him seems to anticipate the gymnastic accomplishments of a future athlete. The female equivalent of the gesture, which is rarer, has a different meaning. Skill shows that the girl is fit for marriage, but the throwing game may also suggest that the girl will one day be one of the four arrhephorai, the ‘basket bearers’, aged between seven and eleven, who served Athena Polias for four years on the Acropolis, where a place for playing ball, sphairistra, was reserved for them (fig. 3.14).99

    Fig. 4.4. Unattributed chous, 425-400. Paris, Musée du Louvre CA 2916.

    Fig. 4.5 Unattributed chous, c. 420. Munich, collection Preyss.

    Fig. 4.6. Bronze (H. 14,2cm), 400-300. Ioaninna, Musée archéologique 1410.

    2The energy conveyed by the image of a ball game is also found in statuary. A bronze figurine from the sanctuary of Zeus at Dodona (fig. 4.6; late 4th/3rd cent.)100 shows a chubby, naked young boy slightly bent and spreading his legs, brandishing a large leather ball with visible seams. He is alone, but his throwing game is aimed at invisible partners. The game may be the episkuros, where two teams compete for a ball within a confined field.101 His elaborate hairstyle could indicate a priestly function, or his broad central braid was intended to be cut as part of a vow to protect the growth of a child who was already well integrated socially thanks to team games.102

    Archytas’ rattle

    3In the cycle of life, a rattle is the first toy made by adults for a child. Its value goes beyond that of simple entertainment. On a red-figure Attic chous in London, a young child is depicted naked, frontally, seated on a raised pot that serves as a potty (fig. 4.7; 440-425).103 The painter has captured him in a paradoxical moment, both immobilised in his seat and in full activity. In his right hand, he is holding up the handle of a circular object, in white paint, which appears to be a rattle. His little legs are placed asymmetrically near the opening of the seat to suggest his agitation. Two objects are placed on the ground around him: on the right, a toy roller, hamax, leaning against the frame of the painted panel, and on the left, a small vase, a chous similar to the container on which the image is depicted.

    Fig. 4.7. Unattributed chous, 440-425. London, British Museum 1910,0615.4.

    4The scene is often interpreted as evoking an intimate moment of relaxation, revealing the domestic recreational world of Greek children. However, this interpretation imposes a modern concept on an ancient image. Examined more closely, the scene serves as an example of how painters could use toys to construct an elaborate visual discourse about the process of anthropopoiesis that transformed the toddler into a social being.

    5In Greece, the rattle was referred to as an idiophone,104 i.e. an instrument with a sound produced by the material of the object itself. The most common word, he platage, often translated in English as ‘rattle’ or ‘clicket’, is associated with the verb platageo, ‘to clap’. The Suda entry on platage refers to the sound of a bell enclosed inside an object: the rattle is defined as “a kind of instrument, producing resonance, ekhos, and noise, psophos”.105 In Politics, Aristotle gives the toy a function that is, at first glance, very prosaic: to keep children occupied so that they do not cause damage in the house:

    At the same time also children must have some occupation, and one must think Archytas’s rattle a good invention, which people give to children in order that while occupied with this they may not break any of the furniture; for young things cannot keep still.106

    6Aristotle does not describe the appearance of the object, but he attributes its invention to a famous historical figure, Archytas, born in Tarantum at the end of the 5th century (435/410-360/350), a Pythagorean philosopher and politician who governed the city for several years.107 Aristotle’s statement is surprising for at least two reasons. Firstly, there is archaeological evidence of rattles long before the 5th century;108 if this type of object was known for a long time, why was it associated with a contemporary inventor? Secondly, Archytas was a prominent politician,109 and friend of Plato, which does not sit well with such a trivial object.110 The Suda entry dedicated to Archytas ends with the expression ‘Archytas’s rattle’, which gives the invention an exemplary value that is left undefined.111

    7In Pollux’s Onomasticon, the idiophone is designated by the term platagonion; it is defined as a synonym of krotalon, ‘crotales’, and seistron, ‘sistrum’, two other types of idiophone instruments: one, krotalon, by the clashing of two wooden or metal elements, the other, seistron, by the shaking of elements threaded onto metal rods.112 For the lexicographer, this family of sounds is also related to the dry noise produced by snapping a leaf or a flower petal placed on the ring formed by the thumb and forefinger to determine the strength of the feelings of the loved one.113 In Latin, in addition to crepitaculum and crepitacillum, derived from crepare, to make ‘a dry sound’, ‘to crack’, ‘to clack’, ‘to resound’, and crepitare, to make ‘a regular sharp noise’,114 the term sistrum can also be used to describe it, as if the two terms were interchangeable.115

    8The function of the object corresponds to the Classical Greek conception of the child’s body and needs. It reveals the extreme attention paid, from birth, to the stages of its physiological and psychological development. The first growth phase began with a state of apparent insensitivity for the first forty days.116 This transitional stage, dangerous like any period of change, explained the common death of very young children before the seventh day.117

    9After forty days of life, children were seen as dominated by sensations and emotions, immoderate, and uncontrolled, like small animals. This excessive temperament stems from children’s hot and humid nature, according to Hippocratic tradition, or sanguine nature according to Aristotle.118 Hippocrates explains how children gradually become sensitive to their environment, both visually and in terms of sound.119 Screaming and crying are the child’s first means of expression, which Plato considers normal, while recommending that children should not be allowed to cry for too long a time.120 He urges to try to decipher this first language, as nannies ingeniously do, specifying that “this period of infancy lasts not less than three years”.121 Conversely, Aristotle considers that crying is useful and represents a kind of breathing exercise that builds up vigour.122 The prevailing view, however, is that crying should be avoided because of the fragility of the child’s body.123

    10Crying was also feared because it could be the symptom of a fit of fright, phobos, which is a threat to the child who can no longer eat normally.124 Acute fright can also cause an epileptic seizure, known as a ‘child’s disease’, paidion nosema.125 To avoid these disorders, it was recommended to refrain from threatening children with mormolykeia or phobetra, scarecrows that could make them fearful.126 The regular sound of a rattle was also due to play an essential role in calming them down, combined with the gentle singing of lullabies that induced a restful sleep.127 In Roman times, Rufus of Ephesus attributes to the sight of toys a similar power to distract and reassure anxious children.128

    11The use of sound amulets as charms (figs. 4.8, 4.34, 4.35) may also be related to the concern to prevent children from being overcome by fears that would cause harmful disorders. Only lunulae and double axes are recognisable on the choes (fig. 4.3), but they are depicted on other media and archaeological material testify to the use of metal and the variety of shapes.129

    12Could the sound of a rattle have the power to protect its wearer from harmful invisible forces? Some researchers have suggested that it was thought to fend off demons, as did rattles in the Middle Ages, which contained seven grains symbolising the seven deadly sins.130 This function is conceivable in ancient times. In Greek, platage could refer to a metal instrument whose noise effectively warded off evil forces. In Apollonius of Rhodes’Argonautica (3rd cent.), Heracles shakes a bronze rattle, chalkeien platage, to bring out the carnivorous birds of Lake Stymphalus from the bushes and kill them.131 However, the expression is purely literary. The Greek vase-painters never showed Heracles armed with crotales. In the earliest depictions, he carries a slingshot, then a bow and arrows.132

    13Plutarch also describes the protective and regenerative force of the metal sistrum, capable of appeasing the destructive power of the god Seth/Typhon.133 In his Life of Pythagoras, Porphyry explains that bronze possesses a remarkable sonority that manifests the voice of a daimon.134 The misdeeds of the birds of Lake Stymphalus are reminiscent of the attacks of other carnivorous birds, the striges, which entered houses to rip the bodies of infants to shreds.135 Did the nurse wave a platage to chase evil away? Alexandra Villing links the invention of Archytas to the presence of bells in children’s tombs and to the story of Zeus’ birth, protected by the noise the Kouretoi made by striking their weapons on their shields.136

    14However, not all the preserved rattles are made of metal; some are made of terracotta or bone. Particular shapes may have been designed to provide extra protection for the youngest. Among the terracotta examples from the Classical and Hellenistic periods, the piglet has a special religious reference, as it refers to the animal sacrificed to Demeter or Artemis. In Sparta, suckling pigs were offered to Artemis Corythalia during the festival of the Tithenidia or ‘Nannies’, to ensure that the divinity would grant a harmonious growth to the children in their care.137 More complex rattles depict the child itself lying in a cradle, its head resting on a soft cushion, naked or wrapped in a cloth, summing up the care evoked by the little Hermes: “What I’m interested in is sleeping, and my mother’s milk, and having wrappings round my shoulders, and warm baths.”138 Other examples show a child riding an animal, as on the choes.139 Their functionality (votive simulacra?) remains to be clarified. In the Roman period, alongside dogs and birds, there were examples in the shape of female faces or busts, evoking the reassuring presence of an adult.140

    A musical education

    15The rattle’s function is not limited to distracting toddlers’ fears. The object was part of a genuine educational process that ran throughout childhood and was designed to foster acquiring reason through rhythm. Music would turn children into little humans, distinct from animals.141 Aristotle advocated immediate action, because good and bad habits are indelibly imprinted on children at a very early age.142 In the 2nd century CE, Plutarch compared the malleability of the young child’s soul, paidion, to wax, marked by early experiences as if by a seal, quoting the poet Phocylides (6th cent.) who urged that ‘good deeds’ should be taught from childhood.143

    16Learning rhythm, eurythmia, music and gymnastics formed the basis of education to achieve a harmony of body and soul. Education was important because the extraordinary vitality of the younger children was associated with a lack of control over their emotions, a characteristic they shared with young animals. What distinguished human beings from animals was the pleasure they took in rhythm. Acquiring a sense of rhythm initiated them into a sense of harmony, leading to a rational mind:

    Almost without exception, every young creature is incapable of keeping either its body or its tongue quiet, and is always striving to move and to cry, leaping and skipping and delighting in dances and games, and uttering, also, noises of every description. […] to us men the very gods […] have granted the pleasurable perception of rhythm and harmony, whereby they cause us to move and lead our choirs, linking us one with another by means of songs and dances; and to the choir they have given its name from the ‘cheer’ implanted therein.144

    17The rattle therefore represented a first introduction to rhythm and music, which “children enjoy straightaway from birth”, as Pseudo-Aristotle points out.145 These precepts echoed the recommendations of the Pythagoreans on the educational value of music, which was of divine origin and transmitted cosmic harmony.146 In Cratylus, Plato explains the links between healing skills and the musical excellence of Apollo, the god who cared both for the body and the soul.147 In this circle, Archytas of Tarantum, a follower of Pythagoras, was a renowned pioneer of musical theory. The scientist is said to have had a particular interest in idiophone instruments of the platage family, and to have established a theory of sound vibrations and propagation. A fragment of this treatise, quoted by Porphyry, examines the variations in sound intensity according to the power of the sound shock, describing how sounds are produced.148 The invention that Aristotle attributed to him could thus be understood in the broader educational context of training children through active learning. The end of the passage confirms the pedagogical intention behind Archytas’ concept:

    The rattle (platage) of Archytas, which is given to small children so that they do not break anything in the house, must be considered a fine invention, because children are not capable of keeping still. The rattle is therefore well suited to small children, and education is a sort of rattle (platage) for youngsters who have grown up.149

    18So ‘not breaking anything in the house’ is not a frivolous recommendation. Rattles helped to channel children’s energy by offering them a well-regulated activity, exercising fine motor skills and preventing them from developing bad habits. This formative function is echoed in the description of a newborn child in the Roman poem On Nature. Lucretius turns the rattle into the accessory that distinguishes human beings from animals, emphasising the physical and psychological dependence of the human infant at birth and the importance of its interactions with adults in developing into a social being:

    Like a castaway washed ashore, the newborn lies naked on the ground, speechless, in need of every kind of vital support, as soon as nature has spilt him forth with throes from his mother’s womb into the regions of light […] Blessed are the domestic animals, large and small, and the wild beasts: they need no rattles, crepitacilla, none of them wants to hear the coaxing and broken babytalk of the foster-nurse.150

    19Archytas is therefore not the inventor of the rattle, which existed long before in various forms and materials, but he elaborated an educational concept that may have represented the practical application of his theoretical reflections on the power of sound, rhythm, and music. Several anecdotes point to Archytas’ particular interest in children. According to Aelian (2nd cent. CE), he loved to play with the little slaves born in his household, especially at banquets.151

    20His close observation of their behaviour may have led him to develop a theory on the educational value of the platage. The ‘rattle of Archytas’ would thus be part of an elaborate programme to transform the little human being into a social being by first learning rhythm and sound to structure body and soul. It should also be noted that the lively movement of the object, by jolting or shaking, also corresponds to the agitation that children had to learn to control as they grew up. Idiophones were constant companions of Greek children, but their shape changed with age. The platage of the younger ones became the crotales or platagema of dancing youths, like the boxwood ones that Philocles dedicated to Hermes on leaving childhood in a poem of the Palatine Anthology.152

    21The educational programme contained in the expression ‘Archytas’s rattle’ is thus implemented on the London chous scene (fig. 4.7). The image is structured around a set of objects specific to the child’s age group and sex, to create a visual discourse on the learning process of the future citizen: the little boy is sitting on a pot, the lasanon, which suggests his control over his body, over cleanliness and dirtiness.153 Next to him, the toy roller is associated with learning to walk and becoming independent for the first time. Like the jug on the other side, it refers to his future participation in the Dionysian festival of the Anthesteria. The picture is completed by the rattle in the child’s hand, signalling his ongoing acquisition of meter through musical rhythm. We should note the paradoxical aspect of the image of a child depicted alone, with no adult or companion, while everything speaks of those close to him and the care he receives, from the pot on which someone must have placed him, to the toy roller and rattle made for him, just like the miniature chous. His gestures suggest social learning through interaction: he stretches out his arm towards the edge of the scene, directing his gaze towards those whose presence is implied: the mother, the nurse or the pedagogue. Two vases of the same period depict a similar scene, with the child sitting on his potty, this time without a rattle, but with his mother, imitating her gestures or stretching out his arms towards her.154

    22The few representations of the object in vase-painting do not correspond to the typological diversity of preserved metal, bone and terracotta rattles.155 The most common type resembles a sort of gourd, as on the London chous (fig. 4.7); the white top could indicate a metallic material. Elsewhere, identification is sometimes uncertain.156 On a small jug from Athens (fig. 4.8; c. 400- 390),157 three children of different ages interact. A standing girl, wearing a long tunic, holds the handle of a rectangular object reminiscent of the bone plaques found in children’s tombs in Sicily (4th cent.).158 She is waving it in front of a naked boy kneeling on a stool. In her other hand, she holds a cake, inviting him to partake of two pleasures: music and food.

    23On a chous in Munich (fig. 4.9),159 learning rhythm is combined with learning to dance. A naked boy with a chubby body, walks holding a rattle in his right hand. Two birds, possibly ducks, surround him, evoking the kinship between the animal and juvenile worlds. The three figures seem to move together to the rhythm of the rattle, at the same time close and so different.

    Fig. 4.8. Unattributed chous, 400-390. Athens, National Museum 1268 (CC 1878).

    Fig. 4.9. Unattributed chous, c. 410. Munich, Antikensammlungen 1747.

    Fig. 4.10. Attic marble funerary stele, 400-300. Brauron, Brauron Museum ΒΕ 4455.

    24Rattles are depicted on 4th century funerary monuments. On the Attic stele of an anonymous boy (fig. 4.10)160 with his little dog jumping against his legs, the toy appears as an attribute of a still immature age group. Victoria Sabetai has shown the importance of metal objects in the grave as markers for elite children in Boeotia.161

    Games of skill and gymnastics

    25Games that require the acquisition of a certain level of ergonomics are found with the next age group, depicted on larger choes. On a chous in Malibu (fig. 4.11; c. 420),162 three naked crouching boys are crowned with plant wreaths that hold back their curly hair. The wreaths suggest that they are taking part in a festival, possibly one associated with the gymnasium, like the Hermaia.163 They are gathered around a game of skill with small, irregularly shaped accessories, pebbles or knucklebones, that are impossible to identify precisely. The painter has captured a suspended moment in which the gazes of the two players at either end are directed towards the boy at the centre, who bows his head, concentrating on collecting what he has thrown; he is holding several objects in his left hand and lifting one from the ground with his right. To his right, the other player is also holding a small object. To his left, the kneeling boy raises an arm as if to draw his companion’s attention, perhaps to invite him to play a new game. In the Onomasticon, Pollux lists several games that these boys could be playing with a variety of accessories: knucklebones, pebbles, beans, walnuts, almonds. The boys seem to be arranged in a circle, which suggests omilla,164 where each player throws a knucklebone into a circle drawn on the ground, trying to dislodge those of his partners. In Malibu, the winner perhaps picks up those of the losers. A similar pose can be seen between two more youthful-looking boys, with long locks of hair, on a chous in the British Museum (fig. 4.12; c. 420).165 The boy on the right, standing, extends his right arm towards his kneeling friend, who is turning his head backwards. Each of the boys is holding a net containing their playthings, most likely knucklebones or marbles. Another group of three boys are testing their balance by carrying each other like in the game of ephedrismos (fig. 2.18). Some miniature vases anticipate the future. The hoop skilfully thrown by a young boy, his chlamys blowing in the wind, on a chous in Wellesley (fig. 4.13; c. 430)166 projects the image of a skilful and desirable young man, like a future Ganymede (fig. 2.38).

    Fig. 4.11. Chous attributed to the Group of Boston 10.190, c. 420. Malibu, J. Paul Getty Museum 96.AE.28.

    Fig. 4.12. Unattributed chous, c. 420. London, British Museum 1842,0728.928.

    Fig. 4.13. Unattributed chous, c. 430. Davis Museum at Wellesley College, Wellesley 1969.17.5.

    Notes de bas de page

    92Ap. Rhod. Argon. 3.132-141.

    93E.g., rf chous, London, British Museum 1933,06,13.5; BAPD 15887; van Hoorn 1951, no. 669, fig. 17; Ammar 2022: 106, fig. 3a-b.

    94Poll. 9.103: “The game called tropa is most often played with knucklebones, which are thrown at a small pit, dug to receive the results of the throw. Those who threw often used acorns and chestnuts instead of knucklebones” (transl. A. Mitchell). Elsewhere, Poll. 9.101 mentions the use of beans, walnuts or almonds.

    95Rf chous, Paris, Musée du Louvre CA 2916; BAPD 16351; Callisto 973; van Hoorn 1951, fig. 438, no. 851.

    96See the bounce against the edge of a coin on a Larissa obol, fig. 3.12a.

    97E.g., the boy on a rf chous, Berlin, Antikensammlung 4982.26; BAPD 16344; Callisto 1047; van Hoorn 1951, no. 342, fig. 524.

    98Rf chous, Munich, coll. Preyss; BAPD 16114; Callisto 838; van Hoorn 1951, fig. 276, no. 717. On the older boys’ ball games at the palaestra, see Part 2. Gymnastic games.

    99On the Arrhephoria, see Part 3. Games of love and chance.

    100Bronze, Ioaninna, Archaeological Museum 1410; Bobou 2015: 75-76, fig. 26; Dasen 2020, fig. 4. See also the Hellenistic terracotta figurines of children with balls from the sanctuary of Kharayeb (Lebanon); Castiglione 2020: 104-106, figs. 8-9.

    101On the episkuros, Poll. 9.105; Costanza 2019: 121-125, and Part 2. Gymnastic games.

    102For Burr Thompson 1982, the offering could commemorate the religious service of a child who died before he could consecrate his hair; contra: Bobou 2010.

    103Rf chous, London, British Museum 1910,0615.4; BAPD 11041; van Hoorn 1951: 148, no. 665. There is archaeological evidence for this type of raised pot: Lynch, Papadopoulos 2006.

    104Dournon 2007: 843-849.

    105Suda, s.v. platage (transl. Suda On Line, modified https://www.cs.uky.edu/~raphael/sol/sol-entries/pi/1697).

    106Arist. Pol. 8.6.2.1340 b (transl. H. Rackham, Loeb).

    107On chronological issues, Huffman 2005: 5-6.

    108E.g., Bellia 2012: 14-34; Sabetai 2022c.

    109He was elected strategos of the city of Taranto seven times. About his career, Mathieu 1987: 239-255.

    110The grammarian Diogenianos (Hadrian’s time) describes Archytas as a carpenter: Huffman 2005, text A: 302-307 (= Corpus paroemiographorum graecorum, I, 213, Diogenianos II, 98,1), perhaps deemed necessary to clarify that the inventor had to be a craftsman, and not the famous philosopher.

    111Suda, s.v. Archytas, Tarantinos. Repeated by Hsch. s.v.

    112Poll. 9.127. See the classification of Dournon 2007.

    113On this divinatory game of ‘crack-petal’, platagonion or telephilon, Costanza 2019: 559-573.

    114See Plaut. Rud. 536; Prop. 3.10.4. Crepundia belongs to the same family, but refers to jewellery used as amulets; Plaut. Mil. 1399.

    115Mart. 14.54: “Small rattle, Crepitacillum. If a little home-born slave hang weeping from your neck, let him shake this chattering rattle, garrula sistra, with his tender hand” (transl. D.R. Shackleton Bailey, Loeb). See also Apul. Met. 11.4.

    116Hippoc. Oct. 9.8 (Littré VII, 450). On this sleep period, Arist. Gen. an. 778b and 779a.

    117Arist. Hist. an. 588a. In Hippocratic humoral medicine, changes are dangerous because they create an imbalance.

    118Hippoc. De diaet. 1.33 (Littré VI, 510-513); Arist. Probl. 861b. Repeated by Gal. De San. tuend. 1.7 (Kühn 6, 31-37). See the sources compiled by Hanson 2003.

    119Hippoc. Oct. 9.8 (Littré VII, 450).

    120Pl. Lg. 7.791e.

    121Pl. Lg. 7.791a-792a.

    122Arist. Pol. 7.17.6.336a. In Sparta, however, nannies had to train children to refrain from crying, according to Plut. Lyc. 16. 4.

    123See Sor. Gyn. 2.13: prolonged crying damages the eyes and causes the intestines to descend into the scrotum. On paediatrics in Roman times, Bertier 1996: 2147-2227; Hummel 1999.

    124See also Cels. Med. 10.11. For pregnant women, fright is also dangerous because it can cause an abortion; Hippoc. Mul. 1.25 (Littré VIII, 66).

    125Hippoc. Aph. 3.24 (Littré IV, 497). Ruf. ap. Orib. Coll. Med. inc. (Dar. III, 160-161). On epilepsy, Hippoc. Morb. Sacr. 10 (Littré VI, 378-381).

    126Pl. Resp. 2.381a, 2-6. See also Hsch. s.v. Mombro and Mommo; Patera 2014: 306-307. Some games have been used to train the child to control fear, like the game of the mask (Wyler 2008), or an articulated doll with a disquieting smile and Medusa’s head on her shield (Sabetai 2024).

    127Pl. Lg. 7.790c-e. The narrative context of lullabies is often associated with a moment of danger; Pache 2004: 107-112. Their content is almost entirely lost, with the exception of brief quotations; Karanika 2014: 160-164. See Theoc. Id. 24.6-10 on Alcmene’s lullaby for Heracles and Iphicles.

    128On Bringing up children, ap. Orib. Coll. Med. inc. (Dar. III, 160-161).

    129Dasen 2003: 172-177; Dasen 2015a, b.

    130E.g., May 1991: 51-52.

    131Ap. Rhod. Argon. 2.1052-1257. See also Diod. 4.13.2.1-12 (platage); Apollod. Bibl. 2.6.1- 12 (krotalon).

    132On the iconography of this episode, Woodford 2003 (slingshot/bow and arrows).

    133Plut. De Is. et Os. 63.376c-d.

    134Porph. Pythag. 41. On the sound of bronze, associated with purification rites, Tupet 1976: 39-43; Villing 2002: 289-291; Kolotourou 2005: 185-186; Kolotourou 2011.

    135Ov. Fast. 6.132-168; Sorlin 1991: 411-436; Dasen 2015a: 290-293.

    136Call. Hymn 1.50-52; Villing 2002: 290.

    137Athen. Deipn. 4.139a. See Bellia 2012: 19-33, fig. 30 (piglet, 4th cent.).

    138HhH 267-268 (transl. M.L. West, Loeb). Bellia 2012: 19-33, fig. 33-34 (child in cradle, Hellenistic period).

    139Some bells are probably not rattles, e.g., Bellia 2012, fig. 26 (pomegranate, 6th cent.). See also Bellia 2014: 54-71. The function of the clay rattles in the shape of a piglet and an owl was probably not playful, but religious; Buchholz 1990: 33-51; Kolotourou 2005: 186-187.

    140E.g., Dasen 2015a: 127, fig. 4.7 (dea nutrix or nanny breastfeeding a child). See also Messineo 1991/1992: 119-132 (piglet, female bust); Pfäffli 2014: 141-156 (roosters, objects imitating wickerwork).

    141Rocking, which begins in utero, is also a kind of initial physical training that structures the soul; Pl. Lg. 7.789e-791c.

    142Arist. Eth. Nic. 2.1-2.1103b, 23-25 claims that the importance of developing a particular habit from an early age is not negligible, but decisive.

    143Plut. De lib. educ. 5f.

    144Pl. Lg. 2.653b-654a. See also Pl. Prt. 326b (on the importance of eurythmia and euarmostia); Kolotourou 2005: 180.

    145Ps.-Arist., Probl. 920b (transl. R. Mayhew, Loeb).

    146Strab. 10.3.10.

    147Pl. Crat. 405a-d.

    148Porph. In harm. 1.3; Huffman 2005, frgt 1, l. 7-43 (A, B: 103-108, 129-148).

    149Arist. Pol. 8.6.2.1340b.

    150Lucr. Nat. 5.222-230 (transl. W.H.D. Rouse, revised by M.F. Smith and modified, Loeb).

    151Ael. VH, 12.15. See also Athen. Deipn. 12.519b; Huffman 2005: 297-302, A8, A10.

    152Anth. Pal. 6.309 (Leonidas of Taranto); See Part 2. Gymnastic games.

    153Observation of babies’ meconium and faeces, Arist. Hist. an. 7.10.587a 28-33, and 7.11.587b 7-8.

    154Bf cup with a rf tondo, Brussels, Musées royaux d’Art et d’Histoire A 890; ARV2 771.1, Add2 287 (Sotades P.); BAPD 209536; Crelier 2008: 192-193, K1 B (fig.). Rf lekythos from Nola, in Berlin, Antikensammlung F 2209; ARV2 1587.2; BAPD 9017558; Crelier 2008: 127, L7 (fig.).

    155Some scholars have suggested that the ‘rattle of Archytas’ could be identified with the ‘xylophone’ depicted on South Italian vases; Smith 1976: 129-132. This interpretation is now rejected: Huffman 2005: 305-306.

    156See the potential egg-shaped ‘rattles’: van Hoorn 1951, no. 239, fig. 293 (shaped like a gourd?), no. 551, fig. 291 (an elongated cake?), and no. 925, fig. 399.

    157Rf Attic chous from Rhamnous, in Athens, National Museum 1268 (CC 1878); BAPD 16174; Callisto 531; van Hoorn 1951, no. 38, fig. 295.

    158See the rectangular bone plates from the Taranto region; Bellia 2012: 15-16, fig. 14-16.

    159Munich, Antikensammlungen 1747; BAPD 11383; Callisto 851; van Hoorn 1951, no. 697, fig. 294.

    160Marble stele, from Paiania, in Brauron Museum ΒΕ 4455; Sabetai 2022c: 44, fig. 1. See also the rectangular platage of the young Sosibolis, marble stele, Baltimore, The Walters Art Gallery G.23.38; CAT 0.722.

    161Sabetai 2022c.

    162Rf chous, Malibu, J. Paul Getty Museum 96.AE.28; ARV2 1318.3 (Group of Boston 10.190); BAPD 220532; Callisto 246; van Hoorn 1951, no. 884; Neils, Oakley 2003: 278, no. 86.

    163On the Hermaia, see Part 2. Gymnastic games.

    164Poll. 9.102: “If, therefore, after drawing a circle, you threw a knucklebone with the aim of keeping it in the circle, this game was called omilla” (transl. A. Mitchell); Costanzo 2019: 117-119. On knucklebone games, see Schädler 1996.

    165Rf chous, London, British Museum 1842,0728.928 (E537); BAPD 4184; Williams 2022: 304, fig. 10, suggests to identify these nets as sacks of marbles.

    166Rf chous, Davis Museum at Wellesley College 1969.17.5; van Hoorn 1951, no. 389bis. See also rf South Italian chous, Geneva, MAH I651; van Hoorn 1951, no. 541, fig. 400.

    Précédent Suivant
    Table des matières

    Le texte seul est utilisable sous licence Licence OpenEdition Books. Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.

    Voir plus de livres
    Ludographie comparée

    Ludographie comparée

    Essai de grammaire systémique du jeu vidéo

    Mathieu Goux

    2022

    L’Art et le vivant du jeu

    L’Art et le vivant du jeu

    Anne Boissière

    2023

    Penser (avec) la culture vidéoludique

    Penser (avec) la culture vidéoludique

    Discours, pratiques, pédagogie

    Selim Krichane, Isaac Pante et Yannick Rochat (éd.)

    2022

    Héraclite : le temps est un enfant qui joue

    Héraclite : le temps est un enfant qui joue

    David Bouvier et Véronique Dasen (éd.)

    2020

    Jouer dans l’Antiquité classique/Play and Games in Classical Antiquity

    Jouer dans l’Antiquité classique/Play and Games in Classical Antiquity

    Définition, Transmission, Réception/Definition, Transmission, Reception

    Véronique Dasen et Marco Vespa (éd.)

    2021

    Lire les magazines de jeux vidéo

    Lire les magazines de jeux vidéo

    Couverture(s) de la presse spécialisée française

    Sélim Ammouche, Alexis Blanchet, Björn-Olav Dozo et al. (éd.)

    2022

    Temporalités et imaginaires du jeu

    Temporalités et imaginaires du jeu

    Rémi Cayatte, Audrey Tuaillon Demésy et Laurent Di Filippo (éd.)

    2023

    Introduction aux théories des jeux vidéo

    Introduction aux théories des jeux vidéo

    Sébastien Genvo et Thibault Philippette (éd.)

    2023

    Entre le jeu et le joueur

    Entre le jeu et le joueur

    Écarts et médiations

    LIÈGE GAME LAB (éd.)

    2023

    La Plume dans la Play

    La Plume dans la Play

    Comment les techniques d’enquêtes ont investi la presse jeu vidéo

    Boris Krywicki

    2024

    Play as Metaphor

    Play as Metaphor

    Ludic Images from Ancient Greece

    Véronique Dasen

    2024

    Le Jeu comme métaphore

    Le Jeu comme métaphore

    Images ludiques de Grèce ancienne

    Véronique Dasen

    2024

    Voir plus de livres
    1 / 12
    Ludographie comparée

    Ludographie comparée

    Essai de grammaire systémique du jeu vidéo

    Mathieu Goux

    2022

    L’Art et le vivant du jeu

    L’Art et le vivant du jeu

    Anne Boissière

    2023

    Penser (avec) la culture vidéoludique

    Penser (avec) la culture vidéoludique

    Discours, pratiques, pédagogie

    Selim Krichane, Isaac Pante et Yannick Rochat (éd.)

    2022

    Héraclite : le temps est un enfant qui joue

    Héraclite : le temps est un enfant qui joue

    David Bouvier et Véronique Dasen (éd.)

    2020

    Jouer dans l’Antiquité classique/Play and Games in Classical Antiquity

    Jouer dans l’Antiquité classique/Play and Games in Classical Antiquity

    Définition, Transmission, Réception/Definition, Transmission, Reception

    Véronique Dasen et Marco Vespa (éd.)

    2021

    Lire les magazines de jeux vidéo

    Lire les magazines de jeux vidéo

    Couverture(s) de la presse spécialisée française

    Sélim Ammouche, Alexis Blanchet, Björn-Olav Dozo et al. (éd.)

    2022

    Temporalités et imaginaires du jeu

    Temporalités et imaginaires du jeu

    Rémi Cayatte, Audrey Tuaillon Demésy et Laurent Di Filippo (éd.)

    2023

    Introduction aux théories des jeux vidéo

    Introduction aux théories des jeux vidéo

    Sébastien Genvo et Thibault Philippette (éd.)

    2023

    Entre le jeu et le joueur

    Entre le jeu et le joueur

    Écarts et médiations

    LIÈGE GAME LAB (éd.)

    2023

    La Plume dans la Play

    La Plume dans la Play

    Comment les techniques d’enquêtes ont investi la presse jeu vidéo

    Boris Krywicki

    2024

    Play as Metaphor

    Play as Metaphor

    Ludic Images from Ancient Greece

    Véronique Dasen

    2024

    Le Jeu comme métaphore

    Le Jeu comme métaphore

    Images ludiques de Grèce ancienne

    Véronique Dasen

    2024

    Accès ouvert

    Accès ouvert freemium

    ePub

    PDF

    PDF du chapitre

    Suggérer l’acquisition à votre bibliothèque

    Acheter

    Édition imprimée

    • amazon.fr
    • decitre.fr
    • mollat.com
    • leslibraires.fr
    • placedeslibraires.fr
    • lcdpu.fr
    ePub / PDF

    92Ap. Rhod. Argon. 3.132-141.

    93E.g., rf chous, London, British Museum 1933,06,13.5; BAPD 15887; van Hoorn 1951, no. 669, fig. 17; Ammar 2022: 106, fig. 3a-b.

    94Poll. 9.103: “The game called tropa is most often played with knucklebones, which are thrown at a small pit, dug to receive the results of the throw. Those who threw often used acorns and chestnuts instead of knucklebones” (transl. A. Mitchell). Elsewhere, Poll. 9.101 mentions the use of beans, walnuts or almonds.

    95Rf chous, Paris, Musée du Louvre CA 2916; BAPD 16351; Callisto 973; van Hoorn 1951, fig. 438, no. 851.

    96See the bounce against the edge of a coin on a Larissa obol, fig. 3.12a.

    97E.g., the boy on a rf chous, Berlin, Antikensammlung 4982.26; BAPD 16344; Callisto 1047; van Hoorn 1951, no. 342, fig. 524.

    98Rf chous, Munich, coll. Preyss; BAPD 16114; Callisto 838; van Hoorn 1951, fig. 276, no. 717. On the older boys’ ball games at the palaestra, see Part 2. Gymnastic games.

    99On the Arrhephoria, see Part 3. Games of love and chance.

    100Bronze, Ioaninna, Archaeological Museum 1410; Bobou 2015: 75-76, fig. 26; Dasen 2020, fig. 4. See also the Hellenistic terracotta figurines of children with balls from the sanctuary of Kharayeb (Lebanon); Castiglione 2020: 104-106, figs. 8-9.

    101On the episkuros, Poll. 9.105; Costanza 2019: 121-125, and Part 2. Gymnastic games.

    102For Burr Thompson 1982, the offering could commemorate the religious service of a child who died before he could consecrate his hair; contra: Bobou 2010.

    103Rf chous, London, British Museum 1910,0615.4; BAPD 11041; van Hoorn 1951: 148, no. 665. There is archaeological evidence for this type of raised pot: Lynch, Papadopoulos 2006.

    104Dournon 2007: 843-849.

    105Suda, s.v. platage (transl. Suda On Line, modified https://www.cs.uky.edu/~raphael/sol/sol-entries/pi/1697).

    106Arist. Pol. 8.6.2.1340 b (transl. H. Rackham, Loeb).

    107On chronological issues, Huffman 2005: 5-6.

    108E.g., Bellia 2012: 14-34; Sabetai 2022c.

    109He was elected strategos of the city of Taranto seven times. About his career, Mathieu 1987: 239-255.

    110The grammarian Diogenianos (Hadrian’s time) describes Archytas as a carpenter: Huffman 2005, text A: 302-307 (= Corpus paroemiographorum graecorum, I, 213, Diogenianos II, 98,1), perhaps deemed necessary to clarify that the inventor had to be a craftsman, and not the famous philosopher.

    111Suda, s.v. Archytas, Tarantinos. Repeated by Hsch. s.v.

    112Poll. 9.127. See the classification of Dournon 2007.

    113On this divinatory game of ‘crack-petal’, platagonion or telephilon, Costanza 2019: 559-573.

    114See Plaut. Rud. 536; Prop. 3.10.4. Crepundia belongs to the same family, but refers to jewellery used as amulets; Plaut. Mil. 1399.

    115Mart. 14.54: “Small rattle, Crepitacillum. If a little home-born slave hang weeping from your neck, let him shake this chattering rattle, garrula sistra, with his tender hand” (transl. D.R. Shackleton Bailey, Loeb). See also Apul. Met. 11.4.

    116Hippoc. Oct. 9.8 (Littré VII, 450). On this sleep period, Arist. Gen. an. 778b and 779a.

    117Arist. Hist. an. 588a. In Hippocratic humoral medicine, changes are dangerous because they create an imbalance.

    118Hippoc. De diaet. 1.33 (Littré VI, 510-513); Arist. Probl. 861b. Repeated by Gal. De San. tuend. 1.7 (Kühn 6, 31-37). See the sources compiled by Hanson 2003.

    119Hippoc. Oct. 9.8 (Littré VII, 450).

    120Pl. Lg. 7.791e.

    121Pl. Lg. 7.791a-792a.

    122Arist. Pol. 7.17.6.336a. In Sparta, however, nannies had to train children to refrain from crying, according to Plut. Lyc. 16. 4.

    123See Sor. Gyn. 2.13: prolonged crying damages the eyes and causes the intestines to descend into the scrotum. On paediatrics in Roman times, Bertier 1996: 2147-2227; Hummel 1999.

    124See also Cels. Med. 10.11. For pregnant women, fright is also dangerous because it can cause an abortion; Hippoc. Mul. 1.25 (Littré VIII, 66).

    125Hippoc. Aph. 3.24 (Littré IV, 497). Ruf. ap. Orib. Coll. Med. inc. (Dar. III, 160-161). On epilepsy, Hippoc. Morb. Sacr. 10 (Littré VI, 378-381).

    126Pl. Resp. 2.381a, 2-6. See also Hsch. s.v. Mombro and Mommo; Patera 2014: 306-307. Some games have been used to train the child to control fear, like the game of the mask (Wyler 2008), or an articulated doll with a disquieting smile and Medusa’s head on her shield (Sabetai 2024).

    127Pl. Lg. 7.790c-e. The narrative context of lullabies is often associated with a moment of danger; Pache 2004: 107-112. Their content is almost entirely lost, with the exception of brief quotations; Karanika 2014: 160-164. See Theoc. Id. 24.6-10 on Alcmene’s lullaby for Heracles and Iphicles.

    128On Bringing up children, ap. Orib. Coll. Med. inc. (Dar. III, 160-161).

    129Dasen 2003: 172-177; Dasen 2015a, b.

    130E.g., May 1991: 51-52.

    131Ap. Rhod. Argon. 2.1052-1257. See also Diod. 4.13.2.1-12 (platage); Apollod. Bibl. 2.6.1- 12 (krotalon).

    132On the iconography of this episode, Woodford 2003 (slingshot/bow and arrows).

    133Plut. De Is. et Os. 63.376c-d.

    134Porph. Pythag. 41. On the sound of bronze, associated with purification rites, Tupet 1976: 39-43; Villing 2002: 289-291; Kolotourou 2005: 185-186; Kolotourou 2011.

    135Ov. Fast. 6.132-168; Sorlin 1991: 411-436; Dasen 2015a: 290-293.

    136Call. Hymn 1.50-52; Villing 2002: 290.

    137Athen. Deipn. 4.139a. See Bellia 2012: 19-33, fig. 30 (piglet, 4th cent.).

    138HhH 267-268 (transl. M.L. West, Loeb). Bellia 2012: 19-33, fig. 33-34 (child in cradle, Hellenistic period).

    139Some bells are probably not rattles, e.g., Bellia 2012, fig. 26 (pomegranate, 6th cent.). See also Bellia 2014: 54-71. The function of the clay rattles in the shape of a piglet and an owl was probably not playful, but religious; Buchholz 1990: 33-51; Kolotourou 2005: 186-187.

    140E.g., Dasen 2015a: 127, fig. 4.7 (dea nutrix or nanny breastfeeding a child). See also Messineo 1991/1992: 119-132 (piglet, female bust); Pfäffli 2014: 141-156 (roosters, objects imitating wickerwork).

    141Rocking, which begins in utero, is also a kind of initial physical training that structures the soul; Pl. Lg. 7.789e-791c.

    142Arist. Eth. Nic. 2.1-2.1103b, 23-25 claims that the importance of developing a particular habit from an early age is not negligible, but decisive.

    143Plut. De lib. educ. 5f.

    144Pl. Lg. 2.653b-654a. See also Pl. Prt. 326b (on the importance of eurythmia and euarmostia); Kolotourou 2005: 180.

    145Ps.-Arist., Probl. 920b (transl. R. Mayhew, Loeb).

    146Strab. 10.3.10.

    147Pl. Crat. 405a-d.

    148Porph. In harm. 1.3; Huffman 2005, frgt 1, l. 7-43 (A, B: 103-108, 129-148).

    149Arist. Pol. 8.6.2.1340b.

    150Lucr. Nat. 5.222-230 (transl. W.H.D. Rouse, revised by M.F. Smith and modified, Loeb).

    151Ael. VH, 12.15. See also Athen. Deipn. 12.519b; Huffman 2005: 297-302, A8, A10.

    152Anth. Pal. 6.309 (Leonidas of Taranto); See Part 2. Gymnastic games.

    153Observation of babies’ meconium and faeces, Arist. Hist. an. 7.10.587a 28-33, and 7.11.587b 7-8.

    154Bf cup with a rf tondo, Brussels, Musées royaux d’Art et d’Histoire A 890; ARV2 771.1, Add2 287 (Sotades P.); BAPD 209536; Crelier 2008: 192-193, K1 B (fig.). Rf lekythos from Nola, in Berlin, Antikensammlung F 2209; ARV2 1587.2; BAPD 9017558; Crelier 2008: 127, L7 (fig.).

    155Some scholars have suggested that the ‘rattle of Archytas’ could be identified with the ‘xylophone’ depicted on South Italian vases; Smith 1976: 129-132. This interpretation is now rejected: Huffman 2005: 305-306.

    156See the potential egg-shaped ‘rattles’: van Hoorn 1951, no. 239, fig. 293 (shaped like a gourd?), no. 551, fig. 291 (an elongated cake?), and no. 925, fig. 399.

    157Rf Attic chous from Rhamnous, in Athens, National Museum 1268 (CC 1878); BAPD 16174; Callisto 531; van Hoorn 1951, no. 38, fig. 295.

    158See the rectangular bone plates from the Taranto region; Bellia 2012: 15-16, fig. 14-16.

    159Munich, Antikensammlungen 1747; BAPD 11383; Callisto 851; van Hoorn 1951, no. 697, fig. 294.

    160Marble stele, from Paiania, in Brauron Museum ΒΕ 4455; Sabetai 2022c: 44, fig. 1. See also the rectangular platage of the young Sosibolis, marble stele, Baltimore, The Walters Art Gallery G.23.38; CAT 0.722.

    161Sabetai 2022c.

    162Rf chous, Malibu, J. Paul Getty Museum 96.AE.28; ARV2 1318.3 (Group of Boston 10.190); BAPD 220532; Callisto 246; van Hoorn 1951, no. 884; Neils, Oakley 2003: 278, no. 86.

    163On the Hermaia, see Part 2. Gymnastic games.

    164Poll. 9.102: “If, therefore, after drawing a circle, you threw a knucklebone with the aim of keeping it in the circle, this game was called omilla” (transl. A. Mitchell); Costanzo 2019: 117-119. On knucklebone games, see Schädler 1996.

    165Rf chous, London, British Museum 1842,0728.928 (E537); BAPD 4184; Williams 2022: 304, fig. 10, suggests to identify these nets as sacks of marbles.

    166Rf chous, Davis Museum at Wellesley College 1969.17.5; van Hoorn 1951, no. 389bis. See also rf South Italian chous, Geneva, MAH I651; van Hoorn 1951, no. 541, fig. 400.

    Play as Metaphor

    X Facebook Email

    Play as Metaphor

    Ce livre est diffusé en accès ouvert freemium. L’accès à la lecture en ligne est disponible. L’accès aux versions PDF et ePub est réservé aux bibliothèques l’ayant acquis. Vous pouvez vous connecter à votre bibliothèque à l’adresse suivante : https://freemium.openedition.org/oebooks

    Suggérer l’acquisition à votre bibliothèque Acheter ce livre aux formats PDF et ePub

    Si vous avez des questions, vous pouvez nous écrire à access[at]openedition.org

    Play as Metaphor

    Vérifiez si votre bibliothèque a déjà acquis ce livre : authentifiez-vous à OpenEdition Freemium for Books.

    Vous pouvez suggérer à votre bibliothèque d’acquérir un ou plusieurs livres publiés sur OpenEdition Books. N’hésitez pas à lui indiquer nos coordonnées : access[at]openedition.org

    Vous pouvez également nous indiquer, à l’aide du formulaire suivant, les coordonnées de votre bibliothèque afin que nous la contactions pour lui suggérer l’achat de ce livre. Les champs suivis de (*) sont obligatoires.

    Veuillez, s’il vous plaît, remplir tous les champs.

    La syntaxe de l’email est incorrecte.

    Référence numérique du chapitre

    Format

    Dasen, V. (2024). Chapter III. Playing at being grown up. In Play as Metaphor. Liège: Presses universitaires de Liège. https://doi.org/10.4000/14dei
    Dasen, Véronique. « Chapter III. Playing at Being Grown up ». In Play As Metaphor. Liège: Presses universitaires de Liège, 2024. doi:10.4000/14dei.
    Dasen, Véronique. « Chapter III. Playing at Being Grown up ». Play As Metaphor, Presses universitaires de Liège, 2024, https://doi.org/10.4000/14dei.

    Référence numérique du livre

    Format

    Dasen, V. (2024). Play as Metaphor. Liège: Presses universitaires de Liège. https://doi.org/10.4000/14did
    Dasen, Véronique. Play As Metaphor. Liège: Presses universitaires de Liège, 2024. doi:10.4000/14did.
    Dasen, Véronique. Play As Metaphor. Presses universitaires de Liège, 2024, https://doi.org/10.4000/14did.
    Compatible avec Zotero Zotero

    1 / 3

    Presses universitaires de Liège

    Presses universitaires de Liège

    • Plan du site
    • Se connecter

    Suivez-nous

    • Flux RSS

    URL : http://www.presses.uliege.be

    Email : pulg@uliege.be

    Adresse :

    7, place du 20-Août, Bât. A4

    4000

    Liège

    Belgique

    OpenEdition
    • Candidater à OpenEdition Books
    • Connaître le programme OpenEdition Freemium
    • Commander des livres
    • S’abonner à la lettre d’OpenEdition
    • CGU d’OpenEdition Books
    • Accessibilité : partiellement conforme
    • Données personnelles
    • Gestion des cookies
    • Système de signalement