2021, vol. 70, br. 2, str. 177-188
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Modernizam po meri (tradicionalne i savremene) lutke i deteta kao njenog alter ega
Modernism suited to the (traditional and contemporary) doll and the child as its alter ego
Ključne reči: tradicionalna lutka; savremena lutka; dete; igra
Keywords: traditional doll; contemporary doll; child; play
Sažetak
Lutka se u ovom radu posmatra na osnovu nelagodnog odnosa između "tradicije" i "savremenog". Tradicionalna lutka i kao pojam i kao artefakt pripada realnom svetu. Definiše se kao predmet, nepokretna figura kojom dete vlada. Tradicionalna lutka nema pretenzije da bude živa, te nema ni preteranu sličnost sa čovekom. Jednostavna je, nenametljiva, neposredna, tajanstvena, zavisna od deteta koje je u igri opskrbljuje životom. Krase je dve osnovne vrline: ćutanje, koje je istovremeno njeno najvažnije sredstvo komunikacije, i pokornost koja je zasnovana na zajedništvu i znači ostavljanje prostora za 'drugog', odnosno za dete koje je u stvari 'prvi' i koga ona "sledi". Savremene lutke mogu biti materijalne i nematerijalne. Materijalne lutke su najčešće napravljene od neorganskog materijala, a nematerijalne od senke, refleksa, projekcije simboličkog oblika. I jedne i druge imaju uverljive ljudske karakteristike koje ostvaruju uz pomoć najrazličitijih programa i "mehanizama". Savremene lutke su zavodljive, govorljive i spremne za građenje "parasocijalnih" i "postbioloških" odnosa u digitalnom svetu. Neprikosnovene vrednosti lutaka jesu zabava, buka, iznenađenje, zasićenje čula, neopterećenost uma; one pretenduju da budu 'prve', a od deteta "zahtevaju" poziciju 'drugog'. Uporedno razmatranje ove dve lutke na osnovu kruga ontoloških pitanja situiranih u okviru opozicije živo-neživo doprinosi boljem razumevanju statusa tradicionalne/savremene lutke, granica između čoveka/deteta i lutke i odnosa između ljudi. Trijumf savremenih lutaka ugrožava status tradicionalne lutke dovodeći u pitanje njen dalji opstanak. Zbog "oljuđivanja" lutaka i "polutkovljenja"ljudi granice između ljudi i lutaka su oslabljene. Povećanje bliskosti sa savremenim lutkama dovodi do promene društvenih obrazaca koji počivaju na većoj distanci između ljudi.
Abstract
This paper looks at the doll through the uneasy relationship between "tradition" and "contemporaneity". The traditional doll, both as a concept and as an artefact, belongs to the real world. It is defined as an object, an immobile figure controlled by a child. The traditional doll has no pretensions to be alive, and thus bears little resemblance to a human being. It is simple, unobtrusive, direct, mysterious, dependent on the child that gives it life during play. It has two fundamental virtues: silence, which is at the same time its most important means of communication, and submissiveness, which is based on fellowship and which implies the leaving of space to the "other", more precisely, to the child who is in fact "the first" and whom the doll "follows". Contemporary dolls can be material and non-material. Material dolls are most commonly made of inorganic materials, while non-material dolls are made of shadows, reflections, projections of symbolic form. Both have convincing human characteristics that they achieve thanks to various programs and "mechanisms". Contemporary dolls are seductive, talkative and ready to build "parasocial" and "postbiological" relationships in the digital world. Their supreme values are entertainment, noise, surprise, saturation of the senses, few demands on the mind. They aspire to be "first", and "demand" that the child should be in "second" position. A comparative study of these two dolls through a circle of ontological questions situated within the animate-inanimate opposition contributes to a better understanding of the status of the traditional/contemporary doll, the boundaries between man/the child and the doll, and relationships between people. The triumph of contemporary dolls threatens the status and the continued existence of the traditional doll. Due to the "humanization" of dolls and the "dollization" of people, the boundaries between people and dolls have been blurred. Increased intimacy with contemporary dolls leads to changes in social patterns based on greater distance between people.
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