Leslie A. Howe

Previous discussions on the value of sport in remote locations have concentrated on 1) environmental and process concerns, with the rejection of competition and goal-directed or use oriented activity, or 2) the value of risk and dangerous sport for self-affirmation. It is argued that the value of risk in remote sport is in self-knowledge rather than self-affirmation and that risk in remote sport, while enhancing certain kinds of experience, is not necessary. The value of remote sport is in offering the opportunity for experience that enhances the participants’ knowledge both of self and of the environment with which they interact.

This brief text assists students in understanding Habermas's philosophy and thinking so that they can more fully engage in useful, intelligent class dialogue and improve their understanding of course content. Part of the "Wadsworth Philosophers Series," (which will eventually consist of approximately 100 titles, each focusing on a single "thinker" from ancient times to the present), ON HABERMAS is written by a philosopher deeply versed in the philosophy of this key thinker. Like other books in the series, this concise book offers sufficient insight into the thinking of a notable philosopher better enabling students to engage the reading and to discuss the material in class and on paper.

This paper considers the importance of play as a conventional space for hypothetical self-expression and self-trial, its importance for determination of identity, and for development of self-possibilities. Expanding such possibilities in play enables challenging of socially entrenched assumptions concerning possible and appropriate identities. Discussion is extended to the contexts of gender performance (drag) and sport-play. It is argued that play proceeds on the basis of a fundamental pretence of reality that must be taken seriously by its participants; this discussion includes considerations of serious and ironical play, “playing-at”, and travesty.

This paper explores ludonarrative dissonance as it occurs in sport, primarily as the conflict experienced by participants between dominant narratives and self-generated interpretations of embodied experience. Taking self-narrative as a social rather than isolated production, the interaction with three basic categories of dominant narrative is explored: transformative, representing a spectrum from revelatory to distorting, bullying and colonising. These forms of dominant narrative prescribe interpretations of the player’s experience of play and of self that displace their own, with the end result of dissonance and self-alienation.

This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance of audience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied to audience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator’s narrative as normative for sport experience over that of the participant athlete or player, eliding player experience. Imposition of external narratives over experience risks fossilising interpretation and inhibits the beneficial effects of play for self-realisation, especially as a form of self-examination and creation through internal self-narrative.

I respond to a hypothetical critique of sport, drawing on primarily post-modernist sources, that would view the high performance athlete in particular as a product of the application of technical disciplines of power and that opposes sport and play as fundamentally antithetical. Through extensive discussion of possible definitions of play, and of performance, I argue that although much of the critique is valid it confuses a method of sport for the whole of it. Play is indeed a noncompellable spontaneity, but one that involves the improvisational transformation of the technical skills of a sport within the context of a dynamic situation. Technique is a condition of heightened play; it does not produce it. This also means that the best play is not undisciplined. Play and sport can exist apart, but both are better combined.

Excellence in sport performance is normally taken to be a matter of superior performance of physical movements or quantitative outcomes of movements. This paper considers whether a wider conception can be afforded by certain kinds of nature based sport. The interplay between technical skill and aesthetic experience in nature based sports is explored, and the extent to which it contributes to a distinction between different sport-based approaches to natural environments. The potential for aesthetic appreciation of environmental engagement is found to be strongly dependent on whether or not environmental engagement is exploited for the end of producing a quantifiable result or enhancing technical skill. It is also argued that an existential rather than spectatorial attitude to aesthetic experience is offered by specifically nature oriented sport. Aesthetic experience achieved in this way is therefore neither passive nor detached, but extends Berleant's concept of participatory environmental aesthetics and underpins both an alternate (wide) conception of excellence in sport activity and a richer experience of aesthetic engagement than more objectivised standpoints

In a recent paper, Kevin Krein argues that the notion of self-competition is misplaced in adventure sports and of only limited application altogether, for two main reasons: (i) the need for a consistent and repeatable measure of performance; and (ii) the requirement of multiple competitors. Moreover, where an individual is engaged in a sport in which the primary feature with which they are engaged is a natural one, Krein argues that the more accurate description of their activity is not 'competition', but an attempt at harmonious interaction. I raise a number of problems against both criteria and argue that traditional and adventure sports do both involve self-competition on at least two levels: bettering one's previous performance and resisting the desire to quit. I argue that self-reflexive competition is not so much with one's self (which is philosophically absurd), but within one's self, between conflicting motivations and desires. I explore what is involved in self-reflexive competition, particularly at a phenomenological, self-constituting level, and raise the question of whether it is appropriate for activity in wilder natural environments