ABSTRACT
The art inspired by God's laughter does not by nature serve ideological certitudes, it contradicts them. Like Penelope, it undoes each night the tapestry that the theologians, philosophers, and learned men have woven the day before. Thus, Bill Doll's art too embraces complexity, paradox, tensionality, and temporality — complexifying curriculum studies, it challenges much of accepted, endorsed educational and curricular ideology and certitude. The use of the term play is most intentional, meant to echo the spirit of Doll and his serious commitment to play — highlighted and taken up in myriad and compelling ways by many of the authors throughout this collection. Doll has illuminated in much of his work our methodological challenges in curriculum in analyzing the history and culture of method; he also takes up its linguistic heritage etymologically, which Stephen S. Triche addresses in this collection.
