ABSTRACTThis study examines the types of verbal, pictorial, and multimodal metaphors in the genre of sex education picture books for young children in Mainland China. Although being an educational discourse genre that is essentially concerned with transmitting scientific facts, sex education picture books employ a range of metaphors that categorize and construe the biological knowledge of human reproduction in a way that not only facilitates young children’s understanding of scientific concepts but also instills in them particular (...) values and moralities that are socioculturally conditioned. An examination of the source domains from which the metaphors are drawn and the target domains onto which the metaphors are mapped reveals three types of metaphor, namely, personification, domestication, and cross-experience metaphors. The analysis of seven sex education picture books for pre-school children suggests that these types of metaphor are used purposefully for addressing pedagogical as well as ideological con... (shrink)

This paper is a short report about a series of picture books and manuals designed for P4C (especially Philosophy for Korean Young Children). There were not proper educational reading materials or books to help Korean young children to think by (or for) themselves and dialogue with. Dr. Sharp’s is a very helpful guidebook for young children to think by themselves, dialogue with friends, and discuss with others (peers, older or younger children, teacher and parents, etc.). However, there (...) remain some needs for consideration of Korean culture. I developed new eight picture books for young children and short manuals for parents and teachers to do ‘thinking experiments’ with children. The stories were created in the contexts of Korean young children’s daily lives and typical episodes. The community of inquiry, which Korean young children participate in, needs to consider general and special aspects, such as the relationship between peers, children-parents, and children-teachers, Confucius or new western customs, new and old generations, moral and cultural atmosphere of Korean kindergartens or childcare centers, etc. Various episodes and scenes in the picture books will revoke and encourage Korean children’s deeper or higher thinking, interesting and creative dialogues, vivid and harmonious discussions based on their own experiences and contexts of life in the community of inquiry. (shrink)

This book provides justification and instruction for exploring philosophy with children, especially by using picture books to initiate philosophical discussion. By demonstrating to pre-service teachers that picture books often embed philosophical issues into their narratives, and that this makes picture books a natural place to go to help young children investigate philosophical issues, the author offers a straightforward approach to engaging young students. In particular, this volume highlights how philosophical dialogue enhances children's sense of (...) self, provides a safe space for the discussion of issues that they are confronted with in living their lives, and develops an admirable method for resolving conflict that the children can use in other contexts. (shrink)

Picture books are an important source of new language, concepts, and lessons for young children. A large body of research has documented the nature of parent-child interactions during shared book reading. A new body of research has begun to investigate the features of picture books that support children's learning and transfer of that information to the real world. In this paper, we discuss how children's symbolic development, analogical reasoning, and reasoning about fantasy may constrain their ability (...) to take away content information from picture books. We then review the nascent body of findings that has focused on the impact of picture book features on children's learning and transfer of words and letters, science concepts, problem solutions, and morals from picture books. In each domain of learning we discuss how children's development may interact with book features to impact their learning. We conclude that children's ability to learn and transfer content from picture books can be disrupted by some book features and research should directly examine the interaction between children's developing abilities and book characteristics on children's learning. (shrink)

To cultivate children’s imagination, observation, thinking ability, and aesthetic consciousness, the questionnaire survey is adopted to analyze the design strategies and principles of children’s picture books based on augmented reality. Primarily, the related concepts and theories are expounded for the research content. Children in preschool aged 4–5 years are invited as primary participants in this work, and the psychological characteristics of the invited children are analyzed in depth. Then, a study is carried out on the existing AR children’s (...) picture books. The problems existing in the design of AR children’s picture books are found, and then, related solutions are put forward based on the results of the questionnaire survey. Besides, a design is made on the strategies and interactive design principles of AR children’s picture books on mobile terminals that are more in line with the needs of children. The results show that 41.07% of parents do not understand AR technology, and 37.5% of preschool children indicate that they do not operate mobile devices independently. However, they need the assistance of parents to use this kind of picture book. A total of 44.64% of parents believe that the main problem of AR picture books in the current market is the lack of interesting interaction. Given the above problems, five principles are proposed for the design of AR children’s picture books based on mobile terminals, namely, easy operation principle, interesting principle, guiding principle, timely feedback principle, and safety principle. A set of universally applicable design methods are proposed for AR children’s picture books based on mobile terminals, which provides certain theoretical guidance for the development of related types of products. (shrink)

Picture books are often part of children's socialisation processes, contributing to the children forming images of the world, including ideas about (categories of) people, such as nurses. The study aims to explore how nurses/nursing are portrayed in children's picture books in a Swedish context. Through a systematic search, 44 books were included for analysis using thematic analysis and a theoretical lens inspired by Goffman. The results were presented in three themes: ‘The costume characterised and designated (...) nurses’, ‘Nurses and nursing were defined through specific activities and accessories’, and ‘Nurses’ role as caregivers and decency practitioners'. The results showed that nurses were depicted/described in varied contexts, performing their roles mainly front stage in ‘hands‐on work’ in close contact with patients and relatives. Nurses were attributed different accessories and personality characteristics. Nurses/nursing were generally set within a healthcare context, oftentimes within an overarching medical logic. Historical depictions of nurses' uniforms still appeared as a signifier for nurses/nursing. The presentation of nurses/nursing might have potential implications on children's understanding of and for reputations of nurses/nursing in the long term as primary socialisation and related understandings of the (sub)world(s) are deeply rooted in humans. (shrink)

The article proposes looking at children's literature, particularly the form of the picture book, as an educational resource for producing body awareness in school. Eight reading steps for as many bodily actions aimed at naming the body, activating it, getting to know it and moving it in space, on and off the pages; between grounding, listening, breathing, playing and moving, the rediscovery of gestures and anatomical truths invites to deepen self-knowledge as a preliminary act to the encounter and relationship (...) with the other and with the environment. The picture books by their specificities of short form and cross-over, offer, even in non-fiction production, the possibility of bringing attention back to the body dimension within the school and educational debate, where it lives today in a state of malaise and oblivion. Meaningful conversations, explorations and relationships flow from the pages of the albums: research on language as a tool that gives dignity and value to each person, and encounters with the artistic representation of the world as an infinite mirror of its multiplicity and variety, constitute valuable opportunities for an education that is aware of the wholeness of learners and teachers and the integrated, erotic and embodied dimension of their relationship. (shrink)

Here is an example using a picture book story: A New House, in Grasshopper on the Road: by Arnold Lobel Grasshopper sees an apple on top of a hill and decides, yum! lunch, as he takes a big bite out of the apple. This, however, causes the apple to start rolling down the hill. Grasshopper hears a voice inside the apple, telling him to keep his house from being destroyed as it is rolling down the hill. My bathtub is (...) in the living room; my bed is in the kitchen. Grasshopper is trying to catch the apple, as it is rolling faster and faster down the hill. In the end it crashes into a tree at the bottom of the hill and is smashed into a hundred pieces. Luckily, it is an apple tree, and Worm has decided to find a new house to live in, one without a big bite in it, either. The question is, should Worm be angry at Grasshopper? The children often agree that he shouldn’t be angry. Grasshopper didn’t mean to hurt Worm and destroy his home. The aporia question is, isn’t Worm justified in being angry at Grasshopper for destroying his home, even though it was an accident? Should I be angry with someone who hurt me, even if it is not done on purpose? I am hurt; so can’t I be angry because I have been hurt? The children often feel that when it was not done on purpose, you can’t really be angry. Another aporia question is, can you punish someone when what they have done wasn’t done on purpose? Is it OK for your parents to punish you when you have done something wrong, even though you didn’t do it on purpose? Another aporia question is then whether we are justified in punishing someone who is innocent? Does it make sense to punish your baby brother for breaking your toy? Or are the police ever justified in shooting an unarmed Black man? (shrink)

In the late 1960s Matthew Lipman and his colleagues at IAPC developed an educational philosophy he called Philosophy for Children. At the heart of Philosophy for Children is the community of Inquiry, with its emphasis on classroom dialogue, in the form of collaborative philosophical inquiry. In this paper we explore the development of educational practice that has grown out of Philosophy for Children in the context of Australia. -/- Australia adapted Lipman’s ideas on the educational value of practicing philosophy with (...) children in order to advance children’s social and intellectual capacities and dispositions. This has subsequently led to its development by both scholars and practitioners in directions that may or may not have been what Lipman had initially intended and to discussions on the nature and educational value of varied approaches that have been implemented in the classroom. To understand fully the effects of these changes requires an understanding of the towering influences that Peirce and especially Dewey were to Lipman. Whilst Lipman developed his own educational philosophy, he freely acknowledged that philosophy for children owes a debt to Peirce for the concept of the community of inquiry and to Dewey for his guidelines on education. -/- We will explore various ways in which the practice of philosophy for children has been implemented and analyse its expansion. This will achieve a better understanding of the possible future directions for classroom practice and research. (shrink)

The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift. – Albert Einstein -/- In my philosophical discussions with elementary school children, I use questions not just to uncover hidden assumptions the children may have, but to lead them to a place of aporia – puzzlement, a place of “not-knowing.” If some children assume that to be brave is to be fearless, (...) I not only ask why they assume this, but go on to ask how it is that we can be called brave, if we’re not even afraid? What’s there to be brave about? With this question, I try to bring the children to a place of “aporia,” a place of puzzlement. Aporia empowers thinking. -/- Philosophy is the pursuit of clear thinking; it is also the pursuit of wisdom, a deeper truth (see quote). -/- Wonder captivates us and connects us to the world around us. In “doing” philosophy with children, this sense of wonder is expanded upon. In their book, Journey of the Universe Swimme and Tucker state, “For or a young mammal, behavior is open-ended in a way that is rarer in adults… In a word, what often occupies their consciousness is play…. they enter into many kinds of relationships out of sheer curiosity.” -/- In doing philosophy with children, we play with ideas. Shobhan Lyons states in her article, “What makes a philosopher?”, in Philosophy Now, “Linking philosophy and truth is a common approach; but I believe that philosophy is less a search for truth and more an engagement with possibilities; …” For example, whereas fear may be a good thing in some instances, it may not be in others. Lying may be necessary in some instances and a good thing (although, it doesn’t imply that lying in itself is a good thing), and in other cases it may be harmful and hurtful. So how do you decide? This is where navigational skills come into play. What may work in some instances may in fact be the entirely wrong thing to do in other cases. So how can you tell? This is where you need to learn how to respond to complex situations. -/- I conclude with examples of aporia questions for 8 picture book stories. “Dragons and Giants,” in Frog and Toad Together, by Arnold Lobel: -/- The question is, are Frog and Toad brave? Children often conclude that to be brave you cannot be afraid. Since Frog and Toad are afraid, they cannot be brave. -/- An aporia question is, whether you can be brave without being afraid? If you are not in the least afraid, what makes you brave? Another aporia question is, whether Frog and Toad would be foolish rather than brave if they were not to jump out of the way of the snake, the avalanche or the hawk. A third aporia question has to do with the question how we know we are foolish or brave when dealing with that which is dangerous. -/- . (shrink)

Digital literature is playing an increasingly important role in children's everyday lives and opening up new paths for family literacy and early childhood education. However, despite positive effects of electronic books and picture-book apps on vocabulary learning, early writing, or phonological awareness, research findings on early narrative skills are ambiguous. Particularly, there still is a research gap regarding how app materiality affects children's story understanding. Thus, based on the ViSAR model for picture-book app analysis and data stemming (...) from 12 digital reading dyads containing German monolingual 2- to 3-year-olds and their caregivers this study assessed the narrative potential of a commercial picture-book app and how this is used in interaction. Results of the media analysis showed that the app provides a high number of narrative animations. These animations could be used interactively to engage the child in the story. However, results of the interaction analysis showed that adult readers do not exploit this potential due to their strong concentration on operative prompts and instructions. Furthermore, an explorative analysis of the relation between adults' utterances and children's story comprehension provided preliminary indicators regarding how the length of reading duration and the number of utterances might relate to children's understanding of the story. Findings and methodological limitations of the study are discussed and combined didactically with practical recommendations on how to use narrative animations in interaction effectively. (shrink)

We offer an overview of the development and production of the diverse range of Australian P4C literature since the introduction of philosophy in schools in the early 1980s. The events and debates surrounding this literature can be viewed as an historical narrative that highlights different philosophical, educational, and strategic positions on the role of curriculum material and resources in the philosophy classroom. We argue that if we place children’s literature and purpose-written materials in opposition to one another, we could be (...) missing valuable opportunities to develop further what might be considered a new genre in educational literature. (shrink)

Diyanet İşleri Başkanlığı 2013-2014 eğitim yılıyla birlikte kendine yeni bir hizmet alanı açmış ve Cumhuriyet tarihinde ilk olarak resmi okul öncesi din eğitimini 4-6 yaş Kur’an Kursları ile başlatmıştır. Bu alanda her geçen yıl tecrübe kazanılmış olsa da çeşitli noktalarda bazı sorunların devam ettiği görülmektedir. Araştırmanın konusu 4-6 yaş Kur’an Kursları etkinlik kitaplarında yer alan hikâyelerin içerik ve resimlendirme bakımından okul öncesi çağındaki çocuklar için uygunluğunun incelenmesidir. Araştırmamızın amacı, okul öncesi dönemde okuma yazma bilmeyen çocuklar için hikâyelerin ve özellikle de (...) hikâyelerde yer alan resimlerin ve görsellerin öğrenmede çok önemli bir paya sahip olduğunun altını çizerek etkinlik ve ders kitaplarının düzenlenmesine ve zenginleştirilmesine katkı sağlamaktır. Nitel bir araştırma olan çalışmada mevcut etkinlik kitapları incelenmiştir. Araştırma, var olan durumu, var olduğu şekilde betimlemeyi amaçlayan tarama modelidir ve etkinlik kitaplarındaki hikâyeler ve resimler betimsel analiz yoluyla incelenmiştir. Ulaşılan sonuçlara göre; 4-6 yaş Kur’an Kurslarındaki etkinlik kitaplarındaki hikâyelerin içeriklerinin okul öncesi çocukların seviyesine göre, bilgilendirme işlevini gören ancak etkileme ve çocukta merak uyandırma noktasında yetersiz olduğu, resimlerinin ise bazı hikâyelerde metne uygun olmadığı ve çocuğun hayal dünyasına hitap etmediği tespit edilmiştir. Bu konuda daha hareketli ve renkli resimlerle hazırlanmış ders ve etkinlik kitaplarının gerekliliği ortaya konmuş ve önerilerde bulunulmuştur. The Presidency of Religious Affairs initiated a new service area in the 2013-2014 Academic Year. The Presidency, which previously provided educational activities for young and middle-aged groups and primary school children during summer courses, started official preschool religious education for the 4-6 year-old age group in Quran Courses for the first time in 2013-2014. Although the experience has been acquired in this field with each passing year, some problems are still noticeable at various points. The present study examines the contents and aesthetic aspects of the stories included in Quran Courses activity books for 4-6 year-old children. The purpose of the study is to underline that stories and especially the illustrations and visuals in stories, have very important roles in learning for children who are illiterate in the preschool period, and the study aims to contribute to the organization and enrichment of the activities and textbooks by drawing attention to this field. In this study, which has a qualitative design, the existing activity books are examined. The study also has a screening model, which aims to explain the present situation in the way it is. The stories and illustrations in the activity books were examined in this study via descriptive analysis based on the criteria that should exist in children’s literature books. In this respect, we tried to summarize and interpret the data obtained in the study according to the pre-determined criteria. This study, which draws attention to the importance of books with illustrations, which have an important function in the development of preschool children, and their effects on children, examined the contents of the stories and the pictures used in the narration of the stories in the activity books used in the Qur'an Courses for 4-6 year-old children. Before making an assessment on the subject, the author tried to find an answer to the question of what stories and pictures mean for preschool children and what is the function and importance of pictures and stories in their education. According to the criteria, the author examined and evaluated nine stories in the activity books prepared for the Qur'an Courses for the ages of 4-6, in which especially pictures are used in the narration. (shrink)

We offer an overview of the development and production of the diverse range of Australian P4C literature since the introduction of philosophy in schools in the early 1980s. The events and debates surrounding this literature can be viewed as an historical narrative that highlights different philosophical, educational, and strategic positions on the role of curriculum material and resources in the philosophy classroom. We argue that if we place children’s literature and purpose-written materials in opposition to one another, we could be (...) missing valuable opportunities to develop further what might be considered a new genre in educational literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; (...) like the words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

In this article, a chapter from a more general study, the butterfly is considered as an arresting `index', highlighting the evolution of children's culture and the relationships between science and literature. Comparing Furetière's knowledge of this insect, as set out in his Dictionnaire universel (1690), to its literary representations in Charles Perrault's or Fénelon's tales, helps to assess the context in which children's literature came to be written within the higher circles of the Versailles Court society. It also explains some (...) aspects of the `Querelle des Anciens et des Modernes'. Flying the flag for modernism, the butterfly stands in rhetorical opposition to the industrious bee or `zephyr' of the pastoral and idyll, as a sign of liberated childhood. An epilogue shows that butterflies in contemporary writings for children offer a postmodern illustration of the baroque trend that was initiated in children's literature at the end of the 17th century, and impart a special flavour to some of the most popular tales and picture-books. (shrink)

With this book, any teacher can start teaching philosophy to children today! Co-written by a professor of philosophy and a practising primary school teacher, Philosophy for Young Children is a concise, practical guide for teachers. It contains detailed session plans for 36 philosophical enquiries - enough for a year's work - that have all been successfully tried, tested and enjoyed with young children from the age of three upwards. The enquiries explore a range of stimulating philosophical questions about fairness, the (...) environment, friendship, inclusion, sharing, right and wrong, manners, beauty, pictures, the emotions, dreaming and reality. All the stories, drawings and photographs that you'll need to carry out the enquiries are provided and can be used with your children directly from the book. Each step-by step enquiry includes: The philosophical topic and the aim of the enquiry The stimuli you'll need Questions to ask the children Possible answers to help move the discussion forward Ideas to help you summarise and extend the enquiry. If you are an Early Years or primary school teacher, this complete resource will enable you to introduce philosophy to your children quickly and with confidence. (shrink)

The authors mark the twentieth anniversary of the classic study by Weitzman et al., which found considerable gender stereotyping in picture books for preschool children, by replicating and extending their study with an updated sample that includes books by Black illustrators. The authors find evidence that female characters and female relationships receive considerably more attention in recent books by both conventional illustrators and Black illustrators than they did in the late 1960s. They also find, consistent with (...) the liberal feminist aims of Weitzman et al., evidence that male and female characters are shown in a more egalitarian fashion than they were in the late 1960s in books by mainstream authors. Finally, they discover that, consistent with the aims of recent Black feminist theorists, Black illustrators are more apt than others to highlight women's involvement in an ethic of caring and an ethic of personal accountability. (shrink)

Books into Ideas uses a Philosophy for Children approach to encourage thinking in young learners. It clearly explains how facilitators can set up a Community of INquiry within the classroom and teach questioning techniques at all levels of thinking. There are detailed notes on how to use 15 picture books.

How do educators talk about trauma with young children? Specifically, how do they address children's secondhand experiences of crimes against humanity? In this article, Cara E. Furman argues that classrooms for young children must witness these experiences. A genre of picture books that Furman terms “eavesdropping texts” offer testimony that both witnesses and invites children's secondhand experiences of crimes against humanity. Here, Furman couples a close reading of the books with literary criticism and trauma theory in order (...) to showcase the nuances of the genre and the pedagogical potential of eavesdropping books for young readers. (shrink)

_Taking Picture Books Seriously: What can we learn about philosophy through children's books?_ This warm and charming volume casts a spell on adult readers as it unveils the surprisingly profound philosophical wisdom contained in children's picture books, from Dr Seuss's _Sneetches_ to William Steig's _Shrek!_. With a light touch and good humor, Wartenberg discusses the philosophical ideas in these classic stories, and provides parents with a practical starting point for discussing philosophical issues with their children. (...) Accessible and multi-layered, it answers questions like, Is it okay for adults to deceive kids? What's the difference between saying the Mona Lisa is a great painting and vanilla is your favorite flavor? Each chapter includes illustrations commissioned especially for this book. (shrink)

Autism spectrum disorders reduce one’s ability to act appropriately in social situations. Increasing evidence indicates that children with ASD might ignore nonverbal social cues that usually aid social interaction because they do not recognize or understand them. We asked children with ASD to color an augmented reality coloring book to teach them how to recognize and understand some specific social signals and to ignore others. ARCB materials teach children to recognize and understand social signals in various ways. They can, for (...) example, view 3D animations of the ARCB materials on a tablet computer. Thus, the ARCB can be used to help children with ASD focus their attention on the meaning and social value of nonverbal behaviors in specific social situations. The ARCB has multiple functions: it extends the social features of the story, and it restricts attention to the most important parts of the videos. Single-subject research with a multiple-baselines across-subject design was used in this study. After five weeks of ARCB training intervention, all 3 participants’ scores rose significantly and dramatically during the intervention phase, and remained significantly higher in the maintenance phase than at baseline. We conclude that coloring pictures of social situations may help children with ASD recognize and better understand these situations. (shrink)

Big Ideas for Little Kids includes everything a teacher, a parent, or a college student needs to teach philosophy to elementary school children from picture books. Written in a clear and accessible style, the book explains why it is important to allow young children access to philosophy during primary-school education. Wartenberg also gives advice on how to construct a "learner-centered" classroom, in which children discuss philosophical issues with one another as they respond to open-ended questions by saying whether (...) they agree or disagree with what others have said. (shrink)

Prior evidence has shown that children’s understanding of balance proceeds through stages. Children go from a stage where they lack a consistent theory ( No Theory ), to becoming Center Theorists at around age 6 (believing that all objects balance in their geometric center), to Mass Theorists at around age 8, when they begin to consider the distribution of objects’ mass. In this study we adapted prior testing paradigms to examine 5-year-olds’ understanding of balance and compared children’s learning about balance (...) from evidence presented through primary sources (a guided activity) or secondary sources (picture books). Most of the research on young children’s understanding of balance has been conducted using a single object, weighted either proportionally (symmetrical object) or disproportionally (asymmetrical object). In this study, instead of using a single object, 5-year-olds ( N = 102) were shown 4 pairs of objects, two with the same weight and two with different weight. Children were told to place the objects on a beam where they thought they would balance. We found evidence for an intermediate level of understanding. Transition Theorists represent children who have two distinct theories, one for balancing same weight objects, and one for balancing different weight objects, but one of these theories is incorrect. Following the assessment of children’s understanding, we compared their learning about balance from evidence that was either presented through primary sources (a guided activity) or secondary sources (picture books). Children learn equally well from both sources of evidence. Findings are discussed in terms of theoretical and practical implications. (shrink)

This article examines science books for children, a genre that has been neglected both in studies of science discourse and in studies of literature for children. It compares this genre to two other science genres, textbooks and popular science articles, and finds great similarities between science textbooks and science books for children, both in terms of register and cultural values. As a result of these similarities, it suggests that science books for children are valuable in providing access (...) to textbook literacy, which is highly prized in the later school years. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Radical Change Theory and Synergistic Reading for Digital Age YouthEliza T. Dresang (bio) and Bowie Kotrla (bio)Books with digital age characteristics... stimulate curiosity and foster community.—Elizabeth Lennox Keyser, 1999Today’s students think and process information fundamentally differently from their predecessors.—Marc Prensky, 2001PrologueOne of our favorite books is McGillis’s The Nimble Reader: Literary Criticism and Children’s Literature.1 McGillis applies various literary theories—among them the New Criticism, structuralism, feminism, and (...) postmodernism—to much-loved, time-honored books such as E. B. White’s Charlotte’s Web (1952), in each case coming up with a fresh interpretation of a well-known text. The Nimble Reader makes the point that the meaning of any object, experience, or creative endeavor can be evasive and changes according to the lens through which it is viewed. Theory uncovers, illuminates, reveals, explains, predicts, and adds value and dimensions to what otherwise might have been overlooked. [End Page 92]That is what we hope Radical Change Theory does—we hope that it stimulates thinking, brings new perspectives, and adds value to what is already recognized as an immense treasure: the body of children’s literature and the young (and old) readers who love and appreciate it. As an addition to the assortment of approaches McGillis covered, we anticipate that Radical Change Theory is a way to see the mosaic of contemporary children’s literature in a new light, to examine and explain some parts of it that may have gone unnoticed. We offer it as a way to think about contemporary youth in relation to their literature, and we suggest applying Radical Change Theory in retrospect in order to highlight and appreciate “radical” authors and illustrators of the past who wrote for “radical readers” in their times. Radical Change Theory is only one perspective among many, and we realize that the phenomena it addresses could be explained or augmented in other ways, as McGillis demonstrated.IntroductionThe 2008 Caldecott Award for the most outstanding picture book for children published in the United States in the previous year was presented to Brian Selznick, author and illustrator of The Invention of Hugo Cabret, which is hundreds of pages longer than an ordinary picture book.2 Approximately 300 of its 533 pages are wordless black and white sketches that tell the story—not illustrating the text but replacing it. Hugo Cabret is a twelve-year-old boy living in the walls of a Paris train station in 1931; he becomes involved in a mystery adventure with the pioneer silent film maker George Méliès, a fitting element for a largely visual book. Selznick notes that he thinks of the book as somewhere between a graphic novel, a picture book, and a film.3 Each sequence of drawings can itself become a miniature silent move if the reader employs a flipbook technique. Hugo Cabret offers a highly interactive reading experience with vivid visual appeal, intertextuality, and multiple layers of meaning. It also provides a dramatic departure from the typical picture-book tradition and joins a number of other radically changed books that have special appeal for digital age youth.While it was perfectly clear to almost everyone during the 1990s that technology was changing, almost no one acknowledged the concomitant change in a sizeable and growing cadre of handheld books for youth. Some of those who did notice expressed puzzlement and regret at the break from a more traditional form and format; others expressed curiosity. Some others sought explanations.4 One purpose of this essay is to provide one explanation for the nature and character of these “changed” books and to demonstrate that they are somewhat different from but firmly rooted in more traditional children’s literature.But not only are books changing—at least some young readers are as well. In the 1990s, as youth who were born in the late 1970s began to mature, [End Page 93] we, along with some other educators and scholars, noted what seemed to be a change from previous generations in how many youth approached thinking, learning, creating, and engaging with media, including reading handheld books. Various terms, including the net generation, digital natives... (shrink)

Children develop language and communication skills through interaction with adults and other children. This study therefore focuses on two interdependent issues: the effect of philosophizing with children on children’s language development and the speech acts of teachers and children in philosophical enquiries. As part of a before-after test with the “Hamburger Verfahren zur Analyse des Sprachstandes Fünfjähriger” (Reich & Roth, 2004, Hamburg Procedure for Analysing the Language Level of Five Year-olds), weekly philosophical discussions were undertaken with a test class over (...) a period of six months. The central findings are that the philosophising children developed significantly higher language ability compared with a non-philosophising control class in two areas, namely general performance in discussion and the use of more sophisticated connectors. A further part of the study compared the speech acts of the children and their pre-school teacher in the context of philosophical discussion with their speech acts in a different dialogic situation (dialogic discussion of picture books). This showed that philosophical questions from the pre-school teacher led to the production of particularly complex language by the children. Complex speech acts involve the use of higher-level verb structures and connectors. These are necessary in order to reason and act as a citizen agent and are supported by philosophising with children, as this study shows. (shrink)

Narratives, also called stories, can be found in conversations, children’s play interactions, reading material, and television programs. From infancy to adulthood, narrative comprehension processes interpret events and inform our understanding of physical and social environments. These processes have been extensively studied to ascertain the multifaceted nature of narrative comprehension. From this research we know that three overlapping processes (i.e., knowledge integration, goal structure understanding, and causal inference generation) proposed by the constructionist paradigm are necessary for narrative comprehension, narrative comprehension has (...) a predictive relationship with children’s later reading performance, and comprehension processes are generalizable to other contexts. Much of the previous research has emphasized internal and predictive validity; thus, limiting the generalizability of previous findings. We are concerned these limitations may be excluding underrepresented populations from benefits and implications identified by early comprehension processes research. This review identifies gaps in extant literature regarding external validity and argues for increased emphasis on externally valid research. We highlight limited research on narrative comprehension processes in children from low-income and minority populations, and argue for changes in comprehension assessments. Specifically, we argue both on- and off-line assessments should be used across various narrative types (e.g., picture books, televised narratives) with traditionally underserved and underrepresented populations. We propose increasing the generalizability narrative comprehension processes research can inform persistent reading achievement gaps, and have practical implications for how children learn from narratives. (shrink)

This essay explores how moral discourse can have dogmatic tendencies. In exemplifying how it is possible to move beyond such tendencies, this essay turns to the Norwegian picture book Garmann's Summer. The essay not only suggests a vision of moral thinking, but also aims to demonstrate the role that literature, and particularly children's literature, can play in moral discourse, particularly in philosophy. The picture book's elaborations on the difficulties children can face when starting school show both what ethics (...) beyond moral concepts can be and the role that literature and art can have in moral thinking. The essay aims to show that moral work may consist in acknowledging difficulties and that all of their complexities have a role to play in the lives of real human beings. Accordingly, the essay is not a philosophical interpretation of a children's book, but an attempt to read a children's book to do philosophy. (shrink)

The relevance of the presented research is due to the importance of familiarizing modern children with the culture of reading, in the context of which illustrations for children's books play an especially important role. Book illustrations attract the attention of a child and create the necessary focus in the perception of the information presented in books. The purpose of this article is to analyze the creativity of illustrators of children's literature and to study the modern trends in the (...) art of children's book illustration. During the study, the methods of theoretical and comparative analysis were used; in addition, special attention was paid to the study of the basic concepts of creating a children's book and the analysis of available research publications. The main trends in the development of the art of illustration of children's books were determined. The main vectors of illustration development were also defined. The applied value of this research work lies in identifying the main directions of the development of the art of children's book illustrations with the aim of the subsequent introduction of progressive methods for creating such illustrations that meet the requirements of the present day. In general, this study contributes to the formation of a coherent picture of the perception of the main trends in the work of modern illustrators and the formation of the art of book illustration. (shrink)

Children’s literature provides a critical method of socialization and familiarization with gender roles, providing examples, boundaries, and limitations for gender identity construction. While extensive research has been done on how children’s literature depicts both traditional and non-traditional gender roles, very little research has been published on the cultural differences between literary representations. The aim of the present paper is to describe the representations of social roles of men and women in American, Czech, and Spanish children’s books published between 2010 (...) and 2020. Three best-selling children’s picture books from each year from each respective culture were selected and analyzed, culminating in a thematic analysis of ninety-nine books. Using inductive thematic analysis, the study found all three cultures to be conservative in their depictions of gender roles, with Czech books as the most likely to feature traditional gender roles. Spanish books are more, and American books are the most subversive in their depiction of gender roles, containing an increasing number of non-traditional elements over an examined time period. (shrink)

Margaret Wise Brown's The Important Book, which is a childrens' picture book, provides an excellent opportunity to discuss metaphysics. The book opens up for our reflection the viability of a certain metaphysical account of the nature of objects. In making a distinction between the important feature or property of an object and all the others that it simply is or has, The Important Book operates with the assumption that all objects have what metaphysicians call an essential property. As the (...) book has it, while there are many things that are true of any object, only one is essential to it. These other things are accidents or non‐essential properties of the object. Essentialism is the metaphysical view that objects have one property — their essential property — that cannot change while the object remains the same thing. (shrink)

In this article, I report on my reading of a debate between two practitioners and scholars of philosophy with children – Karin Murris and Darren Chetty. The parts of their exchanges I have chosen to focus on relate to a children's book called Tusk Tusk by David McKee. Their respective arguments raise questions for me about the relationship between the starting text and issues of importance in the wider world. Although Chetty sees benefits in using picture books, he (...) appears to believe there is an over-reliance on fables and other magical tales and that alternative starting points could be more suitable for exploring complex social issues with historical dimensions. Murris, on the other hand, seems to appreciate the lack of historical perspective that is evident in many of her preferred picture books. She values their ‘universal’ and ‘magical’ aspects because they stimulate ‘rhizomatic’ dialogues that are spontaneous and non-hierarchical. In this commentary I trace what, to me, are the most significant lines of argument put forward by Chetty and Murris. In response, I suggest some practical ideas for choosing texts and ‘reading against the text’ – a term both writers use. I also ask and answer the question: ‘In sessions of philosophical dialogue, should adults bring to children for consideration issues they regard as important or refrain from doing so?’. (shrink)

This research applies John Bowlby’s (1958–63) attachment theory to analyse child–parent relationships associated with loss and security in the children’s picture book, The Journey (2016) by Francesca Sanna, to examine children’s war trauma through attachment styles. Furthermore, Hong et al.’s (2013) cultural attachment theory is employed to explore the story representation of the children’s relationship with their culture. Amnesty International UK endorses the picture book to teach children about the hardships of refugees and asylum seekers. However, children’s literature (...) often superficially represents war experiences, causing disparities between reality and the portrayal, that limits young readers from creating simulations for their socio-emotional development. The researchers argue that The Journey under-represents children’s war trauma, potentially leading young readers to misinterpret the psychological experiences of child refugees and asylum seekers. (shrink)

Previous studies have found that narrative input conveyed through different media influences the structure and content of children’s narrative retellings. Visual, televised narratives appear to elicit richer and more detailed narratives than traditional, orally transmitted storybook media. To extend this prior work and drawing from research on narrative elaboration, the current study’s main goal was to identify the core plot component differences (the who, what, where, when, why, and how of a story) between children’s retellings of televised versus traditional storybook (...) narratives. However, because children also differ individually in their IQ, we further incorporated this variable into our analysis of children’s narrative retellings. For our purpose, a novel coding schema was developed, following and extending the existing narrative elaboration approaches. Participants were 46 typically developing children aged 4–5 years from Germany. The current study incorporated two narrative input conditions to which children were randomly assigned: in the video condition, children watched a non-verbal, visually conveyed, televised story from a DVD; and in the book condition, children read the story with an adult and experienced an orally conveyed version in the form of a book with minimal accompanying pictures. In both conditions, the same story was conveyed. After including IQ as a covariate in our analyses, results show that the children from the video condition gave significantly more elaborated retellings, particularly across the who, what, and where (sub-)components. Differences between the conditions in the component when, how and why did not reach statistical significance. Our findings indicate that different media types entail differential cognitive processing demands of a story, resulting in type-specific memories and narratives. The effect of different medial conditions was significant and persisted when individual differences in cognitive development were considered. Consequences for children’s development, education, and interaction with and within today’s digital world are discussed. (shrink)

Robert Mursch's picture book, The Paper Bag Princess, inverts many of the gender roles traditionally found in fairy tales: It's a prince (Roland) who gets abducted in this story, not a princess, though it's the princess (Elizabeth) who must come to the rescue and save him. Although these reversals are a source of the book's humor, they also underscore claims made in feminist philosophy, the specific branch of social and political philosophy considered in this chapter. Feminist philosophers and literary (...) scholars have pointed out that happy endings reassert harmful gender norms. Elizabeth's rejection of Roland marks her as a truly feminist hero, for she won't let him treat her in a demeaning manner even though she has staked her own life on saving him. With this story, you can hopefully steer children into a discussion of gender bias and oppression, and how traditional stories function to support it. (shrink)

A body of research documents teacher–child reading behaviors in educational settings. Few will disagree that the potential for word and narrative comprehension increases when children’s prior knowledge is activated and when children’s focus is fully on the reading session. Despite this, little is known about the potential for establishment of joint attention and activation of prior knowledge in an early childhood education and care setting and how early childhood educators prepare young children to participate in shared book reading sessions before (...) formal reading starts. Based on video data of teachers (N = 12) and small groups of children (N = 72) reading picture books and picture book apps in kindergarten, we sought to shed light on what behaviors occur before reading starts. The analyses were conducted in two phases. The first phase was based on 48 videotaped readings and followed a descriptive quantitative approach to investigate early childhood teachers’ time use before the reading session, with readings of both print books and picture book apps. The second phase was based on two app readings in which the pre-reading phases stood out for their long duration. A qualitative analytical approach was applied to describe the teacher–child behavior, establishment of joint attention, and activation of prior knowledge during the two specific pre-reading events. Even though the sample is small, we find clear examples of pre-reading strategies specific to app readings. In this s... (shrink)

Literary narratives are well recognised for their power to foster engagement with complex social themes. Transmedia narratives, which present the same story in different media, can help advance both critical multimodal discourse studies and multiliteracies pedagogies. To harness this potential, we need to develop methods for systematically relating media affordances to discourse-semantic patterns and the broad social themes these patterns construct in narratives, and ensure these methods build on the knowledge learners bring to the classroom. This article introduces a social (...) semiotic method for analysing transmedia narratives and illustrates its ability to reflect the persuasive power of narrative and build on young children's critical multimodal awareness. This is achieved through a case study comprising data from three adaptations of the same award-winning narrative - animated film (Joyce, W. (Producer), Joyce, W., & Oldenburg, B. (Directors) (2011). The fantastic flying books of Mr Morris Lessmore [Motion Picture]. Moonbot Studios), interactive app (Moonbot Studios. (2011). The fantastic flying books of Mr Morris Lessmore (Version 1.4). [Mobile Application Software]), and traditional-format picture book (Joyce, W. (2012). The fantastic flying books of Mr Morris Lessmore. Illustrations by William Joyce and Joe Bluhm. Moonbot Books) - and mother-child interactions with the book and the app. (shrink)

Subject relative clauses (SRCs) are typically processed more easily than object relative clauses (ORCs), but this difference is diminished by an inanimate head‐noun in semantically non‐reversible ORCs (“The book that the boy is reading”). In two eye‐tracking experiments, we investigated the influence of animacy on online processing of semantically reversible SRCs and ORCs using lexically inanimate items that were perceptually animate due to motion (e.g., “Where is the tractor that the cow is chasing”). In Experiment 1, 48 children (aged 4;5–6;4) (...) and 32 adults listened to sentences that varied in the lexical animacy of the NP1 head‐noun (Animate/Inanimate) and relative clause (RC) type (SRC/ORC) with an animate NP2 while viewing two images depicting opposite actions. As expected, inanimate head‐nouns facilitated the correct interpretation of ORCs in children; however, online data revealed children were more likely to anticipate an SRC as the RC unfolded when an inanimate head‐noun was used, suggesting processing was sensitive to perceptual animacy. In Experiment 2, we repeated our design with inanimate (rather than animate) NP2s (e.g., “where is the tractor that the car is following”) to investigate whether our online findings were due to increased visual surprisal at an inanimate as agent, or to similarity‐based interference. We again found greater anticipation for an SRC in the inanimate condition, supporting our surprisal hypothesis. Across the experiments, offline measures show that lexical animacy influenced children's interpretation of ORCs, whereas online measures reveal that as RCs unfolded, children were sensitive to the perceptual animacy of lexically inanimate NPs, which was not reflected in the offline data. Overall measures of syntactic comprehension, inhibitory control, and verbal short‐term memory and working memory were not predictive of children's accuracy in RC interpretation, with the exception of a positive correlation with a standardized measure of syntactic comprehension in Experiment 1. (shrink)

The II. constitutional period is a period of renewal in many areas. Political, social and educational changes also had influences in the field of religious education. One of the examples of these changes is the ʻAmelī I҆lmiḥal textbook written by Halim Sabit (DOD. 1946) in five volumes for both teachers and student. This study particularly aims to assess this textbook in terms of religious education. Accordingly, the following questions are addressed: “What are the topics covered in the ilmihal books (...) written for students and teachers? Is the content of the subjects taught appropriate for the religious education? Which methods, techniques, and essential matters are discussed in the ilmihal books for teachers? As having first grade elementary school textbooks for both teachers and students, the research is made just based on these books. Data were collected through the examination of the document, and the texts in Ottoman Turkish were transcribed into Turkish. Content analysis method was used in the analysis of the data. By examining both books, this study shows that belief, worship, and social issues were taught, and prayers and sūras were addressed as need to be memorized knowledge in the book. The books included inappropriate contents for first grade children regarding the belief issues such as fear of Allah, hell, and the hereafter. Summary: Education I҅lmiḥal, occupies an important place in the history of Islamic religious education. According to the religion of both adults and children to learn the principles of faith and worship, it is aimed to shape the daily life. In this context, for example, during the Ottoman period, In the period of II. Mahmut, boys were required to attend the primary school. Thus, it was ensured that children could learn I҅lmiḥal and Islamic sharia properly. Children are taught alif ba for Qurʾān readings in primary schools, as simple as required by religious duties, writing skills have been acquired and the four processing rules are memorized. The II. constitutional period is a period of renewal in many areas. Extreme innovative thinking is also reflected in education. Especially after the Balkan wars, the idea that the collapsing state would be saved through education was dominant. For the first time, a higher education institution for girls and a kindergarten for young children were opened. By recognizing the importance of pedagogy knowledge in teaching, the students have switched to a system where they can search for observation and experiment. Innovations in educational methods have started to be seen. It was seriously opposed to memorization, and the question and answer was seen as old methods. Instead, it was proposed to use sightseeing observation and discovery. Political, social and educational changes are also reflected in the field of religious education. As a reflection of the newly introduced methods, there have been changes in the ʻAmelī I҆lmiḥal books prepared for children. One of the examples of this is the ʻAmelī ʻIlmiḥal textbook, which was written by Halim Sabit in five volumes. This ʻAmelī I҆lmiḥal was prepared in 5 volumes for teachers and students.The main purpose of this study is to evaluate ʻAmelī I҆lmiḥal textbook in terms of religious education This study particularly aims to assess this textbook in terms of reigious education. Accordingly, the following questions are addressed: “What are the topics covered in the ilmihal books written for students and teachers? Is the content of the subjects taught appropriate for the religious education? Which methods, techniques, and essential matters are discussed in the ilmihal books for teachers? As having first grade elementary school textbooks for both teachers and students, the research is made just based on these books. Data were collected through the examination of the document, and the texts in Ottoman Turkish were transcribed into Turkish. The textbook prepared for the students of the first year consists of 21 boards/sheets. The sentences are quite self and short. The contents of the board/sheet are well suited to be discussed and explained. There are no headlines on the boards/sheets. The language of text is Ottoman. It is possible to express the topics covered in the book under the following themes:Prayer and Sūras: Basmala, Kalima Tawḥīd, Kalima Shahāda, Fātiḥa, Subḥana Rabbiyal Aʿala, Subhana rabbiyal ʿAẓim, As-salāmu ʿalaykum va Raḥmatullah, Taḥiyyat, Salawat Sharif, Iḥlas, Kawthar, Subḥanaka Prayer, Qunut Prayers.Faith Issues: Allāh, the fear of Allāh, thanks to Allāh, the Qurʾān, Prophets, Prophet Muḥammad, The Hereafter, Heaven Hell, Angels.ʿIbādat Issues: Zakāt, Ablution, Prayer, Adhān, worship in General (Salāt, Ṣawm, Zakāt, Ḥajj)Social Issues: Friendship, affection for minors, affection for parents, Muslims are Brother, human love, respect for the elderly, respect for scholars.The textbook prepared for the teachers of the first year; consists of 21 pages, 69 pages and Ottoman. As the students do not include the topics in the textbook, it is appropriate to mention the names of the subjects in the textbook of the teacher:1. Subject: Memorization of the Word of Tawḥīd and word of Shahāda; 2. Topic: Raising ideas about the nation in children; 3. Subject: The adjectives of Allāh Almighty; 4. Subject: Love of Allāh; 5. Subject: Angels; 6. Subject: The Divine Books; 7. Subject: Prophets 8. Subject: The Hereafter; 9. Subject: Thank Allāh; 10. Subject: Repentance; 11. Topic: Protecting the language from bad words and threats; 12. Subject: Zakāt and charity; 13. Subject: Riya҆ and his goodness engrave; 14. Subject: Love to the prophet Muḥammad; 15. Subject: Parental love; 16. Subject: The brotherhood of Islam; Subject: Human love; 18. Subject: Ablution; Subject: Prayer; 20. Subject: Respect for the elderly; 21. Subject: Love to ʿulamāʾ; 22. Subject: Fear of Allāh.Halim Sabit also gave information about the methods and techniques to be used in the course and emphasized that the teacher told his / her not by looking at the book. He thought it would be only influence the student in this way. It is recommended to use the appropriate language for the child, to make an introduction in the subjects that will be learned in the new subjects and to draw attention to the subject and to teach the subject gradually. An important advice is the knowledge that the teacher wants him / her to do in the long-term memory in the present sense. The teacher must repeat a subject several times while teaching a subject, and should not immediately remind a student of forgotten subjects, talk to a student and has finded to him. A subject should not be passed without being thoroughly understood, and the classroom needs to be opened by the teacher in order not to forget the learned subjects. The first fifteen minutes of each course should be reserved for the repetition of previously learned subjects. Content analysis method was used in the analysis of the data. By examining both books, this study shows that belief, worship, and social issues were taught, and prayers and sūras were addressed as need to be memorized knowledge in the book. The books included inappropriate contents for first grade children regarding the belief issues such as fear of Allah, hell, and the hereafter. (shrink)

This article explores trends in the presence and centrality of males and females in American children's picture books in the twentieth century. Using the Children's Catalog as a population base and a time series analysis, we found that the imbalance in depicting males and females varies through the century in a curvilinear fashion. The earlier and later periods of the century show more egalitarian representations of females in titles and central roles. However, when stories involving only adults or (...) animal characters are considered, males become more prominent over time. Changes in literary themes and the position of women during this time span may be useful in developing a theory to account for these trends. (shrink)

Focusing on narratives with supernatural components, Karen J. Renner argues that the recent proliferation of stories about evil children demonstrates not a declining faith in the innocence of childhood but a desire to preserve its purity. From novels to music videos, photography to video games, the evil child haunts a range of texts and comes in a variety of forms, including changelings, ferals, and monstrous newborns. In this book, Renner illustrates how each subtype offers a different explanation for the problem (...) of the “evil” child and adapts to changing historical circumstances and ideologies. (shrink)

What happens if we think of children's play as a form of great art that we turn to and return to for inspiration, for education? If we can see play as art, then what and how can we learn from children's play or from playing with them? What can philosophy, or philosophers, learn from children's play? In this essay Viktor Johansson gives examples of what and when children can teach philosophers through play or, more specifically, how children's play can teach (...) philosophers about the relation between fiction and reality. It begins by exploring the educational relation between fiction and reality in recent revivals of literary humanism. Johansson gives examples from a preschool project of how children use fiction picture books and create new fiction in their play, and how they do so in ways that relate to previous philosophical considerations of literary fiction. To explore this, the essay enters into conversation with the work of Iris Murdoch on the playfulness of art. Through, and in contrast to, Murdoch's work, Johansson establishes that play can be great art through its nonpurposefulness and its use of skill and imagination. Moreover, turning to children's play becomes a method for attending to what Ludwig Wittgenstein calls philosophy's “natural history,” that is, a historicization of philosophical thinking that enables philosophers to learn from children. Johansson concludes by showing that encounters between fiction and play, and with children playing, can be an educational embroilment, not only between teacher and child, but between teacher, child, the visual, the material, and the philosophical in which all learn from one another. (shrink)

Presented as a diary of a year-long search, this book explores Sabbath-keeping from the point of view of a doubting Jew trying to make sense of what has become a quaint, obsolete practice. Although the book relies upon centuries of philosophical thought, it is accessible, direct, and often humorous, aimed at others who, like Susan Pashman, cannot blindly 'obey, ' but who demand a sensible basis for their practices. Remember the Sabbath and keep it holy. What does this mean? And (...) why is it a moral obligation, ranked high on a list of commandments that includes refraining from murder, lying, cursing, and picturing God? Ultimately, Dr. Pashman decides that 'stepping back' to an objective position--the starting point for moral conduct--is the detachment that Sabbath observance demands. A Sabbath properly observed is not just a day to unplug from technology; it is a day to attentively contemplate the lives and needs of others, to take a 'God's eye' view of the world. From time to time, the journey is paused for brief personal memoirs of Pashman's Sabbath experiences over the years. These poignant, often hilarious glimpses into her life before this quest introduce the reader to her atheist grandfather, her observant Uncle Wolfie, her sly mother-in-law, her cynical older son, and her younger son whose own children, she hopes, will continue engaging with Jewish traditions. Filled with wisdom and much humor, this is a book for both contemporary, skeptical Jews seeking to preserve personal autonomy while continuing family traditions, and also for those 'spiritual seekers' of all religions in search of the rootedness that tradition supplies, without having to engage in what they might regard as hypocrisy. (shrink)

Parental reading to young children is well-established as being positively associated with child cognitive development, particularly their language development. Research indicates that a particular, “intersubjective,” form of using books with children, “Dialogic Book-sharing”, is especially beneficial to infants and pre-school aged children, particularly when using picture books. The work on DBS to date has paid little attention to the theoretical and empirical underpinnings of the approach. Here, we address the question of what processes taking place during DBS (...) confer benefits to child development, and why these processes are beneficial. In a novel integration of evidence, ranging from non-human primate communication through iconic gestures and pointing, archaeological data on Pre-hominid and early human art, to experimental and naturalistic studies of infant attention, cognitive processing, and language, we argue that DBS entails core characteristics that make it a privileged intersubjective space for the promotion of child cognitive and language development. This analysis, together with the findings of DBS intervention studies, provides a powerful intellectual basis for the wide-scale promotion of DBS, especially in disadvantaged populations. (shrink)

Rubin loves the beautiful sounds that are played by the orchestra. He wants to learn to play the violin and make his own music. But when Rubin plays, it doesn't sound like he imagines it should. Rubin goes into the forest to practice alone and despite only getting the violin to screech, he finds an unlikely audience that loves his unique style.

In this paper I investigate how philosophy can speak for children and how children can have a voice in philosophy and speak for philosophy. I argue that we should understand children as responsible rational individuals who are involved in their own philosophical inquiries and who can be involved in our own philosophical investigations—not because of their rational abilities, but because we acknowledge them as conversational partners, acknowledge their reasons as reasons, and speak for them as well as let them speak (...) for us and our rational community. In order to argue this I turn, first, to Gareth Matthews' philosophy of childhood and suggest a reconstruction of some of his concepts in line with the philosophy of Stanley Cavell. Second, in order to examine more closely our conceptions of rationality and our pictures of children, I consider the children's books, The Lorax and Where is My Sister? and Henrik Ibsen's play, The Wild Duck. (shrink)

This chapter talks about Peter Catalanotto's delightfully illustrated picture book, Emily's Art. Traditionally, the philosophy of art was also called aesthetics, a term derived from the ancient Greek. There are many intriguing issues in the philosophy of art. For example, philosophers have proposed various different solutions to the question of what art is. Art is a subject that interests children because they often are engaged in producing it. So an interesting way to begin a discussion of issues in the (...) philosophy of art is to ask the children whether they prefer Kelly's paintings or Emily's and why. Once they explain, ask them whether they think that other people should agree with them, or if it's fine for other people to disagree. And, as usual, ask them to explain why they think what they think. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prelude to the Special Issue of the Journal of Aesthetic Education on Children’s LiteratureEllen Handler Spitz, Guest Editor (bio)When Professor Pradeep A. Dhillon, editor of the Journal of Aesthetic Education, suggested to me one day that I might guest edit a special issue of the journal devoted to the topic of children’s literature, my initial reticence was toppled and my sense of resolve buoyed as I began to fantasize (...) with billowing excitement about just how this might be done. First, I dreamt up the image of guest editor as bountiful hostess—setting out delectable dishes in an elegantly appointed banquet before the readers of this journal. That metaphor faded, however, despite Maria Tatar’s eloquent reminder to us in these pages that gastronomy has frequently and salubriously been juxtaposed with reading. I could not help worrying (even though children vociferously protest the logic of this problem) that one cannot have one’s cake and eat it too. Therefore, switching to music, I began to imagine the editor as conductor of a highly select ensemble of musicians, all gifted with glorious well-seasoned voices. They might perform a concert (recorded for posterity, of course) of pieces aimed at an audience of those who care passionately about aesthetics, education, literature, and above all about children, and at those who, perhaps with tenderness, still recall their own childhood reading.But how to accomplish this in practical terms? Well, I reasoned, I would simply invite a group of distinguished senior scholars who, having achieved their reputations in related fields and having written on other subjects as well, have published highly significant works pertaining to children’s literature. Each person would contribute a composition in his or her own voice, and there would be complete freedom, carte blanche, no holds barred—the only constraint being page numbers. Would the results turn out to be harmony or cacophony? Well, I speculated, if each voice were finely tuned, resonant, and clear, whether treble or bass, forte or pianissimo, the outcome—although [End Page 1] unpredictable in terms of specifics—would, unquestionably, be musical. But that, dear reader, is ultimately for you to judge, for you have now heard precisely how this issue came into being and will, we hope, read on. Each author I asked responded to my call with alacrity and, in his or her original style and tone, made my task as conductor a perfect pleasure.We offer you a work in three parts. First, you will encounter two melodious and euphonious pieces, contributed respectively by Marina Warner (“Out of an Old Toy Chest”) and Maria Tatar (“From Bookworms to Enchanted Hunters: Why Children Read”). Here, the overarching themes of children’s play and make believe are set up, analyzed, and explored. Playing and reading are placed side by side, as well as reasons why children love to read and how they are variously exhorted, extolled, and even occasionally excoriated by adults for doing so.Our second movement consists of three apparently unrelated motifs, contributed in turn by Gareth Matthews (“Philosophical Adventures in the Lands of Oz and Ev”), Seth Lerer (“Style and the Mole: Domestic Aesthetics in The Wind in the Willows”), and myself (“Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely Child”). Actually, however, these essays are not unrelated, for each motif arises from a particular mode of interpretation grounded in turn in philosophy, in literary history and theory, and in psychology. The works considered are all by notable writers for children: L. Frank Baum, Kenneth Grahame, William Steig, and Maurice Sendak.For our grand finale, we offer two sonorous, seriously challenging contributions, one by Jack Zipes (“Why Fantasy Matters Too Much”) and the other by Eliza T. Dresang and Bowie Kotrla (“Radical Change Theory and Synergistic Reading for Digital Age Youth”). These works grapple with contemporary matters, with fantasy, with technology, and with “radical change” as these can be discerned in the literature, imagery, and general cultural lives of today’s and even, quite possibly, of tomorrow’s children. Gesturing toward the future even more strikingly, we conclude this work with a flourishing coda in the actual voice of a living child... (shrink)