In a digital era that neglects handwriting, the current study is significant because it examines the mechanisms underlying this process. We recruited 9- to 10-year-old Chinese children, who were at an important period of handwriting development, and adult college students, for both behavioral and electroencephalogram experiments. We designed four learning conditions: handwriting Chinese, viewing Chinese, drawing shapes followed by Chinese recognition, and drawing shapes followed by English recognition. Both behavioral and EEG results showed that HC facilitated visual (...) class='Hi'>word recognition compared to VC, and behavioral results showed that HC facilitated visual word recognition compared to drawing shapes. HC and VC resulted in a lateralization of the N170 in adults, but not in children. Taken together, the results of the study suggest benefits of handwriting on the neural processing and behavioral performance in response to Chinese characters. The study results argue for maintaining handwriting practices to promote the perception of visual word forms in the digital age. (shrink)

Semantic priming has been a focus of research in the cognitive sciences for more than 30 years and is commonly used as a tool for investigating other aspects of perception and cognition, such as word recognition, language comprehension, and knowledge representations. Semantic Priming: Perspectives from Memory and Word Recognition examines empirical and theoretical advancements in the understanding of semantic priming, providing a succinct, in-depth review of this important phenomenon, framed in terms of models of memory and models of (...) word recognition. The first section examines models of semantic priming, including spreading activation models, the verification model, compound-cue models, distributed network models, and multistage activation models (e.g. interactive-activation model). The second section examines issues and findings that have played an especially important role in testing models of priming and includes chapters on the following topics: methodological issues (e.g. counterbalancing of materials, choice of priming baselines); automatic vs. strategic priming; associative vs. "pure" semantic priming; mediated priming; long-term semantic priming; backward priming; unconscious priming; the prime-task effect; list context effects; effects of word frequency, stimulus quality, and stimulus repetition; and the cognitive neuroscience of semantic priming. The book closes with a summary and a discussion of promising new research directions. The volume will be of interest to a wide range of researchers and students in the cognitive sciences and neurosciences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Elephants Teach: Creative Writing Since 1880Robert GrudinThe Elephants Teach: Creative Writing Since 1880, by D. G. Myers; 224 pp. Englewood Cliffs, New Jersey: Prentice Hall, 1996, $30.40 paper.D. G. Myers opens his history of creating writing instruction in America with an anecdote: When Vladimir Nabokov was proposed for a chair in literature at Harvard, Roman Jakobson objected. “What’s next?” he said. “Shall we appoint [End Page 529] (...) elephants to teach zoology?” This question not only provides Myers’s book with its title but also suggests a major issue of literary pedagogy: is the teaching of literature the province of philologists and theorists who interpret books, or is it the province of authors who write them? Jakobson the philologist implies that writers, who just produce the stuff, lack knowledge of interpretive method and thus have little business in the classroom. Others—writers and teachers alike—have thought differently and have over the past century fostered the growth of creative writing at American colleges and high schools.The Elephants Teach is a comprehensive and coherent effort to deal with a ponderous mass of history and discourse: the development of writing curricula since 1880 and the ongoing professional dialogue about the proper relationship between writing and teaching. The first four of his seven chapters deal with roots and preliminaries: the rise of literature instruction as philology after the Civil War, the inception of English composition at Harvard (championed by Adams Sherman Hill, Barrett Wendell, Dean Le Baron Briggs, and Charles Townsend Copeland), and the professional, cultural, and financial forces drawing writers to campuses in the early twentieth century. These chapters establish three major forces leading to the rise of the creative writing curriculum: the consensus that writing experience is of value to the individual and society, the reiterated conviction that literary instruction should consider the perspective of the writer, and the broad recognition by “serious” writers, who had little or no access to the mass market, that they could agreeably support themselves in the classroom. These forces would lead to what Myers correctly sees as a massive compromise: a complex of writing programs simultaneously satisfying students’ needs and allowing thousands of writers to pursue, if only by fits and starts, their professional calling.Myers then serves up the main course: a three-chapter narrative, stretching from the 1920s down to the present, of the history of creative writing as a so-named and self-conscious institution in American education. The opening of this section is not only informative but characteristic of the overall lucidity of Myers’s style: “Creative writing was first taught under its own name in the 1920s. It began in junior high school where it was originally conducted as an experiment to replace traditional English—grammar, spelling, penmanship, even literature classes—with something more appealing to young people. As such it was part of a broader movement to reform American education in the first half of the twentieth century. The cry was that subjects should not be taught, students should; the reform movement called itself progressive education. Creative writing was invented to transport progressive methods and materials into a junior-high-school English classroom. The man who invented it was a progressive educator—once well known, now largely forgotten—named Hughes Mearns” (p. 101). William Hughes Mearns (1875–1965) was himself a disciple of John Dewey, whose ideas formed the basis for progressive education in general. Adapting the Deweyan concept of learning as a spur to personal [End Page 530] development, Mearns saw writing “as the efficient cause of an education in which the final cause was personal growth” (pp. 104–11).After Mearns, Myers considers a somewhat more familiar chapter in history: the appearance of creative writing as a self-contained discipline on the college campus. Credit for the original initiative goes to Norman Foerster (1887–1972), who in 1930 took over the newly-founded School of Letters at the University of Iowa. A follower of Irving Babbitt and the “new humanism,” Foerster set out (in his own words) “to give all types of literary students a rigorous and appropriate discipline” (p. 126). Foerster’s “discipline” was a varied curriculum including... (shrink)