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)

In lieu of an abstract, here is a brief excerpt of the content:Leonhart Fuchs on the Importance of PicturesSachiko KusukawaIf not for the attractive plant with overhanging flute-like flowers that was named after him, Leonhart Fuchs (1501–66) is best known today as one of the pioneers of accurate representations of plants in histories of scientific illustrations.1 The pictures in Fuchs’s Remarkable Commentaries on the History of Plants (1542) have been appreciated usually for their “naturalistic” features (i.e., pictures drawn from observing (...) a plant specimen), as well as for their tendency to discard individual blemishes and portray a universal or ideal “type” of a plant where several varieties of species could be incorporated into one bush, or where various stages of the same plant may be depicted in one figure.2 On the other hand no historian of botany who has examined the text these pictures accompanied has found that such qualities as observation from nature or a sense of “ideal type” contributed to Fuchs’s theoretical understanding of [End Page 403] plants: he lacked any sense of the family genera or Linnean classification, for he had simply adopted an alphabetical ordering.3Fuchs himself considered his pictures remarkable—as he was at pains to point out—and he believed his pictures were absolutely crucial for his commentary on plants. My immediate aim in this paper, therefore, is to offer an interpretation of Fuchs’s Remarkable Commentaries on the History of Plants which does not split the work into artistically positive and botanically negative elements. As I shall argue, the uniqueness and so the controversial nature of Fuchs’s enterprise lies in the kind of argument and procedure he believed to be valid for an academic study of plants. More generally, I hope to use this reassessment of Fuchs’s work to show how pictures could be as controversial as texts and how the uses of texts and pictures together form past acts which require historical explanation. Click for larger view View full resolutionFigure 1.The Artists. Leonhart Fuchs, De historia stirpium, 1542, verso of last folio page. Reproduced by permission of the Syndics of Cambridge University Library.In 1542 Fuchs published his Remarkable Commentaries on the History of Plants Belaboured with Great Expense and Vigilance with More than Five Hundred Live Images of Plants Attached. It begins with a picture of Fuchs, the author, at the age of forty-one and ends with that of the artists (fig. 1). Although the division of labor depicted here seems to have been a standard one for printing illustrated books in this period,4 it is unusual that we know their names. Albrecht Meyer did the drawings from life, Heinrich Füllmaurer transferred the drawings to woodblocks, and Veit Rudolf Speckle cut those woodblocks.5 Fuchs was proud of one of the artists in particular: “the woodcutter [sculptor] Veit Rudolf Speckle, by far the best in Strasbourg, excellently imitated the admirable industry of painters: he has so skilfully expressed the outlines of each picture by carving [sculpendo] that he seems to compete with the painter for glory and victory.”6 A comparison between the painter and the sculptor had been a favorite topic in the Renaissance genre of paragone—Leonardo da Vinci, Galileo, Castiglione, and Michaelangelo composed treatises on it—where the [End Page 404] relative merits of various mimetic arts were discussed.7 Fuchs’s comment on Speckle is more nuanced, however, than a polite competition between the arts over their mimetic skills: Fuchs announces that Speckle is worthy of praise in producing a picture—normally the domain of the painter (pictor)—with the specialized skill of carving of the cutter (sculptor). This is surely an appreciation of the particular skill involved in producing replicable pictures for printed books, just as Erasmus had, a generation earlier, acknowledged in Albrecht Dürer’s prowess at engraving the potential for reproducibility in a print culture.8 Indeed, of the artists involved in printing, it was the woodcutter who could expect to be paid most in this period—nearly fifteen times more than the artist who originally drew the pictures.9 Click for larger view View full resolutionFigure 2.Atriplex. Theodore Dorsten, Botanicon, 1540, fol. 35r. Reproduced... (shrink)

Reading and writing are increasingly performed with digital, screen-based technologies rather than with analogue technologies such as paper and pen. The current digitization is an occasion to “unpack,” theoretically and conceptually, what is entailed in reading and writing as embodied, multisensory processes involving audiovisual and ergonomic interaction with devices having particular affordances. Highlighting the sensorimotor contingencies of substrates and technologies — how movement and object manipulation affect perception, experience, and sensory “feel” — this article presents an embodied approach to reading, (...) writing, and literacy, using three cases of digitization as illustrations of some educational implications: beginning writing by hand or by keyboard; dialogic reading with iPads and print picture books in kindergarten; and deep reading of long, linear texts on paper and on screens. (shrink)

This single volume is a thematically organized history of New York City filled with prints, paintings, and photos from the early days through the present. These telling images and revelations are a rich exploration of the most intriguing city in the world. 63 color photos. 100 line art illustrations.

In order to distribute our thoughts and feelings, we must make intelligible and distributable copies of them. From approximately 1375 to 1450, certain Europeans started fully mechanized replication of texts and images, based on predecessor “smaller” technologies. What they started became the most powerful means for the distribution, storage, and retrieval of knowledge in history, up until the invention of digital means. We have scant information about the initiation of print technologies in the period up to Gutenberg, and the (...) picture of Gutenberg that we have has become a great deal more complicated than hitherto. There has not been, however, an approach to the “pre-printing” period in terms of the history of idea or intellectual history. After a brief survey of established approaches, this essay argues that distribution by impression, or print, is bound up with ancient metaphors for understanding communication by the making of multiples. I suggest that there is a rich field of study for printing history in the sophisticated concepts of reality that medieval and late Scholastic philosophy developed. These concepts helped to express and develop a desire or need for communication that led to the technology of replicating texts and images for wide and continued distribution. (shrink)

Gregory Conniff's large-scale black and white pastoral images evoke the sensuality of nineteenth century photographic materials. In his affectionate and intelligent work, there is a visible connection to the history of landscape art, reaching back as far as Claude Lorrain and seventeenth-century Dutch drawing. Conniff is also a leading practitioner of a new pastoralism that is casting a contemporary eye on the current state of America's open land. Postmodern in the best sense, Conniff's pictures address the timeless human need to (...) see beauty in the world that shapes our lives. A resident of Wisconsin for more than thirty years, Conniff has focused much of his artistic energy on the rural Midwest, exploring the interdependent relationship between land and people. For the past fifteen years, Conniff has also been making pictures of rural Mississippi, again focusing on elements of the landscape that resonate with a universal sense of aesthetic familiarity. As he explains, "I am interested in work that defines and protects the vanishing, commonplace beauties that let us know we're home.". (shrink)

Examining a work that marked the emergence of photography as an art made for the gallery wall instead of the printed page.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Language of the CaveA. Serge KapplerThe Language of the Cave, by Andrew Barker and Martin Warner; vi & 198 pp. Edmonton: Academic Printing & Publishing, 1993, $54.95 cloth, $21.95 paper.The scholarly essays in this collection focus on the tension between Plato’s expressed views about style, poetry, and intellectual discourse on the one hand and his own practice on the other. Why does a man fiercely hostile toward (...) [End Page 266] literature and poetry write works that are themselves mimetic? Why does he repeatedly resort to story telling to make a point? Why do some of his works fail to fit his own prescriptions of clarity and unity? Six of the eight essays in this collection propose exonerating answers to these and similarly troubling questions.In stimulating counterpoint to this massive rescue operation, John Gould (“Plato and Performance”) argues that Plato’s attack on the irrationality of Greek literature and poetry has irrational roots in Plato himself. The reality defined by literary art, Gould suggests, is one of contradiction and conflict; its “incorrigible plurality”—the “drunkenness” of things as they are—is something that “Plato, at least in the puritanical mood of the Republic and the Phaedo, would not have wished to feel” (p. 25).Gould bases his contentions largely on a negative assessment of Plato’s arguments in the Republic. For him, the poverty and fierceness of those arguments strongly suggest an existential agenda at work. Implicitly supportive of this position, Penelope Murray (“Inspiration and Mimesis in Plato”) shows that the picture Plato paints of poets in the grip of irrational frenzy, in the Republic and elsewhere, far from being the traditional truth he purports it to be, is his own creation. It is a “far cry,” she convincingly argues, from the images of the poet that we find in pre-Platonic literature” (p. 46).The most original defense of Plato is offered by Mary Margaret McCabe in “Myth, Allegory and Argument in Plato.” She proposes that logical arguments in Plato’s text stand in a dialectical relation to stories and allegories elsewhere in the text. Mere logic presents too lean a picture of reality, while myths and allegories present one that is, from an Ockhamite perspective, too rich. The responsibility for finding the right theoretical balance lies with the reader.Now were it true that Plato’s famous images have no genuine heuristic value in the contexts in which they are offered, then McCabe’s thesis might be in some trouble. Yet that is precisely the claim of Manuela Teçusan (“Speaking about the Unspeakable: Plato’s Use of Imagery”), who reassures readers that because Plato resorts to poetic devices primarily in order to illustrate conclusions that are independently supported, he is not really guilty of an inconsistency needing to be explained away.If Plato’s complaints against literature are typically understood as presupposing extravagant metaphysical theses of his own, one possibility is to show that he is not actually committed to those theses. Christopher Rowe (“Reflections of the Sun: Explanation in the Phaedo”) and Michael Stokes (“Plato and the Sightlovers of the Republic”) weigh in with carefully argued versions of that time-honored project. Rowe can discover no reference in the Phaedo to the unhypothesized Good of the Republic, while Stokes discerns no genuine Platonic commitment to a two-world theory in Republic 5.Finally, Richard Rutherford (“Unifying the Protagoras”) diagnoses that dialogue’s notorious lack of unity as reflecting the disorganized minds and unsocratically competitive impulses of its Sophist participants, and Martin [End Page 267] Warner (“Dialectical Drama: The Case of Plato’s Symposium”) proposes that, appearances to the contrary notwithstanding, all of the Symposium displays both substance and unity.Reading these well-researched, engaging essays, one may find oneself wishing that their authors would occasionally wonder aloud whether Plato had any choice but to express himself through the poetic/dramatic medium which he criticizes. Perhaps he could have invented the straightforward philosophical prose style, but perhaps he was too busy building its conceptual and cultural foundations.A. Serge KapplerSkidmore CollegeCopyright © 1996 The Johns Hopkins University Press... (shrink)

A humorous bedtime story for budding philosophers "There's a rhinoceros in my room!" Ludwig claims. His father doesn't think so. He looks for the huge pachyderm in every corner, but he just can't find it. There CANNOT be a rhinoceros in Ludwig's room. It's way too small for a rhinoceros. But Ludwig shows his father that something can be there, even if you can't see it. Ludwig Wittgenstein discussed this philosophical problem with his professor Bertrand Russel, and is the basis (...) for Noemi Schneider's hilarious and thoughtful story. The Berlin duo GOLDEN COSMOS, who work with their characteristic screen printing style for international magazines, are now illustrating a picture book for the first time. (shrink)

Digital photography is sweeping the country, and it’s easy to see why. You can take pictures of anything, do it quickly, see instantly what you got, save only the stuff you like, and share your pictures as prints, on the Web, as a slideshow, or even on things like mugs and mousepads. A digital camera and the appropriate software let you Take wide-angle or closeup shots, indoors or out Know immediately whether you got what you wanted Delete shots you don’t (...) like and retake them Improve your images on your computer Combine images into a montage Customize your pictures by adding special visual effects Digital photography is fun, but whether you’re an old hand at taking digital pictures or still picking out your first camera, there are plenty of times when you know what you want to do and just want to figure out how to do it, right now. That’s exactly what Digital Photography Just the Steps For Dummies helps you do. It’s designed so you can quickly find the task you want to perform and follow step-by-step instructions to get the job done, right now. Loaded with full-color photos to show you what you can do, Digital Photography Just the Steps For Dummies helps you Choose the camera, lenses, and flash equipment that are best for the type of photography you want to do Compose good pictures regardless of your subject Scan and digitize existing photos so you can enhance or repair them Change the size or format of an image Adjust color, brightness, contrast, sharpness, and other attributes of a digital image Repair tears, creases, or scratches in a scanned photo, remove red-eye, and restore a faded image Use layers to alter an image, add text, or change the background Photograph items you want to sell online to show them at their best Sort and organize photos on your computer Print picture albums, make photo T-shirts, create a slideshow, or burn a video CD When you’re looking for a clear set of instructions so you can get results right away, you want a Just the Steps For Dummies book. With Digital Photography Just the Steps For Dummies, you’ll find everything quickly comes into focus! (shrink)

A value-packed bundle for value-conscious seniors! Digital photography and cameras is a must-have for the over-55 set, but the technology can be intimidating. This book-and-DVD bundle provides all the plain-English guidance of Digital Photography For Seniors For Dummies along with a one-hour DVD filled with tips for using various camera settings, getting terrific photos, and working with images after they're shot. With advice on choosing and using a digital camera, secrets for super shots, getting images onto the computer and enhancing (...) them, and making prints or sharing pictures online, this value-priced bundle has what seniors want to know. People over 55 are one of the fastest-growing markets for digital cameras; they want to learn to use the equipment quickly and without being intimidated by technology This book-and-DVD bundle provides plenty of information in plain English and at a no-nonsense price Covers choosing a digital camera, understanding the lingo, using the controls, working with different settings, downloading and organizing pictures, performing basic edits, and sharing your photos Easy-to-read type and plenty of colorful illustrations make Digital Photography For Seniors For Dummies a great way to get up to speed The Digital Photography For Seniors For Dummies bundle provides exactly what seniors want-no-frills explanations, the visual aspect of DVD instruction, and a great value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pictorial World of the ChildEllen Handler SpitzThe Pictorial World of the Child, by Maureen Cox. Cambridge: Cambridge University Press, 2005, 357 pp., paper.Scholarly, informative, and impartial are adjectives that spring to mind with respect to Maureen Cox's book, The Pictorial World of the Child, a text principally but not exclusively devoted to the subject of children's drawings and to ways in which children seem to understand pictorial (...) representations as well as create them. Because of its clarity and comprehensiveness, this book seems well-suited for classroom use. Effectively organized into a cogent selection of significant subtopics, it summarizes and presents a vast array of contributions by colleagues whose work Cox surely respects and treats in an admirably evenhanded way. Since, as she states at the beginning of her book, a serious scholarly interest in children's pictures has been with us for over a century, her task is prodigious, and she accomplishes it with grace and precision. It is perhaps to her credit that Cox does not argue passionately on one side or another of a host of thorny issues in her field about which many scholars, teachers, and theorists seem to exhibit strong one-sided views. How should art be taught to young children, for example? Should they be given total freedom or required to perform an ordered set of tasks? In every case, Cox offers her readers a panoply of perspectives and invites them to entertain the spectrum of opinion and then decide for themselves or not.The book is written, therefore, as far as I can tell, to promulgate no particular thesis of any kind. It simply is what it purports to be, namely, an overview of the field by someone who has a deep knowledge of it. It informs and educates through its systematic citation of experimental situations, test results, evaluations, neurological research, art historical material, and the like, and, while acknowledging disagreements right and left, it does not enter into philosophical debate. If one were inclined to fault the book at all, one might criticize it for this—that is, for lacking sufficient skepticism and deep questioning. But surely that would be niggardly, for nowhere does Cox state philosophizing to be her purpose in these pages. I would argue, in fact, to the contrary—that Cox underestimates herself when she states as her principal aim merely the furthering of interest in and appreciation of children's drawings (7). To my mind, she goes far beyond that modest goal to enlighten and educate her readers.Let me give some examples of Cox's treatment of controversial topics. It is arguable, for example, as to whether or not young children understand representational duality and can tell the difference between a pictured representation and the object pictured. A broad spectrum of research, claims, and beliefs are citable on both sides here, with the most up-to-date [End Page 110] scholars being persuaded that young children are far more sophisticated than we had previously thought. But conjure up, if you will, on the other side that well-known photograph in which a baby holds a picture of a clock to his ear and tries to hear it ticking. (This image, subtitled "How they read it," was printed on the jacket of Mary Calderone and Edward Steichen's The First Picture Book of 1930, which was reissued by the Frances Mulhall Achilles Library at the Whitney Museum of American Art, New York, in 1991.) After citing numerous sources and experiments, Cox equivocates as follows: "It seems that young children may know the difference between a picture and the real object it represents, but their behaviour is often confusing" (25); to me, this seems exactly right. We simply cannot accept a blanket statement meant to cover all cases, and, as with many or even most of the topics under consideration in this book, there are no definitive answers. Thus, the fact that Cox chooses to present intriguing research but leave the conclusions open seems preferable to joining sides in a spurious debate and one, perforce, with huge cultural and historical contingencies, contingencies to which indeed she pays heed from time to time... (shrink)

This is a ground-breaking study of the way educated people were trained to think in Renaissance Europe. As Ann Moss demonstrates, the commonplace-book of quotations which every schoolboy of the period was taught to use opens a window on to the manner in which attitudes were structured, a moral consensus was established, and styles of writing evolved. Printed Commonplace-Books and the Structuring of Renaissance Thought is much more than an account of humanist classroom practice: it is a major work (...) of cultural history. (shrink)

Dorion Sagan observes that pioneering ethologist Jakob von Uexküll tends to be read in contrasting ways, as a “humble naturalist” pre-empting current research in biosemiotics, animal perception and agency; and as a “biologist-shaman,” gesturing to a transcendental realm where the life-worlds of animals interconnect in a vast symphony of nature. In both cases the tools of the laboratory are thought to generate complete pictures of the invertebrates that Uexküll studies, in unity with their environments. As Giorgio Agamben points out, these (...) experiments form part of an abstract mechanism that produces the human, by isolating instinctual life as an object for study and management from social and ethical modes of existence. What these readings neglect to consider is that Uexküll imagines his experiments through a Picture Book frame. We argue that for Uexküll there is always something fabulous and child-like about the enterprise of reconstructing the subjective environments of the small animals he works with. Drawing on Bernard Stiegler, we propose the Picture Book as a particular technics, or tertiary memory, that cultivates modes of attention that are associated with childhood and are open to the emergence of partial objects and relations. Considered through the Picture Book frame, the Umwelten of insects and other small animals are no longer fixed but are drawn and redrawn in partial expressive ways, through the uncanny picturing – or what Brian Massumi would call “semblances” – of different configurations of animal, technology, human relations. By considering the Picture Book as a technic for ecological thought and imagination, our paper will explore how the small creatures that Uexküll describes might enable the emergence of new ethical sensibilities and relations. (shrink)

"The picture of Hume clinging timidly to a raft of custom and artifice, because, poor skeptic, he has no alternative, is wrong," writes John Stewart. "Hume was confident that by experience and reflection philosophers can achieve true principles." In this revisionary work Stewart surveys all of David Hume's major writings to reveal him as a liberal moral and political philosopher. Against the background of seventeenth-and eighteenth-century history and thought, Hume emerges as a proponent not of conservatism but of reform. (...) Stewart first presents the dilemma over morals in the modern natural-law school, then examines the new approach to moral and political philosophy adopted by Hume's precursors Shaftesbury, Mandeville, Hutcheson, and Butler. Illuminating Hume's explanation of the standards and rules that should govern private and public life, the author challenges interpretations of Hume's philosophy as conservative by demonstrating that he did not dismiss reason as a key factor determining right and wrong in moral and political contexts. Stewart goes on to show that Hume viewed private property, the market, contracts, and the rule of law as essential to genuine civilized society, and explores Hume's criticism of contemporary British beliefs concerning government, religion, commerce, international relations, and social structure. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This book prints for the first time two remarkable interlocking sequences of letters between Paris and the Netherlands: 40 letters from Gilles Ménage in Paris to Johann-Georg Grævius in Utrecht, and 30 from the printer Henrik Wetstein, in Amsterdam, to Ménage. Their principal focus is the publication of a considerable number of Ménage’s works outside France, above all his monumental edition of Diogenes Laertius’s _Lives of the Philosophers._ The letters give an engaging picture of mutual help within the community (...) of scholars, Dutch, German, English, and French, including Huguenot exiles like Le Clerc and Bayle. Ménage’s are full of information from Paris; while Wetstein’s, forthright and humorous, concentrate on publishing details in a sometimes stormy relationship. The great Diogenes edition encountered an extraordinary range of problems: difficulties at every stage of publication, hazardous wartime communications, and, not least, a bizarrely eccentric collaborator in Marcus Meibomius. The two correspondences provide a fascinating case-study of the practical working of international scholarly publishing in time of war, and the European network of learned correspondence in the later seventeenth century. Each letter is printed in full, accompanied by a summary, detailed commentary, and extensive annotations. (shrink)

Can poem and picture collaborate successfully in a composite art of text and design? Or does one art inevitably dominate the other? W.J.T. Mitchell maintains that Blake's illuminated poems are an exception to Suzanne Langer's claim that "there are no happy marriages in art—only successful rape." Drawing on over one hundred reproductions of Blake's pictures, this book shows that neither the graphic nor the poetic aspect of his composite art consistently predominates: their relationship is more like an energetic rivalry, (...) a dialogue between vigorously independent modes of expression. W.J.T. Mitchell is Professor of English and Art and Design at the University of Chicago and editor of Critical Inquiry. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (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)

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)

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)

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 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)

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)

In the course of making nearly 400 films over the past 50 years, "Stan Brakhage" became synonymous with independent American filmmaking, particularly its avant-garde component. This major collection of writings draws primarily upon two long out-of-print books--Metaphors on Vision and Brakhage Scrapbook. Brakhage examines filmmaking in relation to social and professional contexts, the nature of influence and collaboration, the aesthetics of personal experience, and the conditions under which various films were made. Brakhage discusses his predecessors and contemporaries, relates (...) film to dance and poetry, and in "A Moving Picture Giving and Taking Book" provides a manual for the novice filmmaker. Lectures, interviews, essays, and manifestos document Brakhage's personal vision and public persona. (shrink)

This book is "a series of [eight] philosophical-political essays in which the boundary between philosophy and politics remains hazy and the discussion shifts readily across this disciplinary divide". Four of the essays, all written since 1989, have already appeared in print, and two of those have been revised for this book. Fred Dallmayr, who is Dee Professor of Political Theory at Notre Dame, finds in Heidegger's writings after 1933 "a prolonged struggle to expel or subdue the virus" of fascism, (...) to which Heidegger was exposed during his "encounter" with National Socialism. He aims for "another political reading" of Heidegger's work. These essays are in direct counterpoint to the great many articles and books published during the past few years that explore what is claimed to be Heidegger's life-long fascination with fascism. Dallmayr, by means of a close reading of selected texts, presents the picture of a badly shaken philosopher who sought redemption in an entirely new turn of thought quite opposed to anything at all resembling pedagogic or political authoritarianism. On the question of why Heidegger never fully recanted publicly his affiliation with the Nazis during his rectorate at the University of Freiburg, Dallmayr asks: "But would such a retraction--and I mean a complete reversal, since nothing else would do--really have served anyone's purposes"? As a matter of fact, Heidegger did just that in private. (shrink)

This semester-long research project examined the use of social studies trade books to thematically teach about six individuals who served as change agents in the United States during the late 19th century and early 20th century. Three of the individuals were African American men, Robert Smalls, Frederick Douglass, and John Roy Lynch, who took civic action to address racial discrimination faced by the Black community in the half century following the U.S. Civil War. The other three indivduals were women (...) women, Ida B. Wells, Clara Lemlich, and Jane Addams, who challenged social inequities and injustices within their communities. Over the course of the semester-long research project, sixth-grade U.S. history students read selected trade books, examined primary sources, completed graphic organizers, and crafted writing assessments about each of the six individuals. Students demonstrated complex historical thinking, integrated economic and civic thinking, and communicated thematic ideas of systemic oppression of minorities, women, and the poor. They struggled to make connections between examples of historic oppression and contemporary examples of societal oppression. (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)

Weinberg's 1972 work, in his description, had two purposes. The first was practical to bring together and assess the wealth of data provided over the previous decade while realizing that newer data would come in even as the book was being printed. He hoped the comprehensive picture would prepare the reader and himself to that new data as it emerged. The second was to produce a textbook about general relativity in which geometric ideas were not given a starring role (...) for (in his words) too great an emphasis on geometry can only obscure the deep connections between gravitation and the rest of physics. (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)

In his new book, Ames defends his interpretation of Confucian ethics as "role ethics" through a detailed examination of the Confucian vocabulary. Through such vocabulary, we can see that the Confucian self is a being that cultivates itself as it lives and matures in the context of the family and society. As role ethics, Confucianism is distinct from the Western tradition and its Greek roots. However, in order to highlight the contrast between Confucianism and the Western tradition, Ames paints a (...) picture of the latter that is a little misleading. As it turns out, there are many strands in the Western philosophical fabric, including those in the Continental tradition, where we can find conceptions of the self not all that different from what is in Confucianism as interpreted by Ames. Content Type Journal Article Pages 141-150 Authors A. T. Nuyen, National University of Singapore Journal Comparative and Continental Philosophy Online ISSN 1757-0646 Print ISSN 1757-0638 Journal Volume Volume 4 Journal Issue Volume 4, Number 1 / 2012. (shrink)

Using picture books as a means of initiating philosophical discussions with younger children is an idea that has occurred to a number of people involved in P4C/Philosophy in Schools in various parts of the world. Some went on to develop support materials to encourage teachers to go beyond reading picture books to/with their classes to drawing the students into a community of philosophical inquiry. Early examples include Karin Murris, Chris de Haan and colleagues, and myself in (...) Australia, and Tom Wartenberg in the USA. As well as Matthew Lipman and Ann Sharp, Tom’s work drew on the writings of Gareth Matthews, both in his 1980 book 'Philosophy and the Young Child', and his regular columns on the philosophy in picture books in the journal 'Thinking'. (shrink)

The contributors to this volume describe a range of programs that use picture books to teach philosophy to diverse audiences. From a pre-school program in which college students to do the teaching to a program focused on overcoming the legacy of violence and genocide in Mali in which the teachers write and illustrate their own picture books, the authors demonstrate the impact that learning philosophy has on diverse communities of young students and their teachers.

With this book and your Canon PowerShot, taking pictures becomes a lot more fun! The Quick Tour gets you familiar with all the settings and menus on your G, S, TX, A, or SD-series camera, so you can start shooting. Then spend some time exploring tips for getting super shots in dozens of situations, using manual settings for greater control, and telling a story with your photos. Finally, learn the best ways to download, edit, and print your pictures.

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)

This book is both extraordinarily useful and wonderfully beautiful. It provides a sympathetic and articulate account of the basic philosophical and religious theory of Hindu polytheism, an analysis of some of its fundamental concepts, a systematic ordering and explanation of the major deities with their various names and symbols, and a clear picture of the structure and development of Hindu thought. The Sanskrit texts are printed separately, and there is a set of fine black-and-white plates. I can't imagine a (...) more delightful, or more useful, basic reference work on the subject. The earlier French edition, published in 1960, differs in minor points and does not contain the very valuable index.—W. G. E. (shrink)

This book is both extraordinarily useful and wonderfully beautiful. It provides a sympathetic and articulate account of the basic philosophical and religious theory of Hindu polytheism, an analysis of some of its fundamental concepts, a systematic ordering and explanation of the major deities with their various names and symbols, and a clear picture of the structure and development of Hindu thought. The Sanskrit texts are printed separately, and there is a set of fine black-and-white plates. I can't imagine a (...) more delightful, or more useful, basic reference work on the subject. The earlier French edition, published in 1960, differs in minor points and does not contain the very valuable index.—W. G. E. (shrink)

A recent Letter to the Editor in Anthropology of Consciousness, by Sosteric, Ratkovic, and Sosteric, is positioned as a critique of my article “Imaginal Research for Unlearning Mastery: Divination With Tarot as a Decolonizing Methodology.” The letter posits that the esoteric tarot is a repository of colonial ideological propaganda, and because of that, it cannot and should not be used as a tool for decolonial practices. However, the letter is misleading in its implications that what I have proposed in my (...) article cannot be a methodology for decolonizing mental models, and includes statements about my position which are incorrect. This response clarifies and expands on ideas from my article—both about the tarot and also about the carceral mental models my article attempts to address—in part by highlighting the modern/colonial underpinnings of Sosteric et al.'s critique. (shrink)

By a thorough study of the Posterior Analytics and related Aristotelian texts, Richard McKirahan reconstructs Aristotle's theory of episteme--science. The Posterior Analytics contains the first extensive treatment of the nature and structure of science in the history of philosophy, and McKirahan's aim is to interpret it sympathetically, following the lead of the text, rather than imposing contemporary frameworks on it. In addition to treating the theory as a whole, the author uses textual and philological as well as philosophical material to (...) interpret many important but difficult individual passages. A number of issues left obscure by the Aristotelian material are settled by reference to Euclid's geometrical practice in the Elements. To justify this use of Euclid, McKirahan makes a comparative analysis of fundamental features of Euclidian geometry with the corresponding elements of Aristotle's theory. Emerging from that discussion is a more precise and more complex picture of the relation between Aristotle's theory and Greek mathematics--a picture of mutual, rather than one-way, dependence. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This chapter contains sections titled: McCloud's Definition Pictures and Comics Panels, Panels Everywhere Seeing‐in and Closure Pictureless Comics? Wordless Prints, Unprinted Words Spaces Between Words The Air of Non‐Pictures A Continuum of Cases Comic Books and Ideal Books Notes References.

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)

This very long book sets out to track and trace the working-class men and, less commonly, women who, against the limited expectations of their social position, learned Greek and Latin as an aspiration for personal change. The ideology of the book is clear and welcome: these figures “offer us a new ancestral backstory for a discipline sorely in need of a democratic makeover.” The book's twenty-five chapters explore how classics and class were linked in the educational system of Britain and (...) in its cultural performativity: Is he a gentleman? Does he have Greek? became the paradigmatic questions, as the study of classics became a sign of cultural attainment and social exclusion. This book sets out to explore the counterstory of the cobblers and shepherds who, like Jude the Obscure, fought against society's oppressiveness to access classical learning.The book's breadth is exemplary. It looks at the issue through genres and media, through different communities and national identities, through the prosopography of ragged-trousered philanthropists, beggar-lecturers, body-building performers, and through other institutions and people who helped, including adult-education teachers, kind bosses, supportive vicars, and fiery communists. This breadth, and the fascinating research that it encapsulates, will make this book a fantastic resource for future scholarship: it outlines the richness of a field that has been all too rarely explored properly. If you do not know Stephen Duck, “the thresher poet,” or Hawkie, the crutch-wielding beggar who performed from the books he sold on the streets of Glasgow, then this book is the place to the meet them. The cast list alone is worth the entrance ticket.Yet this very breadth is also the source of the book's limitations. The sheer number of cases listed, treated at similar length and depth, repeatedly conceals the complexity and even the interest of individual figures or events. So, the numerous representations of Vesuvius in shows around London in the first half of the nineteenth century—after the discoveries at Pompeii—are duly noted as a source of excitement and knowledge about antiquity, but against the recent treatment by Clare Pettitt in Serial Forms (which came out the same year) this mere noting looks desperately thin. There is little discussion of how the characters themselves talked about or negotiated class. This deficiency is particularly important for someone like Charles Kingsley, who was very active in the Chartist movement but also became Queen Victoria's chaplain and the professor of history at Cambridge. There are hilarious descriptions of Kingsley's stammering engagement with the working-class leaders he actively supported, which capture how awkward the interaction of classes could be even and especially when the participants shared a goal of transformation. (Ed Richardson's Classical Victorians: Scholars, Scoundrels and Generals in the Pursuit of Antiquity is good on these moments of awkwardness but is one of several books whose absence from the notes looks pointed.) The authors list cases of working men who were picked up by fashionable society as poets or scholars, many of whom were dropped almost as quickly back into penury—but the telling description of such a case in Kingsley's Alton Locke is passed over, although it reveals an acute self-consciousness about such narratives in a best-selling novel.The very structure of the book tends toward listing cases rather than analyzing them in depth. It is not clear why “Shoemaker classicists” should take up a chapter, bar there having been some. Nor is it clear why some figures are not included. John Brown was an uneducated Scottish shepherd who taught himself Greek, Latin, and Hebrew. He was discovered by a professor, one John Pringle, when he went into a shop to buy a secondhand Greek Testament (though his own church thought this newfound and inexplicable linguistic brilliance suspicious or even satanic). Brown went on to write the wonderfully titled The Self-Interpreting Bible, which remained in print and sold very widely for more than a century after its publication in 1778—especially after it was championed by the evangelical preacher Charles Simeon. It is a pity that Brown escaped the authors’ net, but religion, one of the main reasons to learn the classical languages, is downplayed throughout this study, although its imbrication with classics is everywhere in evidence. The book, significantly enough, leads rather toward a rosy-eyed depiction of posh classical communists like Geoffrey de Ste. Croix and George Thompson, and other such heroes of the authors.The authors are much more at home in the years of ardent republicanism in the decades on either side of the turn of the nineteenth century and in the beginning of the twentieth century, when socialism and communism became embedded in British life. The last half of the nineteenth century, when classics really established itself institutionally as a discipline, and its revolutionary potential moved away from the zeal of the Romantic philhellenists into the artistic idealism of a Richard Wagner or the sexual freedom of an Oscar Wilde, are less adequately explored. The huge attendance at art galleries and the Great Exhibition at Crystal Palace as a route to encountering the past of antiquity in material form are barely addressed (Kate Nichols's Greece and Rome at the Crystal Palace would have helped); nor do shows like Astley's Circus get air time (Rachel Bryant Davies's Troy, Carthage, and the Victorians is revealing). It is particularly noticeable in such a voluminous study that there is no discussion of how turning to Greek was a crucial route for the self-understanding of what was considered transgressive male sexuality—and for a particular engagement between the classes. To understand the social force of classics requires a deeper appreciation of the dynamics between conservatism and transformation, disciplinarity and self-discovery. The big picture of how classics matters is lost in the gems picked out by the authors. Gems they are, but their facets need more attention and their setting a broader perspective. (shrink)

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the (...) imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Uber Den Psychologischen Ursprung Der Raumvorstellung Carl Stumpf S. Hirzel, 1873 Space perception. (shrink)

By the mid-1600s, the commonsense, manifest picture of the world associated with Aristotle had been undermined by skeptical arguments on the one hand and by the rise of the New Science on the other. What would be the scientific image to succeed the Aristotelian model? Thomas Lennon argues here that the contest between the supporters of Descartes and the supporters of Gassendi to decide this issue was the most important philosophical debate of the latter half of the seventeenth century. (...) Descartes and Gassendi inspired their followers with radically opposed perspectives on space, the objects in it, and how these objects are known. Lennon maintains that differing concepts on these matters implied significant moral and political differences: the Descartes/Gassendi conflict was typical of Plato's perennial battle of the gods and giants, and the crux of that enduring philosophical struggle is the exercise of moral and political authority. Lennon demonstrates, in addition, that John Locke should be read as having taken up Gassendi's cause against Descartes. In Lennon's reinterpretation of the history of philosophy between the death dates of Gassendi and Malebranche, Locke's acknowledged opposition to Descartes on some issues is applied to the most important questions of Locke exegesis. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)