Doing research with young children can be challenging for many reasons, but this book provides clear guidance on how to engage in appropriate methods. Focusing on researching through play, careful consideration is given to: · the founding principles of playful research · understanding young children's perspectives · prioritising the rights of the child and the voice of the child · examples of innovative research methods Real life examples and research projects are presented, to enable common challenges to be anticipated and (...) to showcase successful creative approaches, and to inspire new paths in research. (shrink)

There is a touch of foolhardiness in the attempts to establish a precise identification for the great majority of birds mentioned by the authors of classical antiquity. Only a small minority of the ancient references and descriptions contains features which are indisputably diagnostic, while a probably not much bigger minority of the Mediterranean avifauna possesses characteristics of appearance, behaviour, or voice that would have enabled an ordinary Greek or Roman immediately to distinguish a member of one species from absolutely all (...) others, using the sole aids of his eyes, ears, and the largely inaccurate medley of lore handed down from one generation to the next. Thus any modern attempt to pin down the identity of this or that bird in an ancient author is fraught with many dangers and difficulties which must be recognized at the outset. (shrink)

_Deleuze and Guattari: New Mappings in Politics, Philosophy and Culture_ Edited by Eleanor Kaufman and Kevin Jon Heller Minneapolis: University of Minnesota Press, 1998 ISBN 0-8166-30283 320 pp.

The aim of this paper is the discussion, and in some cases also, it is hoped, the clarification, of several passages in the fragments of the comic poet Alexis, where either the traditional text has been attacked because there occurred in it an allegedly objectionable split anapaest, or alternatively an excellent emendation has been rejected because laws framed by modern scholars have wrongly been applied to the passage being emended.

Sixty years have now passed since Lefebvre first published the Cairo papyrus of Menander , and Körte's still authoritative third Teubner edition appeared almost exactly halfway between then and now. It laid the coping-stone on the labours of many scholars, of whom four rose head and shoulders above the crowd.

“Unraveling Braid” analyzes how unconventional, non-linear narrative fiction can help explain the ways in which video games signify. Specifically, this essay looks at the links between the semiotic features of Jonathan Blow’s 2008 puzzle-platform video game Braid and similar elements in Georges Perec’s 1978 novel Life A User’s Manual, as well as in other puzzle-themed literary precursors. Blow’s game design concepts “dynamical meaning” and “game play rhetoric” are explained in relation to a number of Braid levels; along side this analysis (...) is a parallel examination of the relationship between puzzle-makers and puzzle-solvers in Life A User’s Manual, revealed from a close reading of textual and organizational elements of Perec’s novel. Ultimately, Braid and Life A User’s Manual are shown to draw upon the same signifying processes, which are understood by their authors to operate within an implicitly communicative model. “Unraveling Braid”develops this model by positing a theory of storytelling in the imperative mood, in which the representation and arrangement of objects in the visual/organizational space of the text or game world becomes a fundamental rhetorical technique and meaning-maker.This technique signal show the reader/player is meant to progress through the work and interpret it as narrative, telling the reader/player what to do (but not necessarily how to do it). An understanding of “imperative” storytelling, this essay concludes, allows for a discussion of games and other media that denies neither the importance of player interactivity nor that of authorial design. (shrink)

Winfried bühler's edition of Moschus’ Europa [Hermes, Einzelschrift 12 [1960]) has had the rare accolade of unstinted praise from reviewers in all languages. And deservedly so. Its text is eminently sound, its commentary relevantly erudite and richly instructive particularly about Moschus’ stylistic debts and paternities. Bühler's review of the Europa saga in ancient literature supersedes all that was written previously. And finally, his detailed collation of the nine independent manuscripts of the text establishes for the first time the full evidence (...) for a completely effective stemma which few will challenge and none substantially alter. (shrink)

Translated and edited by Peter D. Arnott, this classic and highly popular edition contains two essential plays in the development of Greek tragedy-_Oedipus the King and Antigone_-for performance and study. The editor's introduction contains a brief biography of the playwright and a description of Greek theater. Also included are a list of principal dates in the life of Sophocles and a bibliography.

Winfried bühler's edition of Moschus’ Europa [Hermes, Einzelschrift 12 [1960]) has had the rare accolade of unstinted praise from reviewers in all languages. And deservedly so. Its text is eminently sound, its commentary relevantly erudite and richly instructive particularly about Moschus’ stylistic debts and paternities. Bühler's review of the Europa saga in ancient literature supersedes all that was written previously. And finally, his detailed collation of the nine independent manuscripts of the text establishes for the first time the full evidence (...) for a completely effective stemma which few will challenge and none substantially alter. (shrink)

In the accompanying paper I have attempted a new collation of the manuscripts of Moschus’Europa, in order to correct some errors and omissions that may be detected in the critical apparatus of Winfried Büihler’s excellent edition of this work . Büihler’s textual decisions, for instance, are refreshingly free from slavish preconceptions and inert prejudice. When he prints an emendation or opts for the daggers of despair, he is usually right. The occasions when he rejects the manuscript tradition without overriding justification (...) are rare. At 77 there is probably no need to posit corruption in δήγάρ At 127 κóλου foreshadows with typical Hellenistic ambiguity the verb λοώθηin 129.2 It is possible that there are two other places also where the manuscript tradition has wrongly been suspected: κυανin 47 and ϊαρόν in 60. (shrink)

When Moschion orders Daos up to him for punishment, Daos points to the spot by Moschion's had indicated , but then darts fearfully away. I wish I could name the originator of this attractive part-division, which makes the use of more precise; but in seminars the correct assignment of ideas is often very difficult.

From these words of Athenaeus, the majority of scholars have come to the Dnclusion that the Asotodidaskalos was not, despite what Sotion says, composed by Alexis, but is a forgery; and some even go so far as to attribute the forgery to Sotion himself. Yet nowhere do they support their views with sufficient rguments; nowhere has the question, in the light of all the evidence, both sternal and internal, been fully considered. Meineke has indeed given clear reasons for his belief (...) that the play as not written by Alexis, in objecting to three usages in the cited fragment as unattic ; but these objections are not all justifiable, as Kock has lown in the case of , or together inclusive enough to make us reject the fragment out of hand. (shrink)

Professor Martin West's paper, titled ‘The Parodos of the Agamemnon’’, argues with characteristic learning and insight that Archilochus’’ fable of the fox and the eagle was a major source for Aeschylus’’ description of the portent of the eagles and the pregnant hare in the parodos of the Agamemnon . The portent is vividly described by the chorus: two eagles, one black and one white behind feed upon a pregnant hare. Poetry is not real life, and Aeschylus’’ picture is not a (...) naturalist's field-report. At the same time, an image's power increases in proportion to its precision, and I have no doubt that at some stage behind Aeschylus’’ description there was a personal sighting of a parallel incident by Aeschylus himself perhaps, or by Archilochus, or by an unknown figure who passed on his report. Fraenkel's commentary avers that ‘precise zoological identification of the species of eagle named by Aeschylus must not be attempted.’’ This is a fair warning, but not for the reason advanced by Fraenkel here: the plumage variation among different birds of the same species, which makes the identification of large raptors in the wilds of Greece today a problem for even the most expert ornithologists. There are two better reasons. One will emerge in the course of this note. The other is that no ancient writer using the Greek language came at all near to the modern classification of eagle species native to Greece. (shrink)