The goal of this review is to consider how culture impacts the socialization of emotion development in infancy, and infants’ and young children’s subsequent outcomes. First, we argue that parents’ socialization decisions are embedded within cultural structures, beliefs, and practices. Second, we identify five broad cultural frames (collectivism/individualism; power distance; children’s place in family and culture; ways children learn; and value of emotional experience and expression) that help to organize current and future research. For each frame, we (...) discuss the impact on parents’ socialization practices and infants’ subsequent outcomes relating to emotion-related experience, expression, and understanding. We also generate testable hypotheses to further our understanding of the relationships between the five frames and emotion development in infancy. (shrink)

The Archaeology of Semiotics and the social order of things is edited by George Nash and George Children and brings together 15 thought-provoking chapters from contributors around the world. A sequel to an earlier volume published in 1997, it tackles the problem of understanding how complex communities interact with landscape and shows how the rules concerning landscape constitute a recognised and readable grammar. The mechanisms underlying landscape grammar are both physical and mental, being based in part on the mindset (...) of the individual; the same landscape can thus evoke different meanings for different people and at different times. People's perception has greatly influenced the construction of landscapes over millennia but, until recently, the potential of this area has been largely untapped. Apart from chapters focusing solely upon human interaction with landscape, there are several which skilfully integrate artefacts and place with landscape (e.g. Gheorghiu and Sognnes). Other chapters look at the way people have marked the landscape through such mechanisms as rock-art (e.g. Clegg, Devereux, Estévez, Fossati, Kelleher and Skier). Rock-art establishes personal and communal identity in relation to landscape and it is clear that other forms of visual expression were in place which distinctively created special places within the landscape. Landscape constructs can bind cultures together; bringing the old ways of reading the landscape into contemporary life (e.g. Smiseth). Defining early and late prehistoric landscapes and segregating these into, say, mundane domestic and ritualised spaces rely on both clear and subtle archaeologies and in this volume distinct monument clustering and ritualised linearity are considered (e.g. Mason and Nash). A volume such as this cannot escape the influence of New World approaches, such as anthropology, and in many respects chapters by Bender, Muller and Merritt give context to other chapters within the book. Finally, one must consider text as a means of constructing landscape and this is considered by Heyd, who eloquently deconstructs the travel diary of a 17th century Japanese poet. This will be an important volume for archaeologists, landscape scholars and students. The many approaches used are tried and tested, forming an invaluable resource and not just another edited book. (shrink)

Building on foundational work in activity theory and cultural psychology, this article examines children's play to discern how biomedical practices and understandings of illness are negotiated, modeled, and reproduced among children dealing with a parent's cancer. Using discourse analytic methods, I analyze a videotaped playroom interaction involving three preschool-age girls, all of whom have a parent with cancer, and myself. The article employs notions of `frame' and `footing' to illustrate fantasy and reality as overlapping and embedded frames (...) of experience that organize children's playroom activities in distinctive ways. The shifting alignments and participation structures within the playroom environment illuminate the strategic ways in which children laminate personal experience onto the play frame. Through attention to children's talk and embodied action, I show how children key different interactional frames to expand the realm of epistemological and cognitive resources available to them as they seek cultural understanding. (shrink)

In The Classrooms All Young Children Need, Patricia M. Cooper takes a synoptic view of Paley’s many books and articles, charting the evolution of Paley’s ...

Teacher and author Vivian Paley is highly regarded by parents, educators, and other professionals for her original insights into such seemingly everyday issues as play, story, gender, and how young children think. In _The Classrooms All Young Children Need_, Patricia M. Cooper takes a synoptic view of Paley’s many books and articles, charting the evolution of Paley’s thinking while revealing the seminal characteristics of her teaching philosophy. This careful analysis leads Cooper to identify a pedagogical model organized around (...) two complementary principles: a curriculum that promotes play and imagination, and the idea of classrooms as fair places where young children of every color, ability, and disposition are welcome. With timely attention paid to debates about the reduction in time for play in the early childhood classroom, the role of race in education, and No Child Left Behind, _The Classrooms All Young Children Need_ will be embraced by anyone tasked with teaching our youngest pupils. (shrink)

We examine the ontogeny and phylogeny of object and fantasy play from a functional perspective. Each form of play is described from an evolutionary perspective in terms of its place in the total time and energy budgets of human and nonhuman juveniles. As part of discussion of functions of play, we examine sex differences, particularly as they relate to life in the environment of evolutionary adaptedness and economic activities of human and nonhuman primates. Object play may relate to foraging (...) activities. Although fantasy play has been viewed as limited to humans, we speculate that certain types of fantasy play may be present in some nonhuman primates. Fantasy play may enable juveniles to see situations from different perspectives. We conclude that fantasy play may have immediate effects and object play may have deferred effects. (shrink)

The children were nestled all snug in their beds.While visions of sugar-plums danced in their heads.Clement Moore's cherished ‘Twas the Night Before Christmas captures the hopes, dreams and visions...

Background: This article describes the overall attitudes of children, their parents, and attending physicians toward including or excluding pediatric patients in medical communication and health care decision-making processes. Methods: Fifty-two interviews were carried out with pediatric patients (n = 17), their parents (n = 19), and attending oncologists (n = 16) in eight Swiss pediatric oncology centers. The interviews were analyzed using thematic coding. Results: Parenting styles, the child's personality, and maturity are factors that have a great impact upon (...) the inclusion of children in their health care processes. Children reported the desire to be heard and involved, but they did not want to dominate the decision-making process. Ensuring trust in the parent–child and physician–patient relationships and respecting the child as the affected person were important values determining children's involvement. These two considerations were closely connected with the concern that fantasies are often worse than reality. Seeking children's compliance with treatment was a practical but critical reason for informing them about their health care. The urge to protect them from upsetting news sometimes resulted in their (partial) exclusion. Conclusions: The ethical imperative for inclusion of children in their health care choices was not so much determined by the right for self-determination, but by the need to include them. If children are excluded, they imagine things, become more isolated, and are left alone with their fears. Nevertheless, the urge to protect children is innate, as adults often underestimate children's coping capacities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, (...) escaping the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, (...) escaping the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

In what is probably the most arresting of all the textual developments of the Saturnalian dialogues, the reader’s emotional identification with the voice of rage and thwarted rebellion is ever more thoroughly compelled by the structure and tone of succeeding works, at the same time that the dangers of that role, both for its bearer and for others, are ever more explicitly argued. Readers of Le Neveau de Rameau are not forced by the inner logic of the text to choose (...) between Moi and Lui, and they can find in each a welcome counterbalance to and relief from the demands of the other. But in Notes from Underground the “gentlemen-readers” have nothing left to offer us, and the novel makes it impossible to feel anything less than the same contempt for their platitudes that the Underground Man himself flaunts. The clearest index of the development I am tracing is the formal shift from Diderot’s dialogue proper to Dostoyevski’s first-person novel, but this mutation is itself already a consequence of a more indirect and disturbing cause. Dostoyevski, in the famous cry of The Possessed, was certain that “‘the fire is in the minds of men and not in the roofs of houses’”;9 he believed that only the prior corruption of Russia’s intelligentsia, their eager surrender to the lure of conspiracy and violence, could have led so many of them to the acts of senseless catastrophe, fueled by ressentiment, false pride, and incoherent utopian fantasies, marks all of his most important post-Siberia political and cultural writings.10 9. Dostoyevski, The Possessed, trans. Garnett , p. 533.10. In The Brothers Karamazov, Dostoyevski explicitly states that the future revolution will be made by the Smerdyakovs. In the chapter “Over the Brandy,” for example, Ivan tells his father that Smerdyakov is “a prime candidate” to initiate a revolutionary uprising . Michael André Bernstein is professor of English and comparative literature at the University of California, Berkeley. He is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and a book of poetry. His most recent contribution to Critical Inquiry is “‘O Totiens Servus’: Saturnalia and Servitude in Augustan Rome”. (shrink)

Drawing on two studies of children aged between seven and 10 years this article explores their narratives of themselves, families, sibling and peer relationships. Their narratives were full of push-pull and contradictory processes. The children moved towards knowledge as well as a disavowal of ‘reality’ about their families and material conditions. Critically they revealed profound wishes for something better alongside the knowledge that ‘this is it’. This article focuses on theorizing children's understandings of and relationships to social (...) and material life in order to argue that meanings matter and meanings have matter. Narratives are social in two critical ways: they involve reaching out and connecting with others, and narratives are constructed within and through the social sphere, while simultaneously they are shot through with conscious and unconscious fantasies. Children are moving towards being in a complex – engaged in and inhabiting many relationships. (shrink)

The central argument that Leslie Smith makes in this study is that reasoning by mathematical induction develops during childhood. The basis for this claim is a study conducted with children aged five to seven years in school years one and two.

Experiments using a preferential looking method, a perceptual judgment method, and a predictive judgment method investigated the development, from 7 months to 6 years of age, of sensitivity to the effects of gravity and inertia on inanimate object motion. The experiments focused on a situation in which a ball rolled off a flat surface and either continued in linear motion (contrary to gravity), turned abruptly and moved downward (contrary to inertia), or underwent natural, parabolic motion. When children viewed the (...) three fully visible motions, both the preferential looking method and the perceptual judgment method provided evidence that sensitivity to inertia developed between 7 months and 2 years, and that sensitivity to gravity began to develop after 3 years. When children predicted the future location of the object without viewing the motions, the predictive judgment method provided evidence that sensitivity to gravity had developed by 2 years, whereas sensitivity to inertia began to develop only at 5±6 years. These findings suggest that knowledge of object motion develops slowly over childhood, in a piecemeal fashion. Moreover, the same system of knowledge appears to be tapped both in preferential looking tasks and in judgment tasks when children view fully visible events, but a different system may underlie children's inferences about unseen object motions. (shrink)

This chapter contains sections titled: “Talking about Santa is not lying” Why Might Lying Not Be Wrong? The Platonic Account of Why Lying is Not Wrong.

What can fashionable ideas, blind faith, or pure fantasy possibly have to do with the scientific quest to understand the universe? Surely, theoretical physicists are immune to mere trends, dogmatic beliefs, or flights of fancy? In fact, acclaimed physicist and best-selling author Roger Penrose argues that researchers working at the extreme frontiers of physics are just as susceptible to these forces as anyone else. In this provocative book, he argues that fashion, faith, and fantasy, while sometimes productive and (...) even essential in physics, may be leading today's researchers astray in three of the field's most important areas--string theory, quantum mechanics, and cosmology... The result is an important critique of some of the most significant developments in physics today from one of its most eminent figures."--Jacket. (shrink)

In two studies, 5- and 6-year-old children were questioned about the status of the protagonist embedded in three different types of stories. In realistic stories that only included ordinary events, all children, irrespective of family background and schooling, claimed that the protagonist was a real person. In religious stories that included ordinarily impossible events brought about by divine intervention, claims about the status of the protagonist varied sharply with exposure to religion. Children who went to church or (...) were enrolled in a parochial school, or both, judged the protagonist in religious stories to be a real person, whereas secular children with no such exposure to religion judged the protagonist in religious stories to be fictional. Children's upbringing was also related to their judgment about the protagonist in fantastical stories that included ordinarily impossible events whether brought about by magic or without reference to magic . Secular children were more likely than religious children to judge the protagonist in such fantastical stories to be fictional. The results suggest that exposure to religious ideas has a powerful impact on children's differentiation between reality and fiction, not just for religious stories but also for fantastical stories. (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)

One of the interesting aspects of Dewey’s early educational thought is his apparent hostility toward children’s imaginative pursuits, yet the question of why this antipathy exists remains unanswered. As will become clear, Dewey’s hostility towards imaginative activities stemmed from a broad variety of concerns. In some of his earliest work, Dewey adopted a set of anti-Romantic criticisms and used these concerns to attack what one might call “runaway” imaginative and emotional tendencies. Then, in his early educational writings, these earlier (...) concerns were augmented by several other factors, including problematic trends in progressive education, new developments in psychology, and Dewey’s own educational aims. This analysis explores the roots of these criticisms, and explains how they culminate in the stance on the imagination that Dewey eventually outlined in the early educational writings. Notably, these findings have some important implications for certain prominent contemporary critics of progressivism. (shrink)

To what extent do early intuitions about ownership depend on cultural and socio-economic circumstances? We investigated the question by testing reasoning about third party ownership conflicts in various groups of three- and five-year-old children (N = 176), growing up in seven highly contrasted social, economic, and cultural circumstances (urban rich, poor, very poor, rural poor, and traditional) spanning three continents. Each child was presented with a series of scripts involving two identical dolls fighting over an object of possession. The (...) child had to decide who of the two dolls should own the object. Each script enacted various potential reasons for attributing ownership: creation, familiarity, first contact, equity, plus a control/neutral condition with no suggested reasons. Results show that across cultures, children are significantly more consistent and decisive in attributing ownership when one of the protagonists created the object. Development between three and five years is more or less pronounced depending on culture. The propensity to split the object in equal halves whenever possible was generally higher at certain locations (i.e., China) and quasi-inexistent in others (i.e., Vanuatu and street children of Recife). Overall, creation reasons appear to be more primordial and stable across cultures than familiarity, relative wealth or first contact. This trend does not correlate with the passing of false belief theory of mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophical Adventures in the Lands of Oz and EvGareth B. Matthews (bio)Charles Dodgson, using the pen name “Lewis Carroll,” was the first author in English to write philosophical fantasy for children. In naming his first Alice book Alice’s Adventures in Wonderland,1 Lewis Carroll may have been inspired by the famous saying of Aristotle that philosophy begins in wonder. More exactly, what Aristotle said was this: “For it (...) is owing to their wonder (thaumazein) that people both now begin, and first began to philosophize (philosophein)” (Metaphysics I, 1982b12-13). Plato expresses a similar idea in his dialogue Theatetus: “This is an experience characteristic of philosophy,” Plato has Socrates say, “this wondering: this is where philosophy begins and nowhere else” (155d).A reader might suppose that the wonder Plato and Aristotle thought could stimulate us to do philosophy was a Kantian awe at “the starry heavens above me and the moral law within me.”2 But, in fact, the wonder Plato and Aristotle allude to is a surprised recognition that something we thought we understood perfectly well actually presents a challenging perplexity (aporia). So for both Plato and Aristotle, philosophy begins in the wonder at a philosophically interesting perplexity.3 And, indeed, Alice’s adventures in Wonderland are adventures in philosophical perplexity.The first American writer of philosophical fantasy for children was L. Frank Baum, author of The Wonderful Wizard of Oz4 and a number of other Oz books. For Baum philosophical fantasy took a rather different form from the fantasy of Lewis Carroll. This should hardly be surprising. After all, Carroll was a philosopher and an Oxford don whose specialty was logic. The hallmark of his fantasy is clever and thought- provoking [End Page 37] repartee, such as one might hope to hear at high table in an Oxford college. Consider this passage from chapter 7 (“A Mad Tea-Party”) of Alice in Wonderland:“Take some more tea,” the March Hare said to Alice, very earnestly.“I’ve had nothing yet,” Alice replied in an offended tone, “so I can’t take more.”“You mean you can’t take less,” said the Hatter: “it’s very easy to take more than nothing.”5As this passage helps us realize, “A has had more tea than B” is normally taken to imply that, although both A and B have had some tea, the amount that A has had is more than the amount that B has had. However, it can also be taken to mean simply that the amount A has had is more than the amount B has had, even where, in the case of B, that amount is zero. Or consider this exchange from chapter 6 (“Humpty-Dumpty”) of Through the Looking-Glass:“I don’t know what you mean by ‘glory,’” Alice said.Humpty Dumpty smiled contemptuously, “Of course you don’t—till I tell you.I meant ‘There’s a nice knock-down argument for you!’”“But ‘glory’ doesn’t mean ‘a nice knock-down argument,’” Alice objected.“When I use a word,” Humpty Dumpty said, in rather a scornful tone,“it means just what I choose it to mean—neither more nor less.”“The question is,” said Alice, “whether you can make words mean so many different things.”“The question is,” said Humpty Dumpty, “which is to be master—that’s all.”6This characteristically clever and amusing exchange forces readers to make a distinction between lexical meaning and speaker meaning. Of course the word “glory” does not mean “there’s a nice knock-down argument for you,” but what a speaker might mean to communicate by using the word “glory” is another issue. Moreover, the relationship between lexical meaning and speaker meaning is a very interesting issue in linguistics and the philosophy of language.Nothing like this clever repartee is to be found in the Oz books. Nor should that fact be very surprising. Frank Baum never took a philosophy course; he never even went to college. He was a theater producer and journalist. Yet, despite this lack of academic background, perhaps the most striking feature7 of Baum’s writing—something almost universally ignored in the scholarly literature on Baum... (shrink)

Yemeni writer Ahmed Qāsim al-Arīqī, in addition to his profession as a pharmacist, is a writer who has made a name for himself in the country's literary field, especially in the last fifteen years. A prolific writer, al-Arīqī is the author of poetry collections as well as stories and novels that emphasise awareness of the traditional issues of the Yemeni people. He has published "Maḳāmāt al-'Arīḳī" (2006), "Ġalṭṭetu Ḳalem" (2012), "Qurāt al-S̱-S̱elj" (2017), "Ta'riyya" (2018), "Zurbet al-Yumnā" (2018), "Da'wat al-Ḥuḳūl" (2019), (...) "Zuhr al-Ġarām" and "Sīret al-Kūbī" (2022). His novel "Yawma Māta al-Shaytan" (The Day Satan Died) was published electronically by Hindāwī Publishing House in 2022. The novel, which is approximately 120 pages, is written in six chapters. There are eleven passages in the first and fourth chapters, thirteen in the second and sixth chapters, twelve in the third chapter, and eight in the fifth chapter. The novel is about the adventures of a member of the army named Marwan Naji, who was wounded in the war between the Houthi militia and the Yemeni army, and after nine months in a coma, opens his eyes in a perfect world dominated by biological and technological advances. Symbolising the treatment of selfishness and various narcissisms with advanced vaccines through the death of Satan, the author describes Marwan's adventures in his world, which he sometimes describes as the realm of the jinn, in a very simple language, while not failing to criticise reality in its various political, social and religious dimensions. In fact, Marwan's world of imagination and fantasy is the main story of the novel, but not the only one. The author also includes the stories of family members in Marwan's world of turmoil, destruction, massacre, war and victory, giving the reader the opportunity to compare both worlds. While his mother Gusoun, his wife Hamide and his daughter Fatma, who later got engaged in time after being widowed, are the female characters of his real world, Professor Mari and Mariana, one of his seven wives, are the other important characters of his imaginary world. Gusûn is a devoted mother who does not leave the bedside of her comatose son, prays for him day and night and tries to do everything she can for his recovery. Gusûn, who is listened to at home to a certain extent, scolds her grandchildren to prevent the breakup of her son's home because of inheritance, defends that the existing wealth still belongs to her son and reminds them that she will not hesitate to spend money for his recovery. Gusûn's daughter-in-law Hamide also takes care of her husband, who shows no signs of recovery. Hamide, who is not as patient as her mother-in-law, is also a jealous woman. On the other hand, although both of them display false religious tendencies that have no relation with real life, Gusûn is more prone to the superstitious approaches put forward and adopted in the name of religion. Fatma is also a widow who, although she has the will to take care of her children and live her life alone, has been engaged for a long time to her uncle's son Münir, who, like her, took part in anti-regime demonstrations and whose love she believes in. Fatma, who is more conscious than her grandmother and mother, is not alien to the issues that society complains about and often participates in women's movements organised against the government. Professor Mari, one of the two important characters belonging to Marwan's imaginary world, is a psychologist and the chief physician of a large hospital who treats jealousy, anger, lying and selfishness, which are considered dangerous viruses, with vaccines developed by scientists. Professor Mari, who is personally involved in Marwan's treatment, also chairs the committee that records his memory and projects all his memories on a giant screen. Mariana, on the other hand, monitors Marwan's behaviour and thoughts through a biological chip to control the effect of the vaccines given to him, criticises him through the tragic images projected on the screen and provides information that will facilitate his adaptation to his new world. In the article, in which the author's main published works are briefly introduced along with a broad summary of the novel, the social messages that an author, who is not indifferent to the realities of the geography he lives in, tries to give directly and indirectly with a language far from locality, are tried to be determined through the mentioned female characters. It is seen that the desire to become a single nation by making; love, brotherhood, friendship and peace dominant lies behind the author's novelisation of the dream of an ideal world symbolised by the death of Satan. (shrink)

Many of the errors that occur in children' subtraction are due to the use of incorrect strategies rather than to the incorrect recall of number facts. A production system is presented for performing written subtraction which is consistent with an earlier analysis of the nature of such a cognitive skill. Most of the incorrect strategies used by schoolchildren can be accounted for in a principled way by simple changes in the production system, such as the omission of individual rules (...) or the inclusion of rules appropriate to other arithmetical tasks. The production system model is evaluated against a corpus of over 1500 subtraction problems done by 10‐year olds and is shown to account for about two‐thirds of the (nonnumber fact) errors. It also provides an alternative, simpler interpretation of the subtraction errors analysed by Brown and Burton (1978). Some implications for teaching are discussed. (shrink)

There has been little investigation to date of the way metacognition is involved in conceptual change. It has been recognised that analytic metacognition is important to the way older children acquire more sophisticated scientific and mathematical concepts at school. But there has been barely any examination of the role of metacognition in earlier stages of concept acquisition, at the ages that have been the major focus of the developmental psychology of concepts. The growing evidence that even young children (...) have a capacity for procedural metacognition raises the question of whether and how these abilities are involved in conceptual development. More specifically, are there developmental changes in metacognitive abilities that have a wholescale effect on the way children acquire new concepts and replace existing concepts? We show that there is already evidence of at least one plausible example of such a link and argue that these connections deserve to be investigated systematically. (shrink)

Ben Gorman reviews Philosophy in Children’s Literature by Peter R. Costello.

Time and Fantasy in Narratives of Jihad: The Case of the Islami Jamiat-I-Tuleba in Karachi This article proposes an analytical framework for thinking about violence in the Islami Jamiat-i-Tuleba (IJT), the student organization of Jamaat e Islami (JI), Pakistan's longstanding Islamist party. It prioritises the intersection of the psychic and the social, and the role of politics, history and biography in mediating the modalities, narration and praxis of violence in the city of Karachi. The dominant explanations tend to emphasise (...) political instrumentalism, and structural and ideological factors, and to "Islamicise" the violence, collapsing Islamic rhetoric into an extemporization of conditions, ignoring the deep affective appeal of violence to individuals, and leaving unelaborated the role of intersecting national, local and individual contexts and temporalities in structuring political subjectivity and violent action. (shrink)

This article focuses on the early years of children from immigrant families in Germany. Research has documented disparities in young children’s development correlating with their family background, making clear the importance of early intervention. Institutional childcare—as an early intervention for children at risk—plays an important role in Germany, as 34.3% of children below the age of three and 93% of children above that age are in external childcare. This paper focuses on the extent to which (...) children from families with a background of migration differ in their social development when considering their age of entry into early external childcare. Data from the infant cohort study of the German National Educational Panel Study is used to analyze the impact of early institutional childcare before the age of 3 years on children’s social competence at the age of 5 years, controlling for gender, siblings, temperament, home learning activities, and socioeconomic status. Results show the effects of duration of early external childcare on peer problems for children from families with a background of migration, in such a way that children who attend early external childcare for more than 1 year before the age of three show less problem behavior with peers than those who attend for less than a year. These findings have equity implications for children with a migration background living in Germany, especially as the proportion of these children is trending upwards. (shrink)

Despite its invasive nature, specific consent for general anaesthesia is rarely sought—rather consent processes for associated procedures include explanation of risk/benefits. In adult intensive care, because no one can consent to treatments provided to incapacitated adults, standardised consent processes have not developed. In paediatric intensive care, despite the ready availability of those who can provide consent, no tradition of seeking it exists, arguably due to the specialty’s evolution from anaesthesia and adult intensive care. With the current Montgomery-related focus on consent, (...) this seems untenable. We undertook a qualitative study in a specialist children’s hospital colocated paediatric/neonatal intensive care (same medical team) in which parental acceptance of admission and entailed procedures is considered implied by virtue of that admission. Semistructured interviews were carried out with both staff and parents to investigate their views about consent, the current system and a proposedblanket consent system, in which parents actively consent at admission to routine procedures. Divergent views emerged: staff were worried that requiring consent at admission might prove a further emotional burden, whereas parents found providing consent a way of coping, feeling empowered and maintaining control. Inconsistencies were found in the way consent is obtained for your routine procedures. Practice does seem inconsistent with contemporary consent standards for medical intervention. Our findings support the introduction of a blanket consent system at admission together with ongoing bedside dialogue to ensure continuing consent. Both parents and staff expressed concern about avoiding possible harmful delays to children due to parental emotional overload and language difficulties. (shrink)

Children and young people under 18 years old should no longer be regarded as incompetent to give or withhold consent in decisions involving their health care, Recent research suggests a functional test of cognitive and emotional maturity, rather than a strict age cut-off point. However, it is often difficult to implement these recommendations in practice, not least because the law is, if anything, increasingly 'hard-line' about children's autonomy.

I offer an account of theories useful in addressing the question of whether children are young theoreticians whose development can be regarded as the product of theory change. I argue that to regard a set of propositions as a theory is to be committed to evaluating that set in terms of its explanatory power. If theory change is the substance of cognitive development, we should see patterns of affect and arousal consonant with the emergence and resolution of explanation-seeking curiosity. (...) Affect has largely been ignored as a potential source of support or disconfirmation for the "theory theory" of development. (shrink)

Why Dreams Are Important There is a very important reason why we are in need of tales. Let me explain. See, a very, very long time ago, before we had tales, we had actual tails. These tails connected us to the world around us and to each other as well. We were able to communicate with each other with incredible nuance and accuracy — and just with the slightest touch or twitch of our tails. Imagine that! Over the course of (...) time, as we developed tools, we started to lose the need for our tails, and they became shorter and shorter until they disappeared altogether. And with their disappearance, we lost that mysterious connection to the world and to each other too. This was, of course, catastrophic, as we all now know. In my little book called Why We Are in Need of Tails, Huk and Tuk — the main characters in the book — explain why we now need tales. They show us how tales can take the place of tails by helping us reconnect to the mystery of life. Then, in my next little book, called Why We Are in Need of Tales, Huk and Tuk, who love sharing tales with each other, discuss six tales by Arnold Lobel and Leo Lionni. This new little book shows us Huk and Tuk discussing six more of Lobel and Lionni’s tales. In this book, they show the importance of why we are in need of dreams. See, dreams — in a mysterious way — also help us to reconnect to the world around us. Dreams are kind of funny because they seem to come out of nowhere. But where is nowhere, you ask? I don’t know, really, but I think our imaginations know somehow, because they can create things out of nowhere. By the way, that’s how Huk and Tuk came into existence. They materialized out of nowhere too. See, dreams can spark our curiosity (by imagining what’s on the other side) and ignite our fantasies (by imagining a world that can lift our spirits) and light up our creativity (by imagining the beauty expressed in art and music). Or perhaps it’s the other way around. Maybe curiosity, fantasy, and creativity spark dreams. What do you think? Either way, this is what these stories are about. And did you know that one of the real geniuses of this world, Albert Einstein, believed that imagination is more important than knowledge? Think about it: Without imagination, we cannot create anything new. How dull would it be if everything were the same all the time? Oh, and there’s something else I need to tell you: In Why We Are in Need of Tales, Huk and Tuk also learn how important it is to keep your eyes wide open. Have you ever taken a walk through the woods? When you walk through the woods, you need to be able to see where you are going. You have to figure out what paths to take. Life is sort of like that too. In order to figure out what paths to take in life, or even what paths you could take in life, you need your eyes to be wide open. Curiosity and imagination, as these next tales will show you, help you to keep your eyes wide open. These tales are about the role dreams play in our lives. Dreams are like a third eye that helps us see things in so many new ways. That’s really fascinating. When we lost our tails, the mystery of life was sort of lost too. Thankfully, tales and dreams can help reconnect us with that mystery. (shrink)

This book seeks to join the ongoing, interdisciplinary approach to children’s literature by means of sustained readings of individual texts by means of important works in the history of philosophy. Its inclusion of authors from both various departments—philosophy, literature, religion, and education—and various countries is an attempt to show how traditional boundaries between disciplines might become more permeable and how philosophy offers important insights to this interdisciplinary, critical conversation.

This article intends to show the topicality of the dragon theme among children in Quebec, first of all from a study of cultural productions (books and films) intended for them, but also from an analysis of anthropological tests (AT.9s) completed by 194 children aged 6 to 12 years between 2009 and 2019. This analysis of the AT.9s, contextualized by that of the children’s surrounding culture, allows us to conclude that the theme of the dragon persists, that there (...) is a plurality of interpretations of this figure, and that the theory of anthropological structures of the imaginary (G. Durand) is relevant to our time, including with children. From all of this emerges an observation: from the age of 6, children already possess the anthropological structures but also certain cultural figures that are found in adults and the great cultures of humanity. (shrink)