Explore the vast range of titles available.

Childhood play experiences, particularly outdoor play, positively affect children’s holistic development and well-being. This qualitative study examined teacher education students’ perceptions through retrospective reflection on their own childhood play experiences in the past (then) compared to contemporary children’s play at present (now) to recognize the value of childhood play. Ten student teachers enrolled in various teacher education programs at one university participated in this study. Analyzing a drawing task and interviews revealed that participants recalled outdoor play as their favorite childhood play experiences, engaging in unstructured and child-initiated activities, taking risks, and creating their own rules. These outdoor experiences not only fostered social interactions but also nurtured a special emotional bond with the natural environment where they grew up and played. Furthermore, participants reported that children’s play has changed in recent times, with a decline in outdoor play due to increased parental safety concerns and the prevalence of technological devices. The teaching implications regarding prioritizing outdoor play, as well as the intersection of outdoor play and digital technology, are discussed.

Using a drawing-based research approach, this qualitative study explored in-service infant teachers' reflections on their play experiences and ways of supporting and scaffolding infants' play at a childcare center in Korea. The participants engaged in a drawing task that illustrated their reflections and memories of their play. They then discussed their drawings by, answering semi-structured interview questions. An analysis of the images and comments depicted in the activity and shared in the interview revealed that participants recalled social and imaginative childhood play memories using natural objects and playing childhood games outdoors. Everyday activities were also regarded as play among the participants, and play activities changed depending on interests, personality, age, and societal situation, such as the Coronavirus pandemic. The findings revealed that infant teachers’ interests and preferences influenced their decisions to structure and scaffold or discourage certain play activities in the classroom. Through play, both infants and infant teachers shared positive affect and playfulness. This study suggests a crucial need for early childhood professionals to self-reflect to understand their preferences and play experiences, contemplate how their preferences and experiences impact their teaching practice, and meaningfully integrate play activities in their classrooms.

Is \"space\" a thing, a container, an abstraction, a metaphor, or a social construct? This much is certain: space is part and parcel of the theater, of what it is and how it works. InThe Play of Space, noted classicist-director Rush Rehm offers a strikingly original approach to the spatial parameters of Greek tragedy as performed in the open-air theater of Dionysus. Emphasizing the interplay between natural place and fictional setting, between the world visible to the audience and that evoked by individual tragedies, Rehm argues for an ecology of the ancient theater, one that \"nests\" fifth-century theatrical space within other significant social, political, and religious spaces of Athens. Drawing on the work of James J. Gibson, Kurt Lewin, and Michel Foucault, Rehm crosses a range of disciplines--classics, theater studies, cognitive psychology, archaeology and architectural history, cultural studies, and performance theory--to analyze the phenomenology of space and its transformations in the plays of Aeschylus, Sophocles, and Euripides. His discussion of Athenian theatrical and spatial practice challenges the contemporary view that space represents a \"text\" to be read, or constitutes a site of structural dualities (e.g., outside-inside, public-private, nature-culture). Chapters on specific tragedies explore the spatial dynamics of homecoming (\"space for returns\"); the opposed constraints of exile (\"eremetic space\" devoid of normal community); the power of bodies in extremis to transform their theatrical environment (\"space and the body\"); the portrayal of characters on the margin (\"space and the other\"); and the tragic interactions of space and temporality (\"space, time, and memory\"). An appendix surveys pre-Socratic thought on space and motion, related ideas of Plato and Aristotle, and, as pertinent, later views on space developed by Newton, Leibniz, Descartes, Kant, and Einstein. Eloquently written and with Greek texts deftly translated, this book yields rich new insights into our oldest surviving drama.

In , an autobiographical play set in Mississippi in 1964, Beth Henley filters a tragic action based on the Aristotelian model through the non-linear memory of Rosy, the play’s narrator and choric figure, as she tries not to remember that her father has killed her mother. Rosy’s father, Bill—a Girardian scapegoat figure contaminated by the racist violence of the community he lives in—is the protagonist of the tragic action. But Henley focuses on its effect on Rosy. A tragic event can occur only in progressive chronological time, but by circling around the murder in her memory, Rosy creates temporal stasis until finally the pressure of denial becomes unbearable and the murder takes place. Tragic inevitability is displaced from the formally tragic action to Rosy’s memory of it. A comparison of with other dramas that incorporate tragic experience within a non-linear time scheme suggests that only in memory plays can tragedy as a genre exist in non-linear time.

El Museu del Joguet de Cataluña, situado en Figueres, con su casi medio siglo de historia a sus espaldas, es el más antiguo de España dedicado a esa escurridiza y polisémica familia de objetos que llamamos «juguetes». En estas páginas veremos que la museología del juguete infantil se remonta a los albores del xx, sobre todo si tenemos en cuenta paradigmas como el museo de Sonneberg, en Turingia (1901), el del Victoria and Albert Childhood Museum de Londres (c. 1915) y el proyecto nómada del artista ruso Nikolaĭ Bartram (1918). Todos ellos quisieron capturar, a su manera, la «memoria lúdica» en una vitrina. ¿Se convertirían así los juguetes de las pasadas generaciones en artefactos vaciados de alma y movimiento, en «antijuguetes»? El fundador del Museu del Joguet, Josep Maria Joan Rosa, nunca quiso tan insulso epíteto para su colección. En las siguientes páginas, trataremos de poner de relieve sus orígenes, allá por 1960, y las principales etapas del museo ampurdanés. Joan Brossa y Manuel Vázquez Montalbán, los historiadores Aurora Díaz-Plaja, Joan Perucho, José Corredor-Matheos, Àngels Anglada y Daniel Giralt-Miracle, así como los periodistas Joan Guillamet y Núria Munárriz, entre otros, loaron con su pluma la colección de Joan Rosa y su visionario camino de «retorno a la infancia», inspirado, a su vez, en el Spielzeugmuseum de Nüremberg, que había abierto sus puertas en 1971.

Memory is a remarkable aspect of the human mind. Past memories have a great impact on the individual as they often tantalize man, reminding him of what he once had/lost. Past memories can even control the mind and soul of man, causing his utter disconnection from the present. In literature, interest in memory has been growing over the last few decades. Literary works such as Arthur Miller’s “Death of a Salesman,” Tennessee Williams’ “The Glass Menagerie,” and Brian Friel’s “Philadelphia, Here I Come!” and “Dancing at Lughnasa” are just examples of what critics call memory plays, or plays revolving around memory. The past in these works is depicted as a destructive force that weighs heavily and preys on the minds of the characters; a force that the protagonists struggle to escape/forget. In this article, the role of memory and its effect on the characters will be examined in two selected plays, one British, one Egyptian; namely, “Krapp’s Last Tape” (1958) by Samuel Beckett and “Death of the Clown” (2000) by Hamdy Abdul Aziz, respectively. Whereas the former has triggered a number of critical works, the latter, to the author’s knowledge, has not been dealt with academically. Despite the time span and cultural differences that distinguish each text from the other, both focus on memory and remembrance and the similarities between both plays clarify the effect of memory on the protagonists. In the two selected works, past memories are brought to the foreground through theatrical devices: props and the personification of the unconscious/inner self to expose the troubled minds of the protagonists and their sense of fragmentation. To fully understand the effect memory and remembrance of past events have on the self in the two plays, both works will be approached from the lens of memory depending on memory studies, an interdisciplinary field of study that concentrates on memory. Through memory studies, the article will focus on the role of memory in both plays and its effect on the characters. Concepts like repression and denial, confrontation, self-alienation, and traumatic experience will be explored. Moreover, the article will employ psychoanalysis to highlight how past memories influence the actions of the respective protagonists and their inner selves.

Through enriched play, children learn social-emotional skills necessary for academic achievement and interpersonal relationships with others. Further research is needed on how specific factors associated with social play, such as working memory and emotion knowledge, interact to promote it. Previous studies have examined the association of working memory and emotion knowledge with social play. However, there are no consistent results as to which abilities influence which skills first. Thus, the present study examines the impact of working memory on the development of social play and the role of emotion knowledge in the relationship between working memory and social play. Forty-seven Japanese preschoolers were tested on working memory, social play, and emotion knowledge. Regression analysis indicated that working memory was significantly related to social play. Furthermore, mediation analysis indicated that emotion recognition mediates the effects of working memory on social play. Working memory was found to contribute to social play by improving emotion recognition in children. These results indicate that the pathway from working memory to social play is mediated by emotion recognition and expands previous perspectives on the developmental mechanisms of emotion knowledge in children.

Tennessee Williams and Arthur Miller were two memory playwrights who searched the memory or the collective unconscious of their generation for the lost dreams of an unspoiled myth as well as the genuine ideals of love, humanity and dignity. These authors employed techniques and mechanisms such as poetic language and expressionistic stage directions to translate the inner workings of their characters into artistic projection. This paper employs the phenomenological principles of Geneva School of criticism with the aim of reducing the immediate consciousness of Williams and Miller, projected as stories of Tom and Willy, in search for the playwrights’ attitudes towards some basic concepts of life in the modern era.

The author contends that the conventions of memory plays illuminate the nature of self-construction regarding the category of age. The performance of age in the contemporary Irish plays \"Da\" by Hugh Leonard and \"Dancing at Lughnasa\" by Brian Friel points to a tension in contemporary construction of the aging self, exhibiting both a sense of ageless self and the recognition of a fragmented aging self-concept. These two plays interrogate the conventions of the memory play by establishing the sense of an essential, unchanging self, then undercutting it by a bodily separation. This corporeal fragmentation reflects \"méconnaissance,\" a recognition of instability of the self.

This article reports on a three-year longitudinal study with 157 children in school grades 3 and 4 (aged between 7 and 9 years), who commenced learning an instrument in one of eight school music programmes. The children were administered tests at the end of each school year to assess their abilities to perform rehearsed music, sight-read, play from memory, play by ear and improvise, and interviews were completed with the children’s mothers in order to calculate how much practice they had accumulated on their instrument. Data were also obtained to help clarify the quality of mental strategies the children adopted when performing. Findings extend previous research on skill acquisition by proposing that conceptions based on the amount of practice undertaken or that focus exclusively on children’s ability to reproduce rehearsed literature from notation are inadequate to understanding the early stages of instrumental development. It is proposed that a more coherent explanation comes from understanding the range of strategies children employ when performing and that the sophistication of children’s mental strategies provides an important means for understanding why some progress effortlessly in contrast to others who struggle and fail. Conclusions highlight the importance of helping students to develop a repertoire of task-appropriate strategies that will enable them to think musically when performing challenging tasks on their instrument.