Sutton-Smith focuses on play theories rooted in seven distinct "rhetorics"--The ancient discourses of fate, power, communal identity, and frivolity and the modern discourses of progress, the imaginary, and the self. In a sweeping analysis that moves from the question of play in child development to the implications of play for the Western work ethic, he explores the values, historical sources, and interests that have dictated the terms and forms of play put forth in each discourse's "objective" theory
The authors, Elliott Morton Avedon and Brian Sutton-Smith are recognized authorities on the study of games. Elliott Morton Avedon was born on 28 April 1930 in Florida. He is the author of "Therapeutic Recreation Service: An Applied Behavioural Approach." Brian Sutton-Smith was born in Wellington, New Zealand in 1924. His academic career is focused on children's games, adult games, children's play, children's drama, films and narratives, as well as children's gender issues and sibling position. Brian Sutton-Smith is the author of some 50 books, the most recent of which is The Ambiguity of Play, and some 350 scholarly articles. He has been the President of The Anthropological Association for the Study of Play and of The American Psychological Association, Division g10 (Psychology and the Arts). As a founder of the Children's Folklore Society he has received a Lifetime Achievement Award from the American Folklore Society.
New Zealand children from 1840 to 1890 were subjected to an unusual combination of agrarian existence and an industrial social philosophy in the newly formed schools. When schools became more universal in the expanding industrial society, a new emphasis on the control of children developed, and from 1920 onward, adult supervision in the form of heavily organized sports and playgrounds encroached more and more on the untrammeled freedom of the rural environment. Returning to his home country of New Zealand, Brian Sutton-Smith documents the relationship between children's play and the actual process of history. Drawing on interviews with hundreds of informants from every province and school district of New Zealand, the author illuminates for the first time the various social, cultural, historical, and psychological context in which children's play occurs. He treats both formal and informal play, as well as the play of both boys and girls.
What prompts children to tell stories? What does the word "story" mean to a child at two or five years of age? The Folkstories of Children, first published in 1981, features nearly five hundred stories that were volunteered by fifty children between the ages of two and ten and transcribed word for word. The stories are organized chronologically by the age of the teller, revealing the progression of verbal competence and the gradual emergence of staging and plot organization. Many stories told by two-year-olds, for example, have only beginnings with no middle or end; the "narrative" is held together by rhyme or alliteration. After the age of three or four, the same children tell stories that feature a central character and a narrative arc. The stories also exhibit each child's growing awareness and management of his or her environment and life concerns. Some children see their stories as dialogues between teller and audience, others as monologues expressing concerns about fate and the forces of good and evil. Brian Sutton-Smith discusses the possible origins of the stories themselves: folktales, parent and teacher reading, media, required writing of stories in school, dreams, and play. The notes to each chapter draw on this context as well as folktale analysis and child development theory to consider why and how the stories take their particular forms. The Folkstories of Children provides valuable evidence and insight into the ways children actively and inventively engage language as they grow.
What prompts children to tell stories? What does the word "story" mean to a child at two or five years of age? The Folkstories of Children, first published in 1981, features nearly five hundred stories that were volunteered by fifty children between the ages of two and ten and transcribed word for word. The stories are organized chronologically by the age of the teller, revealing the progression of verbal competence and the gradual emergence of staging and plot organization. Many stories told by two-year-olds, for example, have only beginnings with no middle or end; the "narrative" is held together by rhyme or alliteration. After the age of three or four, the same children tell stories that feature a central character and a narrative arc. The stories also exhibit each child's growing awareness and management of his or her environment and life concerns. Some children see their stories as dialogues between teller and audience, others as monologues expressing concerns about fate and the forces of good and evil. Brian Sutton-Smith discusses the possible origins of the stories themselves: folktales, parent and teacher reading, media, required writing of stories in school, dreams, and play. The notes to each chapter draw on this context as well as folktale analysis and child development theory to consider why and how the stories take their particular forms. The Folkstories of Children provides valuable evidence and insight into the ways children actively and inventively engage language as they grow.
Sutton-Smith focuses on play theories rooted in seven distinct "rhetorics"--The ancient discourses of fate, power, communal identity, and frivolity and the modern discourses of progress, the imaginary, and the self. In a sweeping analysis that moves from the question of play in child development to the implications of play for the Western work ethic, he explores the values, historical sources, and interests that have dictated the terms and forms of play put forth in each discourse's "objective" theory
New Zealand children from 1840 to 1890 were subjected to an unusual combination of agrarian existence and an industrial social philosophy in the newly formed schools. When schools became more universal in the expanding industrial society, a new emphasis on the control of children developed, and from 1920 onward, adult supervision in the form of heavily organized sports and playgrounds encroached more and more on the untrammeled freedom of the rural environment. Returning to his home country of New Zealand, Brian Sutton-Smith documents the relationship between children's play and the actual process of history. Drawing on interviews with hundreds of informants from every province and school district of New Zealand, the author illuminates for the first time the various social, cultural, historical, and psychological context in which children's play occurs. He treats both formal and informal play, as well as the play of both boys and girls.
A century and a half after the publication of Origin of Species, evolutionary thinking has expanded beyond the field of biology to include virtually all human-related subjects—anthropology, archeology, psychology, economics, religion, morality, politics, culture, and art. Now a distinguished scholar offers the first comprehensive account of the evolutionary origins of art and storytelling. Brian Boyd explains why we tell stories, how our minds are shaped to understand them, and what difference an evolutionary understanding of human nature makes to stories we love. Art is a specifically human adaptation, Boyd argues. It offers tangible advantages for human survival, and it derives from play, itself an adaptation widespread among more intelligent animals. More particularly, our fondness for storytelling has sharpened social cognition, encouraged cooperation, and fostered creativity. After considering art as adaptation, Boyd examines Homer’s Odyssey and Dr. Seuss’s Horton Hears a Who! demonstrating how an evolutionary lens can offer new understanding and appreciation of specific works. What triggers our emotional engagement with these works? What patterns facilitate our responses? The need to hold an audience’s attention, Boyd underscores, is the fundamental problem facing all storytellers. Enduring artists arrive at solutions that appeal to cognitive universals: an insight out of step with contemporary criticism, which obscures both the individual and universal. Published for the bicentenary of Darwin’s birth and the 150th anniversary of the publication of Origin of Species, Boyd’s study embraces a Darwinian view of human nature and art, and offers a credo for a new humanism.
Brian Belton's powerfully original book examines Gypsy lives against the framework of social theories that illustrate how identity arises out of the cultural complexity of individual biographies, families, and communities. Addressing the lack of contextual and social perspectives in the existing literature and the underlying assumption of a consistent Gypsy lineage, he explores the subject of identity to include the broader social context in which the population exists. He argues that Gypsy identity is created and maintained not only by tradition and heredity, but also by social and ideological factors that give rise to the 'ethnic narrative' of Gypsy identity. Growing up in an English Gypsy family, Belton offers a unique 'outsider-insider' perspective to Questioning Gypsy Identity, writing what are essentially stories of people_how they are made, their social force, and what they collectively create.
Many people would be surprised to hear that a playful attitude towards God and the world lies at the heart of Christian faith. Traditionally Christians have focused on the serious responsibilities of service, sacrifice, and commitment. But the prophets say that the future kingdom is full of people laughing and playing, which has implications for Christians who are called to live out the future kingdom in the present. Play is not trivial or secondary to work and service—only a playful way of living does justice to the seriousness of life! Play is the essential and ultimate form of relationship with God, which is why Jesus told people to learn from children. Indeed, a playful attitude is an important part of all significant relationships. This book explores grace, faith, love, worship, redemption, and the kingdom from the perspective of a playful attitude. It describes how to create a “play ethic” to match the “work ethic” and discusses play as a virtue, Aquinas’s warning against the sin of not playing enough, and Bonhoeffer’s claim that in a world of pain it is only the Christian who can truly play.
Many people would be surprised to hear that a playful attitude towards God and the world lies at the heart of Christian faith. Traditionally Christians have focused on the serious responsibilities of service, sacrifice, and commitment. But the prophets say that the future kingdom is full of people laughing and playing, which has implications for Christians who are called to live out the future kingdom in the present. Play is not trivial or secondary to work and service—only a playful way of living does justice to the seriousness of life! Play is the essential and ultimate form of relationship with God, which is why Jesus told people to learn from children. Indeed, a playful attitude is an important part of all significant relationships. This book explores grace, faith, love, worship, redemption, and the kingdom from the perspective of a playful attitude. It describes how to create a “play ethic” to match the “work ethic” and discusses play as a virtue, Aquinas’s warning against the sin of not playing enough, and Bonhoeffer’s claim that in a world of pain it is only the Christian who can truly play.
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