1–8 of 8
First, worldplay nurtures the capacity for continued pretend play, especially thrthrough middle and late childhood, well after the intense exploration of make-believe/e in early childhood typically fades. Second, worldplay exercises a range of cognitive capacities involved in projecting alternate realities, including…
In The Brightening Glance: Imagination and Childhood (2006), the art theorist Ellen Handler Spitz argues that "[t]he topic of adult participation in children's play is delicate, complex, and controversial," largely due to the overwhelming influence a parent or a teacher or even adult-generated entertainment media can…
There is, indeed, an "art" to worldplay in the social sciences that fuses narrative with analytical technique. There is also a kinship with the arts in the relationship between imagined world and reality, a point brought home by political scientist and ellow Robert Axelrod. In the early 1960s the teenage Axelrod won…
"I do a lot of public speaking, often debating public figures on television or other high profile settings, or giving speeches to large audiences," one Fellow, an immigration rights lobbyist, wrote in her query response. "I am constantly, almost involuntarily, honing my skills by debating adversaries or giving…
The observation that play gets short shrift as children come of age in the Western world is surely as old and as perennial as that civilization itself. The Bible puts it thus: "When I was a child, I spake as a child, I felt as a child, I thought as a child: now that 1 am become a man, I have put away childish things."…
Ultimately, the child as creator exercises a whole range of capacities that set the Stage for original thinking. We find the imprint of creative practice in the blending of experiences and ideas, the classifications of real and imagined things, the organization of systemic patterns and narrative sequences, the…
Worldplay appeared to be a solitary, or perhaps intimately shared, pastime. Over the years nearly everyone in my extended family heard or saw something of Kar, yet immersion in that make-believe remained a solo pursuit for Meredith. Thomas Malkin, Hartley Coleridge, Barbara FoUett, and Stanislaw Lem also played alone…
Meredith's worldplay was shot through with yet another well-recognized ingigredienlent of creative thinking, the comparison and synthesis of two or more unlike things. As the mathematician and poet Jacob Bronowski famously expressed it, the discoveries of science and of art "are explorations—^more, are explosions, of…