Linguistic and extralinguistic factors in the interpretation of children's early utterances

Bestimmte seit den sechziger Jahren zur Analyse früher kindlicher Äußerungen benutzte Beschreibungsmodelle unterschätzen die sprachliche Kompetenz des Kindes, indem sie die Struktur seiner Äußerungen auf Distributionsphänomene der Oberflächenstruktur reduzieren, andere Modelle überschätzen diese Kompetenz, indem sie kindlichen Äußerungen mehr sprachliche Information zuschreiben, als sie enthalten. Wenn außersprachliche Information auf systematische Art und Weise in die Untersuchung der sprachlichen Kommunikation zwischen Kind und Erwachsenem einbezogen wird, findet einerseits die Tatsache eine Erklärung, daß diese Kommunikation in so erstaunlichem Maße erfolgreich ist, andererseits erlaubt diese Beschreibungsweise es aber, frühe kindliche Äußerungen als sprachlich so undeterminiert darzustellen, wie sie sind

Reading Books and Reading Minds: Differential Effects of Wonder and The Crossover on Empathy and Theory of Mind

We tested sixth graders for empathy and theory of mind before and after an academic unit on either Wonder or The Crossover. Wonder was associated with improved perspective-taking; students who read The Crossover increased in concern for others. Faux pas detection increased in both genders with Wonder, and in girls with The Crossover. Students who read The Crossover in print showed improved understanding of facial expressions, while students who used iPads declined. Young adult fiction is associated with improved social cognitive skills, but effects depend on gender and reading format, as well as on the choice of individual book

Creating Characters in a Story-Telling Universe

Extended story generation, i.e., the creation of continuing serials, presents difficult and interesting problems for Artificial Intelligence. We present here the first phase or the development of a program, UNIVERSE, that will ultimately tell extended stories. In particular, alter describing our overall model of story telling, we present a method for creating universes of characters appropriate for extended story generation. This method concentrates on the need to keep story-telling universes consistent and coherent. We also describe the information that must be maintained for characters and interpersonal relationships, and the use of stereotypical information about people to help motivate trait values. The use of historical events for motivation is also described. Finally, we present an example of a character generated by UNIVERSE

Museum Experience Design: A Modern Storytelling Methodology

In this paper we propose a new direction for design, in the context of the theme “Next Digital Technologies in Arts and Culture”, by employing modern methods based on Interaction Design, Interactive Storytelling and Artificial Intelligence. Focusing on Cultural Heritage, we propose a new paradigm for Museum Experience Design, facilitating on the one hand traditional visual and multimedia communication and, on the other, a new type of interaction with artefacts, in the form of a Storytelling Experience. Museums are increasingly being transformed into hybrid spaces, where virtual (digital) information coexists with tangible artefacts. In this context, “Next Digital Technologies” play a new role, providing methods to increase cultural accessibility and enhance experience. Not only is the goal to convey stories hidden inside artefacts, as well as items or objects connected to them, but it is also to pave the way for the creation of new ones through an interactive museum experience that continues after the museum visit ends. Social sharing, in particular, can greatly increase the value of dissemination

Planning purposeful imaginative activities in creative contexts for children’s literacy

Although children in primary schools in England are required to write imaginatively in order to gain optimum marks in statutory tests, an emphasis is often placed on revising decontextualised genre features, grammar and spelling. I wondered whether there was a place for creativity and imagination within the apparent constraints of a curriculum for English that had become defined by objectives and teaching procedures imposed by national strategies to raise literacy standards. Using a definition of creativity as purposeful imaginative activity, I set out to explore how teachers could interpret the objectives imaginatively and plan meaningful contexts for literacy, even in a climate of changing curriculum emphases. My thesis reports on three cycles of reflective, collaborative action research focused on literacy planning, in order to theorise meanings in relation to my values, understanding and practice. As a result of the research, approaches to planning sequences of purposeful imaginative activities that embed literacy concepts in meaningful creative contexts are exemplified. Evidence from an analysis of literacy plans for children in classrooms across the primary phase shows that teachers use their professional imaginations to plan their provision for children to read and write imaginatively – their statutory national curriculum entitlement (DfEE, 2000). We found that children’s literacy improves when they dwell in possible worlds as, for example, curators, custodians or concerned villagers, using the powerful resource of their own, and collective, imaginations. In addition, an analysis of drawings revealed evidence of the effort and effect of children’s somatic and affective imaginations. The work is underpinned by theories of: aesthetic appreciation and representation; child-centred, holistic pedagogy; inclusive creative processes; and the imagination as a resource for creating meaning. My ideas have been challenged and developed by academics such as Pat D'Arcy on literacy, Robert Sternberg on creativity, and Ken Robinson on imagination, in particular. As a result of the research, two conceptual tools for planning were developed and tested. They are underpinned by theory and professional experience and have been used effectively in schools during and beyond the research project. Components of the creative process were identified as motivating ideas, associating ideas, generating ideas, innovating ideas and communicating ideas, and became the MAGIC planning tool. Components of the imagination's repertoire were identified as auditory, kinaesthetic, tactile, emotional and visual, and became the AKTEV imagination repertoire. These represent the living education theories that have transformed my practice, and are offered as a contribution to the field of primary English education

Third World gap year projects: Youth transitions and the mediation of risk

This is the post-print version of the final published article. The definitive, peer-reviewed and edited version of this article is available from the link below. Copyright @ 2008 Pion.In recent years in the UK there has been a great expansion in the number of young people travelling to Third World countries between school and university in order to participate as volunteers on structured gap year projects. Travel to such places is commonly perceived as ‘risky’, and takes young people outside the protective cocoon of UK health and safety legislation. One of the functions played by the providers of gap year projects is to mediate risk. On the basis of analysis of promotional literature, interviews with organisers of gap year projects, and focus groups of returned volunteers, in this paper I argue that the various strategies of risk mediation undertaken by gap year providers serve to reconcile modernising tendencies in UK society toward risk control and structure with postmodern inclinations towards individualisation and uncertainty