Understanding Children's Play offers a full exploration of children's play from babyhood through to the early years of primary school. It explores how their play is shaped by time and place and supports early years practitioners and playworkers.

In this volume, Kenneth Krauss maintains that if readers are to comprehend playscripts as plays, they must imagine the theatre audience - so vital to the staging of any script, but conspicuously absent from the text itself. Krauss examines what has been written about reading playscripts (or "playreading") and proposes four possible ways, founded on a reception-oriented approach to theatre communication and spectator response, that playreaders may construct a sense of theatre audiences.

The Handbook of the Study of Play brings together in two volumes thinkers whose diverse interests at the leading edge of scholarship and practice define the current field. Because play is an activity that humans have shared across time, place, and culture and in their personal developmental timelines—and because this behavior stretches deep into the evolutionary past—no single discipline can lay claim to exclusive rights to study the subject. Thus this handbook features the thinking of evolutionary psychologists; ethologists and biologists; neuroscientists; developmental psychologists; psychotherapists and play therapists; historians; sociologists and anthropologists; cultural psychologists; philosophers; theorists of music, performance, and dance; specialists in learning and language acquisition; and playground designers. Together, but out of their varied understandings, the incisive contributions to The Handbook take on vital questions of educational policy, of literacy, of fitness, of the role of play in brain development, of spontaneity and pleasure, of well-being and happiness, of fairness, and of the fuller realization of the self. These volumes also comprise an intellectual history, retrospective looks at the great thinkers who have made possible the modern study of play.

"Play Analysis: A Casebook on Modern Western Drama is a combined play-analysis textbook and course companion that contains twelve essays on major dramas from the modern European and American theaters: among them, Ghosts, The Ghost Sonata, The Doctor’s Dilemma, A Man’s a Man, The Homecoming, The Hairy Ape, The Front Page, Of Mice and Men, Our Town, The Glass Menagerie, and Death of a Salesman. Supplementing these essays are a Step-by-Step Approach to Play Analysis, a Glossary of Dramatic Terms, Study Guides, Topics for Writing and Discussion, and bibliographies. Written with college students in mind (and possibly also advanced high school students), these critical essays cover some of the central plays treated in courses on modern Euro-American drama and will provide students with practical models to help them improve their own writing and analytical skills. The author is a “close reader” committed to a detailed yet objective examination of the structure, style, imagery, and language of a play. Moreover, he is concerned chiefly with dramatic analysis that can be of benefit not only to playreaders and theatergoers, but also to directors, designers, and even actors—that is, with analysis of character, action, dialogue, and setting that can be translated into concepts for theatrical production, or that can at least provide the kind of understanding of a play with which a theater practitioner could fruitfully quarrel."

The intuitive mind is a powerful force in the classroom and often an undetected one. Intuitive conceptions--knowledge or knowledge-structures that individuals acquire and use largely without conscious reflection or explicit instruction--sometimes work to facilitate learning in the classroom and other contexts. But learning may also be impeded by intuitive conceptions, and they can be difficult to dislodge as needed. The literatures in psychology and education include a large and diverse body of theory and research on intuitive conceptions, but this work is limited in some respects. This volume contributes in four ways to overcome these limitations. Understanding and Teaching the Intuitive Mind: Student and Teacher Learning: * pulls together diverse theoretical and methodological approaches to the origin, structure, function, and development of intuitive conceptions; * explores a diversity of academic disciplines--paying equal attention not only to mathematics and science, the fields in which intuitive concepts have been studied most extensively, but also to the social sciences, arts, and humanities; * explicitly links theory and research to educational implications and classroom applications; and * focuses not only on students' intuitive conceptions but also on teachers' intuitive beliefs about learning and teaching. Although the viewpoints of the contributors are diverse, they share the belief that educational practices have much to gain by systematic studies of the intuitive learner and teacher. This volume offers state-of-the-art, research-based information and support for psychologists, teacher educators, educational administrators, teachers, prospective teachers, and others who seek to develop educational practices that are cognizant of (and responsive to) the intuitive conceptions of students and teachers.

Starting with Scripts offers an exciting introduction to dramatic literature for students aged 11-16. Fully revised and updated, this text complements Script Sampler to form a comprehensive Drama resource written by an experienced and widely-respected author.

Gives parents and carers detailed up-to-date information about autistic disorders by providing practical suggestions and strategies, incorporating the latest teaching methods, to assist in the understanding and management of people with autism at home, in educational programs and in the community. It discusses the unique learning styles, sensory sensitivities, different motivations and relative strengths in visual processing and rote memory skills of children and adults with autism.

Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.

Based on the premise that plays are objects of study in and of themselves, this title details the Konstantin Stanislavskis method of action analysis, expanding the scope of analysis to includes both inductive and deductive methodologies.