Play

3 Key excerpts on "Play"

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  Play World

  The Emergence of the New Ludenic Age

  • James E. Combs(Author)
  • 2000(Publication Date)
  • Praeger

    (Publisher)

  The fun time of Play can go right or wrong, but we recognize it as a special time—an interlude—of pretense and even drama. Play, said Huizinga, is “not ‘ordinary’ or ‘real’ life. It is rather a stepping out of ‘real’ life into a temporary sphere of activity with a disposition all its own.” 8 “Play is going,” note two other scholars. “It is what happens after all the decisions are made—when ‘let’s go’ is the last thing one remembers.” 9 At that point, you are approaching what has been called ‘‘deep Play” 10 , when you are really “into” or absorbed with Play—at the point of checkmate in a chess game, with a group of partisans watching a contest at the moment the outcome hangs in the balance, furiously writing a poem, achieving “runner’s high,” or at the height of sexual ecstasy. Casual or “shallow” Play is less intense and committed—loafing, reading the newspaper, half watching a soap opera while eating lunch, casual conversation. Yet in all cases, from daydreaming to participation in highly structured Play such as a basketball team or choral group, you feel yourself in an “as if” time and place that differs from work, worry, anxiety, boredom, fear, ennui, or other states of existence. You have indeed let go. This often makes Play memorable, and becomes incorporated into the meanings that we attribute to experience and remember well. THE Play’s THE THING So we think Play to be a transaction with our social environment in which the participants have defined the situation as Play. Further, those participating in Play figure out its rules and conventions, and communicate to one another that they are using the available forms of mediation to Play. The agencies of Play can range from simple daydreams of imagined fun to elaborate ritual Play, but it has to be communicated (“We are now communicating Play by speaking, acting, contesting, loving, marching, praying, or whatever”).

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  Play in the Early Years

  • Marilyn Fleer(Author)
  • 2017(Publication Date)
  • Cambridge University Press

    (Publisher)

  Take your key ideas and definition, and compare these with the key ideas and definitions of others in your group. It should become evident that there are many different definitions of Play. If we examine the literature, we will also find a diversity of ways of defining Play (Rautio & Winston 2013). An example is shown in Figure 1.2. What comes to mind when you think about the word ‘Play’? Definition My definition of Play: Your ideas – purposeful Play What the community thinks What parents think In practice Develop social skills No right and wrong in Play Meaningful experience where learning takes place Free choice Fun and interesting free choice Your idea – Play generally FUN My definition of purposeful Play: Purposeful Play is an engaging and meaningful activity where the holistic development of the child is the main concern. (TUBE FIXTURES / BLOCK Play) logical thinking literacy center Figure 1.2 Reflecting on ‘What is Play?’ 4 Play in the early years Table 1.1 Characteristics of Play in preschool and school Characteristic Example Child-determined Something children choose to do – not work. Creative and imaginative Based on children’s own imagination. Fun Play is fun and not like school work. Less serious – not focused on a specific outcome Free spirited – in Play, children can learn if they want to. Physically active In Play, children are active and move about a lot. Socially interactive In Play, children interact socially. Less academic Play is not related to a subject, such as mathematics or literacy. Uncertain What is Play? Affective The emotional dimensions are felt in Play. Viewed as a reward Play is used as a reward for good work or good behaviour. Passive learning In Play, children do not need to do brain work. Not driven by externally driven rules Board games – no need to follow classroom rules. Relaxing Board games are relaxing. Positive Play should have a positive outcome. Valuable Play is important, regardless of how it is defined.

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  Power Play

  Explorando y empujando fronteras en una escuela en Tejas through a multilingual play-based early learning curriculum

  • Tim Kinard, Jesse Gainer, Mary Esther Soto Huerta, Gaile Cannella(Authors)
  • 2018(Publication Date)
  • Peter Lang Inc., International Academic Publishers

    (Publisher)

  We do it. We think about it. “[W]ords and things cannot be understood as separate entities, but are intra-active, affecting each other, each with the vital capacity to affect and be affected” (Davies, 2016, p. 4). “Play” is the word in English used to describe an incredibly wide range of endeavors, though. Consider with us a limited range of the meanings associated with the word, “Play.” And imagine the world flattened where the words and the matter and action they describe are not hierarchized as “more” or “less” real, but are reality. Where, “Language and reality exist together on the surface” (St. Pierre, 2013, p. 650). We will have to return to words—realities—previously left by the wayside for this endeavor, like “child.” Because “Play,” is worth undoing, as is “child.” Imagine a child Playing piano. Imagine she Plays a composition on the piano by the composer, Duke Elling- ton. If we could step into this image, and actually hear the song Ellington wrote, we could also hear, in his compositions, how Ellington Played with the conven- tions of jazz and classical music to invent new territories in American music (Lawrence, 2001). Along with those conventions, we could also investigate how Ellington also Played with the perceptions of white audiences about Harlem life and African American life in some of his compositions (Lawrence, 2001). A contemporary composer might Play with some of Ellington’s musical motifs to create still newer music. She might even take sampled recordings of Ellington Playing his own music and remix those recordings into new, Playful compositions. Notice that in the context for the aforementioned versions of a few mean- ings of the word “Play,” a common sense notion of what it means to “Play” an 232 | Power Play instrument is juxtaposed with the notion of what it means to “Play” a certain com- position on that instrument. In these related meanings, there is an inconsistency that hints at connected other meanings.

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