This is Volume IX of thirty-two on a series on Developmental Psychology. First published in 1935, this study looks at the development of imagination in children. Which uses a method in which observation of the free behaviour of children plays the principal role, but in which experimental technique is represented by a somewhat rigorous control of conditions, by a discreet use of question and answer, and by an emphasis on the necessity for accurate and full report, while psychoanalysis, at the same time, contributes a depth of insight, a realization of the importance of affective factors, and an alertness for the significance of detail.

Did you know that ‘Almost’ is the longest word in the English language with all of its letters in alphabetical order ? Or that ‘Stewardesses’ is the longest word you can type solely with your left hand? Or that fireflies aren’t actually flies, they’re beetles? From information about words and their uses, to useful lists of things you never knew had names, palindromes, famous lines from literature and film, bizarre test answers and more, The Weird World of Words is bursting with truly oddball facts about words and language—and will have you hooked from the very first page.

Children are widely celebrated for their imaginations, but developmental research on this topic has often been fragmented or narrowly focused on fantasy. However, there is growing appreciation for the role that imagination plays in cognitive and emotional development, as well as its link with children's understanding of the real world. With their imaginations, children mentally transcend time, place, and/or circumstance to think about what might have been, plan and anticipate the future, create fictional relationships and worlds, and consider alternatives to the actual experiences of their lives. The Oxford Handbook of the Development of Imagination provides a comprehensive overview of this broad new perspective by bringing together leading researchers whose findings are moving the study of imagination from the margins of mainstream psychology to a central role in current efforts to understand human thought. The topics covered include fantasy-reality distinctions, pretend play, magical thinking, narrative, anthropomorphism, counterfactual reasoning, mental time travel, creativity, paracosms, imaginary companions, imagination in non-human animals, the evolution of imagination, autism, dissociation, and the capacity to derive real life resilience from imaginative experiences. Many of the chapters include discussions of the educational, clinical, and legal implications of the research findings and special attention is given to suggestions for future research.

Many parents delight in their child's imaginary companion as evidence of a lively imagination and creative mind. At the same time, parents sometimes wonder if the imaginary companion might be a sign that something is wrong. Does having a pretend friend mean that the child is in emotional distress? That he or she has difficulty communicating with other children? In this fascinating book, Marjorie Taylor provides an informed look at current thinking about pretend friends, dispelling many myths about them. In the past a child with an imaginary companion might have been considered peculiar, shy, or even troubled, but according to Taylor the reality is much more positive--and interesting. Not only are imaginary companions surprisingly common, the children who have them tend to be less shy than other children. They also are better able to focus their attention and to see things from another person's perspective. In addition to describing imaginary companions and the reasons children create them, Taylor discusses other aspects of children's fantasy lives, such as their belief in Santa, their dreams, and their uncertainty about the reality of TV characters. Adults who remember their own childhood pretend friends will be interested in the chapter on the relationship between imaginary companions in childhood and adult forms of fantasy. Taylor also addresses practical concerns, providing many useful suggestions for parents. For example, she describes how children often express their own feelings by attributing them to their imaginary companion. If you have a child who creates imaginary creatures, or if you work with pre-schoolers, you will find this book very helpful in understanding the roles that imaginary companions play in children's emotional lives.

This is Volume IX of thirty-two on a series on Developmental Psychology. First published in 1935, this study looks at the development of imagination in children. Which uses a method in which observation of the free behaviour of children plays the principal role, but in which experimental technique is represented by a somewhat rigorous control of conditions, by a discreet use of question and answer, and by an emphasis on the necessity for accurate and full report, while psychoanalysis, at the same time, contributes a depth of insight, a realization of the importance of affective factors, and an alertness for the significance of detail.

Young Children and the Arts: Nurturing Imagination and Creativity examines the place of the arts in the experiences of young and very young children at home and in out-of-home settings at school and in the community. There is great need for development of resources in the arts specifically designed to introduce babies and toddlers to participatory experiences in the visual arts, dance, music, and storytelling/theater. This book presents valuable guidelines for early childhood teachers, families, caregivers and community organizations. Young Children and the Arts presents a comprehensive approach to the arts that is aligned with early childhood developmentally appropriate practice and that combines an exploratory, materials-based approach with an aesthetic-education approach for children from birth to eight years of age. It addresses both how the arts are foundational to learning, and how teachers and parents can nurture young children’s developing imagination and creativity. The models presented emphasize a participatory approach, introducing young children to the arts through activities that call for engagement, initiative and creative activity. Additionally, Young Children and the Arts addresses the intersection of early childhood education and the arts—at points of convergence, and at moments of tension. The role of families and communities in developing and promoting arts suffused experiences for and with young children are addressed. Young Children and the Arts examines the role of innovative arts policy in supporting a broad-based early arts program across the diverse settings in which young children and their families live, work, and learn.