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This paper reports on an experiment carried out by the Chinese language program at Oberlin College to use play production as a means of teaching spoken Chinese. The experiment was inspired by the fact that teaching spoken Chinese cannot be solved by traditional classroom methods, particularly at the intermediate level. The lack of texts, the inadequacy of existing texts, the low morale of intermediate students and the difficulty in creating native environment for learning Chinese are factors that justify the use of play production. Play production puts dialogues into a situation that simulates life, the project itself providing an environment which requires verbal communication and mutual cooperation. The tedium and boredom of language learning can be avoided, and the promise of recognition creates a further incentive. But to carry out such a project, one must first obtain a suitable play, by simplifying an existing one, adapting a short story or writing an original play. Once a play is obtained, one must assemble a staff capable of directing the production and get the cooperation of the students. The next steps involve familiarizing the students with the text through discussion, assigning and learning roles, rehearsals and performance. Each of these steps is discussed with specific reference to the Oberlin experience. (CLK)

This paper reports on an experiment carried out by the Chinese language program at Oberlin College to use play production as a means of teaching spoken Chinese. The experiment was inspired by the fact that teaching spoken Chinese cannot be solved by traditional classroom methods, particularly at the intermediate level. The lack of texts, the inadequacy of existing texts, the low morale of intermediate students and the difficulty in creating native environment for learning Chinese are factors that justify the use of play production. Play production puts dialogues into a situation that simulates life, the project itself providing an environment which requires verbal communication and mutual cooperation. The tedium and boredom of language learning can be avoided, and the promise of recognition creates a further incentive. But to carry out such a project, one must first obtain a suitable play, by simplifying an existing one, adapting a short story or writing an original play. Once a play is obtained, one must assemble a staff capable of directing the production and get the cooperation of the students. The next steps involve familiarizing the students with the text through discussion, assigning and learning roles, rehearsals and performance. Each of these steps is discussed with specific reference to the Oberlin experience. (CLK)

The chapters and essays in this book are drawn from the 1988 edition of "Play as a Medium for Learning and Development." The first chapter, "The Challenge of Educational Play," by Bernard Spodek and Olivia N. Saracho, is followed by two essays: (1) "Play and the Origin of Species," (Michael J. Ellis); and (2) "The Struggle between Sacred Play and Festive Play," (Brian Sutton-Smith). The second chapter, "Methods of Studying Play," by Doris Bergen, is followed by three essays: (1) "Some 'Good News' and Some 'Not So Good News' about Dramatic Play," (Kenneth H. Rubin); (2) "Imaginative Play and Human Development: Schemas, Scripts, and Possibilities," (Jerome L. Singer and Dorothy G. Singer); and (3) "Reality and Fantasy in Make-Believe Play," (Inge Bretherton). Chapter 3, "Stages of Play Development," by Doris Bergen, is followed by four essays: (1) "A Mental Image: A Question That Remains Open," (Constance Kamii); (2) "Moral Development in Play," (Rheta DeVries); (3) "Toddlers' Play and Sex Stereotyping," (Beverly I. Fagot); and (4) "Play and Gifted Children," (Annemarie Roeper). Chapter 4, "Using a Schema for Play and Learning," by Doris Bergen, is followed by three essays: (1) "Places of Beauty," (Anita Rui Olds); (2) "The Computer in the Play Environment," (Anne E. Porter); and (3) "Play, Technology, and the Authentic Self," (Doris Bergen). Individual chapters include suggestions for further reading, and the final section of the book contains 331 references. (LPP)

1Current Superstitions

By Fanny Dickerson Bergen

No matter how enlightened, chances are you've been raised around superstitious lore of one kind or another. Fanny Dickerson Bergen was one of the original researchers of North American oral traditions relating to such key life events and experiences as babyhood and childhood, marriage, wishes and dreams, luck, warts and cures, death omens and mortuary customs, and "such truck," as Huck Finn would say.<br /><br /> You'll be surprised at how many of these old saws you'll know. Here's a quote from Chapter One, Babyhood:<br /><br />Monday’s child is fair of face,<br />Tuesday’s child is full of grace,<br />Wednesday’s child is sour and sad,<br />Thursday’s child is merry and glad,<br />Friday’s child is loving and giving,<br />Saturday’s child must work for a living;<br />But the child that is born on the Sabbath day<br />Is blithe and bonny, good and gay.<br />--Baldwinsville, N. Y.<br /><br /> All of these readings are as short as 5 minutes and no longer than 15 minutes, with plenty of pithy one-liners in the form of proverbs, always given with the locale they came from in Canada or the United States (with clear influences in British tradition). (summary by Denny Sayers)

Robert van Bergen was one of the first Americans to enter Japan after the country opened its borders to foreign visitors following centuries of isolation. He taught English to Japanese aristocrats, eventually becoming principal of the Nobles' School in Tokyo. This book, which he wrote for young readers during his stay in the country, was first published in 1897. It includes many illustrations.<br><br> From the preface: "Our schoolbooks on geography and general history touch but lightly upon the Japanese Empire, and it is for the purpose of enabling children to obtain a correct idea of the people, and of the impulses leading to the rapid progress of the past quarter of a century, that "The Story of Japan" has been written. [...] While the thread of historical events runs throughout this book, many incidents and characteristic stories have been cited to illustrate the manners and customs of the various periods. As the book is designed for children, the stories are clothed in simple form and language, which will, it is hoped, render them attractive to the young mind." (Summary by Kazbek)