Lenses on play: Cultural-historical conceptions of play

M. Fleer
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Abstract

Introduction The previous chapter examined a post-structuralist view of play . In this chapter, we look closely at a cultural-historical conception of play . We commenced our journey with this theoretical perspective on play when we looked at the role of families in children's play (Chapter 3). We now build upon the content of that chapter. Through reading this chapter, you will gain insights into: • Vygotsky's cultural-historical conception of play • the range of contemporary models of play that have been informed by cultural-historical theory. Cultural-historical understanding of play Compared with the contested view of play discussed in the previous chapter, a cultural-historical conception of play invites teachers to consider how children's play activity is culturally constructed and culturally enacted, where children create imaginary situations based on real-world experiences, and where children give new meanings to objects and actions. A motive for play develops within particular cultural communities, rather than being seen as internally motivated (Fleer 2010a; Lindqvist 1995; van Oers 2010). There are four central concepts that underpin a cultural-historical view of play: • Children create an imaginary situation in play. • Children change the meaning of objects and actions in play. • Children move in and out of imaginary situations in play – from the real world to the pretend world and back. • Collective imagining as well as individual imagining occurs in play. We will explore each of these four central ideas through examples taken from recent practices in early childhood centres and schools. Cultural-historical concept 1: Children create an imaginary situation in play Video resource: Creating an imaginary situation Creating an imaginary situation occurs when a group of children stands on a dead tree or log and announces that they are on a ship, fighting on a stormy sea – as we saw when Ella recounted her play memory in Chapter 1. We also see this imaginary situation when children play at being doctors and nurses, or pretend to be a mother or a brother. Elkonin (2005) argues that this type of role-play helps children to learn about how the world works and the roles that people take within society.
游戏的镜头:游戏的文化历史概念
前一章考察了后结构主义的游戏观。在本章中,我们将从文化历史的角度来审视游戏的概念。当我们研究家庭在儿童游戏中的角色时(第3章),我们从这个关于游戏的理论视角开始了我们的旅程。我们现在以该章的内容为基础。通过阅读本章,您将深入了解:•维果茨基的文化历史游戏概念•受文化历史理论影响的当代游戏模式的范围。与前一章讨论的有争议的游戏观点相比,游戏的文化历史概念邀请教师考虑儿童的游戏活动是如何在文化上构建和文化上制定的,儿童在哪里根据现实世界的经验创造想象的情境,儿童在哪里赋予物体和行动新的意义。游戏动机是在特定的文化群体中形成的,而不是被视为内在动机(Fleer 2010a;Lindqvist 1995;van Oers 2010)。有四个核心概念支撑着游戏的文化历史观:•儿童在游戏中创造一个想象的情境。•孩子们在游戏中改变物体和动作的意义。•孩子们在游戏中进出想象的场景——从真实世界到虚拟世界再回来。•游戏中既有集体想象,也有个人想象。我们将通过最近在幼儿中心和学校的实践来探讨这四个中心思想。文化历史概念1:孩子们在游戏中创造一个想象的情境视频资源:创造一个想象的情境当一群孩子站在一棵死树或木头上,宣布他们在一艘船上,在暴风雨的海上战斗——正如我们在第一章中看到的Ella讲述她的游戏记忆。当孩子们扮演医生和护士,或者扮演母亲或兄弟时,我们也会看到这种想象的情况。Elkonin(2005)认为,这种类型的角色扮演可以帮助孩子们了解世界是如何运作的,以及人们在社会中扮演的角色。
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