![]() ![]() There are some permissive era works - Peanuts for example - which depend on the absence of adults, but there are many more which explore, as Mary Poppins does, the reformed relations between parents and children. Gives children security and freedom to work through their own problems, watches from distance, provides resources when neededĮmbraces play as a mode of learning and as a means of communication, especially between parents and children Is known for what it permits and accommodates rather than what it disciplines, constraints, limits and thwarts ![]() Seeks indirect rather than direct means to shape children’s characters Seeks to minimize conflict by decreasing the use of authoritative statements in favor of discussions and explanations Offers opportunities for children to achieve catharsis by working through emotional conflicts via expressive means, such as drawing pictures, writing stories, acting them out using dolls or other household materials. Seeks to protect the rights of children to find their own voices, to pursue just solutions, to engage democratically with others in their own community Values children’s sensuality, curiosity, push for independence, passion, playfulness as part of how they process the world Uses empathetic reflection to “take stock” and attempt to understand children’s motivations and drivers Early on, I define this discourse, which I label with many qualifications, as permissive. I will trace in this book how attitudes emerged through the Child Study movement of the Poogressive Era that would become much more widespread by the 1950s and 1960s, popularized by Benjamin Spock, but actually shaped by the thinking and advocacy of many female writers of the period. But there wer many more books after the war addressing these questions and most of them sought to imagine new kinds of relations between adults and children, an issue which was understood in part through the lens of anti-fascism. ![]() John Watson gets picked on a lot because he was so stuffy about the relations of parents and children. “īut one of the striking things about the period I am studying is that there was often an effort to depict good parents in part because these stories were aimed as much at adults as at children and because they written in response to an explosion of new advice literature for Baby Boom era parents that could not avoid the challenge of discussing what good parents did. He concludes about the absent parents in children’s fictions, “we don’t know how to write good parents. He writes about “the inversion of power: kids being kids without the pesky interference of grown-ups” in children’s media, an important theme which he especially explores through the example of Pippy Longstockings. As I hoped, I have already gotten some great responses.Īlex Halavais posted “Kid’s Carnival” on his blog, which is well worth reading. Last time, I shared the first part of my reading of Mary Poppins from my book in progress about children’s culture from 1948-1968. ![]()
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