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Journal articles on the topic 'Play writing'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Sellers, Marg, and Barbara Chancellor. "Playing with Play(ing): Play-Fully Writing about Play." Global Studies of Childhood 3, no. 3 (January 2013): 297–309. http://dx.doi.org/10.2304/gsch.2013.3.3.297.

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2

Beloborodova, Olga. "Writing and Staging Play." Samuel Beckett Today / Aujourd’hui 31, no. 1 (April 11, 2019): 147–62. http://dx.doi.org/10.1163/18757405-03101011.

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Abstract The archival turn in Beckett studies has revealed a wealth of material that, despite being discarded or reworked, remains a valuable source of information on Beckett’s modus operandi as a writer. This article examines the genesis of Play from the postcognitive angle of extended cognition, and demonstrates how the author’s mind, contrary to the generally accepted Cartesian internal-external opposition, extends beyond the boundaries of skin and skull and forms a hybrid cognitive system with the emerging text in the drafts. Influenced by a number of other external factors, including the play’s first performances, Play was shaped by an intense and continuous interaction between several environmental elements and can serve therefore as an example of extended cognition in creative writing.

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3

McMurray, Janice. "Writing a Christmas Play." Activities, Adaptation & Aging 14, no. 1-2 (December 21, 1989): 117–22. http://dx.doi.org/10.1300/j016v14n01_20.

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4

Balaska, Ioulia. "Spontaneous writing: co-creating a play." Murmurations: Journal of Transformative Systemic Practice 5, no. 1 (September 24, 2022): 72–83. http://dx.doi.org/10.28963/5.1.7.

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In this paper, I propose a way of systemic work through art and specifically through theatrical practice in order to prompt this kind of creative writing called spontaneous writing. In the Improvisational Experiential Theatre method that I practise, spontaneous writing is prompted by theatrical improvisations. The writings of the group members compose a play, which is brought before a theatre audience. Systemic practitioners often use writing in their work with people in order to help them to express themselves. Spontaneous writing which aims for the creation of a theatrical play triggers the group members to release their deeper thoughts, their feelings and their body, and to express themselves mostly poetically. It creates the space that helps them to connect with society, writing about social issues that touch everyone. And when these persons, who are not actors, present their own play on a stage, they see themselves as protagonists in their lives and at the same time as active members of society. I hope that this paper will motivate systemic practitioners to use the art, in any form, in their work with people. Περίληψη (Greek) Σε αυτό το άρθρο, προτείνω ένα τρόπο συστημικής δουλειάς μέσω της Τέχνης και συγκεκριμένα μέσω της θεατρικής πράξης, προκειμένου να προκληθεί το είδος της δημιουργικής γραφής που ονομάζεται αυθόρμητη γραφή. Στην μέθοδο Αυτοσχεδιαστικού Βιωματικού Θεάτρου που εφαρμόζω, η αυθόρμητη γραφή κινητοποιείται από θεατρικούς αυτοσχεδιασμούς. Τα κείμενα των μελών της ομάδας συνθέτουν ένα θεατρικό έργο, που το παρουσιάζουν στο κοινό.

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5

Bert, Norman A. "Writing Your First Play (review)." Theatre Journal 52, no. 3 (2000): 440–41. http://dx.doi.org/10.1353/tj.2000.0071.

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6

Cook, Vivian, Benedetta Bassetti, and Jyotsna Vaid. "The writing system at play." Writing Systems Research 4, no. 2 (October 2012): 120–21. http://dx.doi.org/10.1080/17586801.2012.740432.

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7

Gurevitch, Zali. "The Serious Play of Writing." Qualitative Inquiry 6, no. 1 (March 2000): 3–7. http://dx.doi.org/10.1177/107780040000600101.

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8

Badenhorst, Cecile. "Emotions, Play and Graduate Student Writing." Canadian Journal for Studies in Discourse and Writing/Rédactologie 28 (February 6, 2018): 103–26. http://dx.doi.org/10.31468/cjsdwr.625.

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While playfulness is important to graduate writing to shift students into new ways of thinking about their research, a key obstacle to having fun is writing anxiety. Writing is emotional, and despite a growing field of research that attests to this, emotions are often not explicitly recognized as part of the graduate student writing journey. Many students experience writing anxiety, particularly when receiving feedback on dissertations or papers for publication. Feedback on writing-in-progress is crucial to meeting disciplinary expectations and developing a scholarly identity for the writer. Yet many students are unable to cope with the emotions generated by criticism of their writing. This paper presents pedagogical strategies—free-writing, negotiating negative internal dialogue, and using objects to externalize feelings—to help students navigate their emotions, while recognizing the broader discursive context within which graduate writing takes place. Reflections on the pedagogical strategies from nineteen Masters and PhD students attending a course, Graduate Research Writing, were used to illustrate student experiences over the semester. The pedagogical strategies helped students to recognize their emotions, to make decisions about their emotional reactions and to develop agency in the way they responded to critical feedback. By acknowledging the emotional nature of writing, students are more open to creativity, originality, and imagination.

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9

Andrews, Jim. "Default play mode text: Writing (Arteroids)." Explorations in Media Ecology 17, no. 2 (March 1, 2018): 187–91. http://dx.doi.org/10.1386/eme.17.2.187_1.

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10

Mendicino, Kristina. "Writing Coincidence: Brecht’s and Marlowe’s History Play." Monatshefte 107, no. 1 (2015): 46–63. http://dx.doi.org/10.3368/m.107.1.46.

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11

Amell, Brittany, and Eve-Marie C. Blouin-Hudon. "Engaging with Play and Graduate Writing Development." Canadian Journal for Studies in Discourse and Writing/Rédactologie 28 (February 6, 2018): 33–56. http://dx.doi.org/10.31468/cjsdwr.606.

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We begin by situating this work and ourselves in graduate writing. Although our experiences as burgeoning researchers are not a focus of this article, we are nonetheless present in the background, not unlike a palimpsest. We trace one aspect of this palimpsest—the use of playful and creative methods to generate ideas for this paper—before then suggesting three key concepts we consider foundational to discussions about play and graduate writing development. These are play, playspace, and mindsets. Building on these concepts, we offer some concluding remarks about the ambivalence some learners may have—which we refer to as play ambivalence—and propose that this ambivalence is partly related to the three concepts underscored in this article. We suggest that future research in play and graduate writing development could better consider this play ambivalence.

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12

Clader, Emily. "What If? : Mathematics, Creative Writing, and Play." Journal of Humanistic Mathematics 6, no. 1 (January 2016): 211–19. http://dx.doi.org/10.5642/jhummath.201601.13.

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13

Bahlmann Bollinger, Chelsey M., and Joy K. Myers. "Young Children’s Writing in Play-Based Classrooms." Early Childhood Education Journal 48, no. 2 (October 15, 2019): 233–42. http://dx.doi.org/10.1007/s10643-019-00990-0.

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14

Miller, Susan. "The Play of Words: Issues in Writing." Clearing House: A Journal of Educational Strategies, Issues and Ideas 60, no. 7 (March 1987): 292–93. http://dx.doi.org/10.1080/00098655.1987.9959352.

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15

Macdonald, Ian W. "Forming the craft: Play‐writing and photoplay‐writing in Britain in the 1910s." Early Popular Visual Culture 8, no. 1 (February 2010): 75–89. http://dx.doi.org/10.1080/17460650903515970.

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16

Snow, Marianne, Zohreh R. Eslami, and Jeong Hyun Park. "English language learners' writing behaviours during literacy-enriched block play." Journal of Early Childhood Literacy 18, no. 2 (March 9, 2016): 189–213. http://dx.doi.org/10.1177/1468798416637113.

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Despite the rising number of linguistically diverse students in countries where English is the primary medium of instruction in schools, there is a relative lack of research on how these students learn to write in English and respond to common classroom literacy practices. One practice found in early childhood classrooms is literacy-enriched play, but little research explores how young English language learners respond to this particular intervention. This exploratory study examines three linguistically diverse kindergarten students' use of writing materials in a literacy-enriched block centre in their classroom. Observational notes and writing samples produced by the students during block play were analyzed to determine the frequency and variety of their writing behaviours. The results indicated that all the students, regardless of language background, incorporated drawing and writing into their block play with similar frequency, although they sometimes used different writing strategies. These findings indicated that literacy-enriched centres can provide linguistically diverse students with meaningful opportunities to practice writing.

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17

Cook, Margaret. "Writing and Role Play: A Case for Inclusion." Reading 34, no. 2 (July 2000): 74–78. http://dx.doi.org/10.1111/1467-9345.00138.

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18

Kuppers, Petra, VK Preston, Pamela Block, and Kirsty Johnston. "Public Intimacies: Water Work in Play." Canadian Journal of Disability Studies 8, no. 1 (February 21, 2019): 32–57. http://dx.doi.org/10.15353/cjds.v8i1.470.

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This essay emerges out of water. It follows the thoughts of four disability culture scholars and artists who went swimming together and reflected on artful methods of public somatic presence. The writing developed from Petra Kuppers’ initial queercrip aqua-fitness research, and from a series of communal post-swim free-writes in which the group meditated on boundaries and contiguity, on contagious laughter and demonstrative peace. The team conceptualized their self-care in a range of different ways: as political, as queered women’s labour, as deeply personal, and as forcefully communal. Through shared swimming, conversation, and writing, they became conscious of the flows and undertows of somatic practice.

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19

Jeon , Jeong-il. "일 놀이와 글쓰기로 가꾸는 책읽기." Acagora Reading Research 2 (October 30, 2020): 75–128. http://dx.doi.org/10.36699/arr.2.3.

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20

Elliott, Victoria. "Detecting the Dane: Recreating Shakespearian Genre in a Level Literature." English: Journal of the English Association 68, no. 262 (2019): 283–304. http://dx.doi.org/10.1093/english/efz027.

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Abstract There is a well-established practice in schools in England of ‘retro-fitting’ genre to Shakespeare’s plays, namely, considering them within a genre which did not exist at the time of writing. This article explores a contemporary example: Hamlet studied as crime writing. The justification for studying the play through this lens is explored, and the ways in which this relates to concepts of genre. While rejecting the justifications offered by the syllabus in which this play is set, a presentist approach suffices to allow the consideration of Hamlet as crime. The article considers the possible insights offered into the play, and reciprocally into the genre, by using the lens of crime writing to consider Hamlet. The enjoyability of such an approach is acknowledged, but the potential downsides for students who encounter the play in this way are also considered.

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21

조영수. "A Study on Teaching-learning Methods of Play Writing -Focus on Pre-writing Step-." Journal of Research in Curriculum Instruction 11, no. 2 (December 2007): 451–84. http://dx.doi.org/10.24231/rici.2007.11.2.451.

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22

Radulescu, Domnica. "Romania by Taxi. A Play." European Journal of Life Writing 4 (December 15, 2015): C35—C60. http://dx.doi.org/10.5463/ejlw.4.180.

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A Romanian writer and professor now a US citizen returns with her son to her native country on a fellowhsip after many years, in the mid 2000s. This article was submitted to the European Journal of Life Writing on 6 January 2015 and published on 15 December 2015.

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23

Sunghee Kim. "The Dehistoricization Trend in Historical Plays: Play with History and Everyday Life History Writing." Journal of korean theatre studies association 1, no. 48 (December 2012): 51–84. http://dx.doi.org/10.18396/ktsa.2012.1.48.002.

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24

Aswan, Aswan. "Play While Writing: Breakthroughs for Digital Literacy Activities during the Covid-19 Pandemic." Jurnal Pendidikan Bahasa 9, no. 2 (December 8, 2020): 164. http://dx.doi.org/10.31571/bahasa.v9i2.2011.

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<p class="abstrak">Covid-19 presence in the world has paralyzed the education system. Indonesia became one of the countries affected by Covid-19. The education system, which is usually conducted face-to-face, is forced to go online to reduce the risk of contracting the Covid-19 outbreak. Literacy activities that are considered important in schools are also affected by Covid-19. Seeing these problems, this study aims to create a literacy learning model that focuses on writing activities. The writing learning model with the play approach is a renewal in online writing activities. The method used in this research is qualitative. The sampling technique used is purposive sampling. The data analysis technique used is an interactive analysis model from Miles and Huberman. Informants in this study amounted to 30 people consisting of students, students, and the public. The Play While Writing Model starts with the conditioning of the class, the provision of relevant material, the instructions for playing, the process of playing while writing, the feedback from the informants, and the closing. The estimated online learning time is approximately one hour and thirty minutes. The results showed that the online writing learning model with a playful approach could attract informants. The writing learning model Playing While Writing makes students active, creative, and eager to express ideas in writing. As a whole, it can be said that the learning model of Playing While Writing can be a breakthrough in digital literacy during the Covid-19 pandemic.</p>

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25

Oakes, Elizabeth. "Writing Shakespeare: Some Pre-Play Exercises for "The Tempest"." English Journal 82, no. 4 (April 1993): 36. http://dx.doi.org/10.2307/820845.

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26

Shea, Megan L. "Echoes of Performance: Writing and the Play of Pedagogy." Theatre Topics 24, no. 1 (2014): 51–62. http://dx.doi.org/10.1353/tt.2014.0004.

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27

Tagg, Caroline, and Philip Seargeant. "Writing systems at play in Thai-English online interactions." Writing Systems Research 4, no. 2 (October 2012): 195–213. http://dx.doi.org/10.1080/17586801.2011.628583.

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28

Schmidt-Wilk, Jane. "Expanding Our Teaching Repertoire With Writing and Role-Play." Management Teaching Review 3, no. 2 (May 2, 2018): 104–6. http://dx.doi.org/10.1177/2379298118769396.

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29

Holm, J. B. "Nachmanovitch's Free Play as a Context for Experimental Writing." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 10, no. 3 (September 8, 2010): 575–86. http://dx.doi.org/10.1215/15314200-2010-010.

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30

Harris, M. "Scaffolding reflective journal writing – Negotiating power, play and position." Nurse Education Today 28, no. 3 (April 2008): 314–26. http://dx.doi.org/10.1016/j.nedt.2007.06.006.

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31

Jenkins, Thomas E. "At Play with Writing: Letters and Readers in Plautus." Transactions of the American Philological Association 135, no. 2 (2005): 359–92. http://dx.doi.org/10.1353/apa.2005.0020.

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32

Marks, Sylvia Kasey. "What Did Playwright Arthur Miller Do to Jane Austen's Pride and Prejudice?" Arthur Miller Journal 16, no. 2 (October 1, 2021): 160–70. http://dx.doi.org/10.5325/arthmillj.16.2.0160.

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abstract: Radio drama was a popular form of entertainment in the late 1930s and early 1940s. While Arthur Miller was struggling to make a place for himself as a playwright, he found financial security and an outlet for his talent by writing radio plays. He adapted Helen Jerome's Broadway script of Jane Austen's Pride and Prejudice for an hour-long radio play broadcast on 18 November 1945. The radio play captures some of the essence of the novel, but it is not Jane Austen. Neither is it representative of the best of Arthur Miller. This essay suggests that if Miller had written his radio play after writing his major plays, he could have captured the depth of Pride and Prejudice. The motifs found in Miller's plays suggest that even with the simpler story required of a radio play, there are the makings of a stronger adaptation in Miller's mature hands.

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Stone, Robin. "Perfect 10: Writing and Producing the 10-Minute Play, and: Writing Your First Play, and: The Playwright's Guidebook: An Insightful Primer on the Art of Dramatic Writing (review)." Theatre Journal 56, no. 1 (2004): 145–47. http://dx.doi.org/10.1353/tj.2004.0034.

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Kazemian, Mohammad, Mohammad Khodareza, Fatemeh Khonamri, and Ramin Rahimy. "Instruction on Intercultural Communicative Competence." Education & Self Development 16, no. 1 (March 31, 2021): 21–40. http://dx.doi.org/10.26907/esd16.1.04.

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The influence of globalization on applied linguistics has recently generated considerable debate. With the advent of intercultural communicative competence (ICC) at the start of the twentyfirst century, many theoreticians and practitioners have accentuated the ICC perspectives and its incorporation into teaching language skills. This mixed methods research study tries to verify whether instruction on ICC encourages Iranian advanced EFL learners to incorporate ICC in their writings, and whether gender plays any role in the tendency to use that competence. To this end, 33 male and female Iranian advanced EFL learners were chosen via an Oxford Placement Test and then placed in two experimental classes. All the participants received a five-week instruction on ICC in a writing class at a private language institute in Rasht, Iran. The data analyzed via T-tests, content analysis technique, and η revealed that instruction on ICC assisted learners in coping with intercultural issues differently in their writing; however, gender did not play any role in using the ICC in writing. This study can shine a light on the writing course and language teaching in general and teaching how to incorporate ICC in writing in particular.

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ZHAO, Meijiao. "Subaltern Writing in Hag-Seed." IRA International Journal of Education and Multidisciplinary Studies 17, no. 1 (March 26, 2021): 8. http://dx.doi.org/10.21013/jems.v17.n1.p2.

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<em>Hag-Seed</em> is a re-imagining story of Shakespeare's '<em>The Tempest</em>' written by Margaret Atwood, a famous Canadian writer. <em>Hag-seed</em> is a successful adaptation in The Hogarth Shakespeare Project organized by Hogarth Press. In this novel, Atwood adopts the form “play in play” to recur the whole scene of <em>The Tempest</em>. Through the depictions of minor characters in a prison, the novel presents the dilemma and struggle of marginalized protagonists in front of the power. In the novel, the play directed by Felix criticizes the power abuse and the social oppression suffered by the lower classes and women. Atwood's rewriting of The Tempest aims to reveal the loss of the humanistic concerns in modern society and advocate making “the other” acquire their rights to free speech.

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Rustamovna, Abduraxmonova Umida. "Methods Of Orthographic And Grammatic Analysis Of Uzbek Writing." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 364–69. http://dx.doi.org/10.37547/tajssei/volume03issue04-55.

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Orthography is a system of rules adopted to correctly express an idea through writing, which ensures that the idea is equally expressed both for the writer and for the reader. In the teaching of orthography, hearing and sight play an important role. In addition, factors such as logical thinking, memory, intelligence also play an important role in the formation of orthographic skills in students. These are those in which orthography creates a certain system in teaching, one complements the other. This article will give an idea of the methods of orthographic analysis.

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37

McDonough, Kim, Pakize Uludag, and Heike Neumann. "Instructor Evaluation of Business Student Writing: Does Language Play a Role?" Business and Professional Communication Quarterly 84, no. 2 (June 2021): 116–34. http://dx.doi.org/10.1177/23294906211012398.

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Because few studies of disciplinary business writing have examined whether language features play a role in instructor assessment of student writing, this study explored the relationship between student language use and instructor essay scores. Undergraduate business students wrote a case study critique as part of their final exam, and their critiques were evaluated by their instructors for theory integration and essay structure. Student language use was analyzed in terms of error rate, lexical sophistication, lexical diversity, and phrasal complexity. Whereas lexical sophistication positively predicted instructor scores, error rate was a negative predictor of their assessment of business student writing.

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38

Bathurst, Ralph, and Fiona Kennedy. "Hunting the ‘play’: A leadership suite in 12 movements." Leadership 13, no. 1 (July 31, 2016): 20–34. http://dx.doi.org/10.1177/1742715016654000.

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This article has been crafted to evoke the sound of leadership. It represents the hum and sigh and pounding of leadership as it appeared, disappeared and reappeared each time looking and sounding different in an extraordinary undertaking where senior citizens, many with no acting experience performed T. S. Eliot’s The Waste Land. The metaphor of a hunt and an episodic form represents our experience and we have sought to suggest sound by using principles of montage, Gestalt theory, and the poetic devise of enjambment that leave one reaching after meaning rather than being comforted by end points. This article represents research that we very nearly abandoned, because it simply did not ring true when we wrote in conventional ways. As a result, we advocate different ways of writing not only because we love good writing but because for us, different writing was the only way that we could do justice to this story.

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39

Kinasih, Indira Puteri, and Nur Hardiani. "Role Playing and the Changing of Teacher Understanding to Middle School Mathematics Lesson Planning within ELPSA Framework." Jurnal Pendidikan Matematika 14, no. 2 (June 30, 2020): 183–98. http://dx.doi.org/10.22342/jpm.14.2.6647.183-198.

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The lesson plan plays an important role in the achievement of learning objectives. This paper aimed to describe the effect of lesson plan role play on changes in teacher understanding regarding the process of mathematics lesson plan writing using the ELPSA framework. The method used was descriptive qualitative. 13 West Nusa Tenggara math teachers were involved through filling out questionnaires about the lesson plan writing habits among teachers, the usefulness of role-playing, and the impact on the lesson plan improvement process they designed. Results showed that the lesson plan role play was able to change the teacher's understanding, particularly on the importance of clear and communicative lesson designs as well as the sequential and anticipatory learning scenarios included. This change in teachers' understanding also has an impact on the awareness of teachers to improve their draft lesson plan in terms of integrated learning indicators, sequentialness, and the content quality of learning activities and clarity of teaching notes that allow the lesson plan to be more explicit and applicable. Overall, it can be concluded that more than 95% of the teacher respondents stated that role play had a positive influence in the form of a willingness to re-reflect and reconstruct each lesson plan. In general, they gain knowledge and awareness about how to build a good lesson plans so that they have the potential to create activities and an atmosphere of teaching and learning that are interactive, focused, and pay attention to what students already know.

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Yoon, Haeny S. "Can I Play with You? The Intersection of Play and Writing in a Kindergarten Classroom." Contemporary Issues in Early Childhood 15, no. 2 (January 2014): 109–21. http://dx.doi.org/10.2304/ciec.2014.15.2.109.

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41

Elaf Riyadh Khalil. "The Effect of Cognitive Strategies on Iraqi EFL College Students’ Writing Anxiety." Journal of the College of Education for Women 33, no. 4 (December 30, 2022): 27–39. http://dx.doi.org/10.36231/coedw.v33i4.1633.

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Writing in English language demands both mental skills and a suitable level of language proficiency. Some studies showed that writing anxiety has an impact on the acquisition of language learning. This study; however, teaches the cognitive strategies (PLAY & WRITE) as a writing strategy, so as to decrease students’ use of it when experiencing writing anxiety at the academic writing level. The sample has been (100) second-stage Department of English learners at the College of Education (Ibn –Rushd), in the University of Baghdad-Iraq. They have been randomly selected and divided into experimental and control groups; (50) students in each group. To achieve the objective of the study, SLWAI questionnaire has been distributed to the experimental group, who has been taught the writing strategies. Each student has to writte a minimum of 100-word essay topic once per week for 15 weeks. As for the control group, it has been taught using the conventional way. The hypothesis states that there is no effect of using the PLAN and WRITE Strategies on the Iraqi EFL College Students’ Writing Anxiety. The instrument incorporated a SLWAI questionnaire that has been adopted from Cheng (2004). The pre-and post-questionnaire information has been analyzed using (SPSS). Essay writing strategies has found to have positive effects on decreasing the writing anxiety of the trial team. Furthermore, the composition strategies (PLAY & WRITE) facilitate the writing environments and decrease the tensions of students when writing a composition.

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42

Arteel, Inge. "Experimental Acoustic Life Writing: Gerhard Rühm's Radio Plays." CounterText 5, no. 3 (December 2019): 332–51. http://dx.doi.org/10.3366/count.2019.0169.

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In this article I focus on a selection of radio plays by the Austrian author Gerhard Rühm and analyse them from the perspective of life writing, starting with Irene Kacandes' findings on the increased referential effect of experimental life writing (2012). I want to extend the notion of experimental life writing to the medium of the experimental radio play and investigate whether and how the experiments with spoken language, voice, and musicalisation of language contribute to an effect of realness and create an aural world infused with lived experientiality. I'm particularly interested in the relationship between individualised, figurative voices and sounds, as they are to be expected in (auto)biographical art, and the defiguration and deindividualisation in the experimental, synthetic manipulation of human language and voice. Situating the corpus in the history of the German Neues Hörspiel, my analysis hopes to prove that the reality effect of the experimental (auto)biographical radio play does not, or at least not only, refer to an individual biographical self. Instead, the complex constellation of text and paratext, of scripted and spoken language, and of voice and music opens up the referential level for a broader, more general human experientiality. Most importantly, the technical possibilities of the radiophonic medium allow an intricate play with the semantics of referential language, with masking and unmasking voices, and with the exploration of the pathos of speaking together.

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43

Daiute, Colette. "Play as Thought: Thinking Strategies of Young Writers." Harvard Educational Review 59, no. 1 (April 1, 1989): 1–24. http://dx.doi.org/10.17763/haer.59.1.t232r3845h4505q5.

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In this article, the author raises both provocative and necessary questions about the nature of children's play in relation to their classroom learning and writing. Colette Daiute draws from children's transcribed dialogues and written texts to argue that play is critical to a more complex and representative understanding of how children can and do learn. Further, she believes that children's learning ought to be evaluated on its own terms, and not in comparison to adult models of writing proficiency. Her argument is based upon a fundamental belief that children approach learning with a variety of strategies and skills, and this article offers convincing evidence to support a view of children — and of learning — that is respectful and inclusive. Daiute concludes by presenting suggestions for ways to consider child-generated and playful strategies in learning environments.

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Tardy, Christine M. "The potential power of play in second language academic writing." Journal of Second Language Writing 53 (September 2021): 100833. http://dx.doi.org/10.1016/j.jslw.2021.100833.

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Magaldi, Karin. "Words at Play: Creative Writing and Dramaturgy (review)." Theatre History Studies 27, no. 1 (2007): 172–74. http://dx.doi.org/10.1353/ths.2007.0005.

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Dean, Deborah M. "The Day the Writing Died: A Play in One Act." English Journal 91, no. 1 (September 2001): 68. http://dx.doi.org/10.2307/821657.

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Bolton, Jacqueline. "Capitalizing (on) new writing: New play development in the 1990s." Studies in Theatre and Performance 32, no. 2 (June 21, 2012): 209–25. http://dx.doi.org/10.1386/stap.32.2.209_1.

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Snow, Marianne, Zohreh R. Eslami, and Jeong Hyun Park. "Latino English Language Learners’ Writing During Literacy-Enriched Block Play." Reading Psychology 36, no. 8 (June 25, 2015): 741–84. http://dx.doi.org/10.1080/02702711.2015.1055872.

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Vukelich, Carol. "Play and Assessment:Young Children's Knowledge of the Functions of Writing." Childhood Education 68, no. 4 (June 1992): 202–7. http://dx.doi.org/10.1080/00094056.1992.10520875.

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Chan Bok Lee. "A Study on the Standardization of Korean Screen Play Writing." Film Studies ll, no. 34 (December 2007): 293–316. http://dx.doi.org/10.17947/kfa..34.200712.011.

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