Do embodiment and fictionality affect young children's learning?

Preschool-aged children can learn from fictional, pretend, and imaginative activities. However, many studies showing this learning involve children as physically passive while consuming fictional narratives rather than as actively, physically engaged. Physical engagement may add to cognitive processes already at play when watching narratives, making children more likely to retain or understand information. Children's natural pretend involves physical movement, role play, and embodiment. To test learning from embodied pretense, we conducted two studies in which we experimentally manipulated whether children were physically passive while consuming narratives or physically actively engaged with them through embodied pretend play using puppets or costumes. In Study 1, children were shown/engaged in television-based narratives, all of which contained fantastical content. In Study 2, children were shown/engaged in lab-created stories, some of which contained fantastical elements. We measured children's learning and perceptions of realism. In Study 1, neither perception of fictionality nor embodiment immediately affected learning, although older preschoolers learned more than younger preschoolers. In Study 2, neither perception nor presence of fantastical content affected learning, but embodiment did. Children learned more from both embodied conditions compared with the physically passive condition. We also included 2-week follow-up tests of recall and found that although children retained very little, embodiment still affected retention in both studies. Overall, children did not use realism judgments to differentiate learning. These findings show the complexity of different elements involved in children's learning from pretense and the need to understand what elements affect learning from fantastical and embodied pretend play and stories.

All non-real worlds provide exploration: Evidence from developmental psychology.

While Dubourg and Baumard argue that predisposition toward exploration draws us to fictional environments, they fail to answer their titular question: "Why Imaginary Worlds?" Research in pretend play, psychological distancing, and theatre shows that being "imaginary" (i.e., any type of unreal, rather than only fantastically unreal) makes exploration of any fictional world profoundly different than that of real-life unfamiliar environments.

The Leadership Stories Our Youth Are Told: Characterizations of Leadership Behaviors and Orientations in Popular Youth TV Shows.

Given the consistently high viewership of television (TV) by youth, the social, behavioral, developmental, and psychological impact of such viewing has been studied for decades. Yet, little research has focused on the connections between youth, the TV shows to which they are exposed, and the characterizations of leadership presented to them. This study examines the type of leadership behaviors and orientations presented through youth TV shows in the United States across a continuum of viewership age targets. Shows were selected through purposeful sampling from the most popular youth TV shows in the United States, and episodes were chosen based on synopsis, selecting for the greatest possibility of leadership scenarios. Researchers identified three shows for each viewer target age group and five episodes for each TV show, for a total of 75 episodes. The findings include the discovery that show-prescribed viewer target age group positively predicted leadership behavior such as direction-setting-i.e., gathering information, organizing information, sense-making, and forecasting. Additionally, as viewer target age range increased, shows presented with a decrease in communal leadership-characterized as caring, warm, trustworthy, empathetic, helpful, and/or friendly. Such findings suggest that the representations of leadership depicted in popular youth TV shows are transmitting potentially counterproductive messages to future leaders, deprioritizing crucial leadership elements.

Children Learn From Both Embodied and Passive Pretense: A Replication and Extension.

Research suggests that children can learn new information via pretense. However, a fundamental problem with existing studies is that children are passive receivers of the pretense rather than active, engaged participants. This preregistered study replicates previous learning from pretense findings (Sutherland & Friedman, 2012, Child Development), in which children are passive observers of pretense, and extends to two additional conditions that require children to partially (with puppets) or fully (with costumes) embody a character. Children (N = 144, 24-79 months) learned equally well, and better than those in the control condition, from all three play scenarios. At a 2-week follow-up, learning was equally retained across embodiment conditions for older, but not younger, preschoolers. Future research should consider embodiment's role for more complex material.

Dramatic pretend play games uniquely improve emotional control in young children.

Pretense is a naturally occurring, apparently universal activity for typically developing children. Yet its function and effects remain unclear. One theorized possibility is that pretense activities, such as dramatic pretend play games, are a possible causal path to improve children's emotional development. Social and emotional skills, particularly emotional control, are critically important for social development, as well as academic performance and later life success. However, the study of such approaches has been criticized for potential bias and lack of rigor, precluding the ability to make strong causal claims. We conducted a randomized, component control (dismantling) trial of dramatic pretend play games with a low-SES group of 4-year-old children (N = 97) to test whether such practice yields generalized improvements in multiple social and emotional outcomes. We found specific effects of dramatic play games only on emotional self-control. Results suggest that dramatic pretend play games involving physicalizing emotional states and traits, pretending to be animals and human characters, and engaging in pretend scenarios in a small group may improve children's emotional control. These findings have implications for the function of pretense and design of interventions to improve emotional control in typical and atypical populations. Further, they provide support for the unique role of dramatic pretend play games for young children, particularly those from low-income backgrounds. A video abstract of this article can be viewed at: https://youtu.be/2GVNcWKRHPk.

Facial expressions as performances in mime.

That facial expressions are universal emotion signals has been supported by observers agreeing on the emotion mimed by actors. We show that actors can mime a diverse range of states: emotions, cognitions, physical states, and actions. English, Hindi, and Malayalam speakers (N = 1200) viewed 25 video clips and indicated the state conveyed. Within each language, at least 23 of the 25 clips were recognised above chance and base rate. Facial expressions of emotions are not special in their recognisability, and it is miming that may be the universal human ability.

The Arts as a Venue for Developmental Science: Realizing a Latent Opportunity.

Children in all cultures readily engage in artistic activities, yet the arts (dance, drama, drawing, and music) have traditionally been marginal topics in the discipline of developmental science. We argue that developmental psychologists cannot afford to ignore such naturalistic activities that involve so many basic phenomena-attention, engagement, motivation, emotion regulation, understanding of others, and so on. Despite historical issues with research methodologies and overdrawn conclusions, a current wave of methodologically rigorous studies shows the depth of arts learning, as well as how arts engagement can be harnessed for transfer to other skills. Here, we present 21 exemplary research case studies, covering an age range of 18 months to 17 years old and discuss how the arts are no more difficult to study than other real-world developmental phenomena and deserve a thorough examination.

Live theatre as exception and test case for experiencing negative emotions in art.

Distancing and then embracing constitutes a useful way of thinking about the paradox of aesthetic pleasure. However, the model does not account for live theatre. When live actors perform behaviors perceptually close to real life and possibly really experienced by the actors, audiences may experience autonomic reactions, with less distance, or may have to distance post-experiencing/embracing their emotions.

Debunking the Santa myth: The process and aftermath of becoming skeptical about Santa.

Two studies examined the process and aftermath of coming to disbelieve in the myth of Santa Claus. In Study 1, 48 children ages 6-15 answered questions about how they discovered Santa was not real and how the discovery made them feel, and 44 of their parents shared their perspectives and how they promoted Santa. In Study 2, 383 adults reflected on their experiences shifting to disbelief in Santa Claus. In both studies, the average age of disbelief was around 8, but with significant variability. Most participants reported testimony from others contributed to their disbelief, and some reported skepticism as a result of either experience (e.g., observation) or logical reasoning. About a third of children and half of adults reported some negative emotions upon discovering the truth. Higher levels of parental Santa promotion were associated with experiencing some negative emotions upon discovering the truth in both studies. Additionally, adults who reported feeling only negative emotions tended to be older when they discovered the truth, more likely to have reported learning the truth abruptly, and more likely to have reported learning the truth through testimony. That said, experiences of negative emotions were generally short-lived, and the vast majority of both children and adults reported they would celebrate Santa with their own children or were already doing so. Implications of these findings for how to approach children's transition to skepticism regarding Santa are discussed, including timing, the role of parents, and popular notions of discovery for children's trust toward their parents. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Pretensive Shared Reality: From Childhood Pretense to Adult Imaginative Play.

Imaginative pretend play is often thought of as the domain of young children, yet adults regularly engage in elaborated, fantastical, social-mediated pretend play. We describe imaginative play in adults via the term "pretensive shared reality;" Shared Pretensive Reality describes the ability of a group of individuals to employ a range of higher-order cognitive functions to explicitly and implicitly share representations of a bounded fictional reality in predictable and coherent ways, such that this constructed reality may be explored and invented/embellished with shared intentionality in an ad hoc manner. Pretensive Shared Reality facilitates multiple individual and social outcomes, including generating personal and group-level enjoyment or mirth, the creation or maintenance of social groups, or the safe exploration of individual self-concepts (such as alternative expression of a players sexual or gender identity). Importantly, Pretensive Shared Reality (both within the specific context of table-top role-playing games, and other instances) are primarily co-operative and co-creative. We draw on multiple examples, and focus on Table-Top Role Playing games (TTRPG) - and specifically, the most popular and enduring table-top role-playing games, Dungeons & Dragons (D&D) - as a primary example of such play. Our conception of "pretensive shared reality" links the widespread existence and forms of adult imaginative play to childhood pretense, places it within a developmental and evolutionary context, and argues that pretensive shared realities - which underpin many forms of imaginative culture - are an important topic of study unto themselves, and may be utilized to provide methodological insight into a variety of psychological domains.

Delineating the Benefits of Arts Education for Children's Socioemotional Development.

In this paper, we argue that in order for the study of arts education to continue to advance, we must delineate the effects of particular forms of arts education, offered in certain contexts, on specific domains of children's socioemotional development. We explain why formulating precise hypotheses about the effects of arts education on children's socioemotional development requires a differentiated definition of each arts education program or activity in question, as well as a consideration of both the immediate and broader contexts in which that program or activity occurs. We then offer the New Victory Theater's Schools with Performing Arts Reach Kids (SPARK) program as an illustrative example of how these considerations allow for the refinement of hypotheses about the impact of arts education on children's socioemotional development.

It's All Critical: Acting Teachers' Beliefs About Theater Classes.

Acting classes and theater education have long been framed as activities during which children can learn skills that transfer outside the acting classroom. A growing empirical literature provides evidence for acting classes' efficacy in teaching vocabulary, narrative, empathy, theory of mind, and emotional control. Yet these studies have not been based in what is actually happening in the acting classroom, nor on what acting teachers report as their pedagogical strategies. Instead, previous work has been unsystematic and fragmented in its measured transfer outcomes, and absent mechanistic explanation. Expanding research on this topic requires more grounding in teachers' beliefs about the acting classes they teach, as well as observation of the classes themselves. As a first step, we surveyed 173 acting teachers online, asking them about the activities within acting classes they believed caused change in their students, as well as which outcomes they believed were changed as a result of acting classes. Teachers taught across educational levels (elementary to professional) and had a variety of training in teaching acting. Overall, teachers rated almost every activity within classes as important for and causing impact on students, and almost every outcome as being positively influenced as a result of acting class. When forced to rank-order outcomes, teachers focused on collaboration, communication, creativity, confidence, and empathy as most likely to change. Teachers rated the importance of class activities and outcomes differently depending on what level they taught. This study shows the difficulty of surveying highly motivated teachers, given the globally high rankings, but also proposes candidate psychological skills likely to change as a result of acting classes and the mechanistic behaviors that may cause change.

The child's pantheon: Children's hierarchical belief structure in real and non-real figures.

To what extent do children believe in real, unreal, natural and supernatural figures relative to each other, and to what extent are features of culture responsible for belief? Are some figures, like Santa Claus or an alien, perceived as more real than figures like Princess Elsa or a unicorn? We categorized 13 figures into five a priori categories based on 1) whether children receive direct evidence of the figure's existence, 2) whether children receive indirect evidence of the figure's existence, 3) whether the figure was associated with culture-specific rituals or norms, and 4) whether the figure was explicitly presented as fictional. We anticipated that the categories would be endorsed in the following order: 'Real People' (a person known to the child, The Wiggles), 'Cultural Figures' (Santa Claus, The Easter Bunny, The Tooth Fairy), 'Ambiguous Figures' (Dinosaurs, Aliens), 'Mythical Figures' (unicorns, ghosts, dragons), and 'Fictional Figures' (Spongebob Squarepants, Princess Elsa, Peter Pan). In total, we analysed responses from 176 children (aged 2-11 years) and 56 adults for 'how real' they believed 13 individual figures were (95 children were examined online by their parents, and 81 children were examined by trained research assistants). A cluster analysis, based exclusively on children's 'realness' scores, revealed a structure supporting our hypotheses, and multilevel regressions revealed a sensible hierarchy of endorsement with differing developmental trajectories for each category of figures. We advance the argument that cultural rituals are a special form of testimony that influences children's reality/fantasy distinctions, and that rituals and norms for 'Cultural Figures' are a powerful and under-researched factor in generating and sustaining a child's endorsement for a figure's reality status. All our data and materials are publically available at https://osf.io/wurxy/.

No support for the claim that literary fiction uniquely and immediately improves theory of mind: A reply to Kidd and Castano's commentary on Panero et al. (2016).

Kidd and Castano (in press) critique our failure to replicate Kidd and Castano (2013) on 3 grounds: failure to exclude people who did not read the texts, failure of random assignment, and failure to exclude people who did not take the Author Recognition Test (ART). This response addresses each of these critiques. Most importantly, we note that even when Kidd and Castano reanalyzed our data in the way that they argue is most appropriate, they still failed to replicate the pattern of results reported in their original study. We thus reaffirm that our replication of Kidd and Castano (2013) found no evidence that literary fiction uniquely and immediately improves theory of mind. Our objective remains not to prove that reading literary fiction does not benefit social cognition, but to call for in-depth research addressing the difficulties in measuring any potential effect and to note the need to temper claims accordingly. (PsycINFO Database Record

Does reading a single passage of literary fiction really improve theory of mind? An attempt at replication.

[Correction Notice: An Erratum for this article was reported in Vol 111(5) of Journal of Personality and Social Psychology (see record 2016-50315-003). In the article, due to an error in stimulus construction, four items (three authors, one foil) were omitted from the ART presented to all participants tested by Research Group 1. These omissions do not undermine the results in the primary analyses, which all included ART and ART Condition (as covariates). Any variation across research groups, including this difference in reading exposure measurement, is accounted for in the multilevel analyses. Therefore, the Table 2 title should appear as Reading the Mind in the Eyes Test (RMET) Scores by Condition and Overall Unadjusted Means for the Current Study and Kidd and Castano (2013), as Well as the Zero-Order Pearson's Correlations Between RMET and ART Scores Overall and by Condition. The ART data columns should be deleted, and the table note should begin as follows: RMET scores were transformed to correct for skew prior to correlational analyses. The section title above the Discussion section should appear as Comparison of Our RMET Scores to Kidd and Castano Data, with the first two sentences appearing as follows: To determine whether the responses in our sample were similar to what Kidd and Castano (2013) found, we compared our mean performance on the RMET to theirs. Our grand mean (26.28) was significantly higher than theirs (25.18), t(1=, 374) = 3.71, p< .001, d = 0.21. All versions of this article have been corrected.] Fiction simulates the social world and invites us into the minds of characters. This has led various researchers to suggest that reading fiction improves our understanding of others' cognitive and emotional states. Kidd and Castano (2013) received a great deal of attention by providing support for this claim. Their article reported that reading segments of literary fiction (but not popular fiction or nonfiction) immediately and significantly improved performance on the Reading the Mind in the Eyes Test (RMET), an advanced theory-of-mind test. Here we report a replication attempt by 3 independent research groups, with 792 participants randomly assigned to 1 of 4 conditions (literary fiction, popular fiction, nonfiction, and no reading). In contrast to Kidd and Castano (2013), we found no significant advantage in RMET scores for literary fiction compared to any of the other conditions. However, as in Kidd and Castano and previous research, the Author Recognition Test, a measure of lifetime exposure to fiction, consistently predicted RMET scores across conditions. We conclude that the most plausible link between reading fiction and theory of mind is either that individuals with strong theory of mind are drawn to fiction and/or that a lifetime of reading gradually strengthens theory of mind, but other variables, such as verbal ability, may also be at play. (PsycINFO Database Record

Is it Oscar-worthy? Children's metarepresentational understanding of acting.

Although it is an essential aspect of one of the most common forms of entertainment, psychologists know almost nothing about how children understand the act of portraying a character in a realistic manner-realistic acting. Do children possess the sort of meta-theory of acting that adults possess? In two studies we find that, unlike adults, children between the ages of 3-5 do not think that a realistic actor is better at portraying a characteristic than a nonrealistic actor, nor do they prefer one to the other. As they develop, they come to understand that realistic acting is different from nonrealistic acting, but unlike adults, children think that a nonrealistic, pretense-like portrayal is more difficult to achieve than a realistic representation of an emotional or physical state. These findings show that children's metarepresentational understanding of acting is relatively immature at age 5, and that their understanding of this specific domain of pretense lags behind their understanding of pretense in general.