Search

In his senior year of high school, Chris faced a spiritual crisis. He'd grabbed his brass ring: an invitation to play football at Harvard. It was 'the biggest high in [...]

In 2016, Kaeley McEvoy was a student at New York's Union Theological Seminary and a ministry intern at Judson Memorial Church in Washington Square. She hadn't expected to get pregnant; [...]

In the first, surreal weeks of the lockdowns of 2020, we all marveled at how COVID had hit at just the right time. Thanks to our Silicon Valley saviors, we [...]

For most children in North America, Halloween is one of the most exciting holidays of the year. But some critics insist that its emphasis on ready-made costumes, store-bought candy, and trick-or-treating seduces children into cultural passivity and socializes them to mindless consumption. These critics argue that trick-or-treating was an inherited tradition, invented, initiated, or imposed by adults to control undesirable Halloween mischief. This article turns to newspaper accounts from the 1930s through the 1950s to suggest that these beliefs and conclusions about trick-or-treating are false and that, in fact, children originated trick-or-treating and shaped it to their own ends. In her view of trick-or-treating as part of the development of children's culture in twentieth-century America, the author presents the role of children in initiating their own forms of play and contesting and negotiating such play with adults, all of which suggests a more complex understanding of Halloween and trick-or-treating in the contemporary context. (Contains 68 notes.)

The Candy Land board game has been in production since 1949 and remains one of the best-known and biggest-selling children's board games of all time. Beginning with the fiftieth-anniversary edition in 1998, Hasbro Inc. has promoted the story of how a retired schoolteacher named Eleanor Abbott came to invent Candy Land while recuperating in a polio ward in San Diego. Although Candy Land appears all sweet pleasure and harmless fun, the coincidence of the invention and manufacture of Candy Land with the polio scares of the midtwentieth century suggests an important connection between the discourse of the "endangered child" and the image and ideal of childhood and play given material form in the Candy Land game. This article considers the form of game play and the imagery of Candy Land to show how the fears, images, and experiences surrounding the midcentury polio outbreaks came to shape a new idea of children's play. Play in Candy Land is a therapeutic intervention that separates children from their bodies both to protect them from their bodies' vulnerabilities and to form their bodies and desires into the proper paths.

Last fall, when I took my daughter to her college orientation, all new students had been issued ID lanyards, to which they were invited to affix pronoun stickers. To opt [...]

To authenticate to the full-text of this article, please visit this link: http://dx.doi.org/10.1111/j.1542-734X.2010.00742.x Byline: Samira Kawash (1) Author Affiliation: (1)Rutgers, the State University of New Jersey (New Brunswick)

Features `Reversible Destiny,' a United States exhibition of a compilation of collaborative art of Arakawa and Madeline Gins. Reference to the cartoonish appearance of images in the exhibition; Architecture of the exhibition.