Playing War: Field games. Paper battles -- Picturing war: The moral authority of innocence. Queering war -- Epilogue: the rule of babies in pink

Explores the culture that made military shooter video games popular, and key in understanding the War on Terror No video game genre has been more popular or more lucrative in recent years than the “military shooter.” Franchises such as Call of Duty, Battlefield, and those bearing Tom Clancy’s name turn over billions of dollars annually by promising to immerse players in historic and near-future battles, converting the reality of contemporary conflicts into playable, experiences. In the aftermath of 9/11, these games transformed a national crisis into fantastic and profitable adventures, where seemingly powerless spectators became solutions to these virtual Wars on Terror. Playing War provides a cultural framework for understanding the popularity of military-themed video games and their significance in the ongoing War on Terror. Matthew Payne examines post-9/11 shooter-style game design as well as gaming strategies to expose how these practices perpetuate and challenge reigning political beliefs about America’s military prowess and combat policies. Far from offering simplistic escapist pleasures, these post-9/11 shooters draw on a range of nationalist mythologies, positioning the player as the virtual hero at every level. Through close readings of key games, analyses of marketing materials, and participant observations of the war gaming community, Playing War examines an industry mobilizing anxieties about terrorism and invasion to craft immersive titles that transform international strife into interactive fun.

Between the First and Second World Wars, the U.S. Navy used the experience it had gained in battle to prepare for future wars through simulated conflicts, or war games, at the Naval War College. In Playing War John M. Lillard analyzes individual war games in detail, showing how players tested new tactics and doctrines, experimented with advanced technology, and transformed their approaches through these war games, learning lessons that would prepare them to make critical decisions in the years to come. Recent histories of the interwar period explore how the U.S. Navy digested the impact of World War I and prepared itself for World War II. However, most of these works overlook or dismiss the transformational quality of the War College war games and the central role they played in preparing the navy for war. To address that gap, Playing War details how the interwar navy projected itself into the future through simulated conflicts. Playing War recasts the reputation of the interwar War College as an agent of preparation and innovation and the war games as the instruments of that agency.

As violence in the media and media-linked toys increases, parents and teachers are also seeing an increase in children's war play. The authors have revised this popular text to provide more practical guidance for working with children to promote creative play, and for positively influencing the lessons about violence children are learning. Using a developmental and sociopolitical viewpoint, the authors examine five possible strategies for resolving the war play dilemma and show which best satisfy both points of view: banning war play; taking a laissez-faire approach; allowing war play with specified limits; actively facilitating war play; and limiting war play while providing alternative ways to work on the issues. New for the Second Edition are: more anecdotal material about adults'' and children's experiences with war play, including examples from both home and school settings; greater emphasis on the impact of media and commercialization on children's war play, including recent trends in media, programming, marketing, and war toys; expanded discussion about the importance of the distinction between imitative and creative war play; and summary boxes of key points directed at teachers or parents. * New information about violent video games, media cross feeding, and gender development and sex-role stereotyping.

How can war be represented on stage? How does the theatre examine the structures leading to violence and war and explore their transformation of societies? Springing from the discussion about 'New Wars' in the age of globalisation, this interdisciplinary study demonstrates how these 'New Wars' bring forth new plays about war.

In Radical Play Rob Goldberg recovers a little-known history of American children’s culture in the 1960s and 1970s by showing how dolls, guns, action figures, and other toys galvanized and symbolized new visions of social, racial, and gender justice. From a nationwide movement to oppose the sale of war toys during the Vietnam War to the founding of the company Shindana Toys by Black Power movement activists and the efforts of feminist groups to promote and produce nonsexist and racially diverse toys, Goldberg returns readers to a defining moment in the history of childhood when politics, parenting, and purchasing converged. Goldberg traces not only how movement activists brought their progressive politics to the playroom by enlisting toys in the era’s culture wars but also how the children’s culture industry navigated the explosive politics and turmoil of the time in creative and socially conscious ways. Outlining how toys shaped and were shaped by radical visions, Goldberg locates the moment Americans first came to understand the world of toys—from Barbie to G.I. Joe—as much more than child’s play.

This anthology consists of ten plays from countries involved in the First World War. It explores the historical development of theatrical conventions and genres and the historical context of social and gender issues.

This anthology consists of ten plays from countries involved in the First World War, including plays from Germany and France never before available in translation. Representing a range of dramatic forms, from radio play to street-epic, from comic sketch to musical, this anthology includes plays from: Gertrude Stein, Muriel Box, Marion Wentworth Craig, Dorothy Hewett, Berta Lask, Marie Leneru, Wendy Lill, Alice Dunbar Nelson, and Christina Reid. Highly successful in their day, these plays demonstrate how women have attempted to use theatre to achieve social change. The collection explores the historical development of theatrical conventions and genres and the historical context of social and gender issues.

Anything to do with children's entertainment is a source of controversy: children's television programmes, musical preferences, and leisure activities are frequent sources of debate. Toys and play are often singled out for attention, particularly war toys, sex-typed toys, and video games with aggressive themes. Are these harmful to children? Are they addictive? Alternatively, can parents facilitate children's learning with educational toys? Toys, Play, and Child Development explores these and other questions. Parental attitudes and reactions towards war toys are described, as are the children's views themselves. Toys and play are shown to contribute to the development of language, imagination, and intellectual achievement and to be effective in child psychotherapy.

The Play World chronicles the history and evolution of the concept of play as a universal part of childhood. Examining texts and toys coming out of Europe between 1631 and 1914, Patricia Anne Simpson argues that German material, literary, and pedagogical cultures were central to the construction of the modern ideas and realities of play and childhood in the transatlantic world. With attention to the details of toy manufacturing and marketing, Simpson considers prescriptive texts about how children should play, treat their possessions, and experience adventure in the scientific exploration of distant geographies. She illuminates the role of toys—among them a mechanical guillotine, yo-yos, hybridized dolls, and circus figures—as agents of history. Using an interdisciplinary approach that draws from postcolonial, childhood, and migration studies, she makes the case that these texts and toys transfer the world of play into a space in which model childhoods are imagined and enacted as German. With chapters on the Protestant play ethic, enlightened parenting, Goethe as an advocate of play, colonial fantasies, children’s almanacs, ethnographic play, and an empire of toys, Simpson’s argument follows a compelling path toward understanding the reproduction of religious, gendered, ethnic, racial, national, and imperial identities, emanating from German-speaking Europe, that collectively construct a global imaginary. This foundational and deeply original study connects German-speaking communities across the Atlantic as they collectively engender the epistemology of the play world. It will be of particular interest to German studies scholars whose research crosses the Atlantic.