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.

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 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.

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 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).

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.

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.

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.

Developing Children's Socio-Emotional Competencies Through Drama Pedagogy Training: An Experimental Study on Theory of Mind and Collaborative Behavior.

Drama pedagogy training (DPT) is a drama-based-pedagogy focused on socio-emotional-learning (SEL) development, over academic or artistic. This study aims to see if DPT promotes theory of mind (ToM) and collaborative behavior in 126 French children aged 9-10 years old, randomly assigned to an experimental group (DPT), either a control group for 6 weeks. Post-tests showed large effects of training on ToM, F(1, 124) = 24.

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).

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.

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.

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.

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.

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.

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.

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.

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 (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).

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.