Toys

Influences of prenatal androgen exposure on human sex-typical behavior have been established largely through studies of individuals with congenital adrenal hyperplasia (CAH). However, evidence that addresses the potential confounding influence of parental socialization is limited. Parental socialization and its relationship to sex-typical toy play and spatial ability were investigated in two samples involving 137 individuals with CAH and 107 healthy controls. Females with CAH showed more boy-typical toy play and better targeting performance than control females, but did not differ in mental rotations performance. Males with CAH showed worse mental rotations performance than control males, but did not differ in sex-typical toy play or targeting. Reported parental encouragement of girl-typical toy play correlated with girl-typical toy play in all four groups. Moreover, parents reported encouraging less girl-typical, and more boy-typical, toy play in females with CAH than in control females and this reported encouragement partially mediated the relationship between CAH status and sex-typical toy play. Other evidence suggests that the reported parental encouragement of sex-atypical toy play in girls with CAH may be a response to the girls' preferences for boys' toys. Nevertheless, this encouragement could further increase boy-typical behavior in girls with CAH. In contrast to the results for toy play, we found no differential parental socialization for spatial activities and little evidence linking parental socialization to spatial ability. Overall, evidence suggests that prenatal androgen exposure and parental socialization both contribute to sex-typical toy play.

"After its release of the toy series Friends in 2012, the LEGO Group, which is usually praised for the quality and educational features of its toys, has been criticized by feminist organizations for offering young girls negative social gender models.  Inspired by this criticism, this article explores the social gender representation in LEGO brand toys and offers procedural literacy as an alternate perspective on the discussion. In the first session the general role of toys in creation of social gender roles has been discussed through toy studies, game studies and toy design literature. The session is followed by an analysis of the historical transformation of female characters in LEGO brand toys. In the last session the limitations of LEGO brand toys in the representation of cultural procedures and the new possibilities the Friends series has created in this regard has been discussed in relation to the critiques on social gender representation.

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Bu çalışma, LEGO şirketinin 2012 yılında piyasaya sürdüğü Friends serisinin kız çocuklara olumsuz toplumsal cinsiyet modelleri önerdiğine yönelik eleştirilerden yola çıkarak LEGO oyuncaklarının toplumsal cinsiyet temsili ve prosedürel temsil bağlamlarında sahip oldukları potansiyelleri incelemeyi amaçlamaktadır. Bu kapsamda öncelikle oyuncağın toplumsal cinsiyet oluşturmadaki rolüne dair oyuncak araştırmaları, oyun çalışmaları ve oyuncak tasarımı alanlarındaki literatürden yararlanılmış ve bunu LEGO şirketinin ürünlerindeki kadın karakterlerin tarihsel dönüşümüne dair bir inceleme takip etmiştir. Ardından dijital medya ve dijital oyun araştırmaları kökenli bir kavram olan prosedürel okuryazarlık kavramından yararlanılarak LEGO oyuncaklarının kültürel prosedürleri temsil etmedeki sınırlılıkları ve Friends serisinin bu açıdan sunduğu yeni olasılıklar tartışılmış ve bunların toplumsal cinsiyet temsili konulu eleştirilerle olan ilişkisi sorgulanmıştır."

This photo essay introduces the subject of «Toy Photography», a recent genre in photography, where dolls and action figures " gain life " in staged photos that try to reproduce their environment or story. In «Toy Photography» the intent is to make the toy " lifelike " , to remove the " plastic-feel " and make it more " human ". Following Toy Researcher Katrina Heljakka´s idea, I believe adults, and not only children, are also interested in reinterpreting and cultivating the meaning of their toy characters by engaging in role-playing and creating new narratives related to their (real or imagined) lives. This photo essay is an autoethnography piece and focuses on reinterpreting the story behind the author and friend´s toys in their home environment.

An overview of toy imports and the issue of lead-based paint in 2007. An attempt to extract strategic value from trade data. Media coverage review and detailed analysis of import transactions. The same manufacturing plants responsible for high leaded paint continued to ship other kinds of toys to the United States. There were deeper lessons: how decisions are made under intense but short term media scrutiny and selective lack of transparency on the part of American media and consumer information outlets. Part 3 will not be uploaded.

I served as Chief Analyst for an international trade research firm before entering academia.

Публикация представляет собой комплекс документов, зафиксированных в ратуше и характеризующих художественные работы. Для неё выбраны: резьба и золочение иконостасов, золото-сусальное, ювелирное мелочное мастерство, изготовление позолоченых свечей, резное и леп-ное кукольное (игрушечное), токарное, столярное, живописное и иконо-писное ремесла. За пределами публикации остались: сапожное, портное, рукавишное, кузнечное, цирюльное, ленточное, кирпичное и изразешное ремесла. Всего 183 документа, среди которых 102 освещает производственную сторону художественных промыслов, 62 – процесс профессионального обучения, 17 документов касаются организационных вопросов промысла, кроме этого еще 2 контракта вошли в приложение.
Книга рассчитана на специалистов и всех интересующихся историей и культурой России.

Following the negative reception of Epic Mickey 2: The Power of Two (2012), The Walt Disney Company’s Disney Interactive division shuttered the game’s developer Junction Point. This closure signaled a definitive corporate shift from home console development to games made for the emerging mobile market, such as Where’s My Water? (2011). The company's multiplatform game Disney Infinity (2013) combines the collectible aspect of Activision’s Skylanders series (2011-Present) with the creativity-encouraging play mechanics of Mojang’s Minecraft (2009). As such, the game represents Disney’s reconciliation of the console and mobile markets to drive sales of branded merchandise available at retailers as well as the company’s own theme parks and brick-and-mortar stores. This paper analyzes how Disney Infinity functions both as a platform for video game adaptations of Disney media and as a means of cross-promoting various sectors of The Walt Disney Company amidst changes in the video game market.

This paper investigates the play potential of an open-ended
and hybrid play concept: Comicubes – a platform for play, playtesting
and simultaneously tool to stimulate (design) creativity. We
propose a hybrid concept that interweaves the ideas of comics and
three-dimensional toys together. The concept challenges the
traditional idea of comics as images that are read one after another
by suggesting a more open reading paralleling the interpretation
and use of and a physically manipulable toy object. The concept
introduced in the paper, combines the two-dimensional serial image
with a three-dimensional and therefore more open-ended toy
medium – the cube. Moreover, the concept invites integration of
digital enhancements in the physical plaything and thus enables
potential AGE (Augmented Game Experience) elements.

Since the beginning of the XIXth century the design of toys is a serious cultural and economic issue. In this critical framework, the architectural toys represented a particularly part of a materialistic culture that contains educational, artistic and ideological values. To track this narrative means to track a complex net of relationship that show which part of each culture wants to be preserved and transmitted to the following generation through these educational devices.

Previous understandings of adult use of toys are connected with ideas of collecting and hobbying, not playing. This study aims to address toys as play objects employed in imaginative scenarios and as learning devices. This article situates toys (particularly, character toys such as Blythe dolls) as socially shared tools for skill-building and learning in adult life. The interviews with Finnish doll players and analyses of examples of their productive, toy-related play patterns showcased in both offline and digital playscapes reveal how toy play leads to skill-building and creativity at a mature age.The meanings attached to and developed around playthings expand purposely by means of digital and social media. (Audio)visual content-sharing platforms, such as Flickr, Pinterest, Instagram and YouTube, invite mature audiences to join playful dialogues involving mass-produced toys enhanced through do-it-yourself practices. Activities circulated in digital play spaces, such as blogs and ph...

This book presents the reader a detailed analysis of the animal world in relation to Saharan and North African children's toys and play activities. To begin with, the toy dromedaries are described, then the toys referring to horses, mules and donkeys, cattle and livestock, other domestic animals, and non-domestic animals. Each of the subdivisions starts with a summary putting forward the main characteristics of the group of toys and games concerned. In 'Conclusion and Perspectives', a synthesis is proposed, together with a discussion of some environmental, economic and socio-cultural aspects, and a socio-semiotic analysis. Then follows the chapter 'Perspectives' in which I have tried to offer some suggestions for the practical use of this play and toy culture. In an appendix a detailed and systematic description, in French, of the Saharan and North African toy animals of the collection of the Musée de l'Homme can be consulted.
For their play activities referring to the animal world the Saharan and North African children use certain animals as living toys as well as playing with toy animals. Yet, the child's body can be enough to imitate an animal such as a dromedary or a horse. The animals used as living toys are little dromedaries, donkeys, mules, sheep, turkeys, cats, sandmice, jerboas, fennecs, lizards, salamanders, tortoises, insects and even scorpions. However, I have not found any reference to rabbits or dogs serving as living toys, except a Ghrib boy playing in 1975 with a herddog.
The described toy animals represent dromedaries, horses, mules, donkeys, cows, zebus, sheep, rams, goats, dogs, cats, rabbits, hedgehogs, chickens, gazelles, antelopes, ostriches, birds, rats, snakes, monkeys and scorpions. The omnipresence of the dromedary is not amazing at all. Just as Jan Bujak notices for the horse in Poland where its economic and cultural importance is reflected in the little horse and the 'lajkonik', two popular Polish toys, the importance of dromedaries in North Africa and the Sahara explains its popularity in the play activities of the children from these regions.
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From the gathered information as well as my personal observations in Morocco and Tunisia, I think one can conclude that the games and toys related to the animal world are more limited in the cities than in the countryside. This can be explained by the greater familiarity of rural children with animals. The boys are the ones most often playing games referring to animals or to the relationship between humans and animals. According to all the information at my disposal, these games are less current among girls. Although my own observations confirm this remark, one should bear in mind that the consulted authors mostly are men, that the children's sex is not always specified and that most of my informants on these kinds of play activities are boys or men. Among the Tuareg, boys and girls play together with their toy dromedaries and they divide the tasks when making them.
Although the data rarely reveal this, the toy animals described here only make sense in the context of the children's games which are most of the time collective and open-air play activities involving children of the same family or neighborhood. For these games the children use a good number of toys or other objects. Moreover, the way of communicating with domestic animals and the whole language referring to the animal world is practiced in these play activities.
If some games directly refer to the life of the animals and their behavior, many other games find inspiration in the way adults use these animals. The children play at organizing a nomadic encampment, at being a shepherd, a dromedarist, a horseman, a mule driver, a caravaneer, a hunter, a cattle-breeder, a farmer, and almost all male occupations.
Leaving aside the psychological, pedagogical and socialization aspects, the least one can stress is that a comprehensive learning of the physical, vegetal and animal environment is achieved through these play activities.
Toys representing animals can be very simple, necessitating no work at all. A stone becomes a goat, a sheep or a dromedary. A long reed or stick is transformed into a horse. The majority of the toys representing animals made by Saharan and North African children, from the simplest ones to the most elaborated ones, are hand-made. With few exceptions these toys remain figurative and realistic representations regarding the overall appearance and sometimes also the details.
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The Saharan and North African children themselves have made almost all these animals in miniature. Therefore they use a lot of material of mineral, vegetal, animal and waste origin. Only rarely adults make such toys, like the servants and artisans of the Moors or the artisans from Rabat and Marrakech. With only few exceptions of former as well as recent times, the toy animals are made locally. Yet, the importation in these regions of European toys exists already for a long time.
The oldest toy animal described in this book is a ram of painted clay made before 1889. The other toy animals of the collection of the Musée de l'Homme have been made between the 1930s and the 1960s. The toy animals I saw myself were made between 1975 and 1977 for those of the Ghrib children or between 1992 and 2002 for those of the Moroccan children.

Dezvoltarea personala a copiilor, se realiza pas cu pas iar creativitatea este unul din factorii importanti ai vietii. Creativitatea la copii este o definitie a imaginatiei sau a crearii de noi idei originale.

Cu ajutorul creativitatii copii, pot depasi momentele vietii. Creativitatea cat si imaginatia sunt alimentatoare ale inovatiei si bune conductoare catre stiinta, arta sau tehnologie.

Dupa cum stim, fiecare copil se naste cu un potential creativ enorm, dar acest potential poate ramane slab dezvoltat, daca parintii nu il stimuleaza prin diverse activitati.

Creativitatea la copii este modul in care acestia isi poate exprima puternic individualitatea si personalitate.

Die Puppe findet sich im Werk der Künstlerin Niki de Saint Phalle (1930-2002) als Objet trouvé bis in die 1980er-Jahre und wird hier erstmals untersucht-auch in Abgrenzung zur bekannten ‚Nana'-Figur. Anders als in den Großprojekten und den großformatigen Arbeiten, in denen sie zum Teil verarbeitet wurde, wird die Puppe zu einem Diminutiv der Idee von Kindheit und Kind-Sein und zu einem Attribut der kritisch bewerteten Rolle der Frau. Die Puppe ist hier weder ein sich perpetuierendes Bildkürzel noch Teil einer eigenen künstlerischen Bildsprache, sondern erweist sich als ein Werkstoff, der in diesem ganzen Sprachsystem (Pierre Restany) des Werkes als ein plastisches Addendum fungiert. Zusammen mit anderen Objekten offenbart die auf den Werkflächen arrangierte Puppe eine private ebenso wie politische Lesart im Kontext ihrer Zeit. Dieser Artikel ist eine erweiterte Fassung des in "de:do-denkste: puppe. Multidisziplinäre Zeitschrift für Mensch-Puppen-Diskurs. Ausgabe 1/2019: Puppen als Miniaturen – mehr als klein“ (Hg. Insa Fooken, Jana Mikota, Philipp Schmerheim, vgl. https://denkste-puppe.info/ausgaben/) unter dem Titel „Zwischen Miniatur und Monumentalität: Grundlegendes zur Puppe und ihrer Bedeutung im Spannungsfeld von Material, Statement und Aktion im Werk von Niki de Saint Phalle“ erschienenen Aufsatzes.

This essay will take a quantitative research approach to study the language used to create discourses of gender in catalogue toy advertisements. For the purpose of this study an issue of Argos catalogue will be used to inspect the frequency of certain words in ad blurbs in the boys’ and girls’ separate toy sections. While fixed, ultimate conclusions are impossible to derive from such studies, this paper will attempt to discover the different ideologies that are aimed either directly or covertly at the readers. It will be argued that advertising can encourage an attitude of exclusion and separation between boys and girls by creating narratives that intentionally alienate the other group. Additionally, by grouping the frequently used words, the essay will try to identify different discourses related to the gendering of personal and professional life from early childhood.

Le jouet est l’un des témoins privilégiés des changements sociaux : au centre des transactions familiales,
intimement lié à l’enfance, historiquement différencié entre les sexes, il permet de mettre au jour l'évolution
de la place de l’enfant au sein de la famille ainsi que les transformations des catégories de genre au fil du
temps. Dans cette perspective, les catalogues de jouets apparaissent comme un matériau particulièrement
riche à étudier : ces espaces de commercialisation sont autant de traces écrites permettant d'observer
l'évolution des pratiques culturelles et de consommation ainsi que les mouvances du genre et plus
spécifiquement les représentations sexuées qui accompagnent l’enfant, ses besoins et désirs supposés. A partir
de l'analyse d'un corpus constitué de catalogues de jouets d'enseignes diverses des années 1980 à nos jours,
nous focaliserons notre propos autour de trois axes : l’évolution de l’offre en matière de jouet, des catégories
« garçons » et « filles » et de leurs frontières respectives ; l’évolution du discours linguistique associé aux
jouets, en particulier des injonctions ; l’évolution du discours iconique. Nous verrons ainsi dans quelle mesure
le jouet, pris comme objet d'étude, permet de réinterroger les catégories de genre, leur construction et leurs
variations.

Objects have always been used to play, and objectual play has been described as a distinct cultural universe (Hughes 1999, 43-57). The most common objects associated with play in the modern world are toys-artefacts employed in ludic interaction that are either improvised or designed to be used in play. Although toys have become an indispensable part of childhood and increasingly an area of material culture that is also employed by adults, toy design as an area of design research is still scarce. Even more so is the realm of toy design interested in mature toy users. This paper, as a first approach in this direction, aims to contribute to the field of toy design research by taking an interest in universal toy design guidelines with a focus on toy designers' perspectives. The paper focuses on the core aspects of transgenerational toy design in terms of key dimensions of character toys, such as dolls, action figures, and soft toys. Earlier research states that the dimensions of the toy experience consist of physicality, functionality, fictionality, and an affective component. By turning to toy designers who presented their creations at the DesignerCon 2018 event in Anaheim, U.S.A., this study investigated the designers' perspective on the key dimensions of character toy design understood here to represent true cultural design universals, including reflections on the toys' playability.

Bratz dolls, popular among pre-adolescent girls, have been the subject of widespread criticism. Many scholars, activists, educators, and parents have argued that the scantily clad fashion dolls contribute to the sexualization of girls that has been decried by the American Psychological Association, among others. As is often the case in studies of girls’ popular culture, however, these conversations about the problems with Bratz have rarely incorporated the voices of girls in the brand’s target audience. To address this gap, this article analyzes an afternoon of Bratz doll play by a small group of African-American girls, aged between 8 and 10 years. Th is article suggests that although critical concerns about Bratz’ sexualization are warranted, the dolls’ racial diversity may benefi t some girls’ play, enabling them to productively negotiate complex issues of racial identity, racism, and history while paying little attention to the dolls’ sexualized traits.

Since 1992, every presidential election cycle has featured a Barbie doll as a candidate in an effort to encourage little girls to learn about the American election process. The campaign itself has many rhetorical tools working in its favor: Barbie’s ability to incite ‘aspirational’ play has always been a fixture of her persona. The interactive website and public events launched by the campaign worked to enhance the sense of active identification that little girls felt toward the doll. However, the ridicule with which Barbie for President was received by the mainstream press may have completely invalidated the effort in the eyes of parents, whose buying power determined the success or failure of the educational effect. The criticism concludes that individual consumers faced with competing frames may interject their own perspectives into their interpretations of the doll, and may form their own opinions about the doll’s campaign.

Czy dzieciństwo zawsze istniało? To pytanie może wydać się dziwne. Jest prowokacją, ale chcę przez nie podkreślić, jak wielkie przemiany zaszły w ludzkiej świadomości na przestrzeni wieków. Nie zawsze bowiem dzieci traktowano tak jak obecnie.

In the summer of 1960, John Dominis, a noted American photojournalist for Time Magazine, took a picture of a line of Japanese people winding down a Tokyo street (see fig. 1). 1 The children in the foreground of the image sit on stools. It is clear that everyone came prepared for a long wait. With this assignment, Dominis, who had served as a combat photographer during World War II (Vitello 2013), found himself back in Japan, tasked with capturing what might have seemed to be a far more innocent spectacle: the sudden consumer frenzy surrounding a doll named Dakko-chan ダッコち ゃん (Dakko-chan) (see fig. 2). 2 In what came to be called the Dakko-chan būmu ダッコちゃんブーム (Dakko-chan boom) of the early 1960s, tens of thousands of Japanese people lined up to purchase an inflatable blackface doll with a circular red mouth, grass skirt, and winking hologram eyes. In Japanese, dakko 抱っこ means "to hug," and Dakko-chan's astronomical

The folk-tribal genre of Bengal art – referring to that of today’s Bangladesh and the Indian-state of West Bengal – had a rich and varied tradition of making wooden-dolls and toys. These figurines were mostly of four-to-nine inches in height and were produced in large numbers, up to the middle of the last-century, by the local Sūtradhara-artisans.  Even today, they could be traced being made around various corners of Bardhaman,  Hooghly,  Howrah,  East-and-West Medinipur  and Bankura  in West Bengal; and Dhaka, Faridpur, Maimansingha, Chattagram and Comilla in Bangladesh.
The subjects of these dolls mainly focus on human-figures and deities, like – Bau-putula,  Rājā-Rānī,  Gaura-Nitāi, Śiva, Gaṇeśa, Kṛṣṇa, Kṛṣṇa-Rādhā, Kṛṣṇa-Kālī, Balarāma-Subhadrā-Jagannātha etc. Animals and birds are also depicted, but mostly in the toys made for children. However, exceptions are the famous owl-figures of Natungram in Bardhaman and Sabalpur in Murshidabad – that are highly adored in every other household as the divine-mount of goddess Lakṣmī.

Sa construiesti un spatiu de joaca pentru copii in propria curte pentru copilul tau, este relativ simplu si deloc scump. Copii vor trai mereu intr-un univers vast unde limita este doar imaginatia lor. In lumea lor, consumul de energie merita doar daca este implicata joaca lor preferata.

Fara indoiala, cei mici ar fi incantati sa le amenajezi un spatiu de joaca in curte, unde se pot juca dupa voia lor. Am adunat cateva idei care te vor ajuta sa amenajati spatiu de joaca perfect pentru cei mici. Poti sa combini sugestiile in functiile de preferintele copilului si de spatiul tau din curte.

Nu trebuie sa te gandesti ca ai nevoie de o curte mare pentru a incepe sa amenajezi un spatiu de joaca. Ai nevoie de o atentie serioasa la preferintele copilului tau si o doza de creativitate.

Spatiu de joaca de afara trebuie gandit in asa fel, incat cel mic sa petreaca mai mult timp in aer liber, departe de tentatiile televizorului, laptopului sau telefonului. Nu este vorba de-ai interzice celui mic accesul la tehnologie. Trebuie doar sa te orientezi in a face un spatiu

This paper analyzes the Japanese television series Kaizoku Sentai Gokaiger (2011-2012) as a representative of the Super Sentai franchise of Japanese popular culture. Super Sentai, or Super Task Force, is part of the tokusatsu (special filming) mode of filmmaking that features live-action science fiction narratives. As part of a history that begins with Gojira (1954), tokusatsu and Super Sentai both maintain a close relationship to post-World War II trauma. This paper traces the way in which Gokaiger maintains and dissem- inates the trauma of the atomic bombings using the mediums of television and film, but also extends that process into children’s play through the use of toys.

Once again, this new book describes the pretend play of Saharan and North African children and the toys they use in it. Under the heading technical activities in play, games and toys I have grouped a series of play and toy- making activities that relate to hunting and fighting, to transport and to communication. Grouping all this under the term 'technical activities’ is certainly arbitrary, but I could not find a better title.
After the introduction this book is divided into three parts: toy weapons for hunting and fighting games, toys for play related to transport and toys for play related to communication. The play and toy-making activities described in this book are most often part of boys’ play world. But occasionally girls are also engage therein.
The conclusion is limited to a synthesis and an overview of how I used the North African play and toy cultures for educational and sociocultural purposes in recent years.
As usual, the reader will find thereafter a catalogue of Saharan and North African toys that were kept at the Musée de l’Homme but are now found at the Musée du Quai Branly, both in Paris. However, this catalogue only exists in French.
The Saharan populations whose children’s play and toy-making activities the reader will discover are: the Tuareg, the Ghrib, the Moors, the Sahrawi, the Chaamba, the Teda, the Zaghawa, the Belbala, the inhabitants of the Saoura Valley and the Mozabite. Except the Belbala, the inhabitants of the Saoura Valley and the Mozabite, these populations were nomadic or semi-nomadic but for some time now they have become partially or fully settled.
The sedentary populations this book is talking about are the Kabyle and the Chaouïa of Algeria, several communities from the Moroccan countryside and the inhabitants of some cities in Algeria, Morocco and Tunisia.
The games and toys related to ‘technical activities’ of the Saharan and North African children are directly inspired by the adult world but these children surely add to it their own interpretation. Some of these play and toy-making activities undoubtedly help to prepare growing children for adulthood and professional life.
The creativity of Saharan and North African children is among other ways clearly expressed in the manufacture of toys that most of the time copy real objects. To create these toys the children use a variety of natural and waste material found locally. The toys described in this book range from very simple to very elaborate.
The role of the toy industry, especially from China, and of the recent communication technology becomes more and more prominent in the evolution of children’s play and toy culture.
I would like to draw the reader's attention to the fact that, since 2005, Khalija Jariaa has offered important assistance in gathering information and photos on the toys and games of Anti-Atlas children. Her family and friendship relations, her knowledge of local customs and languages as well as her gradually developing interest in children's culture have made possible, among other things, a better understanding of the dialogues between players.

The growing phenomenon of the toy industry arises from the power of innovation, creativity and stimulating the imagination on the part of the companies. In this context, it becomes possible to understand why the world market has been expanding every year. Regardless of social class to which it belongs, every child has certain basic needs such as food, love, education and fun. In addition, the game also includes those needs in all stages of child development. And parents are always attentive and anxious to offer objects that contribute to this healthy development of their children and are delighted with the endless possibilities of toys that are shown every day by various means of marketing communication. The purpose of this study is to identify how different marketing actions are perceived by parents when choosing a toy for their children, using a descriptive practical research conducted in a structured manner, through survey of standardized data with intentional non-probability sampling, with the quantitative research method, using the website Survey Monkey as research tool, through a questionnaire given to parents with children from 0 to 12 years old. Closed format questions were used in a questionnaire of 17 questions to respondents in the municipality of São Bernardo do Campo in the period from 10/26/2015 to 10/28/2015. Through this research, it is concluded that the influence of marketing does not interfere directly in the toy purchasing decisions by parents, but indirectly, it awakens the desire to buy toys in the children and their friends, which in turn, motivate parents to buy them.

The 2020 toy and game market is projected to be US$135 billion. To determine if 3D printing could affect these markets if consumers offset purchases by 3D printing free designs, this study investigates the 100 most popular downloaded designs at MyMiniFactory in a month. Savings are quantified for using a Lulzbot Mini 3D printer and three filament types: commercial filament, pellet-extruded filament, and post-consumer waste converted to filament with a recyclebot. Case studies probed the quality of: (1) six common complex toys; (2) Lego blocks; and (3) the customizability of open source board games. All filaments analyzed saved the user over 75% of the cost of commercially available true alternative toys and over 90% for recyclebot filament. Overall, these results indicate a single 3D printing repository among dozens is saving consumers well over $60 million/year in offset purchases. The most common savings fell by 40%–90% in total savings, which came with the ability to make novel toys and games. The results of this study show consumers can generate higher value items for less money using the open source distributed manufacturing paradigm. It appears clear that consumer do-it-yourself (DIY) manufacturing is set to have a significant impact on the toy and game markets in the future.

Abstrak : Salah satu ciri pembelajaran abad 21 adalah kegiatan pembelajaran yang mengasah HOTS (high order thinking skill) dan literasi. Penelitian ini bertujuan untuk meningkatkan kemampuan HOTS, literasi, dan hasil belajar IPA siswa kelas 5 SD Alam Ar-Ridho TA. 2017/2018 dengan model belajar PjBL (project base learning) berupa proyek membuat mainan berbasis gerak dan gaya. Tahap awal, siswa mengakses ragam literasi untuk mencari ide/inspirasi karya, kemudian dalam tahap proses pembuatan karya melibatkan kemampuan HOTS, yaitu : menganalisis (analyzing), mengevaluasi (evaluating), dan mengkreasi (creating). Pada tahap akhir, siswa mempresentasikan dan mendemonstrasikan hasil karyanya. Untuk hasil belajar IPA berupa tes tulis materi gerak dan gaya, ketuntasan belajar siswa mencapai 90,9 % dengan nilai rata-rata 80,5. Kata Kunci : HOTS, Literasi, project base learning, mainan berbasis gerak & gaya

Abstract : One of 21 st learning characteristic is learning based on HOTS (high order thinking skill) sharpening and literacy. This goal research is to enrichment HOTS, literacy, and IPA learning result of 5 th grade SD Alam Ar-Ridho students academic year 2017/2018 with PjBL model by making toys based on motion and force project. In the beginning, students access vary of literacy to find idea or inspiration, then in the process making toys, students using HOTS skill : analyzing, evaluating, and creating. In the last stage, students presented and demonstrated their project. For the IPA learning result by evaluation test of motion and force subject, students learning mastery is 90,9 % and GPA 80,5. Keywords : HOTS, Literation, project base learning, toys based on motion & force

The book is in Lithuanian, with Lithuanian and English photo captions, and an English summary. ISBN 978-609-8061-10-9
https://v2.valdovurumai.lt/en/activities/publications/povilas-blazevicius-the-oldest-lithuanian-toys#.XOzIPtSLRpg

Ši knyga yra pirmasis mėginimas pažinti istorikų užmirštus ir archeologų atrastus, nuo pat vaikystės tokius svarbius lavinimosi ir lavinimo draugus – žaislus ir žaidimus. Priešistorės laikų pramogų tyrimai, iš pirmo žvilgsnio atrodantys nesudėtingi ir žaismingi, iš tiesų yra svarbūs ir reikšmingi. Tiriant XIII–XVII a. Lietuvos Didžiosios Kunigaikštystės žaidimus ieškoma atsakymų į esminius klausimus, susijusius su jų chronologija, geografiniu ir socialiniu paplitimu, kilme, raida bei ryšiais su artima ir tolimesne geografine aplinka. Knygoje keliami klausimai dėl socialinių kultūrinių pramogų aspektų, galimų kultūrinių, ekonominių ir politinių priežasčių žaislų ar žaidimų populiarumui, legalumui ir jų vietai tuometinėje visuomenėje. Ši knyga turėtų būti įdomi ir naudinga ne tik specialistams, bet ir plačiajai visuomenei, besidominčiai Lietuvos žaislų ir kasdienybės istorija.

This book is a first attempt to become reacquainted with what historians have forgotten and archaeologists have found – old toys and games, which were the most important friends and educational tools of our youth. At first glance, research into the leisure activities of prehistoric times might seem simple and fun but, in truth, is also important and meaningful. By researching the games of the Grand Duchy of Lithuania from the 13th-17th centuries, an attempt is made to answer essential questions concerning their chronology, geographical and social spread, origin, development, and ties with their geographical neighbors, near and far. The book raises questions concerning the social and cultural aspects of leisure activities; the probable cultural, economic, and political reasons for the popularity and legality of toys and games, and their place in the populace of the time. This book should be of interest not only to specialists, but also to the general public interested in the history of Lithuanian toys and everyday life.

Recenzavo prof. habil. dr. Albinas Kuncevičius, prof. dr. Libertas Klimka, dr. Gintautas Zabiela
Lietuvių kalbos redaktorė Jurga Dzikaitė
Vertėja į anglų kalbą Inga Baranauskienė
Viršelio dailininkės Alicija Širvinskienė, Sigutė Mikšaitė
Maketavimas Virgaudas Minialga

Knygoje tekstai skelbiami lietuvių kalba, taip pat pateikiami lietuvių ir anglų kalbomis parengti iliustracijų aprašymai, publikuojama angliška santrauka.

Išleido Nacionalinis muziejus Lietuvos Didžiosios Kunigaikštystės valdovų rūmai
Vilnius, 2011
240 p., iliustruota
Spausdino UAB „Baltoprint“, tiražas 700 egz. ISBN 978-609-8061-10-9

Since the beginning of the XIXth century the design of toys is a serious cultural and economic issue. In this critical framework, the architectural toys represented a particularly part of a materialistic culture that contains educational, artistic and ideological values. To track this narrative means to track a complex net of relationship that show which part of each culture wants to be preserved and transmitted to the following generation through these educational devices.

This dissertation focuses on the characterization and role of toys in English language children’s literature, with an emphasis on differences and similarities in the cultural contexts where toys play a primary role.
Although regarded as material objects, toys are depositaries of values and deep connotations attributed to them by human society. Through the critical perspectives offered by material culture studies, thing theory, psychology, and cultural memory, the present work highlights the role of toys in the dynamics of identity building, leading to specific responses to the social context, and choices in gender roles.