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Young children, who for purposes of this chapter I will ask the reader to visual-
ize as five- to eight-year-olds, already have considerable experience in at least
two dimensions of philosophical thinking. One dimension is wonder, which
we might define as a deep curiosity that most often expresses itself in ques-
tions, some of which could be classified in thematic groups like “metaphysics,”
“aesthetics,” “ethics,” and so on. In the various philosophy for (or “with”)
children curricula that have emerged in the last half century, the preferred
stimulus for encouraging this sense of wonder and eliciting these questions is
the philosophical novel or story, and we can identify two types of such stimuli.
The first may actually be said to represent a new genre of children’s litera-
ture—the philosophical novel for children. The novels of Matthew Lipman,
founder of the Institute for the Advancement of Philosophy for Children
(IAPC) provide an original model for this genre that has been widely imi-
tated. Lipman’s novels typically have these features: (1) No philosophical
jargon of any kind is used, and no philosophers’ names are mentioned;
(2) The plots are prosaic—most take place in public schools—rather than
fantasy or science fiction; (3) The novel itself portrays children engaged in
philosophical dialogue with each other, with adults, or in combination, in
completely ordinary language, for purposes of modeling communal dia-
logue; (4) The thematic structure of the novels is intuitively organized and
nonsystematic. In the IAPC tradition, such novels are typically used, not to
assign questions for group discussion, but to stimulate them. After a read-
ing of an episode or short chapter, children generate their own questions,
choose which one to start the conversation with, and proceed from there.
The second broad form of stimulus is the children’s story with philosoph-
ical implications or overtones, of which there is a rich tradition in children’s
literature. These narratives do not model—directly anyway—philosophical
dialogue, and often are plotted in fantasy, science fiction, or some alternate
universe. As opposed to the Lipmanian novel, which covers many philo-
sophical topics, children’s books are often single themed. But they make
up for their non-pedagogical emphasis and structure by their vividness and
creative originality. At their best, they demonstrate the deep connection
Developing Philosophical Facilitation 111
between literature and philosophy, whereas the deliberately philosophical
novel tends to separate the two.
Beyond children’s natural sense of philosophical wonder, a second dimen-
sion of philosophical experience young children already have is in the realm
of language, which is the vehicle through which the questions that wonder
gives rise to are expressed and answers given. I am thinking philosophically—
or at least pre-philosophically—when I use language to reason—that is when
I give definitions, classify someone or thing, point out contradictions in an
argument, draw conclusions, entertain absent or nonexistent possibilities,
talk about how things ought to be, and so on. And as a five- to eight-year-
old, I do this all the time, whether I’m talking to or about my friends, or my
school, or a story I read or saw, or whether I deserve the last cookie in the jar.
A community of philosophical inquiry is, we may say, a place where this
way of talking is privileged—where teachers reward it with their careful at-
tention and model it themselves. When that sort of a language space is set
up, it is often surprising to see how quickly children learn to use it in a con-
scious and focused way. This is because they are learning it from each other
as well as from the teacher, which makes of it a very powerful educational
environment. But it does not happen automatically. It takes a thoughtful
teacher to set up the environment, to identify, model and coach, not just its
reasoning moves, but its group rules and practices, to help it stay on track
and focused, and to work to provide just enough structure—not more and
not less—for its own inherent structure to emerge.
This is both easier and harder than might appear at first sight. Harder
because the teacher must be able to hear children reasoning when they do,
and that takes overcoming the prejudice—widespread in adult culture—
that they can’t. It also involves going metacognitive—that is, thinking about
thinking. If I said “It’s a cat,” for example, who would stop to note that I
am making a classifying move, or that I am making distinctions and con-
nections and thinking analogically when I say “It looks like a dog”? The
teacher must learn—through paying careful and thorough attention to what
children are saying—to recognize these reasoning moves in everyday lan-
guage, and to feed that recognition back to her students.
The easy part is that these moves tend to happen spontaneously in a set-
ting that involves group deliberation. If someone says “All cats are black”
(an “all” statement), for example, the teacher won’t have to call for a coun-
terexample—it is virtually guaranteed that one will spring into someone’s
mind. More generally, the beauty and power of this kind of communal di-
alogue is its spontaneous, emergent quality—how we evoke each other’s
ideas as in a play whose lines we recite, however effortfully, without having
had to learn them—a game that plays us rather than we it. Socrates called
this “following the argument where it leads.” But of course we can’t follow
it unless we recognize it. Through experience, we learn what to listen for.
What follows is a basic list of the sorts of critical reasoning moves that
teachers can listen for when talking with children. Once she spots them, she
can redistribute them among the group by pointing them out and naming
112 David Kennedy
them (“James just gave a counterexample”), introducing and modeling them
herself (“I’m going to try and give a definition of ‘freedom,’ and you tell me
if you agree or disagree, and why”) or calling for a move (“Could someone
restate Alicia’s argument?”). The moves may be made more or less “visible”
within a conversation. A teacher may, for example, emphasize one or more
of them over the course of one or more sessions, as a kind of exercise within
the larger discussion; or she may choose stories or episodes from novels that
lend themselves better to practicing one or more of these moves. With that
in mind, the dozen or so basic moves offered below are given in the order
in which they might usefully be emphasized in a sequence of group conver-
sations. For example, “Asking a question” is a cognitive move that comes
naturally to young children, but which may not have been emphasized at
home; or, even if it has, it may not have been consciously distinguished from
a statement. Once young children can make such a move consciously, they
are in a much better position to use it as a tool in a conversation. And since
when we think together about the world we are most interested in questions
rather than in already-formed propositions—for it is the question that leads
to the emergence of new meanings—we place it first on the list.
THE TOOLBOX
For those teachers who wish to concentrate on the moves to the point of
removing them from the context of a conversation and practicing them di-
rectly, there is a powerful resource in the instructional manuals developed
by Lipman and his colleagues to accompany each of his novels. The former
include myriad exercises and discussion plans that probe both substantative
themes and practice critical and creative thinking. For example, in Getting
Our Thoughts Together (Lipman, 1998), which is the manual to accompany
Elfie (a text appropriate for second graders), Leading Idea 3, “Distinctions”
offers no less than six exercises on, in the words of the introductory para-
graph, “being able to say how things are alike and how they are different.”
The exercise “On not being a tree” asks “How are these things not like
a tree? A person, a cat, a flower, a shrub, another tree.” And the exercise
“Differences” asks “In what ways can these two things be different? Two
thoughts, two thoughts about the same thing, the same thought about two
different things, a thought and a memory, a thought and a dream” (p. 131).
Such exercises—of which there are thousands in the IAPC manuals, and
which can easily be developed by the teacher herself—are certainly of great
value, but nowhere near as effective as becoming aware of the moves and
practicing them in the live, grounded context of a group discussion about
some philosophical issue that is important to those participating, guided
by a facilitator who can recognize them, highlight them, call for them,
and model them herself. And the committed teacher has many options for
118 David Kennedy
training herself in this delicate, complicated, and intuitive practice, whose
mastery is a life-long project.
The list expanded upon above, for example, can be used either as a
worksheet or an evaluative checklist. As a worksheet, the teacher might
ask older children to keep it in front of them during conversations and en-
courage them to identify what kind of move they are going to make before
they make it. As a checklist, the teacher may videotape a conversation, then
watch it with list in hand; more often than not one is surprised by how many
moves one has missed or misinterpreted. And if facilitators have the good
fortune to work in pairs, one member of the team can take notes as she adds
ticks to the checklist, for later discussion with her partner. Given that the
largest part of successful facilitation of philosophical dialogues—whether
among children or adults—is in knowing what to listen for, the opportunity
to analyze young children’s reasoning after the fact represents a powerful
learning tool for teacher-facilitators and would do well if it were made stan-
dard practice.
The List
Asking a question
Agreeing or disagreeing
Giving a reason
Offering a proposition, hypothesis, or explanation
Giving an example or counterexample
Classifying/Categorizing
Making a comparison
Making a distinction
Making a connection
Making an analogy
Offering a definition
Identifying an assumption
Making an inference
Making a conditional statement (“if/then”)
Reasoning syllogistically
Self-correcting
Restating
Entertaining different perspectives
REFERENCE
Lipman, M. (1998) Getting our thoughts together Montclair, NJ: Institute for the
Advancement of Philosophy for Children.