How does it happen that some children acquire a reputation as a 'problem' in school? The article discusses some findings of a qualitative study involving children in the Reception year (ages 4-5). The research focused on problematic behaviour as this emerged within, and was shaped by, the culture of the classroom. A key question for the research was: what makes it difficult for some children to be, and to be recognised as, good students? Using an analytic framework derived from discourse and conversation analysis, we identify some critical factors in the production of reputation, including: the 'discursive framing' of behaviour; the public nature of classroom discipline; the linking of behaviour, learning and emotions; the interactional complexities of being (seen to be) good, and the demands on children of passing as the 'proper child' required by prevailing discourses of normal development, as coded in UK early years curriculum policy and pedagogy.

The article engages with the problematic nature of silence and its tendency to trouble qualitative inquiry. Silence is frequently read as resistance—as an impediment to analysis or the emergence of an authentic voice. Rather than seeking methodological remedies for such impediments, the article dwells on, and in, the recalcitrance of silence. The authors read silence, via Derrida and Freud, as the trace of something Other at the heart of utterance—something intractable, unspeakable, unreasonable, unanalyzable. Silence confounds interpretation and manifests, intolerably, the illusory status of speech as full “presence” or living voice. Yet it also incites the search for meaning and is therefore productive. How might Method work with the alterity of silence, rather than seeking to cure or compensate for its necessary insufficiencies? The article is organized around three examples or parables of silence. Humor gets tangled up in the text further on.

This paper argues for an expanded field of inquiry to conceptualise young children in museums. Drawing on Murris' [2016. The Post-Human Child: Educational Transformation Through Philosophy with Picturebooks. London: Routledge] analysis of childhood constructions, we discuss how cognitive and socio-constructivist models of the child dominate childhood and museum studies. We argue for the potential of Murris' figure of the posthuman child to reconceptualise children in museums. This perspective offers a greater focus on the potency of objects themselves, and the animacy of the non-human aspects of the museum. It is also underpinned by a theoretical shift from representation to nonrepresentation [Anderson, B., and P. Harrison. (2010) "The Promise of Non-representational Theories." In Taking-place: Non-representational Theories and Geography. Farnham: Ashgate], presenting us with new ways to address questions such as 'what does that mean?' when we observe children's learning in museums. Working with data that has proved resistant to interpretation across a range of research projects, what we call 'sticky data', we elaborate on three themes emerging from this reconceptualisation: vibrancy, repetition and movement.

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This article will focus in on one short play spell in the outdoor space of a classroom of 2-yearolds. Using the medium of video as data, it explores the way that children's bodies are caught up in what Ingold calls a 'dance of animacy', when bodies and matter encounter each other. I will deploy the figure of the 'post-human' child to challenge a conception of play whose outcome is a child's mastery -of self and of the world. Instead, I would like to propose that play is a way of being of the world. This re-conceptualising of play comes through a much closer attention to the moving body as it encounters the world, looking at points of contact where bodies and matter animate each other. By playing with film data in slow motion, I will put Manning's notion of the minor gesture to work, as a way to resist more normative accounts of play, where play is coupled to cognitive and social stages of development.