Depicting emotions for a male or for a female audience: Do children adapt the content of their drawings to the audience gender?

2021 ◽  
pp. 016502542110316
Author(s):  
Claire Brechet ◽  
Sara Creissen ◽  
Lucie D’Audigier ◽  
Nathalie Vendeville

When depicting emotions, children have been shown to alter the content of their drawings (e.g., number and types of expressive cues) depending on the characteristics of the audience (i.e., age, familiarity, and authority). However, no study has yet investigated the influence of the audience gender on children’s depiction of emotions in their drawings. This study examined whether drawing for a male versus for a female audience have an impact on the number and type of emotional information children use to depict sadness, anger, and fear. Children aged 7 ( N = 92) and 9 ( N = 126) were asked to draw a figure and then to produce three drawings of a person, to depict three emotions (sadness, anger, fear). Children were randomly assigned to one of the three conditions: they were instructed either to draw with no explicit mention of an audience (control condition) or to draw so that the depicted emotion would be recognized by a male (male audience condition) or by a female (female audience condition). A content analysis was conducted on children’s drawings, revealing the use of seven types of graphic cues for each emotion. We found numerous differences between the three conditions relative to the type of cues used by children to depict emotions, particularly for anger and fear and particularly at the age of 7. Overall, children used facial cues more frequently for a female audience and contextual cues more frequently for a male audience. These results are discussed in terms of their implications in clinical, educational, and therapeutic settings.

2019 ◽  
Vol 12 (3) ◽  
pp. 245-262 ◽  
Author(s):  
Jelena Sokić ◽  
Dušanka Đurović ◽  
Mikloš Biro

The study sought to examine the possible indirect trauma indica- tors among refugee children’s drawings. We have analyzed draw- ings of refugee children and non-refugee children as controls (5 - 9 years old). The content and Pickard’s expressive strategies for mood depiction were analyzed on 464 drawings. The content analysis revealed different content-specific categories across groups, with the category of Violence/War appearing significantly more in the drawings of the refugee group. and being used as one of the trauma indicators. The analysis revealed that negative mood was depicted by more complex and detailed drawings in both groups. An expressive strategy, namely the literal strategy, appeared to be specific to the refugee group only (e.g., absence of facial characteristics), while different patterns of non-literal ex- pressive strategies were observed in conveying mood between the two groups. Our findings suggest that the drawings can be used as a triage tool to assess the emotional status of refugee children.


Author(s):  
Oktafianingsih Oktafianingsih ◽  
Lanta L. Lanta L. ◽  
Hasnawati Hasnawati

This study aims to provide an objective description of the analysis of early childhood images in kindergarten builders in Rato Village, Lambu Sub-district, Bima District. In collecting data, researchers used observation, interview, and documentation methods. This research uses a content analysis method (content analysis) that is analyzing children's pictures. The subject matter studied in this research is to describe the pictures of early childhood in Pembina Kindergarten of Rato Village, Lambu Sub-district, Bima District. Of the 25 works, there are several kinds of drawings, namely the pattern of the development of children's drawings of the mottled phase period (2-4 years). There are 13 works and the pre-reality period (4-7 years) there are 12 works. Objects drawn by an early childhood in kindergarten Pembina Rato Village Lambu District Bima District in the drawing are natural scenery objects, the environment around the house, animals, plants, and streaks. The result of the research shows that in the whole screw-up period the children's drawings only have meaningless graffiti, ie circle, horizontal, vertical, and curved. There are eight children whose age is already in the period of Prabagan but the image is still classified in the period of the screw-up. In the pre-reality period, the overall result of the child image has already begun to form the desired image object, but the average mastery of space on the child's image can not be mastered, and some children who have mastered the placement of space in the picture. The color used in the drawing is still fixated on the child's wishes and the concept of the shape on the image has not been seen clearly.


2021 ◽  
pp. 204361062199583
Author(s):  
Thaís de Carvalho

In Andean countries, the pishtaco is understood as a White-looking man that steals Indigenous people’s organs for money. In contemporary Amazonia, the Shipibo-Konibo people describe the pishtaco as a high-tech murderer, equipped with a sophisticated laser gun that injects electricity inside a victim’s body. This paper looks at this dystopia through Shipibo-Konibo children’s drawings, presenting composite sketches of the pishtaco and maps of the village before and after an attack. Children portrayed White men with syringes and electric guns as weaponry, while discussing whether organ traffickers could also be mestizos nowadays. Meanwhile, the comparison of children’s maps before and after the attack reveals that lit lampposts are paradoxically perceived as a protection at night. The paper examines changing features of pishtacos and the dual capacity of electricity present in children’s drawings. It argues that children know about shifting racial dynamics in the village’s history and recognise development’s oxymoron: the same electricity that can be a weapon is also used as a shield.


PEDIATRICS ◽  
2002 ◽  
Vol 109 (3) ◽  
pp. 460-472 ◽  
Author(s):  
C. E. Stafstrom ◽  
K. Rostasy ◽  
A. Minster

2021 ◽  
pp. 1476718X2110627
Author(s):  
Caroline Cohrssen ◽  
Nirmala Rao ◽  
Puja Kapai ◽  
Priya Goel La Londe

Hong Kong experienced a period of significant social unrest, marked by protests, from June 2019 to February 2020. Media coverage was pervasive. In July 2020, children aged from 5 to 6 years attending kindergartens in areas both directly and less directly impacted by the protests were asked to draw and talk about what had taken place during the social unrest. Thematic analysis of children’s drawings demonstrates the extent of their awareness and understanding and suggests that children perceived both protestors and police as angry and demonstrating aggression. Many children were critical of police conduct and saw protestors as needing protection from the police. Children around the world have been exposed to protest movements in recent times. The implications for parents, teachers and schools are discussed.


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