Gender differentiation in the family drawings of Israeli, Jewish-orthodox preschoolers

2020 ◽  
Vol 18 (2) ◽  
pp. 214-224
Author(s):  
Rachel Karniol
Keyword(s):  
Preschool Children ◽  
Differentiation Of Self ◽  
Children's Drawings ◽  
Mothers And Fathers ◽  
Gender Differentiation ◽  
Family Drawings ◽  
The Family ◽  
Children’S Drawings ◽  
Large Families

Preschool children from Israeli, Jewish-Orthodox families with an average of four children per family drew their families. Three aspects of gender differentiation in children’s drawings were assessed in relation to children’s gender and number of siblings: size of figures, colour use, and inclusion of gender-associated characteristics. Size of drawings reflected gender differentiation, with fathers being drawn larger than mothers. Boys, and children with more siblings, drew both their mothers and their fathers larger. Colour use did not differ by children’s gender or number of siblings. Girls evidenced greater gender differentiation in their drawings, including more gender-associated characteristics than boys, both in their drawings of children, and in their drawings of adults. Finally, children who showed no differentiation between parents in terms of gender-associated characteristics drew both mothers and fathers smaller than children who showed such gender differentiation, and boys who did not use a variety of colours in their drawings drew their fathers larger than their mothers, whereas those who used a variety of colours, drew their parents the same size, indicating that the measures of gender differentiation are related. The results were discussed in terms of children’s emerging gender differentiation of self and others in large families.

scholarly journals Preschool Children’s Drawings: Frequency and Theme Analysis

2021 ◽  
Vol 9 (3) ◽  
pp. 70
Author(s):  
Jana Marie Havigerová ◽  
Yveta Pohnětalová ◽  
Kateřina Strnadová ◽  
Karolína Kocourková ◽  
Dominika Podubecká
Keyword(s):  
Preschool Children ◽  
Frequency Analysis ◽  
Literacy Development ◽  
Golden Age ◽  
Preschool Age ◽  
Children's Drawings ◽  
Natural Objects ◽  
Children’S Drawings ◽  
Practical Impact

The preschool age is called the golden age of drawing; drawing is a “golden” mediator of literacy development. In this article, we focus on the content the preschool children put into their drawings. The goal of study has been the comparison of preschool children’s drawings with respect to the thematic categories of drawn object, and to identify differences between boys and girls. There were analyzed pictures (N=61) drawn by preschool children, from 5 years and 9 months to 6 years and 11 months. Pictures were drawn following the content-neutral (indifferent) instruction: “Draw, what is on your mind now.” The obtained data were subjected to thematic and frequency analysis. Results: data shows that the average number of objects is higher in girls’ drawings: girls drew 4±5 objects on average, while boys drew only 2±2. The number of drawn objects increases with age. Objects drawn could be divided onto 14 thematic categories; most popular are natural objects (sun, mammal, flowers, clouds etc.). The most popular theme in the group of boys are Vehicles, in girls group themes vary more. Practical impact: if we know what children like to draw, we have a strong motivating element for the development of communication literacy, especially writing.

Influence of Nursery Group Experience on Children's Drawings

1964 ◽  
Vol 14 (2) ◽  
pp. 433-434 ◽  
Author(s):  
Wally Reichenberg-Hackett
Keyword(s):  
Preschool Children ◽  
Nursery School ◽  
Teacher Practices ◽  
Economic Status ◽  
Environmental Influences ◽  
Children's Drawings ◽  
School Environments ◽  
Socio Economic Status ◽  
Children’S Drawings ◽  
Group Experience

This study investigates environmental influences on potential creativity of 120 preschool children, of similar socio-economic status, median age 4-3 who are exposed to nursery school environments differing widely in regard to teacher practices and attitudes. The children's drawings of a man are being analyzed quantitatively and qualitatively and evaluated statistically.

scholarly journals PREVENTIVE INVESTIGATION OF THE IMPACT OF THE FAMILY ON STUDENT AGGRESSION IN THE PROCESS OF COGNITIVE DISMODERATE INTERCOURSE

2019 ◽  
Vol 34 (2) ◽  
pp. 359-365
Author(s):  
Vesela Ivanova Bozhkova
Keyword(s):  
Family Environment ◽  
School Environment ◽  
Energy Charge ◽  
Family Members ◽  
Human Mind ◽  
Children's Drawings ◽  
The Family ◽  
Children’S Drawings ◽  
The Mind ◽  
The Impact

The prevention of cognitive dismoderate intercourse depends on the distinction of the basic behavioral stereotypes, blocking, moderation (this is a moderate, correct measure) regarding the adequate processing of information between the reflective representations of personality and the importance of the process of personality of communication. The study identifies the main aspects of the relationships of children in the family environment, influencing the process of cognitive dismoderate intercourse, through a projective methodology. Inductive for inferior interactions between family members is the arrangement of the drawings on the left side of the leaf, predominantly in pale colors. The importance of perception, as a sensory perception in children's drawings, is projected, as a reflection of things in the mind, through the sensory organs, indicative of cognitive dismoderate intercourse, is the blunting of the basic logical conclusions of the communicative process in the preponderance of emotional conclusions. The pale colors in the children's drawings, as well as the too bright ones, are indicative of cognitive deficits in communication. The reflective attitude of children to the events and events of their relationships with their parents influences the process of immediate active reflection on the cognitive spheres in the human mind, through internally personal and external objects, situations, positions, phenomena that determine the dysmoderate breaking of feedback in interactions. A large percentage of the students surveyed do not portray their family members holding hands, which is indicative of the lack of trust between family members, in their joint communication processes, they doubt their sincerity towards each other. Distant figures of family members are observed in the images in children's drawings; in practice, this is an indicator of alienation between family members. Basically, children's drawings lack eyelashes, when depicting family members, this is indicative of the lack of interest of family members towards each other. The lack of understanding of the problematic relationships between parents and children enhances the process of cognitive dismoderate intercourse between them, this type of relationship, the children transfer to the school environment. When children draw long arms in the image of their family, this indicator shows the presence in the mind of the child of an overbearing, arrogant and mentally burdensome person. The preventive importance of social interactions and attitudes has emerged, through the indicators of children's drawings indicating the behavioral tendencies and energy charge of adolescents, mainly in their behavior, a rich emotional world of manifested emotions is observed, but most of them are of a negative nature due to blocking and behavioral stressors.

Young Children’s Nonfigurative Drawings of Themselves and Their Families in Two Different Cultures

2011 ◽  
Vol 10 (1) ◽  
pp. 63-76 ◽  
Author(s):  
Hartmut Rübeling ◽  
Sina Schwarzer ◽  
Heidi Keller ◽  
Melanie Lenk
Keyword(s):  
Middle Class ◽  
Cultural Background ◽  
Children's Drawings ◽  
Spatial Allocation ◽  
Family Drawings ◽  
Children’S Drawings ◽  
Cultural Communities ◽  
Different Cultures ◽  
Middle Class Families

This study examined the influence of cultural background on young children’s nonfigurative drawings of themselves and of their families. We assessed children’s drawings in two very different cultural communities that emphasize orientations toward autonomy and relatedness to varying degrees. Children (mean age 3.3 years) were recruited either from rural Cameroonian Nso families (n = 27) or urban German middle-class families (n = 21). The results of this study supported our hypotheses that children in the two groups would differ in their self and family drawings with respect to their use of distinctive forms and the spatial allocation of scribbles. Despite these differences, however, some aspects of nonfigurative drawings were similar across cultures.

Children's Drawings and Attachment to Pets

1995 ◽  
Vol 77 (1) ◽  
pp. 235-241 ◽  
Author(s):  
Aline H. Kidd ◽  
Robert M. Kidd
Keyword(s):  
Gender Differences ◽  
Family Members ◽  
Eighth Graders ◽  
The Self ◽  
Farm Animals ◽  
Older Children ◽  
Children's Drawings ◽  
Self And Other ◽  
The Family ◽  
Children’S Drawings

To help confirm the concept that distances placed between the self and other figures in children's drawings represent emotional distances, 242 pet-owning and 35 nonpet-owning kindergarteners through eighth graders drew pictures of themselves, a pet, and/or a family member. Owners drew pets significantly closer than family-figures although the younger the child, the greater the distance between self and pet. Older children drew themselves holding pets significantly more often, but younger children placed the family-figure between the self and the pet significantly more often. There were no significant gender differences in self-figure/pet-figure distances, but cats, dogs, caged animals, and farm animals were placed significantly closer to self-figures than were fish. Over-all, owners were clearly emotionally closer to pets than to family members, but nonowners were as close emotionally to family members as were owners.

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
Keyword(s):  
Content Analysis ◽  
Contextual Cues ◽  
Children's Drawings ◽  
Emotional Information ◽  
Facial Cues ◽  
Audience Control ◽  
Children’S Drawings ◽  
Explicit Mention ◽  
Female Audience ◽  
Therapeutic Settings

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.

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