scholarly journals CHILDREN`S DRAWINGS AS A TRIAGE TOOL FOR THE ASSESSMENT OF NEGATIVE EMOTIONALITY IN REFUGEE CHILDREN

2019 ◽  
Vol 12 (3) ◽  
pp. 245-262 ◽  
Author(s):  
Jelena Sokić ◽  
Dušanka Đurović ◽  
Mikloš Biro
Keyword(s):  
Content Analysis ◽  
Negative Mood ◽  
Negative Emotionality ◽  
Refugee Children ◽  
Emotional Status ◽  
Children's Drawings ◽  
Indirect Trauma ◽  
Children’S Drawings ◽  
Different Content ◽  
Expressive Strategies

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.

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.

Evaluation of Graphic-Pictorial Characteristics and Contents in the Representation of Legality

2010 ◽  
Vol 437 ◽  
pp. 550-554
Author(s):  
Francesca Baralla ◽  
Anna Maria Giannini ◽  
Roberto Sgalla
Keyword(s):  
Primary School ◽  
Effective Communication ◽  
Children's Drawings ◽  
Children’S Drawings ◽  
Communication Modalities ◽  
Primary School Pupils ◽  
Expressive Strategies

The present study examines how child drawers selectively use a set of potential expressive strategies in accordance with the nature of the topic being depicted. The phenomenological and psychodynamic method in the evaluation of drawing activity may thus be a particularly appropriate way to find interesting relationships between the variables considered. People leave in a world of signs and symbols that are verbal or gestural or, of a variety of other modalities, graphic. Through drawing, it is possible to represent memories, events, propositions, ideas, plans and also properties of the habitus or of the ethos. Several authors 1 2 3 have proposed that children’s drawings are often based on schemata, which seem to relate to the typical representation of the topic in question. This study lies within broader research into the perception of legality and into the relative effective communication modalities. Primary school pupils, aged 7-9 years, took part in the study to assess the graphic style, quality of shapes and colours, and the graphic accuracy of drawings focusing on the representation of legality.

scholarly journals ANALYSIS OF EARLY CHILDHOOD DRAWINGS IN KINDERGARTENS PEMBINA RATO VILLAGE SUBDISTRICT LAMBU DISTRICT BIMA

2019 ◽  
Vol 6 (2) ◽  
pp. 37
Author(s):  
Oktafianingsih Oktafianingsih ◽  
Lanta L. Lanta L. ◽  
Hasnawati Hasnawati
Keyword(s):  
Early Childhood ◽  
Content Analysis ◽  
Analysis Method ◽  
Children's Drawings ◽  
Period 2 ◽  
Content Analysis Method ◽  
Children’S Drawings ◽  
The Subject ◽  
Objective Description ◽  
Image Object

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.

Perception of Emotional Expressions in Adults

2016 ◽  
Vol 37 (1) ◽  
pp. 16-23 ◽  
Author(s):  
Chit Yuen Yi ◽  
Matthew W. E. Murry ◽  
Amy L. Gentzler
Keyword(s):  
Facial Expressions ◽  
Negative Mood ◽  
Emotion Perception ◽  
State Level ◽  
Past Research ◽  
Negative Emotionality ◽  
Basic Emotions ◽  
Perceived Intensity ◽  
Trait Level ◽  
Facial Expressions Of Emotion

Abstract. Past research suggests that transient mood influences the perception of facial expressions of emotion, but relatively little is known about how trait-level emotionality (i.e., temperament) may influence emotion perception or interact with mood in this process. Consequently, we extended earlier work by examining how temperamental dimensions of negative emotionality and extraversion were associated with the perception accuracy and perceived intensity of three basic emotions and how the trait-level temperamental effect interacted with state-level self-reported mood in a sample of 88 adults (27 men, 18–51 years of age). The results indicated that higher levels of negative mood were associated with higher perception accuracy of angry and sad facial expressions, and higher levels of perceived intensity of anger. For perceived intensity of sadness, negative mood was associated with lower levels of perceived intensity, whereas negative emotionality was associated with higher levels of perceived intensity of sadness. Overall, our findings added to the limited literature on adult temperament and emotion perception.

Positive Emotion in Borderline Personality Disorder

2019 ◽  
pp. 332-352
Author(s):  
Jill M. Hooley ◽  
Sara R. Masland
Keyword(s):  
Borderline Personality Disorder ◽  
Personality Disorder ◽  
Positive Emotions ◽  
Negative Emotions ◽  
Negative Mood ◽  
Severe Form ◽  
Borderline Personality ◽  
Negative Emotionality ◽  
Personality Pathology ◽  
Emotional Experiences

Borderline personality disorder (BPD) is a severe form of personality pathology characterized by high levels of negative emotionality. Because negative emotions are so central to the clinical presentation of BPD, the issue of how people with this disorder process and experience positive emotional experiences is relatively unexplored. This chapter provides an overview of what is currently known about positive emotions and BPD. Although the literature is characterized by many inconsistencies, our review suggests that people with BPD do indeed experience positive emotions. However, their recall of positive emotional experiences appears to be reduced, perhaps because such experiences are more transient, less stable, and more likely to be quickly replaced by negative emotions. Problems with the identification and accurate differentiation of positive emotions may also play a role. Such difficulties may conspire to create a psychological world for people with BPD that is characterized by a focus on negative mood and negative emotional experiences. In addition to focusing on negative affect, we suggest that it might also be clinically beneficial to make problems with positive affect a specific clinical target.

scholarly journals White men and electric guns: Analysing the Amazonian dystopia through Shipibo-Konibo children’s drawings

2021 ◽  
pp. 204361062199583
Author(s):  
Thaís de Carvalho
Keyword(s):  
White Men ◽  
High Tech ◽  
Children's Drawings ◽  
Children’S Drawings ◽  
Racial Dynamics ◽  
Before And After ◽  
Andean Countries ◽  
The Village ◽  
Dual Capacity

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.

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