scholarly journals برنامج قائم على رسوم الأطفال لتنمیة بعض المفاهیم العلمیة للبیئة النباتیة والتعبیر الفنی عنها لدى طفل الروضة A program based on children's drawings to develop some scientific concepts of the plant environment and its artistic expression among kindergarten children

2020 ◽  
Vol 17 (1) ◽  
pp. 711-798
Author(s):  
حسن محمود حسن الهجان
2021 ◽  
Vol 6 (2) ◽  
pp. 165
Author(s):  
I Wayan Nuriarta ◽  
Ida Ayu Dwita Krisna Ari ◽  
I Gde Suryawan

<em>This article aims to read visual signs and verbal signs by utilizing the children's drawings during the pre-schematic stage. The reading of the signs will be used to describe the elements of fine arts in the children's drawing.  Four works of kindergarten children were chosen and observed. The four works are entitled "Mother", "Brother", "Zoo" and "Tree". These have been selected as the subjects of the study. These four works were chosen because these works were created by using different media, such as pencil on paper, watercolors on paper, and digital media. The object of this study is focused on visual analysis of the children's drawings on the elements of art, such as points, lines, shape, spaces, and colors. The pre-schematic stage is characterized by the appearance of circular images with lines that seem to indicate human or animal figures. During this stage, the scheme (the visual idea) is developed. The drawing shows what the child considers most important about the subject. There is a little understanding of space - objects are placed randomly throughout the image. The use of color is more emotional than logical. The elements of fine art are shown in the drawings can be described as the result of the observation 1) The lines have been controlled so has formed the image. 2) The shape of the object described has been identified as representing the object that the child wants to describe. 3) The colors used to fill the shapes are based on the child's imagination and desires except the color used to fill the shape of the tree.  The colors of nature are the same as in real life, such as green leaves, blue sky, and green grass. In general, the image or drawing presented by the child is an illustration</em>


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.


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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