scholarly journals Critical Analysis of Children’s Drawings as a Diagnostic Tool for Body Schema and Body Image Disorder in Cerebral Palsy

2016 ◽  
Vol 07 (04) ◽  
pp. 133-148 ◽  
Author(s):  
Renée Lampe ◽  
Ines Lützow ◽  
Tobias Blumenstein ◽  
Varvara Turova ◽  
Ana Alves-Pinto
2017 ◽  
Vol 34 (4) ◽  
pp. 362-381 ◽  
Author(s):  
Kenneth Aggerholm ◽  
Kristian Møller Moltke Martiny

This article contributes to the understanding of embodied practices and experiences within adapted physical activity. It presents a study of a 4-day winter sports camp for young people with cerebral palsy. The experiences of the participants were investigated through qualitative interviews. The findings are analyzed through a phenomenological framework of embodiment and the notions of body schema and body image. By paying special attention to the bodily experience of “I can,” this study shows that participants learned new ways of approaching challenges, gained bodily control in challenging situations, expanded their fields of possible actions through practicing, as well as learned to understand and accept themselves. These findings reveal central values of bodily interventions for people with cerebral palsy and have the potential to inform pedagogical work within the area of adapted physical activity.


1985 ◽  
Vol 60 (1) ◽  
pp. 231-238
Author(s):  
Martin Krampen

According to F. Olivier children's drawings are composed of basic shapes called graphemes. Three sets of these graphemes develop between the ages of 3 and 5 yr. A cross-cultural study had shown no difference in grapheme development between Turkish and German children. When the drawings of physically handicapped children were compared with those of normally developing children, a significant difference was found in the third step of grapheme development, the production of symmetrical graphemes. Physically handicapped children are retarded by comparison with normally developing ones in rendering graphemes symmetrical. The reason for this might by asymmetry in their body schema.


2008 ◽  
Vol 9 (4) ◽  
pp. 275-286 ◽  
Author(s):  
Christina MacRae

This article is a practitioner's attempt to resist habitual ways of interpreting and responding to young children's drawings. Early art education as a discipline is shot through with complexities, including wider shifting social discourses. This article specifically explores the continuing and powerful effect that Piaget's developmental approach has had on ways that teachers expect children to represent the world. The critique of Piaget examines how his stages of cognitive development intersect with an account of perspective that naturalises the claims it makes to represent the world. Critical analysis of responses to a child's drawing draws attention to the ways that this normative and perspectival approach frames readings of the drawing. In order to create new ways of thinking about the drawing, the article offers a material critique of the logic of representation. In this alternative account the object that has been drawn stubbornly refuses to stand in for the real. Difference rather than resemblance is introduced into the reading of children's drawings.


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.


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