Children's Drawings

Children's drawings are implicated in their emotional, cognitive, artistic, and semiotic development, raising the question of how early educators may best facilitate drawing development. This study compared three activities to determine their relative efficacy in promoting children's drawing. Seventy-seven preschoolers from a Head Start program were randomly assigned to one of three conditions: storybook reading, block building, or dramatic pretend play games (DPPG). Interventions were conducted over 8 weeks, and children's free drawings during each session were rated on five dimensions: creativity, talent, spatial complexity, color, and human content. Taken together, the interventions produced significant growth in overall drawing, particularly for children who were initially more skilled at drawing. Comparisons indicated that storybook reading and block building generated significantly better overall drawing than DPPG. Story time was more beneficial than DPPG for creativity, talent, and spatial complexity, while block building was more beneficial than DPPG for children's use of color.

Kinder zeichnen schon sehr lange. Und es ist schwer vorstellbar, dass sie es nicht in jeder Kultur getan haben, die den allgemeinen Gebrauch von Ritzinstrumenten oder Stiften und Formen der bildlichen Repräsentation kannte. Dennoch ist die ›Entdeckung‹ der Kinderzeichnung ein genuin modernes Phänomen. Seit dem 16. Jahrhundert ist ein Interesse der professionellen Maler am Phänomen Kinderzeichnung nachweisbar, aber erst in den 1880er Jahren werden die graphischen Versuche der Kinder zum Gegenstand wissenschaftlicher Reflexion. Die »Kunst der Kinder« etablierte sich in der Folge als ein wichtiges Instrument der Entwicklungs- und Intelligenzpsychologie, der Pädagogik und Psychoanalyse. Die Wissenschaften vom Kinde erschlossen das Zeichnen als ein Mittel der Kommunikation, welches Dispositionen, Bedürfnisse und Konflikte dokumentiert, die das Kind selbst (noch) nicht sprachlich artikulieren kann. Mehr noch als das Spiel oder die Phantasie- und Lügengeschichten soll die Kinderzeichnung seither Auskunft geben über Entwicklung, Intelligenz und Raumwahrnehmung, über psychische Veranlagung und psychoanalytische Ätiologie. Das Zeichnen wurde damit als Instrument einer Normalisierung des Kindes in Dienst genommen. Die Experimentalisierung der Kinderzeichnung brachte aber auch ein neues Verständnis der anthropologischen Funktion des Zeichnens hervor, das uns bis heute begleitet: Sie hat den Blick dafür geschärft, dass es sich schon bei der harmlosesten Kritzelei um ein Medium der Subjektwerdung des Kindes handelt, das es ihm ermöglicht und erleichtert ein erkennendes, denkendes und handelndes Subjekt zu werden.

Young children’s ideas about a number of science topics have been steadily studied in recent years and the respective research findings have considerably supported the development of early childhood science education so far. However, according to the sociocultural perspective on young children’s ideas in science, children adopt a variety of theories, since they are based on their everyday cultural experiences, which makes classification quite difficult. It is therefore suggested that any teaching intervention should take seriously into account the ideas of the children it addresses. But such thing presupposes that the teacher implements processes exploring children’s ideas. The present study aims to investigate methodological issues on the implementation in Kindergarten classes of such processes concerning natural phenomena, as an essential stage of designing the respective teaching interventions. Particular emphasis is put on the “educational context” of these processes, while at the same time the function of the different kinds of activities exploring the ideas of Kindergarten children about the Earth’s shape and the day/night cycle is studied with a view to formulating concrete proposals on learning and teaching in early childhood science classes.

This article considers drawing as a meaning-making activity that takes place in certain sociocultural contexts to find evidence for its communicative potentials as well as the relationship between thought and drawing in early childhood. The researcher challenges traditional views about young children’s drawing that focus on the result of the drawing activity, shifting to more contemporary views that consider it a sociocultural semiotic activity. To illuminate children’s meaning-making process through drawing as well as the ways that drawing activity mediates their thinking and communication efforts and helps them develop, the researcher explores the relative literature and analyzes, through the lenses of the sociocultural approach, certain kindergartners’ drawing activities derived from previous observations in family or educational contexts. Finally, the researcher presents the consequent implications for early childhood education and research in this area.

This article presents a model of scribbling development, proposing that children's working memory capacity development constrains the acquisition of visual control, the development of form, and the attribution of meaning to one's own scribbles. An experiment with 86 participants (18-36 months old) is presented, using free drawing, drawing completion, and human figure drawing tasks, and the Imitation Sorting Task as a measure of working memory. Linear correlation, regression, and cross-classification prediction analyses are reported. The overall pattern of results supports our model, with particularly strong evidence for correlations between working memory capacity and drawing completion measures. An influence of drawing completion tasks on the subsequent human figure drawing was also found.

Previous research suggests that young children draw animals by adapting their scheme for the human figure. This can be considered an early form of drawing flexibility. This study investigated preschoolers' ability to draw a dog that is different from the human figure. The role of working memory capacity and executive function was examined. The participants were 123 children (36-73 months old) who were required to draw both a person and a dog. The dog figure was scored on a list of features that could render it different from the human figure. Regression analyses showed that both working memory capacity and executive function predicted development in the dog drawing; the dog drawing score correlated with working memory capacity and executive function, even partialling out age, motor coordination, and drawing ability (measured with Goodenough's Draw-a-Man test). These results suggest that both working memory capacity and executive function play an important role in the early development of drawing flexibility. The implications regarding executive functions and working memory are also discussed.

This paper uses a case study of the drawings, early writings and imaginative role play of two children to illustrate how children use a variety of modes to make meaning in ways that are creative and beyond the design and expectation of adults. It aims to valorise the kinds of practices in which children routinely engage but which are often overlooked and devalued by adults, both parents and teachers. Framed by social semiotic theories of communication, multimodal pedagogies and cognitive accounts of children's drawings, it illustrates how the children in this study work easily and seamlessly across a variety of materials and modes, using the semiotic resources available in their environments, to create imaginary worlds and express meanings according to their interests. In profiling these children, this paper lends support to the claim of multimodal pedagogies that it is the shifting across modes, as well as the freedom to choose the mode of expression, that engages the child's affect and creativity and builds agency and voice.

Drawing is one of the most popular recreational activities among children’s peer groups. The drawing child is not only building a representation that ‘stands for’ something of the outside world, he is projecting in the image a sign that refers to his personal identity. Each line inscribed on the sheet contains an indexical reference to the child who has traced it. In fact, the result of a drawing session is primarily a ‘thing’ that refers to its manufacturer and, as it, can be used to mediate social relationships. This image-object has its own ‘social life’ which deserves observation. Following the ‘cultural biography’ of the drawings you will discover that they have a later life in circuits of exchanges among the children. Drawing on ten months of field research in an infant school (3-5 years old), this article will investigate several ethnographic cases coming to outline different ‘gift strategies’ that underlie the use of drawings to fulfill social inclusion and exclusion in peer groups and to establish, reproduct and manifest social relations.

Τα παιδιά εκφράζουν τις σκέψεις και τα συναισθήματά τους με τις ζωγραφιές τους. Το ιχνογράφημα αποτελεί απεικόνιση του εσωτερικού κόσμου των παιδιών, καθώς και του τρόπου με τον οποίον αντιλαμβάνονται την πραγματικότητα. Στην παρούσα εργασία αφού γίνει αναφορά στα εξελικτικά στάδια του παιδικού ιχνογραφήματος και επιχειρείται μία παρουσίαση του ιχνογραφήματος ως ψυχοδιαγνωστικού και θεραπευτικού μέσου. Τέλος, παρουσιάζονται τα είδη των παιδικών ιχνογραφημάτων, σύμφωνα με την ταξινόμηση που έχει προταθεί από διάφορους μελετητές και τονίζεται η σημασία του παιδικού ιχνογραφήματος, τόσο ως διαγνωστικού και θεραπευτικού εργαλείου, όσο και ως μέσου επικοινωνίας μεταξύ παιδιών και εκπαιδευτικών.

Children’s drawings were studied to discover cognitive and social abilities of children. Children’s development is also identified through drawings. A number of theories were developed on the development of children’s drawings. The purpose of the study is to compare drawings done by 5-year-old and 8-year-old children with Lowenfeld’s theory on stages of art development since none is found in Malaysia. Qualitative method was used in the study, where observation and interviews were done in collecting data. The children were observed when they draw and interviews were done afterwards in order to find out what was drawn. Findings indicate that the drawings made were incongruent with the theories of development. The theory was found to be applicable to Malaysian children as well.

Semiotics, which is used for the analysis of a number of communication languages, helps describe
the specific operational rules by determining the sub-systems included in the field it examines.
Considering that art is a communication language, this approach could be used in analyzing
children’s products in art education. The present study aiming at examining primary school
students’ drawings with a semiotic approach was designed via the art-based research method,
and the drawings were analyzed through the semiotic approach. The study was conducted in the
primary school 3rd grade course of Visual Arts at two primary schools, one of which had students
with lower socio-economic status, and the other had students with higher socio-economic status
in the central town of Eskişehir in the spring term of 2010-2011 academic year. The study was
carried out with a total of 26 students, and the participants were asked to draw a picture regarding
a concept. The research data were collected via the students’ drawings and via the clinical
interviews held with the students regarding their drawings. At the end of the study, it was found
out that the semiotic analysis conducted regarding the students’ drawings was not only a tool that
helped make psychological descriptions but also an approach that allowed following their mental
development processes; that mostly the students attending the school from the lower socio-economic
status used both the direct meanings of objects and their meanings based on reason-result
relationships; and the symbolic meanings of objects were mostly favored by students attending
the school from the higher socio-economic status. In this respect, the semiotic approach could be
considered as an effective way to diversify the diagnostic techniques used both by educators and
by parents to give meaning to students’ inner-worlds and their viewpoints about the environment
and to monitor their mental processes while analyzing students’ drawings.

Bu çalışmanın amacı ilköğretim öğrencilerinin çevre algılarını çizdikleri resimler yoluyla incelemektir. Çalışma 2010-2011 eğitim öğretim yılı bahar döneminde gerçekleştirilmiştir. Çalışmaya 68’i dördüncü sınıf, 78’i
beşinci sınıf, 97’si altıncı sınıf, 85’i yedinci sınıf, 101’i sekizinci sınıf öğrencisi olmak üzere toplam 429 öğrenci katılmıştır. Betimsel araştırma yöntemlerinden tarama modeli kullanılarak gerçekleştirilen çalışmanın verileri çiz-ve-anlat tekniği ile toplanmış, verilerin toplanması sırasında, çalışmaya katılan öğrencilerden çevre ile ilgili bir resim çizmeleri ve çizdikleri resimleri açıklamaları istenmiştir. Çalışmadan elde edilen veriler analiz edildiğinde ilköğretim öğrencilerinin çizimlerinde genellikle insanlara, çeşitli bitki ve hayvanlara, ev ve fabrika gibi yapılara, dağ, göl, güneş gibi doğal ögelere yer verdikleri görülmüştür. Ayrıca öğrencilerin %35.43’ünün kirli, %59.21’inin temiz, %5.36’sının ise hem kirli hem temiz çevre üzerinde yoğunlaştıkları görülmüştür. Çalışmanın verileri, yaş düzeyi arttıkça temiz çevre çizen öğrencilerin sayısında düşüş, kirli çevre çizen öğrencilerin sayısında da bir artış olduğunu da göstermiştir. Öğrenci çizimleri incelendiğinde öğrencilerin resimlerinde hava kirliliği, toprak kirliliği, su kirliliği, düzensiz kentleşme gibi yakın çevrelerinde gözlemleyebildikleri çevre problemlerine daha sık yer verdikleri gözlemlenmektedir. Çizimler ayrıca öğrencilerin insanı doğanın bir parçası olarak gördüklerini, insanın diğer canlılar gibi çevre problemlerinden etkilendiğini aynı zamanda insan kaynaklı etkinliklerin çevreyi kirleten bir faktör olduğunu düşündüklerini göstermektedir.

Bir çocuğun dünyasında sanatsal aktiviteler, özelliklede resim, yetişkin dünyasındaki algılanışlarından biraz daha farklı özellikler taşır. Çocuğun nesneleri ve şekilleri nasıl algıladığı yada bilişsel gelişim süreci içerisinde sanat algısının nasıl gelişip şekillendiği sorularına vereceğimiz cevaplar, aynı zamanda çocuğun kendi dünyası içerisinde varoluş biçimi hakkında da ipuçları taşımaktadır. Bu varoluşun en önemli anahtarı ise, çocukta doğuştan varolan bir hazine niteliğindeki yaratıcı düşüncenin anlaşılmasını gerektirir. Önemli gelişim kuramcılarından Jerome Bruner, üç yaşından itibaren çocuğun hayal gücünü gittikçe daha fazla kullandığına dikkat çekmektedir. Hayal gücünün etkin kullanımı, çocuğun aktif ve sınırsız yaratıcılığıyla birleştiğinde, çocuk tarafından kendini ifade edebilmek amacıyla kullanılan doğal bir yaşantıya dönüşür. Bu dönemde çocuk, dil gelişiminin kazanımlarıyla birlikte, dünyasını nesnel olarak temsil edebilme yeteneğini de kazanmıştır. Çocuğa sunulan her türlü aktivite –boya kalemi, çamur, kil, su, oyuncak v.b.-çocuk tarafından zihninde var olan dünyanın dışarıya yansımaları için birer araç olarak kullanılmaktadır. Bruner, sekiz yaşla birlikte çocuğun dünyayı en üst düzeyde temsil edebilme yeteneği kazandığına da dikkat çekmektedir. Bu dönemin, sanatı meslek olarak seçen bir birey için son derece önem taşıyan sembolleri oluşturma veya semboller aracılığı ile düşüncelerini gerçeğe dönüştürme yeteneklerinin de kazanıldığı bir dönem olduğuna dikkat etmek gerekir. Çocukta bilişsel gelişimin seyrini en iyi açıklayan kuramcılardan birisi olan Jean Piaget ise, çocukların geçirdikleri değişik gelişim aşamalarının erişkinlerin düşünce biçimlerinden çok farklı olduğuna dikkat çekmektedir. Bilişsel gelişiminin zihninde basamak basamak yapılanan aşamalı yapısının, sanat algısının gelişimi üzerinde de etkili bir süreç olması kaçınılmaz gözükmektedir. Piaget'ye göre çocuk, çevresini inceleyen aktif bir araştırmacı konumundadır. Bu araştırma süreci içerisinde karşılaştığı her türlü yaşantı, zihnin de " şema " lar yoluyla yerleşmektedir. Kişinin doğuştan getirdiği bir yetenek olan " uyum " mekanizması ise, çocuğun geliştirdiği şemaların duruma göre değiştirilebilmesine, uyarlanabilmesine yardımcı olmaktadır. Bu bağlamda çocukların kağıda yansıttığı resimlerin, zihinlerinde karşılık bulan şemaların bir yansıması olduğunu söyleyebiliriz. Dolayısıyla çocuğun nesneyi nasıl çizdiği değil, çizdiği nesnenin neyi temsil ettiği önemlidir. Yani kağıdın üzerindeki kocaman bir mavi yuvarlak, yetişkin bir beyinde mavi bir yuvarlaktan ibaretken, çocuğun sahip olduğu şemalarında karşılığı bir balon, bulut, oyuncak bebeğinin mavi gözü veya en sevdiği topu olabilir. Bu yaklaşım aynı zamanda bize, çocukların resimlerinde ortak olarak rastladığımız bazı çizimler hakkında da bir fikir sağlayabilir. Örneğin pek çok çocuğun gözünde güneş sapsarı, bulut mavi, yapraksa yeşildir. Ara renklerin resme yansıtılamamasının sebebi, dışardan bakıldığında basit olarak bu şekilde görünmelerinin çocuğun zihninde aynı şekilde basit şemalar yaratması olduğu söylenebilir.

For a long time usually considered as simple scribbles, children's drawings have become, over the 20th century, an object of study for an ever growing number of experts and scholars. Psychologist and psychoterapists, semiologists, pedagogists, experts in didactics of art and image education, have studied the graphic language of children from several point of view. But only in the last years children's drawings have begun to be analyzed also by historians, who have started a new historiographical trend which assumes drawings to be used as proper historical sources. This research has increased, especially after that the precursors, Alfred and Françoise Brauner, analyzed - even though from a psyco-pedagogical point of view - the drawings made by the children who were victims of war, and demonstrated how these sources could document children's perception of historical events. Here, 42 extraordinary historical collections of children's drawings in Italy and in the world are reviewed, and for each one a description and other information about the institution where they are preserved, as well as the quantity and the chronological details, are given. With this first census the A., in addition to offering a first useful means for historians and educators, wishes to attract attention to this often ignored category of sources, and invites an ever increasing appreciation, both as regards their interpretation, and their collection and preservation.

This second themed edition of Global Studies of Childhood, “Children’s Art in Times of Crisis”, continues the conversation about how children’s art, and art about childhood, can contribute to issues related to ethics, justice, and social conflict. As was the case in the first issue, the authors gathered here offer an interdisciplinary and transnational exploration of the affective, aesthetic, and socio-political processes involved in making art that centers childhood. They call on us as readers to witness children’s creativity and offer careful and critical engagements with children’s aesthetic expressions of both suffering and optimism. Here, art includes drawings, paintings, sculpture, radio broadcasting, and film. Each contributor offers a new angle on the question of what children’s art can do to repair a broken world. The answer is not intelligible through one disciplinary perspective or methodological approach to knowing. From within the fields of child studies, diaspora studies, sound studies, history, anthropology, and literary studies, the authors provide commentary on the power of art to gesture toward gaps between children’s experiences and assertions about their required protection. This interdisciplinary collection of perspectives aims not to save children on the basis of their perceived innocence, but to learn from their complex reactions to injustice.

En la presente tesis trabajamos con una metodología interdisciplinar partimos del proceder de los antropólogos sociales, el trabajo de campo, la observación participante y buscamos posteriormente un sistema de análisis que va de lo cultural a lo universal.
En una serie de experiencias de viaje en diferentes contextos culturales vamos encontrando arquetipos y señas de identidad. Nos interesará en una segunda lectura, observar cómo las imágenes son también espacios de proyección psíquica y reflexionar en torno a los arquetipos universales como experiencia intercultural y búsqueda de equilibrio psíquico. Trabajamos también con una metodología mixta que utiliza el dibujo infantil como material decodificable y observamos cómo aprender de ellos señas de identidad y sistema cultural

ES: Los dibujos infantiles constituyen una de las categorías de fuentes más escasamente tenidas en consideración por los historiadores. Aunque algunos investigadores han comenzado a estudiar sus posibles aplicaciones historiográficas, de hecho, son todavía pocos los estudios que los adoptan como fuentes. Este artículo trata de explicar las razones de esta tendencia historiográfica, destacando sus raíces culturales y materiales; y analizando las complejas y numerosas cuestiones metodológicas relacionadas al uso de este tipo de fuentes. Sin pretender ser exhaustivo, y sin ninguna intención reguladora, se propone ofrecer algunos elementos básicos, teóricos y prácticos para el correcto uso de los dibujos infantiles como fuentes históricas.

PT: Os desenhos infantis constituem uma das categorias de fontes mais escassamente levadas em consideração pelos historiadores. Embora alguns pesquisadores tenham começado a examiner suas possíveis aplicações historiográficas, de fato, ainda há poucos estudos que os adotem como fontes. Este artigo tem por objetivo explicar as razões para tal tendência historiográfica, destacando as suas raízes culturais e materiais, além de analisar as complexas e numerosas questões metodológicas relacionadas com o uso desse tipo de fontes. Sem pretender ser exaustivo, e sem nenhuma intenção reguladora, propõe-se a oferecer alguns elementos básicos, teóricos e práticos, para o uso correto de desenhos infantis como fontes históricas.

EN: Children’s drawings are one of the categories of historical sources that have been poorly considered by historian so far. Although some scholars have begun to examine their possible historiographical applications, nevertheless studies using children’s drawings as a source are still very rare. This article aims to explain the reasons for this historiographical trend, by highlighting its cultural and material grounding as well as by analysing the complex and numerous methodological issues which the use of this particular type of sources imply. The present contribution intends to provide, with no claim of being exhaustive or giving regulative principles, some theoretical and practical suggestions for a correct use of children’s drawings as historical sources.

Περίληψη Η παρούσα έρευνα αφορά τη μελέτη του ρόλου της τέχνης στην εκπαίδευση με έμφαση στη μουσειοπαιδαγωγική προσέγγιση της ζωγραφικής. Πιο συγκεκριμένα, σκοπός της έρευνας ήταν να εξετασθεί και να αναλυθεί κατά πόσο επιτυγχάνεται η μάθηση μέσα από την εκπαιδευτική δραστηριότητα ζωγραφικής ενός μουσείου.Η έρευνα πραγματοποιήθηκε στο Μουσείο Παιδείας του Πανεπιστημίου Αθηνών για το ακαδημαϊκό έτος 2014-2015. Οι ζωγραφιές ήταν από μαθητές ηλικίας έξι έως οχτώ ετών και συγκεντρώθηκαν στο τέλος του ακαδημαϊκού έτους με το σύνολό τους να απαριθμείται στις 904. Τα ευρήματα από την έρευνα δείχνουν πως το 62.6% των ζωγραφιών συμφωνούν με την επιτυχία αυτής της μορφής τέχνης σε σύνδεση με την εκπαίδευση. Το ποσοστό αυτό έχει αναλυθεί και ερμηνευτεί σε εφτά θεματικές όπου παρουσιάζεται ο μαθησιακός αντίκτυπος της επίσκεψης στο Μουσείο Παιδείας. Μέσω της εκπαιδευτικής αυτής δραστηριότητας παρατηρήθηκε πως οι μαθητές επιστρατεύουν έναν συνδυασμό γνώσης και φαντασίας ώστε να αποτυπώσουν όσα έμαθαν, αλλά και πως μέσω των ζωγραφιών είχαν τη δυνατότητα να εκφράσουν τις σκέψεις και τα συναισθήματά τους με αποτέλεσμα να δίνουν νέα νοήματα σε ό,τι διδάχτηκαν. Συμπερασματικά, η ζωγραφική είναι αναγκαίο να ενσωματωθεί ως καλλιτεχνική δραστηριότητα των παιδιών στο ευρύτερο πλαίσιο της εκπαίδευσης στα σχολεία και στα μουσεία. Αποτελεί μία πολύπλευρη εκφραστική δουλειά των μαθητών που τους ενεργοποιεί γνωστικά, συναισθηματικά, δημιουργικά, και κοινωνικά.

This poster is a focused overview of my dissertation research. Since it's geared for children visiting COSI (a science museum in Columbus, OH where I collected part of my data) it concentrates on comparing children's drawings of houses with depictions of houses in picturebooks by professional illustrators.

I quaderni scolastici appartengono a quella vasta gamma di materiali minori a lungo ignorati da parte delle strutture istituzionalmente preposte alla conservazione e alla trasmissione del patrimonio documentario. 1 Materiali minori, dunque, ma anche materiali speciali, la cui natura ibrida al limite tra materiale edito e documento manoscritto causa in genere al momento della descrizione e del trattamento una difformità degli approcci (biblioteconomici, archivistici e museali) e una eccessiva disorganicità delle informazioni rese. La subalternità di questi materiali rispetto ad altri, il loro requisito di eccezionalità e non ultima la loro difficile reperibilità ne hanno determinato in larga parte l'estromissione dalle procedure ordinarie di ricerca, selezione e acquisizione dei materiali e di conseguenza l'assenza pressoché totale di specifiche raccolte all'interno degli istituti di conservazione. Conseguentemente, inoltre, questi materiali sono stati ceduti al mercato antiquario e al collezionismo privato, che hanno contribuito a parcellizzarne vieppiù le raccolte e ad annullarne le possibilità di fruizione da parte di studiosi e ricercatori. Nel 2002 l'archivio storico dell'Istituto nazionale di documentazione per l'innovazione e la ricerca educativa (INDIRE) di Firenze ha avviato un progetto per il riordino, l'inventariazione e l'archiviazione dei materiali contenuti all'interno del Fondo materiali scolastici. 2 Il fondo -costituito da oltre 1.500 tra quaderni scolastici ed elaborati didattici di vario genere -trae origine dalla metodica attività di raccolta compiuta tra l'inizio degli anni Trenta e i primi anni Sessanta, prima dal Museo nazionale della scuola e quindi dal Centro didattico nazionale. 3 All'atto di costituzione del museo, infatti, l'allora Ministero dell'educazione nazionale emanò una circolare con la quale invitava gli insegnanti delle scuole italiane di ogni ordine e grado a testimoniare le attività didattiche svolte in classe inviando copia dei lavori prodotti dagli alunni alla biblioteca dell'istituto presieduto da Giovanni Calò, al fine di costituire una sorta di osservatorio delle "migliori pratiche" educative. Fu in questo modo che nella storica sede di Palazzo Gerini a Firenze iniziarono a giungere le tipologie più disparate di materiali: eserciziari di bella grafia e dettatura, componimenti illustrati, abbecedari e sillabari, diari di scuola, corrispondenze interscolastiche, eserciziari di aritmetica e geometria, ricerche, quaderni pentagrammati e album da disegno, 4 ma anche campionari di maglieria prodotti nell'ambito delle lezioni di economia domestica, manufatti realizzati dagli istituti d'arte ed esercitazioni pratiche eseguite negli istituti tecnici industriali. Il progetto è stato articolato in diverse fasi. All'inizio si è proceduto all'aggregazione dei materiali inseriti all'interno del fondo, il quale nel corso degli anni era stato pro-

This article explores two films that represent, at least in the Czechoslovak context, the first gesture towards the possibility of animating archival material on Nazi crimes. The two films in focus here employed drawings and paintings made by Jewish children imprisoned in Theresienstadt between 1941 and 1945. The article seeks to provide a film-historical analysis of the works that has been missing in the Theresienstadt film studies context as well as in studies of documentary film on Holocaust. It examines the history of the films’ production as well as their reception by the public, press and official cultural establishment. At the same time, it explores the films’ cultural-political significance in the context of late 1950s and early 1960s Czechoslovakia. The analysis is based on original research at the Archives of the Jewish Museum in Prague, on contemporary press critic and oral history sources including two interviews with the survivors who participated on making of the films, Helga Hošková-Weissová and Anna Hyndráková, conducted by the author throughout 2019.

Results based on two consecutive qualitative studies are documented in this paper. The first study focused on perfectionist characteristics in drawings of fifth graders. The second study was designed based on the findings from the earlier study, but it focused on drawings of kindergarteners at this time. Children's drawings were analyzed to see meaningful connections between their behavioral perfectionism scores and their drawing characteristics. Findings were partly consistent with the literature and revealed that perfectionist behavior may have meaningful expressions in the art-making process and in artworks. Working on specific details meticulously, focusing on time-consuming details, not being able to see the whole, spending too much time on certain parts, and starting from details, were described as perfectionism-related characteristics. As an emerging characteristic, self-doubt, a lesser degree of determination, assurance and boldness in drawings are positively correlated with perfectionism. Subjects' age group may be a significant factor to study perfectionism, and lower grade levels may not be suitable to study perfectionism through drawings because of their artistic developmental levels.

In 1981 Peter Handke published the semi-autobiographical text Kindergeschichte, containing reflections on the early years of life with his daughter Amina. During these years, Amina frequently wrote and drew in her father's notebooks. This article considers Amina not only as the subject of her father's work but also as a kind of co-author, by grounding the narrative thematization of the interaction between child and adult in the concrete interaction of their writing and drawing practices in Handke's notebooks. The observation of his child's entry into the material-semiotic systems of writing, I suggest, heightened Handke's awareness of the visuality and materiality of his own compositional practice. Much like the "lessons" he learned from the painter Paul Cézanne in composing Die Lehre der Sainte-Victoire, Amina's emergent drawing and writing practice, her concrete "Suche nach Formen" on the pages of her father's notebooks, was intertwined in the ongoing evolution of her father's project of writing as it took shape in Kindergeschichte.

Thi~~tudy examines whether community context shapes geopolitical identity. An open-ended survey was administered to 187 rural and urban tenth grade students by their social studies teachers. Students were asked to describe their community, state, nation, and world. Participants'responses were analyzed using content analytic techniques. Comparison of rural and urban students' responses revealed both continuities and discontinuities. Implications for rural education and rural education research are discussed.

Drawing in childhood period is an activity in which children reflect themselves freely, expressing their emotions, thoughts and imaginations. The aim of the research is to examine the views, experiences in practice lessons and approaches of pre-service preschool teachers about the drawings of children. The research is a phenomenology study of qualitative research methods. The study group consists of 10 students who are fourth grade students in the preschool teaching program and have successfully completed the "Teaching Practice I" course and continuing on "Teaching Practice II". Semi-structured interviewing technique was applied by conducting face-to-face interviews with the participants. As a result of research, it was determined that pre-service preschool teachers did not have sufficient knowledge about approaches to children's drawings and all of the pre-service teachers think that the current undergraduate program is inadequate. It has been found that pre-service teachers often set drawing activities to get to know the child, to evaluate after the activity and to help children express themselves creatively. Moreover it has been concluded that pre-service preschool teachers mostly use the questioning approach to children's drawings. Çocukluk yıllarında resim yapmak, çocukların kendilerini özgürce yansıttıkları, duygu, düşünce ve hayal güçlerini ifade ettikleri bir aktivitedir. Araştırmanın amacı okul öncesi öğretmen adaylarının çocukların yaptığı resimlere ilişkin görüşleri, uygulama derslerindeki deneyimleri ve resimlere yaklaşımlarının incelenmesidir. Araştırma nitel araştırma yöntemlerinden bir olgubilim çalışmasıdır. Araştırmanın çalışma grubunu okul öncesi öğretmenliği bölümü son sınıf öğrencisi olan ve "Öğretmenlik Uygulaması I" dersini başarı ile tamamlamış, "Öğretmenlik Uygulaması II" dersine devam eden 10 öğrenci oluşturmaktadır. Araştırmada katılımcılarla yüz yüze görüşmeler gerçekleştirilerek yarı yapılandırılmış görüşme tekniği uygulanmıştır. Araştırma sonucunda okul öncesi öğretmen adaylarının çocuk resimlerine yönelik yaklaşımlara ilişkin yeterli bilgilerinin olmadığı ve öğretmen adaylarının tümünün konuyla ilgili olarak mevcut lisans programını yetersiz buldukları tespit edilmiştir. Okul öncesi öğretmen adaylarının sıklıkla çocukların kendilerini yaratıcı olarak ifade etmelerini sağlamak, çocuğu tanımak ve etkinlik sonrası değerlendirme yapmak amacıyla resim yaptırdıkları bulunmuştur. Ayrıca, okul öncesi öğretmen adaylarının çocuk resimlerine yönelik en çok sorgulayıcı yaklaşımı kullandıkları sonucuna ulaşılmıştır.

The aim of the present study was to investigate the cultural conception of self and family
held by Turkish migrant preschool children in comparison with native German and native
Turkish children by the assessment of self- and family-drawings. The final sample consisted
of 40 Turkish migrant children, 56 German urban middle-class children, 47 German rural
children, 61 Turkish urban middle-class children, and 21 Turkish rural children. The children
of the five cultural milieus did not differ in age, gender distribution, or human figure
drawing ability. Besides the drawings, the mothers’ sociocultural orientation was assessed,
as well as migrant mothers’ involvement in the German and Turkish cultures. The results
revealed similarities between Turkish migrant children’s self- and family-depictions with
those of children from their culture of origin, particularly in some categorical features such
as gender-specific characteristics, torso type, and neighbors. On the other hand, however,
the drawings differed from those of Turkish rural children in the size of the depicted self.
These findings are in line with the specific ecocultural context and the cultural orientation
of Turkish migrant families toward psychological autonomy and hierarchical relatedness.
It can therefore be concluded that Turkish migrant children’s drawings are influenced by
both their culture of origin, probably mediated by their familial socialization, and their
social experiences in Germany.

Оригинальная нетиражная сатирическая графика Первой мировой войны, в отличие от массовой печатной графики, мало знакома исследователям, поскольку рассредоточена в различных музейных собраниях и изучение ее сопряжено с рядом трудностей. В статье анализируется уникальный исторический источник - коллекция акварельной карикатуры Самарского областного художественного музея, значительная по объему и репрезентативная по содержанию. Создателями рисунков были учащиеся Строгановского училища в Москве, выходцы из крестьянско-разночинной среды. Рисунки были сделаны ими под впечатлением от событий Первой мировой войны и не только перекликались с пропагандистскими лубочными рисунками, плакатами, газетными и журнальными карикатурами того времени, но и содержали новые интерпретации пропагандистских сюжетов. На основе анализа архивных сведений о молодых художниках, их социального положения, а также на основе сопоставления изображений с известными образцами печатной графики авторы статьи квалифицируют акварели коллекции как любительские ученические рисунки, свободные от канонов и условностей тиражных карикатур и обозначают ряд тем (цирк, кукольный театр, скатологическая тема), получивших у молодых художников необычную трактовку...

The original, unpublished satirical graphics of the First World War, unlike mass-printed graphics, are not very familiar to researchers, since these materials are dispersed in various museum collections and their studying is fraught with many difficulties. The article analyses a unique historical source - a collection of watercolour caricatures of the Samara Regional Art Museum, significant in size and representative in content. The artists were the students of the Stroganov School in Moscow with peasant and “raznochintsy” origin. They made watercolour caricatures under the impression of the events of the First World War. Not only did their pictures resonate with propaganda prints, posters, newspaper and magazine cartoons of the time, but contained new interpretations of propaganda plots. Based on the analysis of archival information about young artists, their social status, as well as on the comparison of the images with well-known print graphics, the authors categorize the collection’s watercolours as amateur drawings, free from canons and conventions of published cartoons, and designate a number of topics (circus, puppet theater, scatological theme), which got an unusual interpretation by artists...

This quasi-experimental study examined 42 high school introductory chemistry students’ conceptual understandings of the particulate nature of matter (PNM) before and immediately after instruction. Two groups of students, who were taught by the same teacher, received one of two possible instructional interventions: Reform-Based Teaching (RBT) or Reform-Based Teaching with Multiple Representations (RBTw/MR). The RBTw/MR instruction differed from the RBT instruction in terms of the frequency of using multiple representations (visual, textual, oral) in relationship to the macroscopic phenomenon and the likely actions occurring at the submicroscopic level. Qualitative research methods, including open-ended questionnaires and interviews, were used to investigate and describe participants’ conceptual understandings of the PNM over time. The findings indicated that before instruction all participants held a range of alternative conceptions about the aspects of the PNM. Post-instruction findings indicate that the RBTw/MR  instruction was more efficacious in promoting a scientific understanding of the PNM than was the instruction without multiple representations.

The aim of this study is to examine friendship perceptions of Syrian and Turkish children attending the Project of Support to Sport Education Project that aims to gather Syrian and Turkish children through sport and to encourage communication and understanding the tolerate the differences they may have. The research group consists 108 children aged between 5 and 17. The data were obtained through metaphor and pictures. The data were analyzed by content analysis and chi-square test. As a result it was seen that Turkish children had more negative attitudes than Syrian children did [x² (sd = 1, n = 96) = 4.27, p <.05]. In addition, it was seen that the theme "spending time" included description of what children were doing with their Turkish / Syrian friends. The theme "description of feelings" included children's feelings about their Turkish / Syrian friends. No significant difference was found between the themes [x² (sd = 1, n = 88) = 2.09, p> .05].

Background: Extensive research examined the development of both language and drawing, but the relationship between these symbolic representation systems is less investigated and controversial. Working memory and executive functions seem to be involved in the acquisition of both drawing and language, but how they are involved in the relation between language and drawing is still unclear. Objective: This article reviews the relevant literature and, as a synthesis, outlines a set of models that future research could use to specify the developmental relations between language, drawing, working memory, and executive functions. Drawing and Language: Four theoretical positions are discussed: (a) drawing and language emerge from the same general-domain symbolic resource; (b) drawing and language as two independent systems; (c) drawing as a form of language (d) drawing influenced by language. Executive Functions and Working Memory: The literature on the role of executive functions and working memory in the development of either drawing or language is rather fragmentary, but on the whole, it indicates that these domain-general cognitive resources and abilities are involved in supporting the development of these representation systems. An ongoing controversy on the structure of executive functions in early childhood adds further complexity to the debate on their role. Conclusions: A set of models is outlined that systematically embodies the different theoretical views regarding (a) executive function development and (b) the relations of drawing development with language, executive function, and working memory. Future research can benefit from explicit models of the causal relations between these aspects of cognitive development.

This paper critiques the traditional linear development of children's drawings looking at multiple endpoints and providing a more cognitive developmental view of both drawing and understanding the visual arts. I argue that both drawing and talking about

In the present study, we examined the family drawings of preschool-aged children from three cultural contexts that represented different aspects of autonomy and relatedness. The final sample consisted of 53 children from urban Western middle-class families from Osnabrueck, Germany; 63 children from rural Cameroonian Nso farming families; and 59 children from urban middle-class families from Ankara, Turkey. The children were of similar age and did not differ in basic drawing abilities. The family drawings varied with cultural context and the respective orientation toward autonomy and relatedness, specifically in regard to the number and position of family members, the depicted absolute and relative size of family members, the details of facial features, and the emotional expression. Additionally, the positioning and spatial arrangement of family members on the paper can be linked to the children's familiarity with external frames of reference in drawings.