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Dissertations / Theses on the topic 'Psychology of Drawing'
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1
Himebaugh, Keith. "Mythic Drawing| An archetypal approach to drawing with dreams." Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3565655.
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This production-style dissertation explores the psychological aspect of drawing with dream images. It introduces a practical method, called Mythic Drawing, which can help artists work with dream images in an authentic way. For James Hillman, the founder of Archetypal Psychology, dreams do not reflect the outer world of empirical reality. Rather, they express the inner world of psychic reality through mythological resemblances. Therefore, to draw adequately with images, the artist must give up the rational approach of step-by-step formulas and abstract concepts, and instead, sensitize these methods to the metaphorical style of the dream.
The essence of Mythic Drawing is play. The artist engages the dream image as an active participant, like an actor playing a part. The role of "artist" is relativized and seen through to the many archetypal figures one embodies while drawing, such as a child, a dancer, an architect, or a shaman. The artist accepts the dream images as alive, intelligent and capable of asserting a will of their own. In this way, drawing becomes a collaborative activity that fosters a dynamic relationship between the artist and the creative figures of his or her imagination.
Using a hermeneutic method, the dissertation outlines the theoretical basis of Mythic Drawing, while at the same time examining traditional assumptions and biases in art education. It then tests the efficacy of the ideas discussed through two intensive drawing projects. A heuristic method is applied throughout the production of drawings which helps provide reflection upon and analysis of the creative process.
2
Prosser, Bill. "An archetypal psychology of the ordinary : an investigation through drawing." Thesis, University of the West of England, Bristol, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415875.
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Brennan, Kendra Horstmyer. "Drawing as a technique to facilitate childrens memory." FIU Digital Commons, 1996. http://digitalcommons.fiu.edu/etd/1883.
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This study examined a technique to assist children to recall more information about witnessed events. Thirty-eight fourth-grade children from a public grade school in Miami Florida participated in the experiment. The participants watched a Red Cross demonstration and were interviewed one week later about details of the demonstration. All of the children were interviewed using a police style interview. In addition, half of the children were instructed to draw during the interview. The current study supported previous findings that the instruction to draw increased the amount of information recalled. The effect of drawing was greatest for high-visual events. In addition, the instruction to draw prompted an increase in non-verbal information, which had an unusually high accuracy rate.
4
Eames, Catherine Mary Anne. "Drawing ability in gifted and non-gifted autistic individuals." Thesis, University of York, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358263.
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Baker, Christensen Leslie Michelle. "Artistic Drawing as a Mnemonic Device." Antioch University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1476188042242805.
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6
Aytes, Kregg John. "An empirical investigation of collaborative drawing tools." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186306.
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Recently, researchers have developed computer-based collaborative drawing tools, which make it possible for multiple users to concurrently share an electronic drawing area. This research is concerned with how these tools impact group process and outcomes. Specifically, two laboratory experiments, which differed primarily in the type of task the group performed, were conducted in order to compare the interaction and performance of small (three-person) groups using either a whiteboard or one of two collaborative drawing tools (CDTs). The group process was studied in terms of how the members worked together: either by multiple participants drawing and speaking simultaneously (interactive mode), by only one person drawing at a time (scribe mode), or by all members drawing without verbally interacting (parallel mode). The equality of participation among group members was another component of the group process that was measured. Time and solution quality served as outcomes measures of group performance. Results from the two experiments showed that whiteboard groups worked in scribe mode a significantly greater proportion of the time than did CDT groups, while CDT groups tended to work more interactively or in parallel. There was also evidence that at least some types of CDTs result in more even drawing participation among group members. However, for these experimental tasks, completion times for CDT groups were significantly longer than for whiteboard groups. There are at least three possible reasons that CDT groups took more time to complete the tasks: (1) the mechanics of drawing take longer with a CDT, (2) communication is less effective, (3) CDT groups utilize the modes of work ineffectively. It also appears that CDTs not only enabled parallel work, but actually suggested it. CDT group members seemed to be drawn into working on their own, with much longer periods of silence than whiteboard groups experienced. CDTs may make it harder for group members to remain aware of what other group members' activities, as they become focused on their own display and do not perceive the drawing and other non-verbal communication of the other group members.
7
Horlik, Christine. "An investigation into the narrative approaches by pre-school children using artistic/visual measures to represent their "worlds" /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98931.
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This study examines the importance of the artistic process for young children and how this process can aid in their visual, verbal, mental, and emotional development at a critical time of growth. Videotaped interviews were conducted with four preschool children in order to determine the ways in which they represent their worlds through simple crayon drawings and the possible accompanying verbal narratives. This study shows that preschool children's drawings and narratives depict significant visual facets of their lives and argues that this process should be developed, encouraged, and valued both within the educational system and at home. Visual representation is a language in itself and should be recognized as a meaningful way for young children to make sense of their worlds.
8
Karakitsou, Chrisoula. "Assessment of cognitive development in four to eight year old children by means of drawing tasks." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/22859.
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The present thesis explores the link between children's drawings and cognitive development. The aim of this study is to investigate the intellectual abilities of the child draughtsman with good depiction skills and to evaluate the merit of the drawing technique in the assessment of conceptual maturity. The standardised Goodenough-Harris Drawing Test (GHDT) of intellectual maturity was administered to 115 children between 4 to 8 years of age against criterion ability measures (Wechsler scales). Its psychometric properties are examined in respect to its norms and scales, its reliability and validity at different age levels and ranges of intelligence. Early theories in the area of pictorial representation were directed towards identifying features characteristic of different developmental periods (Kerschensteiner, 1905; Luquet, 1927/1977). At the same time Piaget and Inhelder (1948/1967) incorporated these stage theories into their model of spatial intelligence. Yet, the recent experimental study of children's drawings has disclosed a number of variables which interfere during the course of production, challenging the view that drawings can be seen as the royal route to access children's concepts. Stage theories are re-evaluated by means of fourteen experimental drawing tasks with various degree of difficulty. The tasks - administered to the same children tested with the standardised instruments -are spatial in nature and have been sampled from two widely researched areas related to the pictorial representation of partial occlusion and of spatial axes (horizontal/vertical). The acquisition of the pertinent spatial concepts by means of drawings is examined, considering competence-deficiency and competence-utilisation accounts of children's performance at different ages. Finally, overall perfomance on spatial tasks is compared with performance on conventional (Wechsler scales) and non-verbal (GHDT) measures of intellectual functioning, considering the optimum method to assess children's abilities by means of drawings. In general, drawing performance is reasonably sensitive to children's level of intelligence, yet the significance of drawing varies at different ages and ranges of IQ. Finally, the establishment of steadfast developmental trajectories falls short in the field of pictorial representation. The variable performance, particularly from the children at intermediate ages, suggests that the stages of intellectual or visual realism should be seen as relative and not as absolute.
9
Turner, R. J. "Validation of the parent-adult-child (PAC-D) projective drawing test." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335538986.
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Coutinho, Solange Galvao. "Towards a methodology for studying commonalities in the drawing process of young children." Thesis, University of Reading, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265110.
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Atkins, John L. "Personal anthropological observations." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/724963.
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The creative project dealt with the artist creating a vocabulary of images derived from past and present cultures in order to create a series of highly personalized anthropological narratives. The artist intended the narrative drawings to invoke archaic moods rather than summon literal responses.The accomplishments of this creative project were further development of the artist's personal imagist style, success in relating personal anthropological observations through narratives, and progress in media experimentation. By creating more contrast between forms, by varying value against value and deep space against shallow space, the artist was able to achieve superior compositional studies.Department of Art
12
Roché, Matthew William. "The validation of a computer-based version of the Maher line drawing task." Diss., Online access via UMI:, 2009.
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13
Dawson, Casey A. "Children's Use of Race in Drawing Inferences Based on Their Understanding of Race Constancy." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/10.
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Children’s understanding of race constancy and their subsequent use of race as a means of drawing inductive inferences were investigated. Race constancy was determined by children’s tendency to say that people could change category membership by changing their outside appearance. A second phase of the study measured how many race-based inferences children made relative to other social categories such as age or sex. The results indicated that children who had a better understanding of race constancy were also more likely to use race as a means of drawing inductive inferences. These findings support a developmental progression of race constancy and give insight to the development of potential bias and stereotypes.
14
Freeman, Tyler E. "Investigating the role of spatial frequency bands in drawing." Thesis, Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/2291.
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Duncan, Pauline A. "Drawing as a method for accessing young children's perspectives in research." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/17258.
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Researchers have taken a particular interest in children’s drawings as a means of representing and communicating knowledge and perspectives but a review of literature reveals that researchers routinely use drawings as a way of obtaining data without considering their function or value. This ESRC-funded research aims to explore drawing as a method of accessing children's perspectives and has three central research objectives which consider methodological and analytical factors relating to the use of children’s drawings as a research tool. These are: to develop a principled approach to analysing and interpreting children’s drawings, to create guidelines for the use of drawing as a research tool, and to gather children’s perspectives on play through the method of drawing. The research objectives were achieved by asking the following three questions: How can children’s drawings be analysed using a principled approach? What are the major factors to be considered when using drawing as a research tool? What can drawings reveal about children's perspectives on play? The study involved two visits to the homes of eight preschool children aged four. The sample included four girls and four boys from central and north-east Scotland with half of the families being categorised as being of low socioeconomic status. Visits were flexible and unstructured allowing the child autonomy regarding our level of interaction and the types of activities (such as free play and conversation) with which they wished to engage. The second visit included a prompted drawing activity in which I invited children to express their perspectives on play. The topic of play was chosen (i) to offer children a meaningful research activity to investigate the issues surrounding the method, (ii) to explore the task of representing an abstract, yet familiar, concept and how this may influence children’s drawings and representations of play, and (iii) as an extension of the ESRC project Young Children Learning with Toys and Technology at Home (Plowman et al., 2012) by giving greater emphasis to children's own perspectives on play and exploring the ways in which this can be achieved. My theoretical approach is not to consider drawings as reproductions of reality, but to value and attempt to understand children’s drawings as a semiotic vehicle in which messages are created and conveyed during the drawing process through representation and signification. Informed by social semiotics (Kress & van Leeuwen, 1996) the research presents an innovative four-step approach to analysing children's drawings (4-SASA). The protocol, a key contribution of the research, was developed to promote a more systematic analysis, involving (i) isolating signs within drawings through manual annotation, (ii) documenting the child’s understanding of signs and the significance attributed to them, (iii) organising signs using specific categories of social semiotic analysis (mode, size, colour, salience) and identifying the child’s motivation and interest for specific sign production, and (iv) synthesis of the child’s perspectives from steps 1-3. Post hoc methodological examinations elucidated the following four key factors to be considered when using young children’s drawings: (i) contextual sensitivity of the drawing process, (ii) children’s perceptions of the research task, (iii) the complex task of representing an abstract and elusive concept such as play, and (iv) whether there is a fundamental difference between drawing spontaneously (non-commissioned) and drawing on request. Evidence from the study supports previous literature in demonstrating the potential of drawing as a method of accessing children’s perspectives. However, findings suggest that rather than routinely selecting drawing as a method for representing children’s perspectives, researchers need to be more thoughtful about the ways in which factors such as the social and contextual framing of drawing and approaches to data collection can affect research outcomes. The thesis concludes by discussing how these emerging issues impact research outcomes, along with implications for future implementation and analysis of drawings.
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Smith, Alastair David. "Drawing and cognition : on the role of mental imagery and spatial coding in graphic production." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268787.
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Petterson, Anna S. "Ovarian cancer and medical art therapy : drawing on experience." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/246.
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This thesis investigates the experiences of ten women diagnosed with ovarian cancer through their engagement In medical art therapy. The literature revealed few studies that examined the psycho-social experiences of women with ovarian cancer. No studies explored the use of art therapy as a tool to identifY the women's psycho-social needs. The purpose of this study was to contribute to an Improved understanding of women's emotional, relational and existential engagements with the ovarian cancer experience. Women's visual and textual stories provided expressive representations of their experiences and responses throughout the disease trajectory.
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McNeish, Timothy Jay. "Reliability and validity of a human figure drawing screening measure to identify emotional or behavioral disorders in children." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341945621.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
20
Lim, Hui Keow. "Comparison of human figure drawings by children with Asperger's syndrome and typically developing children /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19383.pdf.
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Ali, Muhammad. "Aeiou : Aeiou." Thesis, Konstfack, Institutionen för Konst (K), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7249.
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Kapsch, Lynda Anne. "The effect of dramatic play on children's graphic representation of emotion." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-10032006-222253/.
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Thesis (Ph. D.)--Georgia State University, 2006.Ann Cale Kruger, committee chair; Amy Lederberg, Paula Eubanks, Olga S. Jarrett, committee members. Electronic text (128 p. : ill. (mostly col.)) : digital, PDF file. Description based on contents viewed Aug. 13, 2007. Includes bibliographical references (p. 95-104).
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Bowersock, Helen A. "Drawing from Montessori and Jensen's brain-based learning in adult ESL factory-based classes." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/681.
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Qi, Qing. "How Can We Understand Children’s Literature through Children’s Psychology? : An Analysis of Pippi Longstocking and The Little Girl at the Window according to Jean Piaget’s pedagogy." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-104833.
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Nowadays, an increasing amount of psychologists and educators find that literature designed for children plays a very important role in a child’s upbringing. A good children’s book not only influences a child’s psychological development, but is also a useful tool for scholars to research children’s psychology, which reflects children’s thinking regarding certain aspects. Astrid Lindgren’s Pippi Longstocking (1957) and Tetsuke Kuroyanagi’s The Little Girl at the Window (1984) undoubtedly are two representative children’s literatures, which were written during a time where the child's perspective in children's literature was not yet an attitude commonly adopted by narrators in novels. The novels illustrate and highlight children's thinking and reasoning abilities, and the characterization appears to draw on children's developmental cognitive theories, describing a child whose cognition ability recalls Jean Piaget's work and ideas. This thesis attempts to analyze Pippi’s and Totto’s thinking and reasoning and how it can illustrate some of Piaget’s theories about children’s drawing and children’s cognitive development. And a further discussion will be going on in this thesis about how Piaget's work might inform and enrich educational practices in accordance with children’s specific needs at different ages and from different cultural backgrounds.
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Stubbs, S. Todd. "Design Drawing in Instructional Design at Brigham Young University's Center for Instructional Design: A Case Study." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1666.pdf.
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Mock, Marilyn. "Illustrations or writings which should come first? /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1998.Source: Masters Abstracts International, Volume: 45-06, page: 2750. Typescript. Abstract included as one unpaged leaf at back of volume. Includes bibliographical references (leaves 28-30).
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Cowley, Brenda Barbara. "The assessment of the impact of desegregated schooling on young children, utilizing their drawings." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/17077.
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Bibliography: pages 88-92.This study concerns the assessment of the racial awareness and attitudes (intra- and interpersonal) of a small group of Sub A children in a recently racially desegregated school in Cape Town in 1991. This issue was seen to be of importance in South Africa because of changes within the educational sector whereby many schools were in the process of becoming racially desegregated. A case study design and methodology was used in both the pilot and main studies. Three drawings together with collateral information were obtained from each of the twenty-five children. The measurement instruments used were the Human Figure Drawing (HFD), the Kinetic School Drawing (KSD) and an instrument which was devised by the researcher during the pilot study, namely the Peer Group Drawing. Data analysis involved each drawing being analysed separately according to the analysis systems of Klepsch and Logie (1982), and Koppitz (1968), and further informed by Burns (1982) and Furth (1988). Within subject comparisons were undertaken which resulted in the data being clustered into four groups. The grouped data was then analysed and interpreted in terms of the aim of the study. Findings generally concurred with the literature: the children were found to be racially aware and held definite racial attitudes, and these were related to socio-cognitive and affective development. More than half of the subjects were found to be experiencing difficulties which in some cases could be clearly linked to adjusting to classroom desegregation. A central recommendation was for active mediation by educators and psychologists in the process of transition from desegregation to integration.
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Burch, Melissa Price. "Validating hierarchical sequences in the design copying domain using latent trait models." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/184346.
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The present study was a systematic investigation of hierarchical skill sequences in the design copying domain. The factors associated with possible variations in task difficulty were delineated. Five hierarchies were developed to reflect variations in rule usage, the structuring of responses, presence of angles, spatial orientations, and stimulus complexity. Three-hundred thirty four subjects aged five through ten years were administered a 25 item design copying test. The data were analyzed using probabilistic models. Latent trait models were developed to test the hypothesized skill sequences. Each latent trait model was statistically compared to alternate models to arrive at a preferred model that would adequately represent the data. Results suggested that items with predictable difficulty levels can be developed in this domain based on an analysis of stimulus dimensions and the use of rules for task completion. The inclusion of visual cues to guide design copying assists accurate task completion. Implications of the current findings for facilitating the construction of tests which accurately provide information about children's skill levels were discussed. The presence of hierarchical skill sequences in a variety of ability domains was supported.
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Schwan-Rosenwald, Lili. "Drawing the line an exploration of Otto Kernberg and Marsha Linehan's understanding of borderline personality disorder : a project based upon an independent investigation /." Click here for text online. Smith College School for Social Work website, 2007. http://hdl.handle.net/10090/1010.
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Thesis (M.S.W.)--Smith College School for Social Work, Northampton, Mass., 2007Thesis submitted in partial fulfillment for the degree of Master of Social Work. Includes bibliographical references (leaves 102-108).
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Akbay, Saadet. "Multi-attitudinal Approaches Of Colour Perception: Construing Eleven Basic Colours By Repertory Grid Technique." Phd thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615567/index.pdf.
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Colour is a basic aspect of perception and the perception of colour varies from individual to individual. This indicates that the perception of colours mean different semantics in various contexts to different individuals. Therefore, these differences in perception forms to behave in different attitudes towards colours among individuals and it is likely to achieve different attitudinal responses to colours from individuals. Relying on the effects of colours on individuals, the initial interest of this thesis is to explore the attitudinal approaches of individuals to colours.
This thesis is first and foremost exploratory in nature. This thesis intended as a first step towards exploring the ways in which the individuals think of, construe and give meaning to colours in their own words. The subjective approach proposed in terms of this thesis is based on the underlying philosophy behind Personal Construct Theory (PCT). In order to elicit the individuals&rsquoways of construing and giving meaning to colours in their own words, an experiment was conducted with the utilisation of the Repertory Grid Technique (RGT). Sixty undergraduate students of Middle East Technical University (METU) Faculty of Architecture were voluntarily participated in the experiment. As a stimuli, eleven basic colours which were black, grey, white, yellow, orange, red, pink, purple, brown, blue and green were utilised. For the second step, this thesis intended investigating the structure and interrelations between the elicited attitudes of individuals and eleven basic colours. As a result of the experiment, 60 repertory grids were elicited and were analysed by using the qualitative and quantitative applications of content analysis. The resulted data afterwards were analysed by using multivariate statistical analysis methods. The overall results of this research can support certain information for further scientific investigations on colour perception and colour psychology. Additionally, the results of this research can help and guide designers to attain objective understandings about the individuals&rsquo
attitudes to colours. This can contribute to designers as a practical worthwhile during colour design and colour planning in their products and services.
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Barbosa, Margarida de Melo Grandvaux. "Representação de acontecimentos através do desenho com crianças de 3/4 e 5/6 anos." Master's thesis, Instituto Superior de Psicologia Aplicada, 2005. http://hdl.handle.net/10400.12/345.
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Dissertação de Mestrado em Psicologia EducacionalNo seguimento de alguns trabalhos realizados na área das representações de acontecimentos e, principalmente com base em investigações no âmbito do quadro teórico de K. Nelson, surge o nosso estudo. Com ele, pretendemos recolher mais informações que revelem a ligação existente entre a estruturação temporal dos acontecimentos e a familiaridade com os mesmos, o desenho e a sua complexidade e, por último, a linguagem e a sua função reguladora. Para que fosse possível atingir o objectivo a que nos propusemos, baseámo-nos no paradigma da produção de scripts, de maneira a compararmos o desempenho das crianças numa tarefa de produção de desenhos e as verbalizações associadas ao mesmo, para dois tipos de acontecimentos: "Um dia de escola" e "Uma festa de anos". A amostra é constituída por 60 crianças, com idades compreendidas entre os 3 e os 6 anos, distribuídas por dois grupos: 3/4 anos e 5/6 anos. Assim sendo, esperávamos que as crianças mais novas, ao explicarem os seus desenhos, recorressem a mais etiquetas/descrições, comparando-as com as crianças mais velhas, de quem aguardávamos relatos mais estruturados, complexos e elaborados, isto é, mais próximos da estrutura narrativa das histórias. A par desta complexidade verbal, também aguardávamos uma outra complexidade, mas desta feita a nível gráfico. Sendo assim, esperávamos que as crianças mais velhas elaborassem desenhos mais pormenorizados, complexos e com maior número de elementos desenhados, em relação às crianças mais novas. Os dados analisados segundo as grelhas construídas por nós, foram sujeitos a uma confirmação estatística. Para isso, realizámos uma análise de variância multivariada para comparar os dois grupos etários e os dois tipos de acontecimentos, na análise das verbalizações, da complexidade da estrutura narrativa e da complexidade dos desenhos. Também utilizámos o teste de Anova de Friedman para comparar os elementos específicos dos dois acontecimentos. Através dos resultados, verificámos que são as crianças mais novas que emitem mais enunciados espontâneos durante a realização do desenho, em ambos os acontecimentos. Constatámos que tanto as crianças mais novas, como as mais velhas, emitiram mais enunciados induzidos no acontecimento "Uma festa de anos". Em ambos os acontecimentos, foram sempre as crianças de 5/6 anos que emitiram mais enunciados induzidos. Comparando os dois grupos etários, também constatámos que em ambos os grupos, a maioria dos enunciados foram do tipo Descrição/Etiquetagem, embora as crianças mais velhas também tenham revelado um número bastante significativo (estatisticamente significativo), comparativamente com as crianças mais novas, de enunciados Acção /Acontecimento. Observou-se então, que as crianças do grupo dos 3/4 anos apresentaram níveis de estruturação narrativa mais baixos do que as do grupo dos 5/6 anos. Por último, relativamente ao nível das produções gráficas, constatámos que foi no grupo das crianças mais velhas que estas se mostraram mais complexas, evidenciando-se quanto à organização do desenho e aos elementos específicos de cada acontecimento. Embora, não tenhamos encontrado diferenças significativas entre os dois tipos de acontecimentos, no geral foi no acontecimento "Um dia de escola" que as crianças desenharam mais elementos.
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Malan, Marinique. "Vyfjarige dogter se gebruik van kunsmedia in terapie : 'n refleksie." Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/2793.
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Thesis (MEdPsych (Educational Psychology))--University of Stellenbosch, 2008.ENGLISH ABSTRACT: The focus of this study is a reflection by an educational psychologist of a five year old girl and her use of art media during her therapy sessions. The rational behind art therapy is that underlying feelings and problems are brought to the surface through the interaction with art media and art production (Oster & Crone, 2004). This enables the client to perceive the problem visually and learn how to process it. Educational psychologists are not necessarily trained to do art therapy. However the use of creative media can form part of their practice. A principle of art therapy – to create a safe environment for the person to work uninterrupted, was used in this study. A qualitative ex post facto study was used to complete this research. This entails a study of an occurrence (a child‟s use of art media in therapy) after it has been observed by the researcher. The aim of this research was to study, by means of a case study, a five year old girl‟s interaction with art media such as paint, clay and felt-tip pens throughout her therapy process. The amount of time spent with media, techniques and colours used, symbols made, as well as verbal and non-verbal behavior was observed. The participant‟s therapy sessions and informal interviews with her mother were recorded on video. The videotapes were studied and field notes of these, together with personal records and the artistic products that resulted from her sessions were used for data-collection. In addition and to enrich the study the possible meaning of the symbols depicted were also discussed. Inductive data-analyses (bottom to top) were used to process the data. The researcher‟s perspective during the study was of a reflective practitioner. The description of the participant‟s interaction with art media showed that she became more involved with it as time passed. There were noticeable changes in her use of colour, techniques and media. A positive change in her verbal and nonverbal behaviour was observed towards the end of her therapy-process.
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Bekhit, Nawal Sharkawy. "The use of children's drawings in clinical psychology." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403461.
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Buisán, Serradell Carmen. "Los factores de maduración en la adquisición del acto gráfico." Doctoral thesis, Universitat de Barcelona, 1995. http://hdl.handle.net/10803/670233.
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El objetivo de esta tesis es determinar los factores madurativos del acto gráfico de la escritura con el fin de predecir las dificultades del aprendizaje del grafismo. A partir de la conceptualización de los términos relacionados con el acto gráfico se presenta una diferenciación de los actos del dibujo y de la escritura y se describe la evolución de ambos. Una vez definidos los factores que inciden en el aprendizaje de la escritura se concretan las pruebas -algunas de ellas adaptadas o creadas- que permitirán obtener los datos referentes a inteligencia, desarrollo psicomotriz, personalidad, datos evolutivos y familiares y observación de la ejecución del trazo, junto con la escala de grafismo que permitirá observar el rendimiento gráfico.
A partir de un estudio predictivo y longitudinal, con una muestra de 400 niños, de 9 centros y con diferentes metodologías de enseñanza, se concluye que:
1.- Los factores madurativos no son predictivos para el aprendizaje del grafismo. Inciden en este dominio la capacidad perceptiva visual, la coordinación visomotora y la coordinación dinámica junto con la edad y el sexo. El resto de factores no tiene una influencia decisiva en este aprendizaje. 2.- La metodología que plantea ejercicios específicos para aprender el grafismo permite obtener un mejor rendimiento y compensa los déficits madurativos iniciales. 3.- Se apunta la necesidad de estudiar a fondo el papel del maestro y la motivación personal como posibles factores explicativos del aprendizaje del grafismo de la escritura.
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Machado, Maria Eduarda Barata Belchior Rodrigues Pereira Lemos. "Partir de olhos fechados: Estudo de caso de perturbação autística." Master's thesis, Instituto Superior de Psicologia Aplicada, 2007. http://hdl.handle.net/10400.12/620.
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Dissertação de Mestrado em Psicopatologia e Psicologia ClínicaEste trabalho teve como objectivo o estudo de caso de perturbação autística com a metodologia de estudo de caso intrínseco, que visa reflectir sobre a prática clínica do caso particular. A definição de categorias possibilita um olhar profundo para os sentimentos que o trabalho com uma criança com estas características pode despoletar. Pode ainda verificar-se como a criança evolui ao longo do processo terapêutico, tarefa que exige perícia e um investimento longo na procura e compreensão dos aspectos mais salientes. Abstract The object of this work is the case study of autistic disorder, via the intrinsic case study methodology, which aims to reflect on the clinical practice of the individual case. The definition of categories makes possible a deeper look into the feelings that the work with a child of these characteristics can set off. It is also possible to recognize how the child evolutes during the therapeutic process, a task that requires skill and a long investment in the search and comprehension for prominent aspects.
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Gunter, Elizabeth. "The mark of a silent language : the way the body-mind draws." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6656.
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Thesis (PhD)--University of Stellenbosch, 2011.ENGLISH ABSTRACT: The thesis deals with the notion that individuation in drawing provides visible evidence of experiential cognition as embodied action. It asserts that trait as enaction signifies constructive and inventive processes that involve the body-mind. Trait emerges as nonrepresentationist, non-expressive component of drawing that marks the pre-conceptual as conceptual. Therefore, drawing functions as a complex interface between drafter and world that unifies antimonies such as inside and outside; convention and invention; remoteness and intimacy; body and mind; and subject and object. The thesis outlines drawing as a self-reflexive research process that constructs and invents. An understanding of trait as invention, the thesis proposes, can aid the drawing facilitator at higher education level to develop individual student drafters’ creativity. The thesis therefore argues for a form of drawing facilitation that is responsive to the complex interaction between the self and the world. Responsive mediation develops and celebrates diversity in socio-cultural heritage, personal history, and individual differences.
AFRIKAANSE OPSOMMING: Die idee dat verpersoonlikte trekke in tekenkuns sigbare aanduiding van enaktiewe vergestalting van kognisie is, vorm die onderwerp van hierdie tesis. Die tesis stel dit dat vergestaltende ervaringskognisie, as die tekenaar se ervaringsbetrokkenheid, geïndividueerde begrip, vaardigheid, sintese en betekenisvorming moontlik maak en ontwikkel. Verpersoonlikte trekke in tekenkuns blyk van non-representatiewe en non-ekspressiewe oorsprong te wees aldaar dit die prekonseptuele as die konseptuele merk. Dit ondersteun die gedagte dat tekenkuns as ’n komplekse koppelvlak tussen tekenaar en omwêreld funksioneer. As koppelvlak word die tekenkuns verwesenlik as ’n sigbare samevloeiing van dualiteite soos binne en buite, die gewone en verdigting, afstand en intimiteit, subjek en objek, liggaam en gees. Ingevolge ’n enaktiewe beskouing van die tekenkuns kan die tekenhandeling beskryf word as ’n selfrefleksiewe navorsingsproses wat kreatiwiteit ondersteun. Sodanige beskouing van die tekenkuns, lui die argument, kan die fasiliteerder op ’n hoër onderwysvlak help om individuele tekenstudente se kreatiwiteit te bevorder. Daaruit vloei die voorstel vir ’n vorm van fasilitering wat gevoelig is vir die ingewikkelde interaksie tussen die self en die omgewing. ’n Vorm van mediasie wat dit in ag neem, skep nie alleen ruimte vir diversiteit wat betref sosio-kulturele herkoms, persoonlike geskiedenis en individuele verskille nie, maar ontwikkel en vier ook dié soort diversiteit.
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Kidd, Ferdinand. "Introverted explorations." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20256.
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Thesis (MA (VA))--Stellenbosch University, 2012ENGLISH ABSTRACT: This thesis investigates a variety of different texts I find interesting, and reveals how these texts provide insight into my artistic practise. This thesis investigates what the combination of a collection of texts that interest me can reveal about my concerns and artistic practice. Most of the primary research takes the form of utilising seemingly randomly selected texts, although the selection process is far from arbitrary. The motivation for the initial selection of the specific texts derives from one common source: my personal and artistic interest. These texts all interest me in very specific ways. This implies that there must be something that they all have in common. The central factor that brought these texts together is my own preoccupations. The themes that arise from the comparison and juxtaposition of these texts will thus be themes of my own creation. If these themes are generated by me, then they will inevitably be self-reflexive and reveal as much about me as about their own subject matter. Because my personal interest is the driving factor behind the research process, the thesis takes the shape of an individuated response to the specific texts, and as such the results are unexpected and dynamic. The nature of the research is closely related to that of my practical work. This is why I use my artistic practice as a central vehicle to bring all the threads and ideas together in the second half of the thesis. The themes that arise from the writing process, when viewed in conjunction with my artistic practice, not only place this practice within a theoretical context, but also clarify (for myself as much as for viewers) Ferdinand Kidd. Introverted Explorations. Stellenbosch University. 2011 many obscurities. In the end this process helps me to better understand and answer the question that has been with me since I started making art: When I can do anything, why do I do what I do?
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die kombinasie van 'n versameling tekste wat my interesseer. Die fokus is op wat hierdie versameling tekste oor my eie spesifieke belangstellings en kunspraktyke uitwys. Alhoewel die grootste gedeelte van die aanvanklike navorsing blyk na 'n onwillekeurige seleksie van tekste, is hierdie seleksie-proses geensins arbitrêr nie. Die oorspronklike seleksie van tekste vir die tesis het een aspek in gemeen: my belangstelling. Die tekste is vir my op 'n sekere en spesieke manier interessant. Hieruit volg die afleiding dat die tekste 'n kenmerk in gemeen het en as die sentrale faktor wat hierdie tekste byeengebring het, myself is, is die temas wat ontwikkel uit die vergelyking en jukstaponering van die tekste dus temas wat ek geskep het. As ek dus die temas geskep het, is dit noodwendig self-reflektiewe temas wat net soveel oor myself as hul eie onderwerpe onthul. Aangesien my eie belangstelling die dryfveer agter die navorsingsproses is, is die tesis in wese 'n geïndividualiseerde respons op spesifieke tekste met die gevolg dat die resultate onverwags en dinamies is. Hierdie aard van die navorsing stem ooreen met die aard van my praktiese werk. Gevolglik gebruik ek my eie kunspraktyk as 'n sentrale tema om die verskeidenheid idees en gedagtes byeen te bring in die tweede helfte van die tesis. Met behulp van die temas wat uit die navorsing- en skryfproses ontstaan en dan binne verband met my eie kreatiewe praktyk geplaas word, word my kreatiewe praktyk binne 'n teoretiese konteks geplaas, en terselfdetyd word obskure konsepte sinvol toegelig. Uiteindelik bewerkstellig hierdie proses 'n antwoord en beter begrip vir die vraag wat sedert die aanvang van my kunspraktyk ontstaan het: Wanneer ek enigiets kan doen, hoekom doen ek wat ek doen?
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Trindade, Rafaela Gabani. "Desenho infantil: contribuições da educação infantil para o desenvolvimento do pensamento abstrato sob a perspectiva da psicologia histórico-cultural." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-15062011-123124/.
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A despeito dos avanços promovidos pela LDB 9394/96, que institui a Educação Infantil como primeira etapa da Educação Básica, assistimos ainda hoje à desvalorização pedagógica e à precarização das condições reservadas ao ensino pré-escolar, haja vista as baixas expectativas educativas que em geral se tem a seu respeito. Neste contexto, observamos também a frequente falta de fundamentação teórico-metodológica nas práticas educativas destinadas ao desenho infantil, seja pela secundarização da arte como ação elementar ao desenvolvimento humano, ou pela má qualidade da formação de professores na área. Em contraposição a este quadro, que incorre em práticas e discursos anti-escolares em relação a este segmento educacional, bem como a propostas espontaneístas ou estereotipadas de ensino do desenho, por vezes orientadas à livre-expressão ou à reprodução de imagens e treino de habilidades, este estudo emerge sobre as bases da Psicologia Histórico-Cultural para reafirmar a importância de um ensino promotor do desenvolvimento humano desde a mais tenra idade, reconhecendo a importância da atividade de desenho neste processo. Partimos do pressuposto de que os processos psíquicos superiores se desenvolvem por meio da interiorização dos signos e da formação de atividades qualitativamente diferentes, propriamente internas, e assim temos o início do desenvolvimento do pensamento abstrato nos primeiros anos de vida, quando a conduta da criança se torna cada vez mais independente em relação ao seu círculo imediato de ação e percepção. O desenho, prática muito frequente nas escolas, porém subaproveitada, é uma atividade em que a criança se utiliza de signos e que demanda a abstração de relações, guardando então a possibilidade para impulsionar a formação das funções psíquicas superiores. Dessa forma, buscamos investigar as contribuições do ensino do desenho na escola para o desenvolvimento do pensamento abstrato na infância. Para tanto, realizamos um estudo teórico-conceitual das obras de autores pertinentes à temática, sob o enfoque histórico-cultural, fundamentado no método materialista histórico-dialético. Procuramos, deste modo, fornecer subsídios teóricos próprios da ciência psicológica que conduzam à proposição de um trabalho pedagógico alicerçado na potencialidade do desenho para o máximo desenvolvimento da criança pequena nas instituições de Educação Infantil, somando esforços no sentido da consolidação da identidade político-pedagógica deste segmento educacional.Despite the breakthroughs enabled by the passing of LDB 9394/96, which established Early Childhood Education as the first stage of Basic Education, pedagogical depreciation and precariousness of preschool teaching conditions can still be witnessed today, as shown by the low educational expectations held towards this initial level of education. In this context, it is also possible to observe the frequent lack of theoretical-methodological foundation in the educational practices directed at children\'s drawing, either due to the sidelining of art as an elementary action to human development or due to poor professional training. Contrary to this scenario - which falls within anti-school practices and discourses regarding this educational segment, as well as within spontaneous or stereotypical proposals of drawing teaching, at times directed to the free-expression or reproduction of images and training of abilities - this study emerges from the foundations of Historical-Cultural Psychology to reaffirm the importance of an education that promotes human development from the early ages in life, recognizing the importance of drawing in this process. Our premise is that the higher psychological processes are developed through the internalization of signs and the formation of qualitatively different activities, pinpointing the beginning of abstract thinking in the first years of life, when the child\'s conduct becomes growingly different with regards to its immediate circle of action and perception. Drawing, a very frequent but underutilized practice at school, is an activity through which the child utilizes signs and encounters a demand for the abstraction of relations, thereby holding the possibility to stimulate the formation of higher psychological functions. As such, we look to investigate the contributions of the teaching of drawing in school towards the development of abstract thinking in young children. In order to do so, we carried out a theoretical-conceptual study on the authors relevant to the theme under a historical-cultural scope based on the historical dialectical materialist method. We sought to supply theoretical subsidies that are particular to psychological science and that lead to the proposition of pedagogical measures founded on potential of drawing towards the maximum development of young children in preschool institutions, making great effort towards the consolidation of the political-pedagogical identity of this educational segment.
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LaRoque, Sean Davis. "Pencil pressure in projective drawings: An indicator of anxiety." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279774.
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There has been much debate in the literature regarding the use and abuse of projective drawings in clinical and school settings. The criticism has largely centered around interpretation and use of indicators within these drawings that have not achieved consensus in the research regarding their validity. This study attempts to bridge the gap between those opposed and those in support of projective drawings. It does this by illustrating that valid indicators can be found within projective drawings provided accurate, sensitive and reliable tools are available to measure these indicators. This research analyzed the relationship between pencil pressure used during drawing and State and Trait anxiety. A highly accurate and precise pressure sensitive palette was used to reliably and objectively measure the degree of pencil pressure used by the participants during three drawing tests, including the Draw a Person, Bender-Gestalt Visual Motor Integration Test, and the drawing of an automobile (n = 50). The State Trait Anxiety Inventory for Children assessed the participants' levels of State and Trait anxiety. Results indicated that individuals with higher levels of Trait anxiety used significantly less pencil pressure on all three drawing measures than individuals with lower levels of Trait anxiety. Further, individuals with high and low levels of State anxiety used significantly more pencil pressure on all three drawing measures than individuals with medium levels of State anxiety. The implications of these findings, as well as considerations for future research are discussed.
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Littleton, Karen Susan. "The representation of depth in children's drawings." Thesis, University of York, 1991. http://etheses.whiterose.ac.uk/4251/.
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Wolhendler, Baruch. "Creativity, delinquency, and production of unsolicited violent content in drawings." Thesis, Fielding Graduate University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3718068.
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Limited research on creativity in delinquents concluded they were generally not creative, and delinquents who were creative tended to express creativity in the domains of crime and violence. None of this research examined creativity in delinquents with testing validated to measure both the divergent-exploratory and convergent-integrative thinking processes, now considered essential and interdependent elements of creative thinking. Further, no studies empirically examined creative products for violent and criminal content. The present study used archival data from an adapted Evaluation of Potential Creativity (EPoC) to analyze the creative potential of adolescents in a juvenile detention center relative to a reference group of adolescents in the general population. The adapted EPoC assessed creative potential in the graphic and verbal domains of divergent-exploratory thinking and the graphic domain of convergent-integrative thinking. Drawings from the adapted EPoC were also analyzed for presence and level of unsolicited violent content.
Delinquents demonstrated lower levels of creativity than adolescents of the general population in the graphic domain of both divergent-exploratory and convergent-integrative thinking. However, there was no difference in level of creativity between delinquents and adolescents of the general population in the verbal domain of divergent-exploratory thinking. In addition, delinquency did not moderate the relationship between creativity and production of unsolicited violent content in drawings; high levels of creativity in both delinquents and adolescents of the general population were associated with the production of high levels of unsolicited violent content in drawings.
The finding of no difference in levels of verbal creativity between delinquents and adolescents of the general population may suggest both groups share a common deficiency in verbal creativity due to environmental and pedagogic factors; specifically, an art bias equating creativity with graphic but not verbal creativity, and a teacher preference for students oriented toward the visual arts. The finding associating high levels of creativity with high levels of unsolicited violent content in drawings for both delinquents and adolescents of the general population may be related to the observed tendency of all creative adolescents to draw a greater volume of content overall, indicating drawing violent content is commonplace and disassociated from delinquency.
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Filho, Luiz Tadeu Gabriel. "O ensino de psicopatologia: a concepção de doença mental e reflexões a partir da experiência prática." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-12112015-155031/.
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Esse trabalho teve como objetivo explorar como se dá a experiência de estudantes de Psicologia em seu primeiro contato com pessoas com sofrimento mental, tendo para isso base teórica e prática de estágio, em disciplina introdutória da área de Psicopatologia; e, ao mesmo tempo, refletir sobre a influência dessa experiência na concepção dos alunos sobre o tema. Na Introdução teórica, são apresentadas uma trajetória da história frente à doença mental e a construção dos atuais dispositivos da Rede de Atenção Psicossocial brasileira. Discute-se a importância do contato com o outro para o reconhecimento de si mesmo e da realidade como determinantes para o enfrentamento de uma possibilidade de ruptura de si e da realidade. Aborda-se, assim, a concepção do aluno sobre a loucura e a descrição da proposta de estágio central a este trabalho, que busca trazer um modelo inovador de introdução dos alunos ao tema e à prática em saúde mental. Para dar conta dos objetivos, foi aplicado o procedimento Desenho-Estória com tema (DE-t) em 63 estudantes e refletiu-se acerca do acompanhamento semanal de um grupo de 6 (seis) estagiários em atendimentos a um usuário de um centro de atenção psicossocial. Foram realizadas entrevistas anteriores e posteriores o período da prática, recolhendo-se, também, relatos escritos sobre cada atendimento, realizando-se a análise do discurso desse material. Apresentam-se as análises e as discussões dos DE-t, das entrevistas iniciais, dos relatórios semanais produzidos e, por fim, das entrevistas realizadas após o fim da experiência. Os resultados mostram a sucessiva aproximação do aluno com a doença mental, tornando-a concreta. A concepção inicial indicava o doente mental como violento, triste, angustiado frente à existência e com pouco contato com a realidade. Com o tempo, a distância e o pouco conhecimento sobre o tema foram mudando, sendo que os alunos puderam tomar contato com a realidade do usuário e das instituições. Destacou-se, ainda a ambiguidade entre a disponibilidade do aluno e as angústias do contato desses alunos com a doença mental. Ao final desse percurso, pôde-se observar o êxito do objetivo proposto, ao relatar-se a trajetória desses estudantes diante da doença mental, as mudanças em sua forma de conceber e disponibilizar-se a essa relação, mostrando-se a importância do paralelo entre teoria e prática no ensino de PsicopatologiaThis work aims to explore how students of Psychology experience their first contact face to people with mental disorder, through the theoretical teaching and the participation in a traineeship part of an introductory class of Psychopathology, and how this experience influences their comprehension of this theme. On the introductory chapter, a historical trajectory of the theme of madness is followed to present the construction of the current provisions of the Brazilian Psychosocial Care Network and to discuss the place of madness for the subject and the importance of contact with others for recognition of the self and reality as determinants to face a possibility of rupture of self and reality. It is approached, then, the formulation of this student about the madness and the description of the traineeship proposal, central to this study that brings an innovative model for introducing students to this subject and practice in mental health. Aiming this objectives, the thematic drawing and story procedure (DE-T) was applied in 63 students and, face to the weekly monitoring of a group of six trainees in care offered to an user of a psychosocial care center, interviews were conducted before and after the period of practice. It was also gathered the written reports on each session, performing the discourse analysis of the material. Initially, it is analyzed and discussed the DE-t, followed by the analysis of the initial interviews, the weekly reports produced and, finally, the interviews after the end of the course. The results indicate that a successive approximation of the student with mental disorders making it concrete. This initial image indicated the mentally ill as violent, sad, anguished face to existence and with little contact with reality. Over time, this distance and the little knowledge about the theme changed, and those students were able to have contact with the reality of the patient, and of the institution. Stands out, as well, the ambiguity between the availability of the student and the anxieties of this contact with mental disorder. At the end of this journey was possible to observe the success of the proposed objective in reporting the course of these students approaching of the mental disorder, changes of their conception, and being available to this relationship, showing the importance of the parallel between theory and practice in psychopathology teaching
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Bessette, Prudence. "L'identité dans le lien social, entre le même et l'autre : étude comparative des dessins d'enfants québecois et ivoiriens." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00803273.
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Les changements sociaux mettent aujourd'hui en question les identités individuelles et collectives, le rapport à soi-même et aux autres. À partir d'une méthodologie croisée, ce travail interroge la construction de l'identité en fonction du lien social, en comparant les dessins d'enfants québécois et ivoiriens (méthode projective de quatre dessins : libre, bonhomme, famille, famille idéale). Huit études de cas, de même qu'une comparaison statistique avec des données internationales (France, Russie, Vietnam), mettent en lumière des différences culturelles. La primauté de la représentation de soi-même, spécifique au Québec, et l'absence du sujet dans le dessin, particulière à la Côte d'Ivoire, font l'objet d'un examen particulier. Le dessin témoignant des identifications à l'interface subjective et sociale, la synthèse des résultats révèle la possibilité d'un lien entre le sujet solipsiste moderne et une organisation identificatoire privilégiant des figures du Même ou du semblable, qui implique des aspects régressifs. L'identification (secondaire) à des figures de l'Autre, nécessaire à la construction d'idéaux et d'une identité qui puisse se projeter dans l'avenir, paraît facilitée dans un lien social où une tradition symbolique fonctionne. De manière générale, l'identité est à penser comme un équilibre entre mêmeté et altérité, dont le lien social viendra faire varier la configuration.
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Sitton, R. "Flexibility in young children's human figure drawings." Thesis, University of Southampton, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382878.
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BROGLIA, LUDOVICA. "Narrazione autobiografica e infanzia: le visual narratives." Doctoral thesis, Università degli studi di Modena e Reggio Emilia, 2022. http://hdl.handle.net/11380/1278099.
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La memoria e la narrazione autobiografica si sviluppano gradualmente durante l’infanzia: studi di psicologia narrativa – quali quelli di Robyn Fivush, Katherine Nelson e Dan P. McAdams – analizzano in modo puntuale, a partire da un approccio socio-culturale, la loro evoluzione dagli anni prescolari all’adolescenza e le caratteristiche principali del cosiddetto Self autobiografico.
Secondo questo approccio, la formazione del Self e l’emergere della memoria autobiografica sono due dinamiche connesse con il contesto di riferimento: i significati narrativi vengono costruiti all’interno del noto processo di Reminiscing, ovvero di ricordo condiviso. Eventi positivi ed eventi negativi, ad esempio, vengono ricordati e analizzati in modo opposto: se i primi tengono in considerazione i dettagli spazio-temporali ed oggettivi dell’esperienza, i secondi integrano gli aspetti emotivi e fanno riferimento ad un approccio interpretativo.
Allo stesso tempo, già nei primi anni di vita, i soggetti agiscono secondo quelli che sono i valori condivisi dalla cultura di appartenenza, la quale propone standard diversi anche a seconda del genere. Il modo in cui ci percepiamo uomini o donne è collegato a diversi orientamenti sociali, stili cognitivi e racconti autobiografici: d’accordo con Carol Gilligan, sappiamo che le bambine hanno come focus l’interdipendenza (belonginess), mentre i bambini si soffermano sul raggiungimento di obiettivi, sugli aspetti che li rendono distinti dal mondo (autonomy).
Nello specifico, la tesi si propone di analizzare le caratteristiche principali delle narrazioni autobiografiche infantili, raccolte in alcuni contesti educativi per la prima infanzia. L’attenzione è rivolta in particolare alle cosiddette visual narratives, ovvero alle narrazioni visive sequenziali, le quali chiedono ai bambini di ricostruire l’evento in più frames – o pannelli ‒ a partire da specifiche scelte connesse al design visivo e verbale. Ebbene - d’accordo con le recenti scoperte di Neil Cohn relative alla grammatica delle narrazioni visive – il disegno sequenziale abitua i bambini a segmentare le proprie esperienze in frames e scripts, i quali devono essere collegati in modo significativo gli uni agli altri.
I materiali raccolti vengono analizzati a partire da due approcci differenti: gli studi di psicologia narrativa consentono di valutare i racconti a livello contenutistico (quali dettagli dell’evento sono riportati?), mentre gli studi focalizzati sulla visual grammar permettono di costruire riflessioni relative alle strategie adottate a livello narrativo e alla segmentazione dell’esperienza (ad esempio, quali collegamenti vengono costruiti, quali tipologie di pannello vengono utilizzate e come vengono introdotti i personaggi?). A questo proposito, è possibile riassumere alcune riflessioni generali: a livello contenutistico, evidenti sono le differenze narrative collegate alla valenza emotiva dell’evento raccontato e al genere del bambino. Nel caso degli eventi positivi, ad esempio, i bambini rappresentano in modo dettagliato le coordinate spazio-temporali di riferimento e le azioni che si alternano, mentre le narrazioni degli eventi negativi sottolineano una codifica percettiva e focalizzata sulla ricerca di interpretazioni personali. A livello strutturale, invece, vengono valutati nel dettaglio i collegamenti costruiti tra i frames: i partecipanti sembrano seguire una progressione temporale e allo stesso tempo, sono in grado di costruire complesse dinamiche causali. Una riflessione particolare è, infine, dedicata alla cosiddetta visual literacy, ovvero alla capacità di costruire significato a partire dalle scelte collegate al design visivo: i bambini sembrano prestare attenzione in modo consapevole alle scelte cromatiche, alle forme/dimensioni dei pannelli e alla tipografia.Autobiographical memory and autobiographical narratives develop gradually during childhood: studies of narrative psychology ‒ such as those of Robyn Fivush, Katherine Nelson and Dan P. McAdams ‒ analyze their evolution from preschool years to adolescence and the main characteristics of the autobiographical self. According to the socio-cultural approach, the formation of the Self and the emergence of autobiographical memory are dynamics connected with the cultural context: narrative meanings are constructed within the process of Reminiscing, or shared memory. Positive events and negative events, for example, are remembered and analyzed in opposite ways: if the former consider the spatial-temporal and objective details of the experience, the latter integrate the emotional aspects and refer to an interpretative approach. Already in the first years of life, we act according to the values shared by the culture, which proposes different standards also depending on the gender. The way we perceive ourselves as men or women is linked to different social orientations, cognitive styles and autobiographical stories: in agreement with Carol Gilligan, we know that girls focus on interdependence (belonginess), while boys focus on achieving goals, on the aspects that make them distinct from the world (autonomy). Specifically, this thesis aims to analyze the main characteristics of autobiographical narratives, collected in educational contexts for early childhood. The focus is particularly on visual narratives: we ask children to reconstruct the event in multiple panels starting from specific choices related to visual and verbal design. In agreement with the schema theory and with Neil Cohn's recent discoveries concerning the grammar of visual narratives, sequential drawing seems to be closely linked to design and mind reading skills as it asks children to segment their experiences in frames and scripts, which must be meaningfully linked to each other. The collected materials are analyzed from two different approaches: studies of narrative psychology allow to evaluate the stories at a content level (which details of the event are reported?), while the studies focused on visual grammar allow to build reflections on the strategies adopted at the narrative level (for example, which links are built and how characters are introduced?). In this regard, it is possible to summarize some general reflections: on a content level, the narrative differences ‒ related to the emotional value of the event and to the gender of the child ‒ are evident. In the case of positive events, for example, children provide a detailed description of the spatial-temporal reference coordinates, while the narratives of negative events emphasize a perceptual encoding focused on the search for personal interpretations. On a structural level, however, the links built between frames are evaluated in detail: participants seem to follow a temporal progression and at the same time, are able to build complex causal dynamics. A particular reflection, finally, is dedicated to visual literacy, or the ability to build meaning starting from the choices related to visual design: children seem to pay attention in a conscious way to color choices, to shapes / sizes of the panels and to typography.
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Cook, Kirsten M. Odmark 1950. "A comparison of Kinetic Family Drawings and Adlerian life styles." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/277291.
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This study compares information gathered by Kinetic Family Drawings with information gathered by an Adlerian Life Style Interview. A non-clinical population of university students participated in the study. The participants drew a crayon picture of their families from the perspective of age five and then answered three questions about their drawings. The participants then participated in a structured Life Style Interview which dealt with their perceptions of their lives as young children in their families of origin. All questions were tape-recorded and later transcribed. A panel of experts in projective drawings analyzed the drawings and the transcriptions of the three questions and then summarized each participant's possible apperceptions about life. A panel of Adlerian psychologists analyzed the interview data and summarized apperceptions. The apperceptions were then compared. Results indicate that both projective devices elicit like or similar information about an individual's views of life, self, men, women, and family values.
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Klopper, Liezl. "Mediating adolescents' insights into shared traumatic experiences through drawings." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1072.
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Amin, Raquel Carneiro 1982. "O "Mes das Crianças e dos Loucos" : reconstituição da exposição paulista de 1933." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284088.
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Orientador: Lucia Helena ReilyDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T10:54:39Z (GMT). No. of bitstreams: 1 Amin_RaquelCarneiro_M.pdf: 92300981 bytes, checksum: e4b44687c03058d3351a26568c79047a (MD5) Previous issue date: 2009
Resumo: Desde o século XIX até os nossos dias, houve crescente interesse por parte de psiquiatras, psicólogos e artistas plásticos em justapor a produção artística do louco e da criança. No Brasil o interesse remonta à década de 1920, com os estudos do psiquiatra Osório Cesar, baseados nas produções plásticas de pacientes do Hospital Juqueri e também com Ulisses Pernambucano, que em 1925 funda o Instituto de Psicologia do Recife. O presente estudo intencionou estudar o "Mês das Crianças e dos Loucos" - exposição organizada por Flávio de Carvalho e Osório César acompanhada por uma série de conferências, no ano de 1933, em São Paulo, no Clube dos Artistas Modernos (CAM) - do qual participaram artistas, médicos, intelectuais e educadores num momento de grande efervescência cultural modernista no país. O evento colocou em pauta os pontos comuns entre as produções plásticas da infância e dos doentes mentais. Discutiu prioritariamente o interesse que despontava entre alguns artistas plásticos e psiquiatras pela produção da criança, de um lado, e do louco, de outro, que este evento reuniu sob o mesmo teto. Este estudo se apoiou em metodologia documental para desenhar a estrutura do evento (como foi organizado o mês, quais coleções e obras foram expostas, e de que forma e quem dele participou) e seu impacto cultural. Interessou conhecer os argumentos que justificaram o evento, os princípios norteadores, o design da curadoria, a repercussão em jornais e periódicos do momento envolvidos e correlacionados à exposição. O estudo mostrou que este evento representou um marco em termos do encontro entre as áreas de arte, educação e psicologia e teve desdobramentos culturais significativos na cidade de São Paulo na década de 1930.
Abstract: The "Month of the Children and the Insane": reconstitution of the 1933 Paulista Exhibition From the nineteenth-century to the present day, there has been growing interest on the part of psychiatrists, psychologists and visual artists in bringing together the artistic production by the insane and by children. In Brazil, such interest emerges in the 1920s with publications by the psychiatrist Osório Cesar who studied visual arts productions of psychiatric patients from Hospital Juqueri, as well as Ulisses Pernambucano who founded the Instituto de Psicologia in Recife in 1925. This study aimed to investigate the "Month of the Children and the Insane" - an exhibition and series of conferences organized in 1933 by the artist Flávio de Carvalho and Osório Cesar in São Paulo at the Clube dos Artistas Modernos (CAM) - with the participation of artists, medical doctors, intellectuals and education professionals, at a time of great modernist upheaval in the country. The event illuminated common aspects of productions by children and people with mental illness. The discussion mainly circled around the emerging interest among some visual artists and psychiatrists in artwork by children on the one hand and by the insane on the other, which this event brought together under the same roof. This study used documentary methodology to design the structure of the event (how the month was organized, which collections and works were shown, and how they were presented, and who participated) and its cultural impact, We were interested in understanding the arguments that justified the event, the guiding principles, the curatorial design, the repercussions in current newspapers and in journals that were involved and related to the exhibition. The study showed that this event represented a breakthrough in terms of the coming together of the fields of visual arts, education and psychology, with significant cultural results for the city of São Paulo in the 1930s.
Mestrado
Artes Visuais
Mestre em Artes
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Andreasen, Gillian. "The depiction of depth relations in children's drawings : the effects of contrasts within the array." Thesis, Lancaster University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337577.
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Shen, Dandan. "Categorization of Line Drawings of Natural Scenes Using Non-Accidental Properties Matches Human Behavior." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337539407.
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