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Musical Elements in Theatre Performance
No full textRazvoj glazbe od samih početaka i postupno pojavljivanje glazbenih elemenata koje ona
sadrži osnova su onog glazbenog naslijeđa koji su nam brojni ljubitelji, teoretičari i
poznavatelji glazbe ostavili u naslijeđe kojim se danas ponosimo. Od najjednostavnijih
melodijskih linija i vokalnih napjeva do razvoja notacije, harmonijske pratnje i složenijih
formi, koncerta ili opere.
Uspoređujući putanju razvoja glazbe i kazališta možemo zaključiti da postoji dosta dodirnih
točaka. Kazalište je po formi najsličnije operi i spaja sve druge umjetnosti.Glazba u operi,
pjevača vodi putovima interpretacije i od pjevača postaje nositelj dramske radnje koji se stapa
s likom kojeg predstavlja. Unutar kazališne predstave svi su elementi važni. Ali, upravo je
glazba ta koja lutki - objektu daje dodatnu živost i ekspresiju, a lutkaru polet. Glazba je
oduvijek sastavni dio života ljudi.
Uloga kazališne predstave i lutke za dijete je spoj stvarnosti i mašte, igra. Glazba je ono
što svemu tako čudesno prikazanom daje trajan pečat. Usmjeravati djetetov razvoj putem
ljepote i estetike, iscjeljenja tuge i usvajanjem etičkih vrijednosti, veliki je korak prema
razvoju uspješne, samopouzdane i autonomne ličnosti.
Dijete treba odgojitelja i odgojitelj treba dijete. Jedno drugom daruju neprocjenjivo:
zajedničko vrijeme, podršku, osmijeh, prijateljstvo. Jedno su drugom oslonac na zajedničkom
putu. Dijete odrasta, napreduje na svim područjima. U glazbeno-scenskoj igri sadržana je
osobna, emocionalna ali i socijalna dobrobit djeteta Odgojitelj kao promatrač, suigrač i
poticatelj raste zajedno s njim.Development of music is hereditary which great musicians and opera writers who wrote
some other musical parts also. tThey recognized all the benefits which came with
development of music. Those extraordinary people who we are proud of today gave us to
have and to hold all they knew about music. From basic melodies and vocal forms,
development of writing music, to much bigger forms such as concert or opera. In human life
music is a very important part. Theater is like an opera or very similar piece of art. With
music in it, shows a way of interpretation. The main vocal, singer, becomes an actor in his
own role. Music gives to a puppet a sparkle of life, because without it, it’s just an object.
Everything that has music within we need to show the world. In theater performance with
puppets, child can imagine whatever, and play instead of being in reality. Nice is even better,
spectacular with music. Preschool teacher has an obligation to show to a child how to grow
up, without suffering how to be a human with ethical values. Music can give so much to
every child included in preschool programs. Some elements of music such as rhythm, melody
or harmony are basic to teach children. When we teach that way, child will grow in selfconfident
and happy person who is capable to do thighs right without help of other people.
Also, puppet i theater or in children’s hands can be a great support in face(ing)fear, or saying
what they think or feel. Looking the child that way it will become an adult with faith in
humanity.
Every child needs a kindergarten teacher, and every one of us adults, preschool teachers,
need children. They gave to each other time, support, a smile, they are friends. And all the
goods are in it.During the simple play with a puppet, children are finding everything they
need to grow. A preschool teacher grows with a chil
Musical Preferences of Preschool Children - the Open Earedness Hypothesis
No full textGlazbene aktivnosti u vrtiću od iznimnog su značaja za cjeloviti razvoj djeteta. Cilj istraživanja bio je ispitati glazbene preferencije djece rane i predškolske dobi prema klasičnoj glazbi, glazbi 20. stoljeća i glazbama svijeta te utjecaj poznatosti na preferencije glazbenih ulomaka. U okviru istraživanja primijenjen je upitnik općih podataka te skala procjene za ispitivanje preferencija glazbenih ulomaka. Istraživanje je provedeno u Splitu u DV Dobri na uzorku od 131 djece rane i predškolske dobi, u dobi od tri do šest godina. Rezultati potvrđuju postojanje razlika u preferencijama klasične glazbe s obzirom na dob, dok u slučaju glazbe 20. stoljeća i glazbi svijeta takve razlike nisu uočene. Što se tiče razlika u preferencijama pojedinih glazbenih stilova s obzirom na spol djece, i ovdje su uočene razlike samo u slučaju klasične glazbe, dok takvih razlika kod glazbe 20. stoljeća i glazbi svijeta nema. Potvrđeno je i postojanje povezanosti između glazbenih preferencija i poznavanja glazbe. Dobiveni rezultati imaju brojne glazbeno-pedagoške implikacije i važnost za koncipiranje djeci primjerenih glazbenih aktivnosti.Music activities in kindergarten are of great importance for child development. The aim of this research was to examine the musical preferences of early- and preschool-aged children towards classical music, 20th century music, and world music, as well as the influence of familiarity on their preferences for musical excerpts. The research involved the use of a questionnaire to collect general information and an assessment scale to determine preferences for musical excerpts. The study was conducted in Split at DV Dobri, with a sample of 131 early- and preschool-aged children, ranging from three to six years old. The results confirm differences in preferences for classical music based on age, while such differences were not detected in 20th century music and world music. In terms of preferences for specific musical styles based on gender, differences were found only in the case of classical music, while no such differences were found in 20th century music and world music. The study also confirmed the existence of a correlation between musical preferences and knowledge of music. The obtained results have numerous pedagogical implications for music education and are important for designing music activities suitable for children
VOLONTIRANJE I TRŽIŠTE RADA
No full textVolontiranje je u Hrvatskoj nedovoljno istraženo i analizirano, što je iznenađujuće s obzirom na dobrobiti koje volontiranje donosi pojedincu i društvu. S obzirom da Republika Hrvatska još uvijek nije pronašla adekvatno rješenje za nisku zapošljivost mladih, volontiranje se može ponuditi kao adekvatno rješenje. Predmet ovog istraživanja je odnos između volontiranja i tržišta rada tj. kako je iskustvo volontiranja pomoglo ljudima na tržištu rada i na poslu. Istraživanje je provedeno tijekom srpnja i kolovoza 2023. godine, pri čemu je korištena kvalitativna metoda polustrukturiranog intervjua. Intervjuima je obuhvaćeno petnaest sudionika, zaposlenih mladih u dobi od 18-34 godine, različitog spola, obrazovanja i bračnog statusa. Svi sudionici rekli su da su poslodavci uvijek pozitivno reagirali na volontiranje te su naveli da im vještine koje su stekli tijekom volontiranja pomažu na trenutnom poslu. Većina sudionika smatrala je da volontiranje u Hrvatskoj nije priznato i da država ne potiče svoje građane na volontiranje.Volunteering is insufficiently researched and analyzed in Croatia, which is surprising considering the benefits that volunteering brings to the individual and society. Given that the Republic of Croatia has not yet found an adequate solution to the low employability of young people, volunteering can be offered as an adequate solution. The subject of this research is the relationship between volunteering and the labor market, i.e. how the experience of volunteering has helped people in the labor market and at work. The research was conducted during July and August 2023, using the qualitative method of a semi-structured interview. The interviews included fifteen participants, employed young people aged 18-34, of different gender, education and marital status. All participants said that employers always responded positively to volunteering and stated that the skills they acquired during volunteering help them in their current job. Most of the participants believed that volunteering in Croatia is not recognized and that the state does not encourage its citizens to volunteer
REALITY AND FICTION IN TRADITIONS AND LEGENDS OF THE CETINA REGION
No full textCilj je ovog rada bio prezentirati bogatstvo u domeni predaja i legendi usmenoknjiževne baštine Cetinske krajine. Nastojalo se pružiti deskriptivni uvid u definicije predaja i legendi, ali i donijeti živu riječ koja se prenosi u narodu već desetljećima i potvrđuje zaključke sažete u znanstvenim definicijama. U radu su prikazane predaje prema usustavljenoj podjeli Dragića, a u njegovoj podjeli nalazimo sljedeće vrste predaja; povijesne, mitske, demonološke, eshatološke, pričanja iz života i legende. Kao i većina podjela u znanosti o književnosti, ni ova nije isključiva na način da se primjeri mogu jednoznačno svrstati u jednu od kategorija pa su primjeri predaja svrstani tako da se primjer pripisuje onoj vrsti predaja s čijim se deskripcijskim karakteristikama najviše poklapa. U kontekstu povijesnih predaja spominju se predaje iz vremena osmanske okupacije Cetinske krajine. To vrijeme najviše je iznjedrilo predaja o hajducima, odnosno Andrijici Šimiću uz kojeg se veže najveći broj predaja zbog slave koju je uživao za života, ali i kasnije. Spominju se i vitezovi Vučkovići koji su u velikoj mjeri pridonijeli društvu tog vremena na području Cetinske krajine i čudesna obrana Sinja koja je ne samo od velike kulturne i tradicijske važnosti za narod Cetinske krajine već je postala i važan segment hrvatskog identiteta u cijelosti. Spominju se i etiološke predaje, odnosno predaje vezane uz nazive mikrolokaliteta. Donose se brojni primjeri mitskih i demonoloških predaja za koje se može reći da uživaju status favorita među narodom Cetinske krajine s obzirom na njihovu brojnost. Naposljetku se spominju i eshatološke predaje, pričanja iz života i legende s popratnim primjerima iz bogatog bazena narodnog umjetničkog viđenja povijesti i života.The aim of this paper was to present the wealth of traditions and legends of the oral literary heritage of the Cetina region. An effort was made to provide a descriptive insight into the definitions of traditions and legends, but also to bring a living word that has been transmitted among the people for decades and confirms the conclusions summarized in the scientific definitions. The paper presents traditions according to Dragić's established division, and in his division, we find the following types of traditions; historical, mythical, demonological, eschatological, stories from life and legends. Like most divisions in the science of literature, this one is not exclusive in the way that the examples can be unambiguously classified into one of the categories, so the examples of traditions are classified so that the example is attributed to the type of tradition whose descriptive characteristics match the most. In the context of historical traditions, traditions from the time of the Ottoman occupation of the Cetina region are mentioned. That time mostly spawned legends about bandits, that is, Andrijica Šimić, who is associated with the largest number of legends because of the fame he enjoyed during his life, but also later. Mention is also made of the Vučković knights, who greatly contributed to the society of that time in the area of the Cetina region, and the miraculous defense of Sinj, which is not only of great cultural and traditional importance for the people of the Cetina region, but has also become an important segment of Croatian identity as a whole. Etiological traditions are also mentioned, i.e., traditions related to the names of micro localities. There are numerous examples of mythical and demonological traditions that can be said to enjoy the status of favorites among the people of Cetina region, considering their number. Finally, eschatological traditions, stories from life and legends are mentioned with accompanying examples from the rich pool of folk artistic views of history and life
EMPEROR AURELIAN
No full textAurelijan je došao na vlast 270. godine nakon smrti Klaudija Gotičkog. U mladosti se isticao svojim vojničkim vještinama te je brzo napredovao u rimskoj vojsci. Istakao se u službi Klaudija Gotičkog te se nametnuo kao logički nasljednik. Njegovu vladavinu je okarakteriziralo konstantno ratovanje u svrhu obrane carstva i povratku rimskih zemalja koje su potpale pod Palmirsko i Galsko carstvo. Aurelijan je uspio obnoviti teritorijalnu cjelovitost carstva te pogiba od ruke vlastitih zapovjednika koji ga ubijaju na temelju lažnih informacija.Aurelian came to power in the year 270 after the death of Claudius Gothicus. In his youth he stood out due to his military skills and rose rapidly through the ranks of the Roman army. He stood out in the service of Claudius Gothicus and made himself his logical successor. His reign was characterised by constant warfare for the defense of the the empire and the return of Roman lands that fell under the rule of the Palmyrene and Gallic empires. Aurelian succeded in restoring the territorial whole of the empire but dies at the hands of his own commanders who assasinate him on the basis of false information
POTICANJE KREATIVNOSTI DJECE: IZAZOVI I MOGUĆNOSTI U RADU ODGOJITELJA
No full textPojam kreativnosti određuju različite definicije ovisno o aspektu gledanja na prirodu
kreativnosti. Suvremena pedagogija zauzima stav o kreativnosti kao razvojnoj kategoriji koja
je podložna raznim utjecajima. U kontekstu odgojno-obrazovne ustanove, tijekom
neposrednog djelovanja u praksi, odgojitelj nosi značajnu odgovornost u razvoju i poticanju
kreativnosti u djece. Važno je da suvremeni odgojitelj ima sposobnost samorefeksije za svoj
rad s djecom u svim aspektima, što mu omogućava djelovati u smjeru optimalnog razvoja
dobrobiti za djecu. Kultura svake pojedine odgojno obrazovne ustanove je podložna raznim
čimbenicima koji utječu na mogućnost djelovanja odgojitelja u razvoju kreativnosti u djece, u
smislu poticanja ili sputavanja iste.
Cilj ovog rada je bio ispitati mišljenja odgojitelja o mogućnostima i izazovima u poticanju
kreativnosti u djece. U istraživanju su sudjelovale 74 studentice izvanrednog diplomskog
studija Rani i predškolski odgoj i obrazovanje na Filozofskom fakultetu u Splitu, od čega je 35
(47,3 %) studentica s prve, a 39 (52,7 %) studentica s druge godine studija. Ispitanici su svoja
mišljenja i stavove o temi izrazili u online anketi. Veliki broj sudionika nije sudjelovao na
radionicama na temu kretivnosti. Utjecaj prostorno-materijalnog i društvenog okruženja na
poticanje kreativnosti u djece, većina opisuje konkretnim pozitivnim primjerima iz prakse. U
negativnim primjerima se većina slaže kako su glavni čimbenici koji pridonose otežanom
poticanju kreativnosti nedostatak raznovrsnog materijala i prevelik broj djece u odgojnim
skupinama. Prijedlozi odgojitelja o načinu poticanja kreativnosti koje preporučuju drugim
odgojiteljima se odnose na kvalitetnu pripremu poticajnog prostorno-materijalnog okruženja i
mašte, omogućavanje okruženja u kojem se potiču razne umjetničke aktivnosti, kao i
kultiviranje opuštene atmosfere u kojoj dijete slobodno izražava svoje ideje. Uz već navedene
negativne čimbenike, odgojitelji kao najveće izazove vide u suradnji s ostalim sudionicima
odgojno-obrazovnog procesa, kao i različitim izazovima u odnosu prema djeci; rad s darovitom
djecom, dječja znatiželja, dječja nezainteresiranost, različitosti među djecom.
Zaključno, istraživanje u sklopu ovog rada je dalo širok raspon odgovora u konkretnim
primjerima poticajnih i izazovnih čimbenika koji utječu na rad odgojitelja u smjeru poticanja
kreativnosti u djece. Navedeno upućuje na postojanje samorefleksije u radu odgojitelja koja je
temelj za mijenjanje vlastitih uvjerenja, a time i djelovanja u radu s djecom.The concept of creativity is determined by different definitions depending on the aspect of
looking at the nature of creativity. Contemporary pedagogy takes a position on creativity as a
developmental category that is subject to various influences. In the context of an educational
institution, during direct action in practice, the educator bears a significant responsibility in the
development and stimulation of children's creativity. It is important that the modern educator
has the ability to self-reflect on their work with children in all aspects, which enables them to
act in the direction of optimal development of children's well-being. The culture of each
individual educational institution is subject to various factors that affect the ability of educators
to develop creativity in children, in terms of encouraging or hindering it.
The aim of this paper was to examine the opinions of educators about the possibilities and
challenges in encouraging creativity in children. 74 students of the extraordinary graduate study
of early and preschool education at the Faculty of Humanities and Social Sciences in Split
participated in the research, of which 35 (47.3%) were students from the first year, and 39
(52.7%) were students from the second year of study. Respondents expressed their opinions
and views on the topic in an online survey. A large number of participants did not participate
in workshops on the topic of creativity. The influence of the spatial-material and social
environment on the stimulation of creativity in children is described by most with concrete
positive examples from practice. In the negative examples, most agree that the main factors
hindering the stimulation of creativity are the lack of various materials and too many children
in educational groups. The educators' suggestions on how to encourage creativity, which they
recommend to other educators, refer to the quality preparation of a stimulating spatial and
material environment and imagination, enabling an environment in which various artistic
activities are encouraged, as well as cultivating a relaxed atmosphere in which the child freely
expresses his ideas. In addition to the already mentioned negative factors, educators see the
greatest challenges in cooperation with other participants in the educational process, as well as
various challenges in their relationship with children; working with gifted children, children's
curiosity, children's lack of interest, differences among children.
In conclusion, the research within this paper gave a wide range of answers in concrete examples
of stimulating and challenging factors that influence the work of educators in the direction of
encouraging creativity in children. The above points to the existence of self-reflection in the work of educators, which is the basis for changing one's own beliefs, and thus actions in
working with children
OBILJEŽJA PARTNERSTVA RODITELJA I USTANOVE RANOG I PREDŠKOLSKOG ODGOJA KOJA DOPRINOSE DOBROBITI DJETETA
No full textTema ovog rada su obilježja partnerstva roditelja i odgojno-obrazovne ustanove predškolskog odgoja koja doprinose dobrobiti djeteta. Prema Bronfenbrennerovoj teoriji ekoloških sustava, obitelj i predškolska ustanova najbliža su okruženja djetetu i neupitano je da imaju veliki utjecaj na razvoj djeteta. U praksi partnerstvo odgojno obrazovne ustanove i obitelji podrazumijeva postavljanje zajedničkog cilja. Taj je cilj djetetova dobrobit. Zajedničkim djelovanjem, usklađivanjem ponašanja i ispunjavanjem svoje uloge, ovo partnerstvo mogu ostvariti pozitivne ishode za dijete i, naposljetku lokalnu zajednicu. Ovaj odnos moguće je razumjeti modelima partnerstva koje nude deFur (2012) i Epstein (2011; prema Smith i sur.,2019) koji se mogu koristiti kao i smjernice za realizaciju što kvalitetnijeg partnerstva. Također, naglašava se razlika u terminima suradnje i partnerstva u odnosu odgojno-obrazovne ustanove i obitelji gdje je partnerstvo najviši oblik nekog odnosa gdje sudionici djeluju u zajedničkom smjeru i cilju. Brojni autori ističu dvosmjernu komunikaciju, međusobno poštovanje i aktivno slušanje kao obilježja partnerstva koja osigurava kvalitetu odgoja. Sedam obilježja partnerstva su komunikacija, usklađivanje učenja kod kuće i u ustanovi, razvoj zajednice i identiteta, prepoznavanje uloge obitelji, konzultiranje pri odlukama, suradnja van škole i sudjelovanje (Australian Department of Education, 2020). Odgojno-obrazovna ustanova i obitelj tj. roditelji posjeduju znanja i informacije o djetetu te udruživanjem mogu pružiti djetetu najoptimalnije okruženje za odrastanje i stvoriti pozitivan stav o obrazovanju.The topic of this paper is the characteristics of the partnership between parents and preschool education institutions that contribute to the child's well-being. According to Bronfenbrenner's theory of ecological systems, the family and preschool are the closest environment to the child and undoubtedly have a great influence on the child's development. The partnership between the educational institution and the family in practice implies setting a common goal. That goal is the well-being of the child. By working together, harmonizing behavior and each fulfilling their role, this partnership can achieve positive results for the child and ultimately the local community. This relationship can be understood by the partnership models offered by deFur (2012) and Epstein (2011; according to Smith et al., 2019), which can be used as guidelines for achieving the highest quality partnership. Also, the difference in the terms of cooperation and partnership in the relationship between the educational institution and the family is highlighted, where partnership is the highest form of relationship in which the participants act in a common direction and goal. Numerous authors highlight two-way communication, mutual respect and active listening as characteristics of a partnership that ensures the quality of education. The seven characteristics of partnership are communication, alignment of learning at home and in the institution, development of community and identity, recognition of the role of the family, consultation in decision-making, collaboration outside school and participation (Australian Department of Education, 2020). The educational institution and the family, i.e. the parents, have knowledge and information about the child, and by working together they can provide the child with the most optimal environment for growing up and create a positive attitude towards education
POLITICAL SUBJECTS IN THE PAPER "NOVI VIEK" (YEAR 1897.)
No full textAnte Tresić Pavičić hrvatski je književnik i političar. Rano se počeo baviti politikom i književnošću, već na početku studentskih dana. Godine 1897. osniva list Novi viek kojemu ujedno postaje i glavni urednik. Svrha lista je poučna s naglaskom na patriotizmu kako bi se u hrvatskom narodu ojačale želje za slobodom i jedinstvom. Glavno geslo pod kojim je Novi viek izlazio bilo je radikalnost i pravaštvo. Osim politikom, važno je naglasiti da se list još bavio književnošću i znanošću. U listu su bili tiskani brojni književni radovi. Teme koje su se prožimale u listu imale su zadaću poučavanja naroda. List prestaje izlaziti 1899. godine zbog financijskih razloga kada dolazi i do razlaza između Tresića i Čiste stranke prava, ali Tresićevo političko i književno djelovanje se nastavlja.Ante Tresić Pavičić is a Croatian writer and politician. He started engaging in politics and literature early on, at the beginning of his student days. In 1897, he founded the newspaper Novi viek, of which he also became the editor-in-chief. The purpose of the paper is educational with an emphasis on patriotism in order to strengthen the desire for freedom and unity among the Croatian people. The main slogan under which Novi viek was published was radicalism and conservatism. In addition to politics, it is important to emphasize that the paper also dealt with literature and science. Numerous literary works were printed in the newspaper. The topics that permeated the paper had the task of educating the people. The paper stopped being published in 1899 due to financial reasons, when there was a split between Tresić and the Čista stranka prava, but Tresić's political and literary activities continued
Puppet show with signature of Miro Gavran
No full textLutkarski igrokaz je poseban žanr dječje književnosti u kojem je lutka izražajno sredstvo, a najzastupljeniji je među djecom predškolske i školske dobi. Cilj je ovog rada prikazati nekoliko Gavranovih igrokaza te otkriti koje mogućnosti oni nude u radu s djecom predškolske dobi. Kroz kratke i zanimljive fabule u igrokazima autor je uspio provući jasne poruke o ljubavi i dobru koje uvijek pobjeđuje. Svi igrokazi imaju edukativno-pedagošku svrhu jer na djeci prihvatljiv način potiču razvoj govora te socio-emocionalni razvoj. Likovi u igrokazima su birani pomno i promišljeno. Ponekad su to oživljeni predmeti ili životinje s darom govora koje povezuju stvarni svijet i svijet mašte, no često progovaraju i o problemima današnjice. Također, imaju i fantastične likove koji nedvojbeno podsjećaju na likove iz narodnih priča ili bajki. Metodama analize i interpretacije, prikazat će se pet različitih autorovih igrokaza iz zbirke Igrokazi s glavom i repom, kako bi se potvrdila postavljena hipoteza da je Miro Gavran jedan od plodnijih pisaca kada je riječ o lutkarskom igrokazu u kontekstu hrvatske dječje književnosti.A puppet play is a specific genre of children’s literature in which the puppet serves as a means of expression. It is most common among children in preschool and elementary school. The aim of this paper is to demonstrate several plays by Miro Gavran and to establish the possibilities of utilizing them in working with preschool children. Through short and interesting stories in his plays, the author successfully conveys messages of love and good which always triumphs in the end. All the plays have an educational-pedagogical purpose because they encourage speech and socio-emotional development. The characters are chosen carefully. Sometimes they are objects come to life or animals that can speak which connect the real and imaginary world, but often discuss contemporary issues. There are also fantastical characters which undoubtedly remind of characters from folk tales or fairy tales. Five different plays from the collection Igrokazi s glavom i repom will be analysed and interpreted to confirm the hypothesis that Miro Gavran is one of the most prolific authors in terms of puppet plays in the context of Croatian children’s literature
LINGUISTIC CHARACTERISTICS OF CHILDREN´S DISCOURSE
No full textU ovome se radu opisuju obilježja dječjega diskursa, pri čemu se kao dominantna ističu jednostavnost, konkretnost, spontanost i kreativnost. Donosi se pregled teorija o usvajanju jezika, potom faze govornoga razvoja u pripremnom predverbalnom razdoblju i razvoj jezičnih djelatnosti. Rani jezični razvoj prikazan je s obzirom na fonološki, gramatički i semantički razvoj. Usvajanje jezika pod utjecajem je raznih okolinskih čimbenika od kojih se u govorno-jezičnom razvoju djeteta ističe uloga igre, odgajatelja, medija i dijalekta. Stvaranje jezično bogatog okruženja, modeliranje ispravnoga govora, poticanje komunikacije i suradnja s roditeljima neki su od načina na koje odgajatelji mogu pridonijeti razvoju govora u djece.
Analiziran je tekst slikovnice Pustolovine u Ribljem Gradu čiji su autori djeca predškolske dobi. Promatralo se koje se vrste riječi u tom primjeru dječjega diskursa pojavljuju. Rezultati potvrđuju gramatički razvoj tipičan za tu dob jer su u tekstu slikovnice podjednako prisutne imenice i glagoli, a upola je manje pridjeva kojima djeca postupno sve vještije usložnjavaju vlastito jezično izražavanje.This paper describes the characteristics of children's discourse, emphasizing simplicity, specificity, spontaneity and creativity as the dominant. An overview of theories on language adoption is presented, followed by phases of speech development in the preparatory pre-verbal period and development of language activities. Early linguistic development is presented with regard to phonological, grammatical and semantic development. Language adoption is influenced by various environmental factors, of which the role of the game, educator, media and dialect is emphasized in the language development of the child. Creating a language-rich environment, modeling proper speech, encouraging communication, and working with parents are some ways in which educators can contribute to the development of language in children.
The text of the picture book Pustolovine u Ribljem Gradu, authored by preschool children, was analyzed. It looked at what kind of words in this example of child discourse appeared. The results confirm the grammatical development typical of that age because nouns and verbs are equally present in the text of the picture book, and there are half the adjectives by which children gradually accumulate their own language skills