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Play during preschool age
No full textZnačaj igre kao spontane i dobrovoljne dječje aktivnosti i njen utjecaj na dječji razvoj je neosporna, a samim time nezamislivo je i djetinjstvo bez igre. Igrajući se, dijete uči o sebi, o svijetu i drugima. Kroz igru dijete prorađuje sve svoje doživljaje na sebi prihvatljiv način, a sve ono što dijete ne može izraziti riječima, izražava igrom.
U ovom se radu pokušalo istražiti prisustvo poželjnih ponašanja odgojitelja u dječjoj igri te stav odgojitelja na što igra najviše utječe u razvoju djece. Istraživanje se provodilo uzimajući u obzir stajalište odgojitelja, omogućavajući time odgojiteljima aktivnu participaciju u istraživanju. U istraživanju je sudjelovalo 110 odgojitelja (109 odgojiteljica i jedan odgojitelj) u dobi od 20 – 60 godina, a provedeno je u lipnju 2022. godine.
Istraživanjem je utvrđeno da su najčešća poželjna ponašanja odgojitelja u djetetovoj igri. Odgojitelji koji su sudjelovali u istraživanju u najvećem postotku preferiraju kreativne igre igre, no istraživanjem je potvrđeno kako odgojitelji smatraju da djeca radije odabiru igre s pokretom i razne tjelesne aktivnosti. Također potvrđena je hipoteza po kojoj je stav odgojitelja da igra najviše utječe na kognitivni razvoj.The importance of play as a spontaneous and voluntary child's activity and its impact on child's development is undeniable, and therefore childhood without play is unimaginable. By playing, the child learns about himself, the world and others. Through play, the child processes all his experiences in a way that is acceptable to him, and everything that the child cannot express in words, he expresses through play.
In this paper, an attempt was made to investigate the presence of desirable behaviors of educators in child's play and what the game most affects in children's development. The research was conducted taking into account the point of view of educators, thus enabling educators to actively participate in the research. 110 educators (109 female educators and one male educator) between the ages of 20 and 60 took part in the research which was conducted in June 2022.
The research found that the most common desirable behaviors of educators are in child's play. Educators who participated in the research in the largest percentage prefer creative games, but the research confirmed that educators believe that children prefer games with movement and various physical activities. The hypothesis according to which game has the greatest influence on cognitive development was also confirmed
Adjustment of didactic and methodical approach to children with vocal - language - speech disorders
No full textJezik je jedan od najvažnijih faktora u društvenom životu, a govor i jezični razvoj temelj su uspješnih ishoda u djetetovom kasnijem životu. U današnje vrijeme sve su više prisutne govorno-glasovno jezične teškoće u djece, koje se dijele na: poremećaje glasa, poremećaje govora i jezične teškoće. Bitno je da se djeca s govorno-glasovno jezičnim teškoćama što bolje snađu i uklope u dječjem vrtiću, pri čemu je od velike pomoći prilagodba didaktičko-metodičkog pristupa koju će odraditi odgojitelj u suradnji sa drugim djelatnicima ustanove. Dosadašnja istraživanja ukazuju nam da odgojiteljima nije dostupno dovoljno stručnih usavršavanja te da se značajno više usavršavaju sami, nego što to čine pute organiziranih stručnih usavršavanja koje im nudi dječji vrtić. Važno je pristupati individualno svakom djetetu s teškoćom jer se karakteristike i stupanj teškoće razlikuju. Cilj istraživanja je utvrditi osobitosti posebnih odgojno-obrazovnih potreba djece s govorno-glasovno jezičnim teškoćama i koristiti ih u svrhu planiranja didaktičko-metodičkog pristupa. Istraživanje je provedeno na temelju podataka dobivenih iz Upitnika o etiološkim i fenomenološkim aspektima rizika socijalne isključenosti djece rane i predškolske dobi: verzija za odgojitelje koji je razvijen za potrebe projekta „Modeli odgovora na odgojno-obrazovne potrebe djece izložene riziku socijalne isključenosti u ustanovama ranog i predškolskog odgoja i obrazovanja“ (MORENEC). U istraživanje su uključena djeca za koje su odgojitelji
procijenili da iskazuju ozbiljna odstupanja u njihovom govorno-glasovno jezičnom razvoju (n = 80 ili 2,3% ukupnog uzorka istraživanja). Rezultati istraživanja prikazani u ovom radu potvrđuju da su djeca s govorno-glasovno jezičnim teškoćama vrlo heterogena skupina, što se odražava na njihove razlike u teškoćama sudjelovanja u kurikularnim aktivnostima. Utvrđeno je da odgojitelji odgoj i obrazovanje ove djece procjenjuju zahtjevnijima u usporedbi s tipično razvijenom djecom pa im je potrebna podrška uprave, stručnog tima, kolega odgojitelja i vanjskih stručnjaka pri prilagođavanju didaktičko-metodičkog pristupa pojedinom djetetu. Zaključno se ističe da razlike u teškoćama uključivanja djece s govorno-glasovno jezičnim teškoćama u kurikularne aktivnosti ovise o specifičnostima njihovih odstupanja, ali i o mogućnostima odgojitelja da svoj didaktičko-metodički pristup usklade s odgojnoobrazovnim potrebama te djece.Language is one of the most important factors in social life, and speech-language development is the basis of successful outcomes in a child's later life. Nowadays, there are more and more children with speech-voice-language disorders. Those disorders are: voice disorders, speech disorders and language difficulties. It is important that children with speech-voice-
language disorders find their way and fit in as well as possible in the kindergarten, where the adaptation of the didactic-methodical approach, which will be done by the preschool teacher in cooperation with other employees of the institution, is of great help. Previous research shows that there is not enough professional training available to preschool teachers and that they improve significantly more on their own than through organized professional training offered by the kindergarten. It is important to approach each child with a disorder individually because the characteristics and degree of the disorder differ. The aim of the research is to determine the peculiarities of the special educational needs of children with speech-voice-language disorders and to use them for the purpose of planning a didactic-methodical approach. The research was conducted on the basis of data obtained from the Questionnaire on etiological and phenomenological aspects of the risk of social exclusion of children of early and preschool age: version for preschool teachers, which was developed for the purposes of the project "Models of response to the educational needs of children exposed to the risk of social exclusion in institutions of early and of preschool education" (MORENEC). Children who were assessed by the educators as showing serious deviations in their speech-voice language development were included in the research (n = 80 or 2.3% of the total research sample). The research results presented in this paper confirm that children with speech-voice-language disorders are a very heterogeneous group, which is reflected in their differences in the difficulties of participating in curricular activities. It was established that preschool teachers consider the upbringing and education of these children more demanding compared to typically developed children, so they need the support of the administration, professional team, fellow educators and external experts when adapting the didactic-methodical approach to an individual child. In conclusion, it is pointed out that the differences in the disorders of including children with speech-voice-language difficulties in curricular activities depend on the specifics of their deviations, but also on the possibilities of educators to harmonize their didactic-methodical approach with the educational needs of these children
Gratitude and well-being of students: qualitative research
No full textZahvalnost se definira kao osjećaj na dobronamjerno ponašanje, odnosno dar druge osobe, usmjeren prema toj osobi. Kao takva ugodna emocija, prisutna je u svim segmentima čovjekova života te je jedan od preduvjeta za ostvarivanje vlastite dobrobiti. Cilj ovog istraživanja bio je dobiti uvid u zahvalnost studenata i osjećaje koje zahvalnost i iskazivanje zahvalnosti izazivaju te dobiti informacije o iskustvu provedbe intervencije zahvalnosti. Istraživanje je provedeno na 12 studenata, koji su trebali napisati pismo zahvalnosti te ga predati odabranoj osobi, nakon čega je slijedio intervju s pitanjima osmišljenim ciljano za ovo istraživanje a njihovi odgovori kategorizirani su i analizirani prema učestalosti. Iskazivanje zahvalnosti izazvalo je ugodne i neugodne emocije kod sudionika, ali su one ugodne prevladavale tijekom svih dijelova aktivnosti. Na međuljudske odnose intervencija zahvalnosti utjecala je pozitivno s primijećenim učestalijim kontaktom nakon aktivnosti. Za sve sudionike iskustvo provođenja aktivnost bilo je pozitivno i korisno.Gratitude is defined as a feeling caused by a reaction to someone's kind-hearted behavior or a gift from someone, directed towards that person. This pleasant emotion is present in all areas of one’s life and is one of the prerequisites for realizing one’s own well-being. The aim of this research paper was to gain insight into gratitude among students and the feelings that gratitude and showing gratitude cause, as well as to gather information about the experience of conducting gratitude intervention. The research was conducted on a sample of 12 students that were required to write a letter of gratitude and give it to the person of their choice, which was followed by an interview containing questions that were designed specifically for the purpose of this research paper. The students’ answers were categorized and analyzed according to frequency. Expressing gratitude caused both pleasant and unpleasant emotions among the participants, but the pleasant ones prevailed during all parts of the activity. Gratitude intervention had a positive effect on interpersonal relationships, with more frequent contact observed after the activity. All of the research participants found the experience of conducting the activity positive and beneficial
Audivusual Resources In The Teaching Of Nature And Society
No full textAudiovizualna nastavna sredstva su nastavna sredstva koja u sebi sjedinjuju audio i video komponentu. Primjena audiovizualnih nastavnih sredstava čini školski sustav inovativnim i prilagodljiv potrebama učenika. Cilj istraživanja bio je ispitati koliko često učitelji koriste audiovizualna sredstva u nastavi, stupanj opremljenosti škola suvremenom obrazovnom tehnologijom i stupnju osposobljenosti koje učitelji imaju o primjeni iste u nastavi Prirode i društva. Istraživanje je provedeno pomoću online anketnog upitnika u kojem je sudjelovalo 143 učitelja iz Republike Hrvatske. Rezultati su pokazali kako gotovo svi učitelji koriste audiovizualna sredstva u nastavi Prirode i društva, ali da koriste audiovizualna sredstva češće u drugim nastavnim predmetima nego u nastavi prirode i društva. Također, učitelji su u prosjeku visoko dobro osposobljeni za korištenje audiovizualnih sredstava i procjenjuju da su ona visoko korisna u nastavi te ih većina koristi svaki tjedan. Kad je riječ o opremljenosti učionica, rezultati su pokazali da većina ispitanika navodi da njihova učionica nema TV i pametnu ploču, ali i da velika većina ima pametnu ploču. Istraživanjem se utvrdilo kako ne postoje statistički značajne razlike u učestalosti korištenja audiovizualnih nastavnih sredstava u nastavi prirode i društva s obzirom na radno iskustvo, regionalnu pripadnost ili mjesto rada ispitanika. Isto tako, ispostavilo se da učestalost samostalne izrade videoisječaka i animacija ne ovisi o radnom stažu učitelja. Upitnik je pokazao da je opremljenost škola nastavnim pomagalima za demonstraciju audiovizualnih sredstava ujednačena na čitavom prostoru Republike Hrvatske. Rezultati istraživanja pokazuju da nema statistički značajne povezanosti između procjene korisnosti korištenja audiovizualnih sredstava i regije, te nije pronađena statistički značajna povezanost između procjene korisnosti i staža.Audiovisual teaching resources are teaching resources that combine the audio and video components. The use of audiovisual teaching resources makes the school system innovative and adaptable to the needs of students. The aim of the research was to examine how often teachers use audiovisual means in teaching, the level of equipment of schools with modern educational technology and the level of training that teachers have on the application of the same in teaching Nature and Society. The research was conducted using an online questionnaire in which 143 teachers from the Republic of Croatia participated. The results showed that almost all teachers use audiovisual means in teaching Nature and Society, but
that they use audiovisual means more often in other subjects than in teaching nature and society. Also, teachers are on average highly trained in the use of audiovisual media and assess that they are highly useful in teaching and most use them every week. When it comes to classroom equipment, the results showed that the majority of respondents state that their classroom does not have a TV and a smart board, but also that the vast majority have a smart board. The research found that there are no statistically significant differences in the frequency of use of audiovisual teaching aids in teaching nature and society with regard to work experience, regional affiliation or place of work of respondents. Also, it turned out that the frequency of self-production of videos and animations does not depend on the work experience of teachers. The questionnaire showed that the equipment of schools with teaching aids for the demonstration of audiovisual media is uniform throughout the Republic of Croatia. The results of the research show that there is no statistically significant correlation between the assessment of the usefulness of the use of audiovisual media and the region, and no statistically significant correlation was found between the assessment of the usefulness and length of service
Comparison of Danish and Croatian preschool teachers readiness to develop resilience in children
No full textCilj ovog istraživanja bio je utvrditi spremnost danskih i hrvatskih odgojitelja na poticanje otpornosti kod djece te usporediti dobivene rezultate tih dviju ispitnih skupina. Kao teorijski okvir za rad korištene su teorije iz područja stresa, otpornosti te rizičnih i zaštitnih čimbenika.
U istraživanju je sudjelovalo 81 odgojitelja iz različitih dijelova Danske i Hrvatske. Broj danskih odgojitelja bio je 41, a broj hrvatskih odgojitelja 40. Kako bismo ispitali razlike između te dvije skupine odgojitelja primijenjen je Upitnik spremnosti odgojitelja za razvijanje dječje otpornosti (Bouillet, Miljević-Riđički i Pavin Inanec, 2014).
Rezultati su pokazali da razlike među skupinama postoje u faktorima „Kompetencije za razvoj otpornosti djece“ te „Radno ozračje“. Na ta dva faktora danski odgojitelji su iskazali veće slaganje s tvrdnjama od hrvatskih. Nadalje, na faktorima „Podržavajući stavovi prema poticanju dječje otpornosti“, „Spremnost za poticanje otpornosti kod djece“ i „Uvjeti za provedbu razvoja otpornosti kod djece“ nije pronađena razlika među dvije ispitne skupine odgojitelja. Proučena literatura navodi bolje uvjete za rad u Danskoj, nego u Hrvatskoj, u odnosu na broj djece na broj odgojitelja u odgojnim skupinama, kao i na veća ulaganja u trening odgojitelja u Danskoj, u odnosu na Hrvatsku. Neočekivano, kako je navedeno, ispitanici iz Hrvatske su unatoč tome pokazali iznimno pozitivne stavove na području spremnosti poticanja otpornosti kod djece te na području uvjeta za provedbu razvoja otpornosti kod djece, Hrvatski odgojitelji su se pokazali prilično osviješteni o pitanjima poticanja otpornosti djece te zainteresirani za teme kao i kolege u Danskoj.The aim of this study was to determine the readiness of Danish and Croatian preschool teachers for developing children's resilience and also to compare the results of these two groups. Theories from the field of stress, resilience, risk and protective factors have been used as a theoretical framework for this study.
In this research participated 81 preschool teachers from different parts of Denmark and Croatia. The number of Danish preschool teachers was 41, and the number of Croatian preschool teachers was 40. In order to examine the differences between these two groups of teachers The Questionnaire of the Readiness of Preschool Teachers for Developing Children's Resilience was applied (Bouillet, Miljević-Riđički and Pavin Ivanec, 2014).
The results showed that there are differences between these two groups in the factors of „Competences for developing children's resilience“ and „Institutional climate“. On these two factors Danish preschool teachers expressed greater agreement with the statements in comparison with Croatian preschool teachers. Furthermore, no difference were found between the two groups of teachers on the factors of „Supportive attitudes towards developing children’s resilience“, „Willingness to implement developing children’s resilience“ and „Conditions for the implementation of developing children’s resilience“. The studied literature indicates better working conditions in Denmark than in Croatia, in relation to the number of children and the number of teachers in educational groups, as well as greater investments in the training of preschool teachers in Denmark, compared to Croatia. Unexpectedly, as stated, respondents from Croatia nevertheless showed extremely positive attitudes in the area of willingness to implement developing children’s resilience and in the area of conditions for the implementation of developing children’s resilience, Croatian teachers were quite aware of the issues of encouraging resilience in children and they were interested in the topic, as well as their colleagues in Denmark
The influence of art activites on the development of child`s peschool age
No full textPolaskom u dječji vrtić, predškolsko dijete malim koracima kreće na nevjerojatno putovanje iz bliskoga i konkretnoga u nešto beskrajno i apstraktno. Ono prolazi kroz nekoliko razvojnih faza upoznajući sebe i svijet uokolo sebe. Na svom razvojnom putu, dijete spoznaje pojam umjetnosti otkrivajući pritom svoju kreativnost i svoje stvaralačke sposobnosti. Likovna umjetnost zauzima veliko mjesto u odgoju i obrazovanju predškolskog djeteta. Uloga odgojitelja vrlo je važna za pripremanje, ohrabrivanje imotiviranje djeteta kako bi se ono, na sebi svojstven i čaroban način, likovno izrazilo. Vizualno-likovni odgoj i obrazovanje u ovoj fazi razvoja osnova je budućeg likovnog razvoja s trenutnim stvaranjem temelja vlastitog likovnog stvaralaštva, komunikacije s djelima likovne umjetnosti i svekolikog vizualnolikovnog okruženja. Kako bi odgojitelji bili u mogućnosti pravilno vizualno-likovno odgojiti i obrazovati dijete predškolske dobi, oni moraju poznavati obilježja kroz koje svako dijete prolazi na svom putu likovnog odrastanja. Odgojitelji trebaju upoznati djecu kako bi, prema likovnog tipologiji, mogli odrediti kojem likovnom tipu, s obzirom na osobne kompetencije, likovne sposobnosti i interes za likovno-izražajna sredstva, dijete pripada. Vrlo je važno i odgojiteljevo poznavanje likovnih materijala i tehnika s kojima dijete predškolske dobi može stvarati. Nadalje, odgojitelji trebaju osmisliti i isplanirati likovne aktivnosti koje će djetetu dati krila i omogućiti mu širok spektar mogućnosti za izražavanje svoje kreativnosti i svojih likovnih sposobnosti. Svrha je ovoga rada objasniti likovne aktivnosti koje odgajatelji mogu provoditi s djecom i predočiti kako te likovne aktivnosti utječu na razvoj djece predškolske dobi.Starting kindergarten, preschool children take small steps on an incredible journey from the close and concrete to something endless and abstract. It goes through several developmental stages getting to know itself and the world around it. On his developmental path, the child gets to know the concept of art, discovering his creativity and his creative abilities. Fine art occupies a large place in the upbringing and education of a preschool child. The role of the educator is very important for preparing, encouraging and motivating the child so that he, in his own unique and magical way, can express himself artistically. Visual art education in this stage of development is the basis of future art development with the immediate creation of the foundation of one’s own art creation, communication with works of art and any visual art environment. In order for educators to be able to properly raise and educate a child of preschool age, they must know the characteristics that each child goes through on his or her way of artistic development. Educators should get to know the children in order to be able to determine, according to the art typology, to which art type, with regard to personal competences, artistic abilities and interest in artistic means of expression, the child belongs. The educator’s knowledge of art materials and techniques with which a preschool child can create is also very important. Furthermore, educators should design and plan art activities that will give the child wings and provide him with a wide range of opportunities to express his creativity and artistic abilities. The purpose of this paper is to explain the art activities that educators can carry out with children and to show how these art activities affect the development of preschool children
Drawing Techniques in Working With Preschool Children
No full textKako bi se dijete cjelokupno razvilo, potrebno mu je osigurati raznolike i kvalitetne poticaje. Osim što se dijete izražava spontano, postoji i unutarnja potreba za istim. Dijete uživa u istraživanju svoje okoline i samog sebe. Sredstvo za izražavanje dječje likovnosti su crtačke tehnike. Različiti doživljaji i likovni izričaj svakog djeteta stvaraju jedinstvene i individualne crteže. Crtanjem, djeca spajaju svijet mašte s realnim svijetom i imaju potpunu slobodu izražavanja svojih emocija i misli.For the child to develop, he needs to be provided with diverse and high-quality incentives. In addition to the fact that the child expresses itself spontaneously, there is also an internal need for that. The child enjoys exploring his surroundings and himself. Drawing techniques are means of expressing children's creativity. Different experiences and artistic expression of each child, create unique and individual drawings. By drawing, children combine the world of imagination with the real world and have complete freedom to express their emotions and thoughts
Methodological approach to film in problem-based teaching practice
No full textFilm je svoje mjesto u obrazovnom sustavu najprije pronašao kao audiovizualno nastavno sredstvo zahvaljujući tehnološkom razvoju i mogućnostima škole da poprati razvoj novih medija. Tehničku epohu zamijenila je digitalizacija školstva i film je kao sredstvo masovnog priopćavanja postao nezaobilazan dio obrazovanja kojem je škola širom otvorila vrata. Obrazovni sustav Republike Hrvatske nastavu filma smjestio je unutar predmeta Hrvatski jezik u domenu Kultura i mediji od prvog do osmog razreda osnovne škole. Stjepko Težak svrhu nastave filma raščlanio je na četiri cilja: osposobljavanje učenika za sigurno i kritičko primanje poruka s ekrana, razvijanje estetske osjetljivosti i sposobnosti učenika za otkrivanje umjetničkih vrijednosti filma, razvijanje umne i imaginacijske sposobnosti učenika (Težak, 2002). Problemska nastava je nastava kojoj je temelj problemsko pitanje, odnosno problemska situacija. Stvaranjem problemske situacije učenike se motivira na samostalan istraživački rad, a učitelj prestaje biti tradicionalni predavač i postaje organizator odgojno-obrazovnog procesa. Problemska nastava organizirana je smjernicama problemsko-stvaralačkog metodičkog sustava. Metodički sustav je zamisao izvođenja nastavnog procesa određena međusobnim odnosom i ulogom čimbenika tog procesa (Bežen, 2008). To su ujedno i strateška polazišta kojima se određuje položaj učitelja, učenika i izvora znanja. Metodičkim sustavima određuju se i metode, vrste rada i postupaka. Učiteljeva uloga u problemskoj nastavi je vrlo važna. On stvara problemsku situaciju, odnosno formulira problem koji motivira učenika na samostalan rad. Osim visokog stupnja učiteljeve stručnosti potrebno je i poznavanje filmskog jezika kako bi učitelj mogao prilagoditi sadržaj nastavi primarnog obrazovanja i na temelju najvažnijih obilježja postaviti radne zadatke kojima će učenici kroz vlastiti napor doći do valjanih zaključaka.Film found its place in the educational system as an audiovisual teaching tool thanks to technological development and the school's ability to accompany the development of new media. The technical era was replaced by the digitization of education, and film as a means of mass communication became an indispensable part of education, to which the school opened its doors wide. The education system of the Republic of Croatia places the teaching of film within the subject of Croatian language in the domain of Culture and media from the first to the eighth grade of elementary school. Stjepko Težak broke down the purpose of teaching film into four goals: training students to receive messages safely and critically from the screen, developing students' aesthetic sensitivity and ability to discover the artistic values of film, developing students' mental and imaginative abilities (Težak, 2002).
Problem-based teaching is teaching that is based on a problem, that is, a problem situation. By creating a problem situation, students are motivated to do independent research, and the teacher ceases to be a traditional lecturer and becomes an organizer of the educational process. Problem-based teaching is organized according to the guidelines of the problem creative methodological system. The methodological system is the idea of carrying out the teaching process determined by the mutual relationship and the role of the factors of that
process (Bežen, 2008). These are also strategic starting points that determine the position of
teachers, students, and sources of knowledge. Methods, types of work and procedures are determined by methodical systems.
The teacher's role in problem teaching is very important. The teacher creates a problem situation, i.e., formulates a problem that motivates the student to work independently. In addition to the teacher's high level of expertise, knowledge of the film language is also necessary so that the teacher can adapt the content of primary education classes and, based on the most important characteristics, set work tasks with which the students will reach valid conclusions through their own efforts
The role of emotions in children's artistic expression
No full textCilj ovog rada bio je ukazati na značajnu ulogu emocija u dječjem likovnom izražavanju. Likovne aktivnosti pogoduju cjelovitom razvoju djece te ona mogu napredovati uz kvalitetne i primjerene poticaje od strane odgojitelja koji prepoznaje vrijednost dječjeg likovnog stvaralaštva. Djeca reagiraju na svakodnevne situacije vođena emocijama, pa tako i stvaraju prema trenutnim emocijama, mislima i interesima.
Kako se dijete razvija i raste, usporedno s time prolazi i kroz četiri razvojne faze likovnog izražavanja, krećući od najjednostavnijeg šaranja pa sve do realističnog prikaza objekata. Djeca prilikom crtanja najviše pažnje obraćaju na linije, boju i sadržaj, jer preko te tri odrednice crteža mogu najvjernije iskazati svoje emocije. Osim što se u crtežu očituju dječje emocije, likovna umjetnost djeluje na njih tako što njihove negativne emocije pretvara u pozitivne i čini ih sretnijima. Sam proces likovnog stvaralaštva iz djeteta izvlači ono najbolje od njega, stoga je proces puno važniji od samog produkta, odnosno gotovog crteža. Sabiranje misli i osjećaja te njihovo prenošenje na papir zahtijeva pripremu i određeno vrijeme kako bi došlo do gotovog dječjeg crteža. Djeca ne vole ostaviti nedorečen crtež, nego će odvojiti za njega onoliko vremena koliko je potrebno da nacrtaju sve što su zamislili. Skupina od desetero djece predškolske dobi može dobiti isti zadatak – nacrtati određenu vazu s cvijećem koja je postavljena ispred svih, no nakon aktivnosti zasigurno bi bilo izloženo deset crteža s vidno različitim vazama i različitim cvijećem, upravo zbog toga što djeca ne reproduciraju stvarnost, već crtaju prema vlastitom iskustvu i osjećaju, što se razlikuje od djeteta do djeteta.The aim of this paper was to point out the significant role of emotions in children's artistic expression. Art activities favor the overall children's development and this can be progressed with quality and appropriate incentives from educators who recognize the value of children's artistic creativity. Children react to everyday situations driven by emotions, so they create according to current emotions, thoughts and interests. As the child develops and grows, he also goes through four developmental stages of artistic expression, starting from the simplest drawing up to the realistic representation of objects. When drawing, children pay the most attention to lines, colour and content, because through these three determinants of the drawing, they can most faithfully express their emotions. Apart from the fact that children's emotions are manifested in the drawing, art works on them by turning their negative emotions into positive ones and making them happier. The very process of artistic creation brings out the best in a child, therefore the process is much more important than the product itself, i.e. finished drawing. Collecting thoughts and feelings and transferring them to paper requires preparation and a certain amount of time in order to reach a finished children's drawing. Children do not like to leave drawing unfinished, so they will rather set aside as much time as is needed to draw everything they have imagined. A group of ten preschool aged children can be given the same task - to draw a certain vase with flowers that is placed in front of everyone, but after the activity, ten drawings with visibly different vases and different flowers would certainly be exhibited, exactly because the children do not reproduce reality, but draw according to their own experience and feeling, which differs from child to child
The Frequency of Experiencing Flow and Types of Activities that Couse Flow in 4th Grade Primary School Students
No full textZanesenost ili eng. flow je definirana kao stanje optimalnog iskustva u kojemu pojedincu samo iskustvo bavljenja određenom aktivnosti pruža osjećaj užitka i sreće da će nastaviti s tom aktivnošću ne uzimajući u obzir vanjske nagrade, samo bavljenje tom aktivnošću je za pojedinca nagrada (Csikszentmihalyi, 2006). Vrste aktivnosti za vrijeme kojih se može doživjeti zanesenost su raznolike te su provedena brojna istraživanja koja pokazuju da skoro svaki pojedinac bez obzira na dob, spol, status u društvu, ekonomski status ili mjesto u kojem živi može doživjeti osjećaj zanesenosti (Moneta, 2004).
Cilj ovoga rada bio je ispitati kolika je učestalost doživljaja zanesenosti kod djece četvrtog razreda osnovne škole i koje su to vrste aktivnosti za vrijeme kojih učenici doživljavaju zanesenost te podudaraju li se te aktivnosti sa aktivnostima sa kojima se oni inače bave. Nadalje, ispitivala se učestalost doživljaja zanesenosti u školi i za vrijeme kojih školskih predmeta, uz pretpostavku da će doživljavati zanesenost za vrijeme njihovog najdražeg predmeta.
Istraživanje je provedeno grupno u dva četvrta razreda, na uzorku od 38 učenika. Nakon opisa stanja zanesenosti učenici su odgovarali na pitanja o tome koliko često i u kojim aktivnostima doživljavaju zanesenost, u školi i tijekom slobodnog vremena.
Dobiveni rezultati pokazuju kako je većina učenika doživjela zanesenost, njih 87%. Podjednako ju doživljavaju i učenici i učenice. Uglavnom zanesenost doživljavaju u aktivnostima koje su učenici naveli kao svoj hobi, odnosno aktivnostima kojima se bave u slobodno vrijeme. Najzastupljenija aktivnost za vrijeme koje doživljavaju zanesenost je igranje igrica. Učenici češće navode sportske aktivnosti i igranje video igara, dok učenice češće navode školske aktivnosti, opuštanje i ostalo.
Gotovo 60% učenika ne doživljava zanesenost u školi. Podjednako se (ne) javlja kod učenika i učenica. Predmeti za vrijeme kojih doživljavaju zanesenost su uglavnom predmeti koje su naveli kao svoj najdraži ili najteži predmet. Kao najteži predmet za vrijeme kojega doživljavaju zanesenost većinom navode matematiku.
S obzirom na rjeđe doživljavanje zanesenosti u školi dolazi se i do zaključka kako je potrebna prilagodba načina obrazovanja učenika uz stvaranje više prilika za moguć doživljaj zanesenosti za vrijeme nastave.Flow is defined as a state of optimal experience in which the individual only experience of doing a particular activity gives a feeling of pleasure and happiness that he will continue with this activity without taking into account external rewards, only practicing this activity is a reward for the individual (Csikszentmihalyi, 2006). The types of activities during which one can experience flow are varied and numerous studies have been conducted that show that almost every individual regardless of age, gender, status in society, economic status or place in which he lives can experience flow (Moneta, 2004).
The aim of this studywas to examine the frequency of experience of flow in children of the fourth grade of primary school and what are the types of activities during which students experience flow and whether these activities coincide with the activities with which they normally engage. Furthermore, the frequency of the experience of flow in school and during which school subjects were examined, assuming that they would experience flow during their favourite subject.
The study was conducted in a group in two fourth grades, on a sample of 38 students. After describing the state of flow, students answered questions about how often and in what activities they experience flow, at school and during their free time.
The results obtained show that most of the students experienced flow, 87% of them. Iti s equally experienced by male and female students. Mostly they experience flow in activities that students have listed as their hobby, that is, activities that they engage in in their free time. The most prevalent activity for the time they experience flow is playing games. Male students more often mention sport activitiec and playing video games, while female students more often mention school activities, relaxation and other.Almost 60% of students do not experience flow in school. IAt school, a minority of students experience flow, schoolgirls are more likely to experience flow than students. The subjects during which they experience flow are mostly objects that they have listed as their favorite or most difficult subject. They mostly cite mathematics as the most difficult subject during which they experience flow.
Given the less frequent experience of flow in school, it is also concluded that an adaptation of the way students are educated is needed while creating more opportunities for a possible experience of flow during class