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Proving Environment Composition and Teachers' Interaction Encouraging Children to Move Their Bodies Actively: Through Modification of Three-year-old Children
Get PDF本研究の目的は，子どもの変容する姿から，子どもたちが主体的に体を動かすための環境構成や教師のかかわりを明らかにすることである。研究の方法は，①動きの少ない外遊びの様子を観察する。②その遊びに動きが加わる環境構成を考えて取り入れる。③教師が動きの少ない遊びをしている子どもに動きたくなるかかわりをする。④動きを生み出す環境構成や教師のかかわりを行ったエピソードを記録，分析する。⑤分析から，子どもたちが主体的に体を動かすことにつながる環境構成や教師のかかわりを明らかにする。明らかになったことは次の5点が必要ということである。①子ども自身が意識して体を動かすことができる環境構成②あこがれとなる同学年や異学年の存在③遊びへの意欲を高める集団④あきらめない気もちを育む教師のかかわり⑤自信をつける教師のかかわり。The purpose of this study is to clarify environment composition and teachers' interaction encouraging children to move their bodies actively through their modification. The methods were as follows: 1. to observe children playing outside with a little movement, 2. to consider and to adopt environment composition which involves physical movement, 3. that teachers interact with children who play with a little movement so that they are willing to move more, 4. to record and to analyze episode of children when environment composition which encourages movement and of teachers' interaction were done, 5. to clarify environment composition and teachers' interaction leading to movement actively from the analysis. This research revealed these five points: 1. environment composition where children can consciously do physical activities, 2. existence of admirable persons in the same and different grades, 3. groups which raise their motivation to play, 4. teachers' interaction to develop children's mind of never giving up, 5. teachers' interaction to develop children’s confidence
繰り返しかかわるための環境構成と教師のかかわり : カラーセロファンと土粘土を使って
No full text本研究の目的は，「カラーセロファン」と「土粘土」を使い，子どもたちが自然を身近に感じ繰り返しかかわることができる環境構成や教師のかかわりを明らかにすることである。子どもの実態として，「印象的なものには強く反応するが長続きしない」「身近な自然に関心をもたない」という姿がある。どのような環境構成やかかわりをすれば繰り返しかかわろうとするのか，身の回りの自然に関心を向けられるのかを事例により明らかにしていった。明らかになった環境構成と教師のかかわりは，次の3点である。①子どもと自然物や自然との出会いは，感動的で心揺さぶられるような環境構成とかかわりにすること②自分のお気に入りのものをつくることができる素材の準備をすること③発展性のある遊びになるように環境構成やかかわりをすること。今後も限られた時間の中で，繰り返しかかわることができる環境構成や自然を意識できるようなかかわりを追求していく。This research aimed to identify significant features of learning environment and teacher's support that facilitate students' interaction with natural surroundings. Students in my class often get enthusiastic to anything new and impressive to them but do not keep at them for long: they have never recognized the virtue of the natural surroundings, i.e. they are to them just plane or meaningless. In the class, children played with color cellophane and clay. There, three significant features of the environment and support were identified: generally speaking, to keep them interested in nature, the teacher should (1) provide his/her children with natural objects or has them get closer to and involved in nature, arising their consciousness of its virtue, (2) have them play with materials with which they can dream up their pieces they want, and (3) encourage them, at the end, to develop their plays by themselves. These features were singled out in only one practice of mine. For some more definite features, I am going to undertake a series of the same kind of researches
5歳児から受ける影響を生かす教師のかかわりとは : 4歳児の製作活動を通して
Get PDF本研究の目的は，4歳児が成長するために，5歳児から受ける影響を生かす教師のかかわりを探ることである。
方法としては次の4点である。①4歳児が5歳児とかかわる機会を作る。②かかわっている姿とその後の姿を記録する。③その記録から教師のかかわりを明らかにする。④その教師のかかわりは5歳児からの影響を生かすものであったかどうかを考察する。本研究で教師のかかわりとして明らかになったことは，次の5点である。①教師が4歳児と一緒に5歳児にかかわること②気づいてほしいことを意識的に言葉にすること③5歳児からの影響を受けて意欲的に遊ぶ子どもの姿に共感すること④4歳児が5歳児から認められ自信をもてるように5歳児との橋渡しをすることである。This study aims to examine teachers' involvement with the influence of five-year-old children on the four-year-old children for their growth. This study was conducted as follows: (1) Four-year-old children were given chances to get involved with five-year-old children: (2) Records were kept when they got involved with five-year-old children and after it happened: (3) From the records, teacher's involvements were investigated: (4) whether the teacher's involvements made most use of influence of five-year-old children was examined. This study reveals following: (1) Teachers' four-year-old children got involved with five-year-old children: (2) They intentionally said what they want to be noticed: (3) They sympathized with the children who willingly played under the influence of five-year-old children: (4) They acted as go-between for four-year-old children and five-year-old children in order for four-year-old children to gain recognition and to have confidence in themselves
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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