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Selected Concepts in The Development of Drawing Activity in Children Aged 3 to 12

-on-Hudson. Grudzińska, A. (1013). Rysunki dzieci polskich (Drawings of Polish Children). „Kształt i Barwa” , z. 4. Hornowska, E., Paluchowski, W.J., (1987). Rysunek postaci ludzkiej Goodenough-Harrisa (Drawings of Human Figures by Goodenough-Harris). Poznań: Wydawnictwo Naukowe UAM. Hornowski, B. (1982). Badania nad rozwojem psychicznym dzieci i młodzieży na podstawie rysunku postaci ludzkiej (Studies on Psychological Development of Children and Young People Based on Representations of the Human Figure in Drawings). Wroclaw: Ossolineum

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Student Fraternity of the Art Academy of Latvia “Dzintarzeme”: Latvian National Art Conservation Policy in Exile (1958–1987)

Summary

After the proclamation of the Republic of Latvia in 1918, Latvia experienced a rapid influx of youth into its capital city of Riga, looking to obtain education in universities. Students began to build their academic lives and student societies. In 1923, students of the Art Academy of Latvia founded the “Dzintarzeme” (“Amberland”) fraternity. The aim of “Dzintarzeme” was to unite nationally minded students of the Art Academy of Latvia and to promote the development of national art and self-education. Most “Dzintarzeme” members were faithful to the old masters and Latvian art. This phenomenon is significant, because “Dzintarzeme” members grew up with Latvian painting traditions, which are a remarkable heritage of interwar Latvia.

In 1940, when Latvia was occupied by the Soviet Union, “Dzintarzeme” was banned. A part of “Dzintarzeme” members were deported, killed in war, went missing, or stayed in the Latvian SSR; the remaining chose exile. Although scattered throughout the United States of America, Canada, and Australia, some members were able to rebuild and sustain the fraternity’s life, gathering its members, organising trips and anniversary art exhibitions.

The aim of this research is to reflect on “Dzintarzeme’s” activities in exile (1958–1987), focusing on the main factors of Latvian national art conservation policy: first, the ability of “Dzintarzeme’s” ideology to preserve the values of Latvian national art in an international environment, and second, the problem of generational change and the enrollment of young Latvian artists who continued to maintain “Dzintarzeme” values in exile.

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Origin, Types, and Functioning of Chandeliers with Serpent Arms: From the Netherlands to Lithuania

Summary

Chandeliers with serpent arms held at the National Museum of Lithuania and the Lithuanian Art Museum are among the earliest found in Lithuania. Previous efforts to find chandeliers of similar décor in Latvia or Poland while collecting material on lighting fixtures in Lithuania and the neighbouring countries were unsuccessful. Due to that reason, it was thought that the spread of these chandeliers of extraordinary décor was limited to the territory of Lithuania. A closer and more thorough look into collections of Western European museums has revealed that the motif of an elegantly coiled snake on chandelier arms should be related to Hans Rogiers, a founder who worked in Amsterdam in 1598–1638.

In the article, the origin of chandeliers with serpent arms in Western Europe and the ways they could have possibly reached Lithuania are traced back for the first time. Specimens that survived or did not survive in Lithuania, their development and problems of dating are analysed. Their functioning space is explored and the subject of their symbolism is addressed. The article aims to present and evaluate the surviving chandeliers with serpent arms in Lithuania. In the research, instruments of formal, comparative, iconographic, and reconstructive analysis were used.

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Bandit: Here to Haunt You! On Why I Became an Émigré Theatre Maker

/Ethnography: Rewriting the Self and the Social. New York, Oxford: Berg, 1997. Rusan, Romulus, ed. Anale Sighet 10. Anii 1973–1989: Cronica unui sfarsit de system. Bucharest: Fundatia Academia Civica, 2003. United Nations. “International Migration Report 2015: Highlights.” Accessed April 13, 2019. http://www.un.org/en/development/desa/population/migration/publications/migrationreport/docs/MigrationReport2015_Highlights.pdf Weinstock, Jeffrey Andrew. “Introduction: The Spectral Turn.” In Spectral America: Phantoms and the National Imagination . Madison: University

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1. Challenges to Understanding Curriculum Development: Lessons from a Pedagogy Class with Arts Pre-Service Student-Teachers

References 1. Anderson, J. R., Greeno, J. G., Reder, L. M., & Simon, H. E. (2000). Perspectives on learning, thinking and activity. Educational Researcher , 29 (4), 11–13 2. Borko, H. (2004). Professional development and teacher learning: Mapping the terrain. Educational Researcher , 33 (8), 3–15 3. Borko, H., & Putnam, R. (1997). Learning to teach. In D. C. Berliner & R. C. Calfee (Eds.), Handbook of educational psychology (pp. 673–708). New York, NY: Macmillan 4. Collins, S., & Clarke, A. (2008). Activity frames and complexity

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Part II. Drama / Choreography1. Creative Approaches to Personal Development

Abstract

The contemporary Romanian school has frequently been a matter of debate; contents, methods, strategies, manuals, authors, analytical programs - they have all been supported, debated, annulled and reconsidered. However… The Ministerial Order that has allowed, in 2012, the introduction of “Personal Development” in the curriculum has opened a path that has not yet accomplished its role of guiding students to themselves and to the optimal variant for the manifestation of their potential; this aspect has even been demonstrated by analytical programs submitted to and edited by well known publishing houses. Therefore, the present study is meant to open an efficient dialog on the necessity of a transdisciplinary and creative approach to personal development.

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Development of the Creative Self-Concept

. Beghetto, R. A. & Plucker, J. A. (2006). The relationship among schooling, learning, and creativity: "All roads lead to creativity" or "You can't get there from here"? In J. C. Kaufman & J. Bear (Eds.). Creativity and reason in cognitive development (pp. 316-332). Cambridge, UK: Cambridge University Press. Cropley, A. J. (2010). Creativity in the classroom: The dark side. In A. J. Cropley, J. C. Kaufman & M. A. Runco (Eds.). The dark side of creativity (pp. 297-315). New York, NY: Cambridge University Press. Eccles, J. (1983). Expectancies

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Potential Mechanisms Underlying the Impact of Imaginative Play on Socio-Emotional Development in Childhood

References Arsenio, W. F., Cooperman, S., & Lover, A. (2000). Affective predictors of preschoolers aggression and peer acceptance: Direct and indirect effects. Developmental Psychology, 36(4), 438-448. Astington, J. W. (1993). The child’s discovery of the mind. Cambridge, MA: Harvard Astington, J. W., & Jenkins, J. M. (1995). Theory of mind development and social understanding. Cognition & Emotion, 9(2-3), 151-165. Bacigalupa, C., & Wright, C. (2009). “And Then a Huge, Huge Giant Grabbed Me

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Processes Stimulating Dynamic Cooperation in Female Art Groups. A Qualitative Research Report

, development, and practice . Academic Press. Szmidt, K. (2013), Pedagogika twórczości . [Pedagogy of Creativity]. Sopot: Gdańskie Wydawnictwo Psychologiczne. Sawyer, R. K. (2006). Explaining creativity. The science of human innovation , New York: Oxford University Press. Sawyer, R. K. (2007). Group genius. The creative power of collaboration , New York: Basic Book. Sawyer, R. K. (2010). Individual and group creativity. In. J. C. Kaufman, R. J. Sternberg (Eds.) The Cambridge Handbook of creativity , Cambridge: Cambridge University Press

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