: American Educational Research Association. Covey, S.R. & Merrill A.R. & Merrill R.R. (2005). Najpierw rzeczy najważniejsze [First Things First]. Poznań: Dom Wydawniczy Rebis. Ferenz K. (2003). Wstęp. [w:] K. Ferenz (red.). Dziecko w codzienności szkolnej. Rocznik Lubuski , t. XXIX, część II, 7–12. Flaherty, M.G. (2003). Time work: Customizing temporal experience. Social Psychology Quarterly , 66, 17–33. Flick, U. (2009). An Introduction to Qualitative Research . Fourth edition. London: Sage Publications. Flick, U. (2011). Jakość w badaniach jakościowych . Przekł. P
helpful in determining the child’s play preferences and playfulness,
the demands and supports of the activity and environment, and the significance of
46 The evaluation of play from occupational therapy and psychology perspectives
the play activities for the child and his or her family. When more than one source of
information is used, it offers a meaningful assessment and broader perspective that
encompasses not only the “doing” component denoted by play behaviours but also
the social, spiritual and temporal elements of the occupation of play (Coster, 1998).
The supreme function of music in the preschool institution is the educational one. As the development of the child depends on some physiological, psychological, socio-cultural and spiritual laws, so the musical art laws do with the methodology of the musical art process. In this article are characterized some laws through which is revealed the sounding, temporal, imagistic and expressive character of the music. The knowledge of the musical art laws determines the conformation to the specific to musical activities methodology; contributes to the generation/ development of the art consumer; facilitates the generation/ development of the artistic abilities of the pre-schoolers/ parents; provides the adequate integration of art in the educative act of the pre-schooler; stimulates the interest and positive attitude for art. Under the peculiarities of the musical art laws there are built the methodological suggestions for the early education.
The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work - the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.
. (1981). Age changes in the ability to replicate foreign pronunciation and intonation. Language and Speech , 24 , 363-372. Volín, J. (2010). Fonetika a fonologie. In V. Cvrček, V. Kodýtek, M. Kopřivová, D. Kovaříková, P. Sgall, M. Šulc, J. Táborský, J. Volín, & M. Waclawičová. Mluvnice současné češtiny (pp. 35-64). Praha: Univerzita Karlova, Nakladatelství Karolinum. Volín, J., & Poesová, K. (2008). Temporal and spectral reduction of vowels in English weak syllables. In A. Grmelová, L. Dušková & M. Farrell (Eds.), 3rd Prague Conference on Linguistics and
subject matter comparisons in high school. Teaching and Teacher Education, 9, 333-346. doi.org/10.1016/0742-051X(93)90001-W Stodolsky, S. S., & Grossman, P. L. (1995). The impact of subject matter on curricular activity: An analysis of five academic subjects. American Educational Research journal, 32, 227-249. doi.org/10.3102/00028312032002227 Sturman, M. C., Cheramie, R. A., & Cashen, L. H. (2005). The impact of job complexity and performance measurement on the temporal consistency, stability, and test-retest reliability of employee job performance ratings