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創造美育の現代的意義 : 映画『絵を描く子どもたち』と「大地保育」の実践を手がかりとして
https://doi.org/10.18881/00000083
https://doi.org/10.18881/00000083e4499dcd-8911-4d81-b602-41bf09cdbcbd
名前 / ファイル | ライセンス | アクション |
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KJ00009453719.pdf (1.6 MB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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公開日 | 2013-03-31 | |||||
タイトル | ||||||
言語 | ja | |||||
タイトル | 創造美育の現代的意義 : 映画『絵を描く子どもたち』と「大地保育」の実践を手がかりとして | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Morden Meaning of the Education through Creative Art : from Documentary Film Children Draw Pictures and Practice of `Daichi Hoiku' | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 創造美育(創美) | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 「描こうとする精神」 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 「どろんこ保育」 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 身体性 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 生の根源的肯定 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Education through Creative Art( SoBi) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | 'the Spirit that Leads to Draw' | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | 'Dronko Hoiku' | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Bodily Nature | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Substantial Acceptance of Life | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | departmental bulletin paper | |||||
ID登録 | ||||||
ID登録 | 10.18881/00000083 | |||||
ID登録タイプ | JaLC | |||||
雑誌書誌ID | ||||||
収録物識別子タイプ | NCID | |||||
収録物識別子 | AA12036066 | |||||
論文名よみ | ||||||
タイトル | ソウゾウ ビイク ノ ゲンダイテキ イギ : エイガ エ オ エガク コドモタチ ト ダイチ ホイク ノ ジッセン オ テガカリ トシテ | |||||
著者 |
大須賀, 隆子
× 大須賀, 隆子× OSUGA, Takako |
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著者所属(日) | ||||||
帝京科学大学こども学部こども学科 | ||||||
記事種別(日) | ||||||
内容記述タイプ | Other | |||||
内容記述 | 原著論文 | |||||
抄録(英) | ||||||
内容記述タイプ | Other | |||||
内容記述 | Kubo Sadajiro(1909-1996) was the authority of the Education through Creative Art (SoBi). Before World War II , hebegan the movement of children's pictures in Japan and travelled European countries and the United States for the observationof children's pictures .Then he hoped that Japanese children would have `the Spirit that Leads to Draw'. Documentary filmChildren Draw Pictures (1956) described the typical practice of SoBi. In this film, children in their first grade of elementaryschool struggled to exercise the highly motivated expression using their all bodily energy. In 1960's, Shiokawa Toyoko(1915-1999)who authored `Daichi Hoiku'sympathized with and succeeded to the philosophy of SoBi. She thought that `Dronko Hoiku'and Finger Painting were the best ways to settle children's emotion. When infants are basked in `Dronko' , they are free fromthe daily intense and uneasinese and feel their own primitive and brilliant vaitality. Because, in `Dronko'they feel as if theywere in their mother's womb. Doing Finger Painting,children express their primitive sense and experience, unconsciously andbodily. Today,children's bodily activities are decreasing in the high technology society and the virtual reality . The relationshipamong children with bodily activities is decreasing because of the drop of child birth, the nuclear family and the daily reductionof group play. Today , children have a feeble realization at body level.The philosophy of SoBi `the Spirit that Leads to Draw'accept children's existence and life substantially. This is the modern essential meaning of SoBi. | |||||
書誌情報 |
帝京科学大学紀要 en : Bulletin of Teikyo University of Science 巻 9, p. 71-80, 発行日 2013-03-31 |
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表示順 | ||||||
内容記述タイプ | Other | |||||
内容記述 | 9 | |||||
アクセション番号 | ||||||
内容記述タイプ | Other | |||||
内容記述 | KJ00009453719 |