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1、此文档是毕业设计外文翻译成品（ 含英文原文+中文翻译），无需调整复杂的格式！下载之后直接可用，方便快捷！本文价格不贵,也就几十块钱！一辈子也就一次的事！外文标题：The development of childrens expressive drawing外文作者：Richard P. Jolley, Kathryn Fenn and Luisa Jones文献出处: British Journal of Developmental Psychology (2018), 22, 54556 (如觉得年份太老，可改为近2年，毕竟很多毕业生都这样做)英文6606单词，41077字符(字符就是印刷符
2、)，中文10294汉字。（如果字数多了，可自行删减，大多数学校都是要求选取外文的一部分内容进行翻译的。）The development of childrens expressive drawingAbstract：Two studies are presented on expressive happy and sad drawings made by British 4- to 12-year-olds (n = 80 and 160, respectively) in which the drawings were assessed individually for the quanti
3、ty and quality of expressive devices. Quantity was measured in the number of appropriate expressive content themes and formal properties evident in each drawing. Quality was rated on a Likert scale on the extent to which the drawing expressed the intended mood. Both the quantity and quality of expre
4、ssive happy and sad drawings of predetermined and free topics increased with age. Improvements in content expression, but much less so with expressive formal properties, accounted for the development of quantity. A slower period of development between 6 and 9 years for both measures was consistently
5、 found, with a significant improvement often shown among the 12-year-olds. The finding that happy drawings were scored higher than sad drawings is explained in respect of adult and child expectations of pictures. Correlations between expressive scores and performance on a visual realism drawing task
6、 tentatively indicated that expressive and realism skills in drawing are only weakly related. The development of expressive drawing is considered in the context of the delivery of art education in schools.IntroductionConveying moods and ideas in a picture is often central to the artists intention. S
7、uch meaning can be literally depicted (e.g. a smiling face to depict happiness), but more subtle communications are conveyed non-literally through the subject matter (e.g. a countryside scene on a summers day) and by formal properties (e.g. bright colours, curved lines, texture, composition, etc.).
8、These non-literal styles of communication are called content and abstract expression, respectively.It has often been commented that preschool childrens drawings portray an expressive quality similar to some artists, such as Klee and Picasso (e.g. see Davis, 1997a; Golomb, 2002; Rosenblatt & Winner,
9、1988). Fineberg (1999) comments that the works of a number of expressive artists have been very much influenced by childrens drawings, and that such artists valued their own childhood works. Furthermore, we know that children from different cultures become increasingly aware of, and interested in, t
10、he expression of moods and concepts when viewing pictures (Jolley, Zhi, & Thomas, 1998a, 1998b; Kogan, Conner, Gross, & Fava, 1980; Parsons 1987).It is surprising, therefore, that childrens expressive drawing represents a topic largely neglected in the research literature. One notable exception is t
11、he work undertaken by the Harvard Project Zero team on American children (e.g., Carothers & Gardner, 1979; Davis, 1997a; Ives, 1984). They have examined the central question of what develops in childrens expressive drawings. Carothers and Gardner showed 7-, 10- and 12-year-olds two drawings of incom
12、plete scenes, one expressing happiness, the other sadness. The children were asked to complete each scene by drawing a tree and a flower so that each drawing looked as though only one person had drawn it. The authors reported age-related increases in the extent to which each childs pair of drawings
13、differed in expressiveness, but only the 10- and 12-year-olds showed any evidence of variation in their pair of expressive drawings. Whereas Carothers and Gardner examined only content expression, Ives (1984) identified evidence of literal, content and abstract expression in 4- to 20-year-olds expre
14、ssive (happy, sad and angry) drawings of trees and lines. The percentage of children in each age group utilising at least one of these devices increased with age. However, there was a significant dip in performance between the 7- and 9-year-olds, and even the 11-year-olds drawings showed less overal
15、l evidence of the three devices than those made by the 7-year-olds. Winston, Kenyon, Stewardson, and Lepine (1995) extended the assessment of expressive drawing by counting the number of content and abstract expressive devices children use. They asked Canadian 6-, 9- and 12-year-olds to draw a happy
16、 and sad tree. The pair of drawings made by each child was scored for the presence of six expressive content themes (personification, season of tree, ageing/illness/death of tree, weather, attack and sociability), and whether formal properties (colour, line and size) had been used expressively. Hence, Winston et al. measured the (pairs of) drawings on quantity of content and abstract expression, that is, the number of different content themes and formal pr
