The article substantiates the relevance of studying the development of adolescents' artistic perception in the children's art school which creates opportunities for students formation as subjects of culture and artistic activity as one of the factors of such perception development. In accordance with the purpose of the study, the developed model of adolescents' artistic perception formation in the children's art school settings is substantiated and the empirical results of its implementation in the educational process of the Department of fine arts are presented. The authors emphasize that the developed model is based on the nescessity of comprehension of the meaning of a work of art in the fine arts classroom and acceptance of a teenager in artistic activity as a creator of a new reality; the methodological basis of the model is hermeneutic and poly-artistic approaches as well as principles adequate to them (a dialogue, personalization, cultural conformity of the educational process). They determine the content and leading methods of adolescents' artistic perception development in a children's art school setting (the method of participation in artistic action and the method of projects). Using the set of research methods described in the article, the authors present the developed model implementation results, indicating positive development of artistic perception of adolescents manifested in higher awareness of how the artistic knowledge is applied in artistic and creative activity; emotional responsiveness to the artwork; skills and abilities of the artwork compositional analysis.
The article presents the results of a study aimed at studying the influence of parents' attitude to the musical education of children in the context of the development and self-realisation of learners in children's art schools. The paper analyses the prevailing values, interests, attitudes towards learning, self-assessment of the possibilities and self-realisation effectiveness in the educational space, as well as parents' assessments of development opportunities, children's self-realisation, and the results of the educational process in art schools. As a methodological tool, 2 author's questionnaires were used – for children's school learners and their parents, posted in Google forms. The statistical package Microsoft Office Excel was used to process the results. In total, the study involved 134 learners of the children's art school and 139 adults – parents of children studying in music schools in two subjects of the Russian Federation in its European Centre – Bryansk and Kaluga regions. The work showed the majority of learners positively assessing the results of studying at a music school – music education creates conditions for formation of their worldview, values, entry into culture; it enriches the value sphere, contributes to the formation of an appropriate personality orientation – interest, hobbies in music. Leaners attending a children's art school need good relations, support from both pedagogues and parents. The majority of schoolchildren stated the predominance of positive, friendly relations between peers and pedagogues. The study confirmed the importance of parental support for the self-realisation of learners in the educational space of the children's art school. Parents play a decisive role in deciding whether to send their children to a music school. A relationship has been established – parents who perceive children as gifted and talented, devote more time to their children, show greater interest in the affairs and successes of their children, and show greater involvement in their musical education and creative activity.
My article considers German wartime propaganda and pedagogy from 1914 to 1916, which influenced young schoolchildren (aged 5–14) to create drawings and paintings of Germany's military in World War I. In this art, the children drew bodies of German soldiers as tough, heroic, on the move, armed with powerful weapons, and part of a superior military movement; their enemies (French, Russian, British soldiers) embodied disorder, backwardness, ineptitude, and deadly weakness. The artwork by these schoolchildren thus reveals the intense propaganda of the war years, and the children's tendency to see the German military as the most accomplished combatant in the war. During the first two years of the war, in the primary schools of the nation, many children did such art under the supervision of teachers who passionately embraced the nation and the war cause. Within the classroom, teachers directed students to imagine the war by drawing scenes of battles, including the sinking of the Lusitania. Some of these teachers had been influenced by the Kunsterziehungsbewegung (the arts' education movement) and thus encouraged children's creativity in art of the war years. In this pedagogical wartime environment the young student became actively engaged in creative learning and study about the war, expressing romantic ideas of the indomitable German soldier and sailor. My research has involved analysis of over 250 school drawings done by children aged 10–14 in a school in Wilhelmsburg, near Hamburg, in 1915. I analyze the depiction of the German forces in six of these sources and also consider the history of art instruction in German schools. Furthermore, I address the ways in which historians can analyze children's art as a historical document for understanding the child's experience.
This article describes an international classroom partnership with twenty-eight 5-to 7-year-old Canadian and Tanzanian children, and outlines the meaningful ways they were involved in the research process. In this project, the children shared their valued school-based experiences and environments through multiple self-chosen modes. The children's arts-based multimodal texts, descriptions of their valued school experiences and environments, and their personal biographies were then shared at a 2-week exhibit at a national art gallery in Canada. The findings across both data sets revealed the children's interest in spending time outdoors in their local contexts, engaging in collaborative and imaginative play. This project also addresses the importance of providing a space for children to share their perspectives, which aligns with Article 12 of the UN Convention on the Rights of Child. Article 12 addresses the importance of children having a right to have a voice and to have their opinions heard in matters that affect them. Article 13 is also highlighted in this project and outlines children's right to freedom of expression. This right includes the freedom 'to seek, receive, and impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in the form of art, or through any other media of the child's choice'. In this project, the Canadian and Tanzanian children's multimodal texts of their valued school-based experiences revealed more similarities than differences in relation to what learning experiences mattered to them at school. During this project, the children in both contexts became interested and invested in their international peers' lives and school-based experiences, and felt a sense of connectedness and kinship across the globe.
The Eastern Airlines Collection, 1927-2008 (bulk 1965-2008), consists of news clippings, press releases, newsletters, annual reports, monthly reports, correspondence, memoranda, photographs, slides, an early scrapbook (or day book), artifacts (promotional items) and audiovisual materials. This collection mainly provides insight into publicity and outreach efforts at Eastern Airlines, but also its history, charitable work, and day-to-day operations. The materials were accumulated by Carolyn Lee Wills, who worked in the Public Relations Department of Eastern's Southern Regional Office from 1965 until 1987. ; Carolyn Lee Wills graduated from Georgia State University, where she studied journalism, history and speech. She also participated in many extra-curricular activities including Panhellenic Council, Delta Zeta Sorority, and yearbook. Before she began her work at Eastern Airlines, she traveled extensively throughout Europe, Asia, North and South America, Jamaica, the Bahamas, and Bermuda.; In 1965, Wills joined Eastern Airlines as a Representative of Women's Activities. In this role, she interpreted the company's program to women by working in the fields of fashion, radio, television, public relations, and promotions. In 1971, Wills became made Regional Manager of Public Relations. Eastern Airlines closed its Atlanta offices in November 1973, but found it difficult to cover their public relations needs in Atlanta from their headquarters in Miami. Four months after closing, Wills was re-hired by Eastern to manage the Southern Division covering Atlanta to Tokyo. While employed by Eastern Airlines, Wills served on many boards including American Women in Radio and Television, Georgia State University Alumni Association, and was a national representative of Delta Zeta Sorority. In 1966, she married attorney Charles H. Wills. The earliest incarnation of Eastern Airlines was Pitcairn Aviation, founded in 1927, which was the U.S. Postal Service contractor flying from New York to Atlanta. In 1930, the carrier was sold to North American Aviation owner Clement Keys and was renamed Eastern Air Transport. It soon added passenger routes and adopted the name Eastern Air Lines. Throughout the pre-World War II era, Eastern dominated passenger travel and air transport along the Atlantic coast, including the introduction of one-day service from New York to Miami in 1932. Famed pilot Eddie Rickenbacker bought the company in 1938 and was closely identified with it until his 1963 retirement. During the air travel boom of the 1950s and 1960s, Eastern Airlines grew into one of the ""Big Four"" United States carriers, enhancing its status as the lead air travel carrier on domestic east coast flights with the introduction of air shuttle service in 1961. Shuttle service was created as an alternative to bus routes and included hourly flights from Atlanta to Washington D.C., New York, and Boston. During this time, Eastern Airlines also expanded international service to Mexico, Bermuda, Puerto Rico, and Canada. Under the leadership of former astronaut Frank Borman (hired as an advisor in 1969, he became Chief Executive Officer in 1975), Eastern Airlines enjoyed continued successes in the industry until the enactment of the Airline Deregulation Act of 1978.; Beginning with Eastern's early U.S. Postal Service government contract, the company had relied upon the regulated and protective policies governing the airline industry. Without government protection, Eastern's profits began to make a downward turn that eventually culminated in the selling of the company to Texas Air International, headed by Frank Lorenzo. Following deregulation, Lorenzo was able to purchase multiple airlines including Continental, Frontier, New York Air, and Eastern. To cut costs in the midst of declining profits, Lorenzo asked Eastern's union employees to take massive pay cuts in wages and benefits. Union workers refused to accept Lorenzo's demands and opted to go on strike. By claiming bankruptcy in 1989, Lorenzo was able to hire non-union workers to fill the jobs of striking employees. Lorenzo took his demands a step further when he asked the machinists' union to take a pay cut, which resulted in another strike that dealt the final blow to any hope that Eastern Airlines would recover lost profits. In 1991, Eastern Airlines was permanently grounded. Eastern's main hubs in Atlanta and Miami were taken over by various competitors and its concourses in New York and Newark were demolished.
This study looks at the question of which domain-specific concepts regarding politics children already understand and to what extent a naïve theory of politics can be postulated. It shows that even children in first grade have political knowledge that becomes increasingly differentiated throughout their time in elementary school. Fourth graders' knowledge is more elaborate than that of first graders. The migrant background of children has a negative influence on political knowledge. No gender-specific differences in knowledge are found.
