Page 64 - Kukanja Gabrijelčič, Mojca, and Maruška Seničar Željeznov, eds. 2018. Teaching Gifted and Talented Children in A New Educational Era. Koper: University of Primorska Press.
P. 64
aterini D. Gari et al. Family drawing Class drawing
. .
Table 6 Judges’ Scores for Christine’s Case . .
FDGRS grades . .
Vitality/Creativity . .
Sense of pride/Happiness . .
Susceptibility . .
Emotional distance/Isolation . .
Volume/Anger
Role Reversal
Bizarreness/Disorganization
She likes playing with a girlfriend and her cousin. Regarding the rest of the
children she said that ‘the children in my class tease me that I’m dumb, be-
cause they want themselves to be smarter. I try not to pay attention, but they
insist. But I do not play with them.’
During the interview, Christine seemed very hesitant and tight-lipped. Af-
ter a while she seemed to gain comfort with the process, readily agreed to be
apart from her parents and to be left alone with the psychologist. She used
to answer to the psychologist’s questions panting and gasping.
Christine’s family drawing is filled with vivid and bright colours. She lined
up her family members next to each other sited in a green field, which filled
almost one third of the sheet. The rest of her painting is filled with blue sky
and a bright sun is painted in the upper left corner of the sheet. The figures
are close to one another, with open hands, the face characteristics are de-
picted with bold lines. The design gives the impression of a happy and united
family and leaves a feeling of joy and optimism.
In general, these scores in the seven dimensions indicated the prevalence
of the positive dimensions. However there is a relevant high score (4) in the
dimension ‘emotional distance/isolation,’ mainly because of the distance be-
tween the figures of the mother and herself. This dimension aims to assess
feelings of loneliness or isolation on behalf of the child. Yet, according to Fury
et al. (1997), the grade ‘four’ does not reveal clear signs that signify great emo-
tional distance nor closeness mainly between child and mother.
Similarly, in her class drawing she used lots and vivid colours. However it
is obvious that she chose to portray only her teacher and no one else some-
thing that could lead to the assumption that her drawing reflects her positive
feelings for her teachers and her difficulties with her classmates.
Mary’s Case. Mary’s mother visited the Laboratory of Creativity Development,
when her daughter was 6,5 years, requesting information as to whether she
62
. .
Table 6 Judges’ Scores for Christine’s Case . .
FDGRS grades . .
Vitality/Creativity . .
Sense of pride/Happiness . .
Susceptibility . .
Emotional distance/Isolation . .
Volume/Anger
Role Reversal
Bizarreness/Disorganization
She likes playing with a girlfriend and her cousin. Regarding the rest of the
children she said that ‘the children in my class tease me that I’m dumb, be-
cause they want themselves to be smarter. I try not to pay attention, but they
insist. But I do not play with them.’
During the interview, Christine seemed very hesitant and tight-lipped. Af-
ter a while she seemed to gain comfort with the process, readily agreed to be
apart from her parents and to be left alone with the psychologist. She used
to answer to the psychologist’s questions panting and gasping.
Christine’s family drawing is filled with vivid and bright colours. She lined
up her family members next to each other sited in a green field, which filled
almost one third of the sheet. The rest of her painting is filled with blue sky
and a bright sun is painted in the upper left corner of the sheet. The figures
are close to one another, with open hands, the face characteristics are de-
picted with bold lines. The design gives the impression of a happy and united
family and leaves a feeling of joy and optimism.
In general, these scores in the seven dimensions indicated the prevalence
of the positive dimensions. However there is a relevant high score (4) in the
dimension ‘emotional distance/isolation,’ mainly because of the distance be-
tween the figures of the mother and herself. This dimension aims to assess
feelings of loneliness or isolation on behalf of the child. Yet, according to Fury
et al. (1997), the grade ‘four’ does not reveal clear signs that signify great emo-
tional distance nor closeness mainly between child and mother.
Similarly, in her class drawing she used lots and vivid colours. However it
is obvious that she chose to portray only her teacher and no one else some-
thing that could lead to the assumption that her drawing reflects her positive
feelings for her teachers and her difficulties with her classmates.
Mary’s Case. Mary’s mother visited the Laboratory of Creativity Development,
when her daughter was 6,5 years, requesting information as to whether she
62
