In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known as (...) a key term. In Japanese we say "zoukei-asobi." "Zoukei" means "plastic arts activities" and "Asobi" means "playing." I recognized that the basic concept of "artistic play" has something in common with that of "zoukei-asobi." In this article I will identify this as "J-artistic play." The aim of this essay is to compare the meaning of "J-artistic play" by studying its use in Japan and the United States. The Curriculum Guidelines for Art Education in Japan Before considering J-artistic play, I should explain the national guideline for art education in Japan, since the objectives and contents of J-artistic play are prescribed by this guideline. We have had a national guideline since 1872 though this has changed drastically to resemble the American model after World War II. The subject corresponding to "Visual Art" in the elementary school is "Art and Handicraft (Zuga-Kousaku)." "Zuga" means drawing and painting, "Kousaku" means design and craft. The current guideline is divided into three parts (I-III) as shown in Table 1.The first shows a general goal of art education in the elementary school. The second describes the objectives and contents of each grade. The third indicates some key points of teaching for teachers. In the elementary school the curriculum sequence falls into three steps. The content is divided into the two areas ("Hyougen" and appreciation), and Hyougen is divided further into "artistic play" and "art-making." [End Page 107] [Begin Page 110]I should make some comments on Hyougen. In this guideline, Hyougen is used both as expression and representation. In traditional Japanese aesthetic consciousness, "expression, representation, and decoration" constitute a kind of trinity. The concept of J-artistic play was introduced into the national guidelines for art education in1977. 2 At first, this was available only for grades 1 and 2 in the elementary school, but since 1998 the concept has been extended to grades 1 and 6, as shown in Table 1. About the Property of J-artistic Play The activities in J-artistic play do not refer to any traditional art forms, such as painting, sculpture, or handicraft, nor are they derived from any specific art forms. In fact, the purpose for the introduction of this concept into the national guideline is to protect children from falling into conventional ways of representation as found in the traditional art forms. The promoters of J-artistic play thought that the preconceived ideas found in such existing art forms, such as painting might depress children's spontaneous and free expression. Some concepts from contemporary art, such as performance art, have also influenced J-artistic play.As Eliza Pitri said, "Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player." Though schooling is compulsory and a student cannot choose it independently, advocates of J-artistic insist that the character of "play" in the school curriculum should be an original and undifferentiated form of learning. One of the advocates of J-artistic play explains the significance of artistic play as an operation of integrated intelligence. 3 Artistic play is different in function from ordinary expressing activities. Ordinary expressing activity works with a blank drawing paper as sterile space, conditioned, virtual...laboratory. Contrarily artistic play works with raw materials, living places, and real environments, and is composed of organized and integrated formative activity by working on the subjects that make conditions for human, objective, and phenomenal interaction. Reorganization of intelligence and the opportunity for acquiring new intelligence are embedded in the activities that work interactively. Here we note that children will learn a reality from the interaction between the person and his... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known as (...) a key term. In Japanese we say "zoukei-asobi." "Zoukei" means "plastic arts activities" and "Asobi" means "playing." I recognized that the basic concept of "artistic play" has something in common with that of "zoukei-asobi." In this article I will identify this as "J-artistic play." The aim of this essay is to compare the meaning of "J-artistic play" by studying its use in Japan and the United States. The Curriculum Guidelines for Art Education in Japan Before considering J-artistic play, I should explain the national guideline for art education in Japan, since the objectives and contents of J-artistic play are prescribed by this guideline. We have had a national guideline since 1872 though this has changed drastically to resemble the American model after World War II. The subject corresponding to "Visual Art" in the elementary school is "Art and Handicraft (Zuga-Kousaku)." "Zuga" means drawing and painting, "Kousaku" means design and craft. The current guideline is divided into three parts (I-III) as shown in Table 1.The first shows a general goal of art education in the elementary school. The second describes the objectives and contents of each grade. The third indicates some key points of teaching for teachers. In the elementary school the curriculum sequence falls into three steps. The content is divided into the two areas ("Hyougen" and appreciation), and Hyougen is divided further into "artistic play" and "art-making." [End Page 107] [Begin Page 110]I should make some comments on Hyougen. In this guideline, Hyougen is used both as expression and representation. In traditional Japanese aesthetic consciousness, "expression, representation, and decoration" constitute a kind of trinity. The concept of J-artistic play was introduced into the national guidelines for art education in1977. 2 At first, this was available only for grades 1 and 2 in the elementary school, but since 1998 the concept has been extended to grades 1 and 6, as shown in Table 1. About the Property of J-artistic Play The activities in J-artistic play do not refer to any traditional art forms, such as painting, sculpture, or handicraft, nor are they derived from any specific art forms. In fact, the purpose for the introduction of this concept into the national guideline is to protect children from falling into conventional ways of representation as found in the traditional art forms. The promoters of J-artistic play thought that the preconceived ideas found in such existing art forms, such as painting might depress children's spontaneous and free expression. Some concepts from contemporary art, such as performance art, have also influenced J-artistic play.As Eliza Pitri said, "Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player." Though schooling is compulsory and a student cannot choose it independently, advocates of J-artistic insist that the character of "play" in the school curriculum should be an original and undifferentiated form of learning. One of the advocates of J-artistic play explains the significance of artistic play as an operation of integrated intelligence. 3 Artistic play is different in function from ordinary expressing activities. Ordinary expressing activity works with a blank drawing paper as sterile space, conditioned, virtual...laboratory. Contrarily artistic play works with raw materials, living places, and real environments, and is composed of organized and integrated formative activity by working on the subjects that make conditions for human, objective, and phenomenal interaction. Reorganization of intelligence and the opportunity for acquiring new intelligence are embedded in the activities that work interactively. Here we note that children will learn a reality from the interaction between the person and his... (shrink)

Volume 20, Issue 8, August 2020, Page 32-36.

While positive psychology has drawn increasing interests among researchers in the SLA literature recently, little is known with respect to the relationship between positive psychology and mental processes during L2 reading. To bridge the gap, the present study investigated whether and how positive psychology (self-efficacy) influences word reading strategies during L2 sentence reading. Based on previous studies, eye-movement patterns with first-fixation locations closer to the beginning of a word can be characterized as an attempt to process the word with a (...) local strategy, whereas first-fixation locations farther away from the beginning and closer to the center of a word can be considered as an attempt to use a global strategy. Eye movements of a group of Japanese learners of English (N = 59) were monitored, and L2 reading self-efficacy was used to assess the participants’ positive belief towards their L2 reading skills. Based on B. L. Fredrickson’s (1998) broaden-and-build theory, we predicted an effect of L2 reading self-efficacy on participants’ first-fixation locations. Results from mixed-effects regression showed that while reading strategies depended in part on other factors such as L2 reading proficiency and word properties, L2 self-efficacy influenced reading strategy. The present data suggest that while more self-efficacious L2 readers prefer a more efficient global strategy, attempting to read the word as a whole word, less self-efficacious L2 readers tend to employ a local strategy, focusing more on sublexical information. These findings lend support to the broaden-and-build theory in the context of L2 processing. The present study has implications for how positive psychology works along with L2 proficiency in the development of strategic selection during reading. (shrink)

This paper proves that the division operation \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} $\lfloor a/m\rfloor$\end{document} is provably total in the system \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} $S_2^0$\end{document} of bounded arithmetic if and only if \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} $m$\end{document} is of the form \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} $2^n$\end{document} for some \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} (...) $n$\end{document}. (shrink)

This article examines the cross-level causal relationship between macro-political settings and micro-political attitudes in eleven Asian societies using the 2006 AsiaBarometer Survey (China, Hong Kong, Japan, South Korea, Singapore, and Taiwan) and the 2006 South Asian Survey (Bangladesh, India, Nepal, Pakistan, and Sri Lanka). After extracting the four underlying dimensions of political attitudes from the broadly comparable questions used in the two surveys, the study first detects national differences in terms of (1) citizens' attitudes toward political activities other than voting, (...) (2) their commitment to a democratic system, (3) their political frustration, and (4) their confidence in their ability to govern themselves. Then, regression analysis examines the possibility that the micro-level variations in each of the four dimensions of political attitudes are related to the abundant macro-level variations found in these Asian countries. The results show that although the country-level predictors for citizens' attitudes toward direct political actions are common to both regions (ethno-linguistic fractionalization and the degree of institutionalization of preference articulation), factors influencing the variations in other dimensions are different. Specifically, the effects of political competitiveness and inclusiveness are more salient in South Asia than in East Asia. (shrink)

This paper tests the hypotheses that the tide of globalization undermines or reinforces the traditional types of social capital. Using the 2006 AsiaBarometer Survey data and applying two-level logit regression analysis, this paper found that social capital related to sense of trust or human nature and interpersonal relations can be augmented by globalization, while social capital regarding familialism and mindfulness can be weakened.