This study was designed to determine the effectiveness of intensive sibling group play therapy in: (a) improving the self-concept of child witnesses of domestic violence; (b) reducing internalizing behavior problems, such as withdrawal, somatic complaints, anxiety and depression, of child witnesses of domestic violence; (c) reducing externalizing behavior problems, such as aggression and delinquency, of child witnesses of domestic violence; and (d) reducing overall behavior problems of child witnesses of domestic violence. A second objective of this study was to compare the effectiveness of intensive sibling group play therapy and intensive individual play therapy on the above identified dimensions.

No description available.

Jag har utfört en studie där jag granskat vilka strategier och lekregler förskollärare använder sig av i verksamheten för att inkludera barn i lek. För att få svar på detta har jag använt mig av tidigare forskning och litteratur som jag anser vara relevant för min undersökning. Den innefattar främst vad lek är och vilka förutsättningar ett barn behöver behärska för att kunna leka samt lekteorier och strategier för att inkludera barn i lek. Metoden jag använt mig av för att besvara mina fråge-ställningar är kvalitativ intervju och jag har intervjuat fem verksamma förskollärare som arbetar med barn i åldern 1-5 år. I resultatet framkom att det är förskollärarnas ansvar att inkludera alla barnen i leken och att det är förskollärarnas deltagande i leken som främjar ett inkluderande. Alla barn ska inkluderas i leken, men inte i alla lägen då barnens lek ska respekteras. / I have conducted a study where I reviewed which strategies and play rules preschool teachers' uses in preschool to include children in play. To get answers to this I have been using previous research and literature that I consider to be relevant to my examination. It involves what play is and what conditions children need to master to be able to play and as well play theories and strategies to include children in play. The method I have used to answer my questions are qualitative interview and I have interviewed five active preschool teachers' working with chil-dren aged 1-6 years old. The results revealed that there are preschool teachers' responsibilities to include all the children in play and that there are preschool teachers' participation in play that promotes an inclusive environment. All children should be included in play, but not in all situations because children’s play must be respected.

The primary goal of this pilot study was to compare the frequency of which children explore items, and engage in cultural conversations and verbalizations (COBV) in a multiculturally designed play therapy room (MCP) versus a historically recommended play therapy room (HRP). A quasi-experimental comparison group design was used to observe differences between the play therapy rooms. Participants consisted of 32 children with varying cultural identity makers, including age (M = 6.31, SD = 2), race, and gender. Children were recruited from two campus-based university therapeutic clinics and one early childhood education program. Results of independent samples t-tests indicated a statistically significant difference between mean scores of cultural behaviors exhibited in MCPs when compared to HRPs with a large effect size. Furthermore, a moderate practical significance was found between the mean difference in cultural verbalizations found in MCPs when compared to HRPs. Correlational analyses exploring the child's age, both the child's and therapist's gender, and the three dependent variables exposed significant relationships between the child's age and frequency of items used, child's gender and number of cultural verbalizations, number of cultural verbalizations and cultural behaviors. Results from group analyses revealed a statistically significant difference between the therapist's race on number of cultural verbalizations with a large effect. Results from the present study influenced implications for practice such as utilizing intentional selection of cultural toys, and research implications such as a replication study using a randomized controlled trial to encourage generalizability.

Text in Afrikaans / Een van die funksies van die Kerk is om vir sy lidmate te sorg. In die praktyk wil dit voorkom asof die Kerk se sorg meer gerig is op die adolessent en die volwassene. Vanwee verskeie faktore ontvang kinders baie min of geen sorg in die vorm van pastorate sorg of pastorate beraad nie. 'n Gespreksmetode van beraad slaag nie altyd as daar met kinders gewerk word nie. In die veld van die psigoterapie en maatskaplike werk word daar algemeen gebruik gemaak van spelterapie wanneer daar met kinders gewerk word. Laasgenoemde kan ook in die pastoraat met kinders gebruik word sonder om die unieke karakter van pastoraat verlore te laat gaan. Die Kerk kan langs hierdie weg ook sy pastorate verantwoordelikheid teenoor kinders nakom. / One of the functions of the Church is to care for people. The children, however, are often neglected with more attention being paid to the adolescent and adult. Moreover, the verbal approach used when pastors work with children who experience difficulties do not seem to address this fully. Play therapy, on the other hand, appears to be a useful means of addressing this deficiency. It is often used in psychotherapy and social work and can be used to good effect in the caring of the Church for children. Play therapy enables the pastor to fulfill the Church's obligation to care for children, without disregarding the unique character of pastoral care and pastoral counselling. / Practical Theology / M. Th. (Practical Theology)

Text in Afrikaans / Een van die funksies van die Kerk is om vir sy lidmate te sorg. In die praktyk wil dit voorkom asof die Kerk se sorg meer gerig is op die adolessent en die volwassene. Vanwee verskeie faktore ontvang kinders baie min of geen sorg in die vorm van pastorate sorg of pastorate beraad nie. 'n Gespreksmetode van beraad slaag nie altyd as daar met kinders gewerk word nie. In die veld van die psigoterapie en maatskaplike werk word daar algemeen gebruik gemaak van spelterapie wanneer daar met kinders gewerk word. Laasgenoemde kan ook in die pastoraat met kinders gebruik word sonder om die unieke karakter van pastoraat verlore te laat gaan. Die Kerk kan langs hierdie weg ook sy pastorate verantwoordelikheid teenoor kinders nakom. / One of the functions of the Church is to care for people. The children, however, are often neglected with more attention being paid to the adolescent and adult. Moreover, the verbal approach used when pastors work with children who experience difficulties do not seem to address this fully. Play therapy, on the other hand, appears to be a useful means of addressing this deficiency. It is often used in psychotherapy and social work and can be used to good effect in the caring of the Church for children. Play therapy enables the pastor to fulfill the Church's obligation to care for children, without disregarding the unique character of pastoral care and pastoral counselling. / Philosophy, Practical and Systematic Theology / M. Th. (Practical Theology)

The aim of the study was to determine how Gestalt play therapy may be used in the therapeutic treatment of children in middle childhood who stutter. Stuttering is a problem that touches the lives of many people and is associated with great interpersonal distress. Stuttering is especially difficult for children in middle childhood, a time dominated by the school experience. Gestalt play therapy creates a child-friendly environment, in which the child can share information in a safe manner through the use of play therapeutic techniques. Literature was reviewed according to relevant topics, semi-structured interviews were conducted with three respondents, the data obtained was qualitatively analysed and research findings were discussed. The researcher concludes that Gestalt play therapy can be used to good effect with children who stutter, as it allows them to work through their emotions, and therefore, encourages them to communicate more freely within the therapeutic environment. / Social Work / M. Diac. (Play Therapy)

Thesis (MDram)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis sets out to provide comparative analyses of selected play texts and their film adaptations in order to demonstrate the significant role that editing techniques play in translating the play text’s dramatic elements into the visual language of film. The purpose of a film adaptation is to present a new interpretation of the play text that audiences will find engaging. In order to establish how the film medium is potentially able to enhance or alter the audience’s understanding of the original source text, the study turns to the field of semiotics to determine how the play text’s themes, plot and characters – embodied in a verbal sign system – are adapted into the audio-visual sign system of film. While cinematography, production design and music are critical elements in film making, editing can be regarded as the distinctive and fundamental signifying practice in the construction of meaning in a film. This will be the point of departure in analysing how meaning is “translated” from one sign system into another in the process of adaptation. By manipulating the key relations between shots, editing is able to guide the audience’s understanding of the film narrative, amplify character development, and generate intellectual and emotional responses. Different editing conventions have therefore been developed to amplify the dramatic effect of the narrative and the filmmaker’s vision. The different effects that editing conventions create in the interpretation of a play text are demonstrated by comparing two cinematic versions of William Shakespeare’s Romeo and Juliet. The use of continuity editing techniques in Franco Zeffirelli’s 1968 film adaptation of Romeo and Juliet is compared to Baz Luhrmann’s use of modern MTV conventions in his William Shakespeare’s Romeo + Juliet (1996). Zeffirelli and Luhrmann both employ different editing conventions to amplify their “readings” of Shakespeare’s play text, thereby presenting an adaptation that their target audience will find engaging. The film adaptations of Shakespeare’s Romeo and Juliet therefore demonstrate the significance of different editing techniques in conveying meaning within a specific reception context. The series of reinterpretations of Christopher Isherwood’s Goodbye to Berlin (1939) illustrates how editing techniques are able to transfer Isherwood’s themes and political commentary on the rise of Nazism in Weimar Berlin across various texts and mediums, which include the film adaptation I am a Camera (1955) directed by Henry Cornelius, the Broadway musical Cabaret (1966) directed by Joe Masteroff, and finally Bob Fosse’s musical film Cabaret (1972). The comparative analyses of the above-mentioned source texts and their subsequent film adaptations demonstrate how different editing techniques are able to highlight new perspectives on the source material. Editing conventions are therefore highly significant in the creation of cinematic representations of the play text as they lead audiences to “read” the dramatic narrative within new contexts, using the visual language of film to create new insights that will complement the audience’s understanding and appreciation of the play. / AFRIKAANSE OPSOMMING: Vergelykende analises tussen gekose speeltekste en hul verwerkings vir film word in hierdie tesis uiteengesit om die betekenisvolle rol wat redigeertegnieke in die vertolking van die speelteks se dramatiese elemente in die visuele styl van die film speel, te demonstreer. Die doel met ’n filmverwerking is om ’n nuwe interpretasie van die speelteks aan te bied wat gehore vasgevang sal hou. Om te bepaal hoe die filmmedium die gehoor se begrip van die oorspronklike teks potensieel kan versterk of verander, gebruik hierdie studie die veld van semiotiek om vas te stel hoe die speeltekste se temas, intrige en karakters – beliggaam in ’n verbale simboolstelsel – aangepas word in die oudiovisuele simboolstelsel van die film. Terwyl filmfotografie, produksie-ontwerp en musiek kritiese elemente in die vervaardiging van films is, word redigering as die onderskeidende en fundamentele belangrike praktyk in die konstruksie van betekenis in ’n film geag. Hierdie is die vertrekpunt in die analisering van hoe betekenis “vertaal” word van een simboolstelsel na ’n ander tydens die verwerkingsproses. Redigering kan deur middel van manipulering van die sleutelverwantskappe tussen skote die gehoor lei om die narratief van die film te verstaan, karakterontwikkeling uit te brei en intellektuele en emosionele reaksies te skep. Onderskeie redigeerkonvensies is dus ontwikkel om die dramatiese effek van die narratief en die filmvervaardiger se visie te versterk. Die verskillende resultate wat deur middel van hierdie tegnieke in die interpretasie van ’n speelteks verkry word, word toegelig deur die twee filmweergawes van William Shakespeare se Romeo and Juliet te vergelyk. Die gebruik van kontinuïteit-redigeertegnieke in Franco Zeffirelli se 1968 filmverwerking van Romeo and Juliet word vergelyk met Baz Luhrmann se gebruik van moderne MTV-konvensies in sy William Shakespeare’s Romeo + Juliet (1996). Beide Zeffirelli en Luhrmann gebruik verskillende redigeerkonvensies om hulle “lees” van Shakespeare se speelteks toe te lig en daarmee ’n verwerking wat hulle teikengehoor vasgevang sal hou, te bied. Die filmverwerkings van Shakespeare se Romeo and Juliet demonstreer dus die belang van verskillende redigeertegnieke in die oordra van betekenis binne ’n spesifieke konteks waarin dit ontvang word. Die reeks herinterpretasies van Christopher Isherwood se Goodbye to Berlin (1939) illustreer hoe redigeertegnieke in staat is om Isherwood se temas en politieke kommentaar aangaande die opkoms van Nazisme in Weimar Berlyn oor verskeie tekste en mediums oor te dra. Insluitend hierby is die filmverwerking I am a Camera (1955) onder regie van Henry Cornelius, die Broadway musiekblyspel Cabaret (1966) onder regie van Joe Masteroff, en laastens Bob Fosse se musiekfilm Cabaret (1972). Die vergelykende analise van bogenoemde tekste en hul daaropvolgende filmverwerkings demonstreer hoe verskillende redigeertegnieke nuwe perspektiewe op die oorspronklike materiaal na vore kan bring. Redigeerkonvensies is uiters betekenisvol in die skep van filmiese voorstellings van die speelteks aangesien die gehoor daarmee gelei word om die dramatiese narratief binne nuwe konteks te “lees” deur gebruik te maak van die visuele styl van die film om nuwe insig te skep wat die gehoor se verstaan en waardering van die stuk aanvul.

This study investigated the self-concepts of five, six, and seven year old children after participation in organized and nonorganized play programs. The subjects were sixty boys and girls participating in Little League Tee-Ball programs and sixty boys and girls participating in the City Playground Program in the Fort Worth, Texas, area during the 1979 spring and summer season. The instrument used to measure self-concept was the Purdue Self-Concept Scale, Results indicated that the type of organization has little effect upon the self-concept of the children in this study.

In the postmodern, contemporary Western world of late capitalism, we dream of the Middle Ages. Medieval Fantasy, as an entertainment genre, supplements historical images of the Middle Ages with elements of myth in adventure stories featuring magicians, knights and ladies, castles, dragons, swords, and sorcery that are routinely consumed and absorbed. In some activities they are also played out physically. People dress up, utilise props, and affect their speech and mannerisms like actors in a theatre, conducting pseudo-ritualistic games of mimicry to make these images speak and move in the real world: live role-play. This thesis examines several organised examples of live role-play: Southron Gaard, a branch of the Society for Creative Anachronism based in Christchurch, New Zealand; larping, as represented by two documentary films, Darkon and Monster Camp, that document the activities of larping organisations in the USA; and 'Lord of the Rings Tour', a tourism trip from Christchurch to 'Edoras', a fictional location from Middle-earth, the fantasy world of J.R.R. Tolkien's The Lord of the Rings Novels and Peter Jackson's filmic adaptations thereof. These organised leisure activities provide platforms for the pursuit of active, physical involvement with the images and ideas of medieval fantasy. In them, participants find ways to bring these fantastic images and ideas onto their bodies in reality and, perhaps as a result, closer to their everyday lives in ways that have more significant social implications than may at first be apparent.