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Searching Rudolf Steiner Lectures by GA number (GA0306)

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Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: Child's Changing Consciousness: Lecture I
    Matching lines:
    • not draw my particular interest. Nevertheless it is interesting
    • from a scientific perspective? Our attention is drawn first to
    • may find that drawing and writing carry the correlation
    • than half the children who are gifted in drawing also have a
    • coefficient of .2, arithmetic and drawing .19,
    • and so on. From this it can be seen that arithmetic and drawing
    • are the least compatible partners, whereas writing and drawing
    • tongue and for drawing is found to be equally present in
    • that they can recognize the origin of the skills for drawing
    • drawing or the skill for their native language. Here,
    • drawing in children who have recently entered school, one must
    • now let us consider this question of writing and drawing.
    • drawn toward all that belongs to the bony system, to everything
    • This is not merely a question of drawing three lines in space,
    • to drawing. When the teeth change, this becomes a soul activity
    • geometrizing, for drawing, and so on.
  • Title: Child's Changing Consciousness: Lecture II
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    • stages in life, in order to draw conclusions about education
    • which conclusions are drawn with regard to the healthy human
  • Title: Child's Changing Consciousness: Lecture III
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    • the change of teeth withdraws inward, takes on an entirely
    • with strong inner opposition — is to have to draw on a
    • numbers, drawing, and so on. But reading and writing are
  • Title: Child's Changing Consciousness: Lecture IV
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    • or even complete words, you draw something looking like
    • we might draw something looking like this.
    • understand that, after having introduced writing by drawing a
    • painting and by painting a drawing (it is good for children to
    • involved. Writing, when evolved through painting-drawing, is
    • circulation. The way these are drawn is very suggestive,
    • and, consequently, cannot be drawn in fixed outlines. Now you
    • the letter forms have been gained through painting drawings and
    • drawing paintings, and if one has gone on to a kind of phonetic
  • Title: Child's Changing Consciousness: Lecture V
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    • efforts toward drawing with colored pencils from which writing
    • painting, drawing, or similar activities; all of the work, the
    • astral body not only draws in space but — strange as it
    • sounds — it draws in time! It has the quality of leading
    • to draw helpful drawings on the blackboard or to take up a
    • draws in whatever is in its way. Indeed, in this context, it is
    • to experience something distant — something that draws us
    • fixed tasks in drawing or painting. Of course, if you force
    • such feelings can be drawn out in children's souls, one enables
    • that, if you use the method of painting-drawing and
    • drawing-painting, the child will not learn to read as quickly.
    • example, if they are strongly drawn to Wagner's music (and in
  • Title: Child's Changing Consciousness: Lecture VII
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    • such as in drawing or eurythmy, but these, so we are told, are
  • Title: Child's Changing Consciousness: Lecture VIII:
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    • draw any benefit from their dreaming. Yet, if one knows that in
    • Whether a teacher draws substance to nourish the souls of
    • organism whose lifeblood was being drawn out, or that was
  • Title: Child's Changing Consciousness: Introduction to a Eurythmy Performance
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    • impression of eurythmy. It is an artistic movement that draws
    • of form in language — which must draw out what the

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