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1.
In the course of the ‘long’ eighteenth century, ways of thinking in the Western world transformed in fundamental ways; even words that remained the same took on new meanings. In the field of the history of ideas, the period 1700–1850 is also called the ‘saddle‐period’. Philosophers of history have argued that the new basic concepts that emerged at this time indicate how social reality has come to be comprehended in the modern era. Various segments of the population relied on them to act, understand, interpret and reform reality. These concepts are crucial to the discursive constitution of the world—in the economy, politics, science, art, education and so on. They play their part in the dissolution of the ‘old’ world and the emergence of a ‘new’ one. They can thus also be studied with regard to their functioning as both factors in and indicators of evolutionary processes. This article deals with a small aspect of the historical co‐evolution of concepts and structures in education. It examines the non‐random character of the variations in the discourses on the social function of education, especially in the eighteenth century.  相似文献   

2.
The article seeks to explore some of the difficulties that may be experienced within higher art education both by the student of art who is lesbian and by researchers focusing on the subject of lesbians and art. For those interested in this area of study there may be particular obstacles which are not present for heterosexual students and which act as a barrier to exclude more readily available information and images. The potential importance and relevance of these exclusions for the lesbian student of art are examined in relation to the political and social oppression which lesbians have experienced, the effects of which can be seen in both historical and contemporary lesbian images and artwork. The article also examines possible issues around ‘coming‐out’ and homophobia for lesbian students and researchers within education generally, the prevalence of assumptions of heterosexuality, and the importance of awareness of these issues for educators of gay students. The conclusion drawn is that there is diversity inherent within any grouping but a more inclusive art education policy would inform the culture of all.  相似文献   

3.
《课程研究杂志》2012,44(6):809-814
This essay takes a metaperspective on what it means to talk about rhetorical education, the subject of this collection. After exploring different senses of what the term may mean, the essay addresses three issues touched upon but not fully developed in the collection: first, the idea that rhetoric has no subject matter of its own but may instead be applied to any subject; second, why there is a cultural and historical moment in which questions of rhetorical education especially come before us; and third, why we should think about rhetoric outside the academy. This review concludes by suggesting that Cicero’s vision of The Orator sums up the aspirations for rhetorical education suggested in this collection.  相似文献   

4.
Drawing from literature in the social studies of science, this paper historicizes two pivotal concepts in science literacy: the definition of life and the assumption of objectivity. In this paper we suggest that an understanding of the historical, discursive production of scientific knowledge affects the meaning of scientific literacy in at least three ways. First, a discursive study of scientific knowledge has the epistemological consequence of avoiding the selective perception that occurs when facts are abstracted from the historical conditions of their emergence. Second, a discursive approach to scientific knowledge can also be an example of science‐as‐exploration. Third, literacy and discourse studies contribute insights that alter assumptions about pedagogical appropriateness in science education. The paper concludes by suggesting that when science literacy includes the historical production of scientific knowledge, it can thereby extend the possibilities for what can be thought, studied and imagined in the name of science education.  相似文献   

5.
Addressing changes in conditions for practitioners that can be related to education policy in England and Wales since 2010, this article presents issues faced by teachers of art and design and their responses in practice. The current insistence on transparency in education emerges through policy that audits performativity, in a limiting skills bank. Practitioners in art and design are particularly affected by what I term ‘the transparency‐exclusion paradox’, as they battle to maintain the subject area and are ‘othered’ by the English Baccalaureate and Progress 8. I will discuss an emergent ‘ethos of ambiguity’ among artist‐teachers and contemporary artists, with a theoretical basis informed by Beauvoir and Foucault. Empirical data from research participants will be evidenced, to explore strategies of response in inclusive social practice. This article adds to literature that considers the effects of policy in implementation and it contributes to research on creative expressions of ambiguity in the arts.  相似文献   

6.
This aim of this research was to investigate art teacher education in Taiwan and England to gain insights into two art education systems with a view to improving art teacher education in Taiwan. To achieve this aim, a cross‐cultural study using a multi‐method approach was adopted and data was collected over three years of full‐time study in England and four academic years of reflection on teaching in art teacher education in Taiwan. This research revealed how complex and hazardous it is to state categorically what the similarities and differences really are between two art teacher education systems, especially in a subject as ill‐defined as art. Nonetheless, this study did produce some important differences in the two art teacher education systems in aspects of (1) government regulations and institutional provision, (2) theoretical underpinning, (3) art curriculum policy and delivery, and (4) cultural differences affecting art teachers' attitudes and values.  相似文献   

7.
In education, art has often been perceived as entertainment and decoration and is the first subject to go when there are budget cuts or test‐score pressures. Drawing on Emmanuel Lévinas's idea of the primacy of radical alterity that breaks the totality of our being, enables self‐transformation and ethics, and ensures community as a totality of singularities, and on Maurice Blanchot's expansion of radical alterity to art, Guoping Zhao argues that the role of art in education must be reconsidered and greatly expanded. Art as alterity takes students beyond where they are and what they have, and teaches them to appreciate and respect difference and diversity. If art as alterity is so essential to human subjectivity and society, and if education is conceived as a process of human growth and formation, art as alterity is essential to education and needs to be more seriously engaged and more fully integrated into the whole educational process instead of being isolated in arts education. Zhao concludes the essay by pondering the pedagogical implications of such a reconsideration of art as alterity in education.  相似文献   

8.
Room 13 is a global uprising of creative and entrepreneurial children who are responsible for a growing international network of student‐organised art studios. Each Room 13 studio facilitates the work of young artists alongside a professional adult artist in residence, providing an exchange of ideas, skills and experience across the ages. The result is an ongoing collaboration between adults and young people and a thriving culture of philosophical enquiry driven by a motivation to think and to learn. My own experience with Room 13 spans from that of the student, to adult artist and practitioner. Working under the direction of subsequent student‐management teams, I have been fortunate to be involved in the process by which Room 13 has gone on to establish an international network of student‐run art studios, serving an expanding global community of young artists. The emerging global movement surrounding these studios calls for a serious revaluation of what art is – and who is qualified to make it. Room 13 not only augments the case for the work of young artists, but presents a challenge to the current systems for art education. As the quality of formal arts education is eroded by a universal need to standardise educational experiences, the training that Room 13 provides motivates individuals and develops their creativity in a way that outstrips anything that schools, or even art colleges, can currently offer.  相似文献   

9.
This paper examines the changing relationship of art practice to academic research in higher education since 1960. Whereas art practice was often conceived of as divorced from any notion of academic or theoretical work in the post 1960 art school, by the 1990s the ground had changed to such a degree that it was possible to pursue doctoral study in art practice. This emergence of practice‐based PhDs can be considered as part of a larger shift in art education and its acceptance of theory.  相似文献   

10.
This article explores how art and design education can contribute to the imperative of climate change and help societies adapt to living more sustainably. Drawing on methods from arts‐based research and qualitative case study, it reports on an investigation into what can be learned from creating environmental art installations with preservice teachers (those training to be K‐12 teachers), as part of an environmental art education programme in a leading Canadian university. Findings support that preservice teachers experienced behavioural and attitudinal shifts towards sustainability after engaging in the processes of creating environmental art; involvement in the programme also provided opportunities for building community, engaging multiple domains of learning, modelling sustainable art‐making practices and prompting environmental activism. The results of this study inform a developing pedagogy for environmental art education in higher education settings.  相似文献   

11.
This preface introduces the themes of this special edition: the contribution that lesbian and gay individuals make to the development of the discipline. These include a non‐heteronormative perspective, and an emphasis on irony within parody. Second, this preface considers the experience of LGBT students and teachers dealing with sexuality within the school curriculum. Third, the current approach to civil rights within the school is considered especially in the context of homophobia, bullying and physical danger. Finally, areas of specifc curriculum advance are noted particularly within art history, media education and teacher education. Irving Berlin's witty little song ‘Anything you can do’ [ 1 ] epitomises the taken‐for‐granted assumption that relationships between people are always adversarial and that personal achievement always involves outperforming the opponent. The song title in full runs ‘Anything you can do I can do better, I can do anything better than you.’ The second stanza underlines the theme ‘I'm superior, you're inferior, I'm the big attraction you're the small.’ The rest of the song develops the theme but it constantly expands a tongue‐in‐cheek ironic infection. The lyrics serve to subtly undermine the master narrative by showing the ridiculousness of empty boastfulness. I suggest that there is a strong analogy between this adversarial parody and that between ‘heteronormative’ culture [ 2 ] and its disdain for gay perspectives and experience [ 3 ]. One of the major propositions in this collection is that lesbian, gay, bisexual and trangender (‘LGBT’ throughout this volume) people bring great benefits to all in our efforts to explore and develop an increasingly inclusive art and design agenda [ 4 ]. My argument in this introduction has four interrelated themes. First, I outline what I think are the legitimate claims that LGBT people can make for their contribution to the development of the discipline. It is important to start here because, as will be come clear, there are several significant issues that LGBT teachers and students have to face in education. These issues should not distract us from the positive impact we have made throughout the art and design curriculum. The second theme is one that I take from Andrew Sullivan's title Virtually Normal [ 5 ]. The ambiguity built into his oxymoronic title is worth exploration. The LGBT experience of growing up has particular paradoxical features that are singular and significant. I consider some of these features for their salience to the general argument. The third theme that is particularly pertinent internationally is what is termed a civil rights agenda. Many educators are using this concept as a basic building block in the construction of an equality programme into which LGBT fits as a significant beneficiary. It is in this context that the issue of bullying is considered. Undeniably, bullying is a major issue confronting probably every young LGBT person on a regular basis. But I, and other authors in the collection, argue that relying solely on this equal rights approach has some major drawbacks in the promotion of an LGBT agenda. The fourth theme, which is developed by the authors of the papers throughout this volume, is that a specifc LGBT art and design curriculum can be developed away from a civil rights approach. This curriculum can provide what we all lack currently, material that reflects and expands the learning of LGBT students, provides opportunities for Continuing Professional Development for LGBT and LGBT‐friendly staff, and thus enriches the whole art and design curriculum by embracing new ideas from within and outside the discipline. At the moment there is a gaping empty space in the art and design curriculum that badly needs flling. I conclude this introduction by considering such innovation in relation to Swift and Steers' Manifesto for Art in Schools which still seems to me an excellent benchmark against which to measure change and progress [ 6 ].  相似文献   

12.
A key aim of this article is to present a discursus on learning and teaching in the context of art education that softens transcendent historical and ideological framings of art education and its purpose. In contrast it places emphasis upon the immanence and necessary transcendence of local events of learning that occur in whatever framing and which have the potential to extend our comprehension of what art and learning can become. It recommends a ‘pedagogical reversal’ whereby external transcendent lenses and their respective knowledge and criteria for practice are relaxed and proposes a pedagogy ‘without criteria’. A key pedagogical issue revolves around ‘how something matters’ for a learner in his or her experience of a learning encounter and trying to comprehend this ‘mattering’ constitutes a pedagogical adventure for a teacher. The notion of mattering in the context of art practice and learning cannot be divorced from the force of art which is the motive force that precipitates a potential for learning and can expand our understanding of what art and learning can become. The article is therefore premised on the idea that it is not a case of coming to understand art through established knowledge and practice but the force of art challenging us to think. The force of art, or art's event, can be conceived therefore as a process with a potential for the individuation of new worlds or to see that other worlds might be possible.  相似文献   

13.
The first part of this paper argues that higher education (HE) institutions have an obligation to nurture sustainable development awareness. This is viewed against the UK Government's recommendation and guidance on sustainable development education. In particular, this focuses on the Government's sustainable development education specification for design education and the challenge this poses to UK tertiary design education. The concluding part of this paper discusses the emergence of new design dialogues, which are grappling with the task of synthesising the precepts of sustainable development with the ‘act of designing’. This has led to discourse on the need for defining viable strategies that invent new forms of design education and practice and for the provision of new professional choices to students. This paper takes into account the evolution of language in this educational subject area, from ‘environmental education’, to ‘environment and development education’, to ‘education or learning for sustainability’. The desired outcome of learning for sustainability is often expressed as ‘responsible global citizenship’. At the moment some of these terms are interchangeable. For my purposes, the term ‘sustainable development education’ will be used though out, unless for historical accuracy or specific reasons.  相似文献   

14.
There is a perception in British universities and art colleges that art students are not very good at writing, that they don't want to write, and furthermore, that writing gets in the way of the real business of making art. These perceptions are reinforced in much of the literature that has been produced about, and in support of, undergraduate art education in the last few decades. This paper will examine the tensions, both historical and contemporary, between academic practices (such as the academic essay, the dissertation) and fine art studio practices. This translative gap both produces, and perpetuates, a set of binaries: visual/textual, art/literature, words/images, Studio/Art History, making/writing. The net result of which is a resistance to writing from many Art students in Higher Education. I will outline subject specific multidisciplinary strategies used with undergraduate and postgraduate students to harness, and develop, this resistance as both transformational and inventive.  相似文献   

15.
爱国主义、集体主义、革命传统教育及健康的生活态度教育是小学艺术学科德育的主要内容．艺术学科实施德育要在明确学科德育优势的基础上把握德育渗透点,注重情景陶冶法,抓常规,树形象,从小处做起．  相似文献   

16.
This article reports historical research which sought to understand the present‐day post‐secondary art curriculum through analysing its history in terms of changes in conceptions of art. It found that there have been six distinctive curricula: Apprentice, Academic, Formalist, Expressive, Conceptual and Professional. As a new curriculum has been introduced, it has co‐existed with much contained in a previous one. Most of the curriculum changes have taken place in the past 65 years. During this time, there has been a massive expansion in the education of artists and at the same time art schools accommodated first modernism and then post‐Duchampian aesthetics. A conclusion is that this has made for a very crowded curriculum. Moreover, despite there being an ever increasing choice of things a student might learn, it appears that there is nothing which all students have to learn. It can be problematic that one part of the curriculum is in contradiction to another part, and moreover this lack of a core raises fundamental, ontological questions about what art as a discipline is.  相似文献   

17.
From the perspective of art education, the worst‐case philosophical scenario is the hedonist‐subjectivist account of art. If we measure art by the pleasure we gain from it, it may seem senseless to attempt teaching the reception of art. David Hume's ‘Of the Standard of Taste’ provides an argument for the art‐education enthusiast, explaining that—even on a subjectivist account—art education crystallises our own preferences. While I refer to a historical debate and provide a close reading of an 18th‐century essay, my goal is to offer a philosophical solution to an ongoing dilemma; I use Hume's essay to ground the justification of art education.  相似文献   

18.
This paper considers questions of continuity and change in education from the perspective of complexity theory, introducing the field to educationists who might not be familiar with it. Given a significant degree of complexity in a particular environment (or ‘dynamical system’), new properties and behaviours, which are not necessarily contained in the essence of the constituent elements or able to be predicted from a knowledge of initial conditions, will emerge. These concepts of emergent phenomena from a critical mass, associated with notions of lock‐in, path dependence, and inertial momentum, suggest that it is in the dynamic interactions and adaptive orientation of a system that new phenomena, new properties and behaviours, emerge. The focus thus shifts from a concern with decontextualised and universalised essence to contextualised and contingent complex wholes. This is where complexity theory seeks the levers of history. The paper posits the notion of inertial momentum as the conceptual link between the principle of emergent phenomena as developed principally in the natural sciences and the notion of socio‐historical change in human society. It is argued that educational and institutional change is less a consequence of effecting change in one particular factor or variable, and more a case of generating momentum in a new direction by attention to as many factors as possible. Complexity theory suggests, in other words, that what it might take to change a school's inertial momentum from an ethos of failure is massive and sustained intervention at every possible level until the phenomenon of learning excellence emerges from this new set of interactions among these new factors, and sustains itself autocatalytically. The paper concludes with a summary consideration of the conditions that contribute to the emergence of new properties and behaviours in a system.  相似文献   

19.
Wolfgang Mitter 《Compare》2004,34(4):351-369
If by ‘education systems’ we understand institutional units, constituted by common legal provisions, organizational structures, curricular goals and value foundations, the current period signals their decline. This indicates the decline of the modern nation state, which has characterized the political map of Europe for 300 years and gradually expanded to the other continents. Therefore education systems in their ‘state‐bound’ constitution must be identified as a category of ‘organized space’ within a given historical period—and not as a perpetual phenomenon. This understanding of the current ‘education system’ points the way to the concept of ‘educational spaces’ in periods preceding the modern nation state. It helps to identify the current stages of transition, indicated by the emergence of regional ‘educational spaces’, the expansion of private sectors, and the invasion of the globalizing markets into the ‘knowledge society’.  相似文献   

20.
The author states that, taking into account historical changes and variations, citizenship in the Netherlands mainly developed as a bottom‐up affair. She stresses the structural conditions (geographical: an early and high degree of urbanization, the co‐operative regulation of the waterlevel; social and political: limited forms of a central political authority, a multiplied religious map, pillarization; economic: a highly developed merchant capitalism and a late emergence of industrial capitalism) and points at the special contribution of the Dutch educational system to these processes: the operation along local (urban) lines; the early decline of the relevance of the grammar school (from the sixteenth century on); a curriculum for higher and lower social strata set up from a relatively congruent utilitarian point of view; and a structural transformation of the school system in the late eighteenth, early nineteenth century, starting at the level of elementary education and not just (as in Germany and France) in secondary or tertiary institutions.  相似文献   

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