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1.
A primary function of schooling is to impart moral discipline, and art education distills this role to its core imperative of mandated pleasure, summarised by Jacques Lacan as the ‘will to enjoy’. This manifests in the insistence that, despite producing similar outcomes, students come to recognise themselves as unique and creative. In the twentieth century, art education in the USA has developed methods for extracting supposedly intimate personal expressions from young people, albeit without demanding the technical versatility, historical knowledge and critical reflection required of mature artists – the exception to this, despite its many flaws, being so‐called Discipline‐Based Art Education, or DBAE. In this article, I begin with reflections on the untapped potential of DBAE to relate to contemporary art practices. My ideas on moral instruction are expanded upon in the second section, when I undertake a ‘backwards’ history of British and American art education, in which the ideal of art class as a site of intrinsic and authentic meaning‐making is challenged by the functional requirements of education. My last section takes up a critique of critical pedagogy, in which I use the example of a project my high school students did about Michael Jackson to challenge ways in which trauma and pleasure are seen by critical pedagogues as features of experience that conflict fatally with the educational ends of individualist autonomy.  相似文献   

2.
In recent decades, the field of art education has seen an increasing interest in issues of social justice and social reconstruction which has led to pre‐service art educators often being encouraged to include potentially controversial topics in their pedagogy. Surprisingly, however, there seems to have been little concurrent discussion concerning the inherent risks involved in introducing polemical themes within the classroom. Indeed, despite its obvious importance, the subject of censorship is often given little attention in art education circles, save for when it has already become an active problem, such as when an instructor is accused of censorship by a student, or when forces outside the classroom seek to involve themselves in pedagogical decisions. In this article, I describe my experience creating and implementing an undergraduate pre‐service art education course on the subject of censorship. I begin by examining my students’ reactions to some of the themes explored, and then explain how discussing cases of art censorship and controversy can serve as a platform for introducing students to the key role that context plays in how we perceive, value and react to artworks. Finally, I make the argument that by including censorship as a subject within their curriculum, teachers can help students better to navigate the psychological, moral and ethical complexities of contemporary art making.  相似文献   

3.
In this article, I place my ethnographic project among undergraduate university art students and their professor in dialog with Rosi Braidotti’s figuration of the nomadic subject and her reflections on the importance of creating theoretical alternatives for mapping the embedded and embodied social positions that we inhabit. As educational interlocutors, college students must negotiate expectations and categorizations about age-appropriate relations, career paths, and identity passageways, which are always already framed by Western psychological development discourses. Interested in loosening the grip of these closure-seeking and normalizing discursive practices, I argue for a revision of identity development grounded in a nomadic theory of the subject and engage my data through an alternative analytic of arts-informed assemblage in light of Braidotti’s ideas. In so doing, I uphold my feminist commitment to do theory as both critique and creativity, bringing into view poetic-enough writing and imagery as a response to the question how is it to be in the process of becoming?  相似文献   

4.
This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.  相似文献   

5.
Upper secondary students’ task solving reasoning was analysed with a focus on arguments for strategy choices and conclusions. Passages in their arguments for reasoning that indicated the students’ beliefs were identified and, by using a thematic analysis, categorized. The results stress three themes of beliefs used as arguments for central decisions: safety, expectations and motivation. Arguments such as ‘I don’t trust my own reasoning’, ‘mathematical tasks should be solved in a specific way’ and ‘using this specific algorithm is the only way for me to solve this problem’ exemplify these three themes. These themes of beliefs seem to interplay with each other, for instance in students’ strategy choices when solving mathematical tasks.  相似文献   

6.
Art education in Hong Kong has undergone various changes in response to educational reform. In art assessment, a major change in the Hong Kong New Senior Secondary (NSS) Curriculum is the inclusion of art criticism as a compulsory component of the new public examination. Assessing students’ abilities to interpret art in an art criticism public examination context is a critical issue in Hong Kong because the new senior secondary curriculum and assessment has brought attention to the role of written language in the art examination paper. This means the examination assesses not only students’ abilities to interpret art, but also their language abilities required to respond to art in written form. Since this new mode of assessment of art criticism has been published a number of issues have appeared. Recent studies show that teachers and students perceive this development negatively and they believe that the written format will assess students’ written language abilities rather than their critical abilities. These findings challenge the justification of the new art assessment policy and raise questions about the role of written language in responding to art. This article aims to raise the issue of the marriage between language and art criticism in the Hong Kong public examination context. It argues and examines the relationship of language to art interpretation, reasoning in the assessment, and issues in the public art criticism examination context. The issues addressed in this article provide opportunities for researchers and policy makers to reconsider and refine the new form of examination.  相似文献   

7.
In this article, I consider what Noddings’ ideas about the critical lessons schools should teach might suggest for social education and critical thinking at the middle school level. Giving particular consideration to Noddings’ calls to engage young people in self-understanding and allow students to pursue their interests, this article explores how the middle school years present an especially rich opportunity to engage students in an examination of the period of young adolescence, allow them to enter the debates about schooling for the middle grades, and use students’ interests as a springboard for examining complex social issues. Considering Noddings’ (2015, p. 1) urging for us to engage in the mission of “producing better adults,” I argue that the critical middle school years offer a generative time in young people’s lives to advance this important work.  相似文献   

8.
This article focuses on ways of building preservice primary teachers' confidence in teaching art with artworks and, in particular, on how to develop their pedagogical content knowing. It is suggested that through opportunities offered for engaging in observational and reflective practices with artworks an initial groundwork is set that can challenge pre‐service teachers' preconceptions about art and promote an aesthetic form of inquiry. A qualitative approach was followed which included in‐depth interviews with twenty pre‐service teachers regarding their attitudes and knowledge towards artworks. The findings indicate that enhancing teachers' abilities to practice factual inquiries and then move on to interpretive inquiries of artworks can help them learn how to learn about artworks and how to organise meaningful art viewing activities with children. Issues relating to the participants' level of aesthetic understanding are also discussed as participants were asked to engage with artworks and their aesthetic encounters were documented.  相似文献   

9.
This article explores the potential of heterotopia as a way to prompt us to think differently about children's art‐making. Foucault uses the term to describe a space of difference. As something that is not easily located within a system of representation, a heterotopia is not amenable to interpretation. It is this resistance to interpretation that can ‘force us to confront the limits of our understanding’. Linking Foucault's idea of the heterogeneous with Deleuze & Guttari's concept of ‘smooth space’ allows me to think differently about representational intent. As a teacher of young children, I have habitually valued and encouraged ‘purposeful’ play. In terms of artwork this has often meant that I have assumed an overriding and usually representational ‘purpose’ that underlies the work and gives it meaning. However, in many of the junk models produced by children during my fieldwork, I glimpsed a quality of the smooth space evoked by Deleuze & Guttari's patchwork quilt where, although ‘they may display equivalents to themes [and] symmetries … there is no centre; its basic motif (“block”) is composed of the single element; the recurrence of this element frees uniquely the rhythmic values’.  相似文献   

10.
Within US teacher preparation programs, critical pedagogy and a desire for social change can lead teacher educators to prioritize transformation of prospective teachers’ beliefs through self-reflection. In pursuit of effective critical pedagogies, teacher educators also need to examine their own practices and beliefs. This self-study, a manifestation of teaching as inquiry, reframes evaluations of teaching away from what students do toward what teachers do. Here I undertake a reflexive examination of my own recursive practice as a teacher educator in children’s literature. Drawing upon a complex notion of teaching and learning, I argue that student learning outcomes are unpredictable, and as a result, successful teacher education should model self-inquiry as a vital part of teaching. Findings show that teaching choices (and omissions) in response to students’ responses led to unintended outcomes that undermined my motivations. I conclude that teacher educators’ self-inquiry and reflection in broader social contexts offers access to critical ways of thinking that underlie their work toward developing similar capacities among their prospective teacher students.  相似文献   

11.
The aim of this study was to explore whether a representational approach could impact on the scores that measure students’ understanding of mechanics and their ability to reason. The sample consisted of 24 students who were undergraduate, preservice physics teachers in the State University of Malang, Indonesia. The students were asked to represent a claim, provide evidence for it, and then, after further representational manipulations, refinement, discussion, and critical thought, to reflect on and confirm or modify their original case. Data analysis was based on the pretest–posttest scores and students’ responses to relevant phenomena during the course. The results showed that students’ reasoning ability significantly improved with a d-effect size of 2.58 for the technical aspects and 2.51 for the conceptual validity aspects, with the average normalized gain being 0.62 (upper–medium) for the two aspects. Students’ conceptual understanding of mechanics significantly improved with a d-effect size of about 2.50 and an average normalized gain of 0.63. Students’ competence in mechanics shifted significantly from an under competent level to mastery level. This paper addresses statistically previously untested issues in learning mechanics through a representational approach and does this in a culture that is quite different from what has been researched so far using student-generated representational learning as a reasoning tool for understanding and reasoning.  相似文献   

12.
This article raises the problem of how to teach and research the critical and historical study on an A level art course. I have recently completed my doctoral study on this area of the art curriculum, which was conducted during the period of change to all post sixteen qualifications after the 1996 Dearing report. In this article I show how personal and critical knowledge was a necessary part of the practical investigation and helped to foster inquiry learning among my two research groups of sixth form students. The experience has given me renewed hope that students are able to problematise meaning in art and communicate what values and positions they adopt in the course of their investigations into the work of others.  相似文献   

13.
This study draws on student engagement factors to examine the relationship between students’ non-school-based arts experiences on their intrinsic motivation and self-efficacy to participate in visual arts responding tasks. Visual arts responding in the curriculum includes learning about artists and artworks, decoding art and making critical judgements, and is important in building twenty-first century learning skills such as critical thinking and communication. A total of 266 Year 10 to 12 students from 18 schools in Western Australia (WA) participated in the quantitative research, which explored outside-school arts engagement as well as cognitive and psychological engagement factors in their current year of secondary schooling. The findings showed that while being an art consumer appears to impact on intrinsic motivation and self-efficacy, producing art as a hobby outside of school does not appear to do so. The research raised questions about links between practice and theory, and how to promote students’ engagement in responding.  相似文献   

14.
This study is about prospective secondary mathematics teachers’ understanding and sense making of representational quantities generated by algebra tiles, the quantitative units (linear vs. areal) inherent in the nature of these quantities, and the quantitative addition and multiplication operations—referent preserving versus referent transforming compositions—acting on these quantities. Although multiplicative structures can be modeled by additive structures, they have their own characteristics inherent in their nature. I situate my analysis within a framework of unit coordination with different levels of units supported by a theory of quantitative reasoning and theorems-in-action. Data consist of videotaped qualitative interviews during which prospective mathematics teachers were asked problems on multiplication and factorization of polynomial expressions in x and y. I generated a thematic analysis by undertaking a retrospective analysis, using constant comparison methodology. There was a pattern which showed itself in all my findings. Two student–teachers constantly relied on an additive interpretation of the context, whereas three others were able to distinguish between and when to rely on an additive or a multiplicative interpretation of the context. My results indicate that the identification and coordination of the representational quantities and their units at different categories (multiplicative, additive, pseudo-multiplicative) are critical aspects of quantitative reasoning and need to be emphasized in the teaching–learning process. Moreover, representational Cartesian products-in-action at two different levels, indicators of multiplicative thinking, were available to two research participants only.  相似文献   

15.
Drawing on recent research which examined how selected artist educators perceive themselves as arts practitioners and analysed how these constructions inform their pedagogy, this article proposes a framework of meaning making in the art gallery. Art practice is defined as a process of conceptual and experiential enquiry which embraces inspiration, looking, questioning, making, reflective thinking and the building of meanings. The pedagogic process instigated in the gallery resembles art practice in that artists seek to ‘teach’ skills including questioning and critical reflection and promote experiential learning. Hence artist educators function as facilitators enabling learners to engage directly with art works (which are seen to embody the knowledge of the artist creator and contribute actively to the construction of meaning), whilst sharing their knowledge through dialogic exchange. The devised Meaning Making in the Gallery (MMG) framework encapsulates the pedagogic relation‐ship between artist, learners and artworks in the gallery and proposes a model of creative teaching and learning which has potential application within cultural institutions and beyond.  相似文献   

16.
Art educators continuously struggle to understand what multiculturalism ‘looks like’ in the art classroom. This has resulted in multicultural art education becoming superficial, in which art teachers guide students through art projects like creating African masks, Native American dream catchers, Aboriginal totems, and sand paintings, all without communicating the context of the art. This type of multiculturalism essentializes cultures, and builds Western, myopic narratives about groups of people, specifically about their ‘Art’. Critical multiculturalism is a power-focused upgrade of multiculturalism that calls for a critique of power and demands recognition that racism and other discriminations are enmeshed in the fabric of our social order. Teaching through a critical multiculturalism framework helps teachers dismantle Western, normalized narratives and produce counter-hegemonic curriculum that contextualizes culture and reveals its fluidity. In this article, the author shares a teacher action research study in which she describes what critical multiculturalism looks like in her art education classroom. The study focuses on ‘being’ a critically multicultural educator versus ‘doing’ critical multiculturalism. Such a position counters the idea that critical multiculturalism is a thing to complete, but instead is an ongoing process that rests on specific ways of thinking and considering the classroom, curriculum, and students.  相似文献   

17.
This article reports on the development and validation of a rubric for assessing students’ written responses to artworks. Since the implementation of the Hong Kong New Senior Secondary Curriculum in 2009, art educators have seen responding to artworks as increasingly important. In this context, the Art Criticism Assessment Rubric (ACAR) was developed. On the basis of Feldman's and Geahigan's theories of art criticism, eight evaluation criteria were identified. The inter‐rater reliability (IRR) of the ACAR was examined. A preliminary IRR test was conducted and an excellent intra‐class correlation coefficient (ICC) value of .91 was obtained. For the main study, six independent raters, who were divided into three groups of two, were trained and invited to rate 87 art criticism essays written by students from eight secondary schools. Most dimensions of the ACAR achieved good ICC values. The results show that the ACAR is an acceptable rubric for providing a reliable assessment of students’ written responses to artworks. However, two dimensions, Originality and Balanced Views and Application of Aesthetic and Contextual Knowledge, obtained poor ICC values. This may be owing to the lack of consensus on the definition of originality and the raters' unfamiliarity with the concept of aesthetic knowledge. The researchers suggest that dimension‐specific samples rated from high to low scores should be provided in raters’ training.  相似文献   

18.
The main purpose of this study was to explore learners' beliefs about science reading and scientific epistemic beliefs, and how these beliefs were associating with their understanding of science texts. About 400 10th graders were involved in the development and validation of the Beliefs about Science Reading Inventory (BSRI). To find the effects of reader beliefs and epistemic beliefs, a new group of 65 10th grade students whose reader and epistemic beliefs were assessed by the newly developed BSRI and an existing SEB questionnaire were invited to take part in a science reading task. Students' text understanding in terms of concept gain and text interpretations was collected and analyzed. By the correlation analysis, it was found that when students had stronger beliefs about meaning construction based on personal goals and experiences (i.e. transaction beliefs), they produced more thematic and critical interpretations of the content of the test article. The regression analysis suggested that students SEBs could predict concept gain as a result of reading. Moreover, among all beliefs examined in the study, transaction beliefs stood out as the best predictor of overall science-text understanding.  相似文献   

19.
I comment upon the recent blossoming of writing on art, knowledge and research and connect this to its material roots in the changing nature of higher education. I find much of this writing wanting in that it implies a division of art into ‘knowledge‐producing’ and ‘non knowledge‐producing’ art. I examine how art objects might be said to generate knowledge, particularly the kind of propositional knowledge which sits at the centre of both traditional epistemology and ‘knowledge transfer’ in the contemporary academy. Although there are many ways in which artworks might variously generate such knowledge, I conclude that there is none that is common to all. I go on to examine other kinds of knowledge, particularly Gilbert Ryle's ‘knowledge‐how’ and use this as a staging post to suggest that there is yet another kind of knowledge, produced by all works of art. Finally I borrow some ideas from recent work in the philosophy of science to suggest a concrete mechanism by which this knowledge is made available to us.  相似文献   

20.
This article provides a critical commentary on the concepts of representation and digital artefacts in Morgan and Kynigos’s article of this Special Issue. To set the context, in the first part, I examine some of the tensions that arose during discussions through the 1980s and 1990s about representation in mathematics education research. Then, I comment on the conceptual differences between Morgan’s and Kynigos’s approaches. These differences point to different epistemological assumptions that lead to different conceptualizations of artefacts in learning processes. In the last part, I argue that Morgan’s and Kynigos’s approaches have the merit of moving the discussion about representations to new theoretical horizons. I suggest, however, that a discussion about representations and digital artefacts requires a thematized account of the manner in which the phenomenological artefact- and representation-mediated knowledge produced by students in the classroom relates to the target cultural mathematical knowledge. Such an account, I contend, requires an explicit ontological conception of knowing and knowledge. I conclude the article with an example in which knowledge is considered as codified movement and knowing as the event of its enactment in concrete practice. Within this Hegelian materialist viewpoint, representations are neither predicated in terms of an adequacy between ideas and their representations nor as heuristic devices in meaning making processes. Representations are rather an integral part of the activity of knowledge presentation.  相似文献   

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