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1.
传统教育注重智力和学科能力的发展,缺乏情感态度与价值观及人格的养成,就连艺术教育也是以技能和专业知识为目标而缺少审美、情感和人文内容。基础教育实际存在不同程度忽略甚至否认艺术教育的重大价值的倾向。近年来教育科学研究的重大发现,使人们重新认识和审视艺术教育的价值。在教育教学中渗透艺术性、融合艺术形式,特别是通过综合性的艺术教育模式,能使学生的人格、智力、人文素养等方面得到整合发展。  相似文献   

2.
Recent educational policy and practice have established an extended role for all subjects in addressing children and young peoples' academic and interpersonal development, with strategies facilitating key skills and wider learning across areas of Citizenship and Personal, Social and Health education providing an integrated approach to education and welfare. The significance of global development education within a holistic curriculum acknowledges the increased awareness of the interconnected nature of our relationship with each other and with the planet we share as world citizens. The arts have a strong track‐record in addressing such key issues – challenging hierarchical paradigms which reinforce prejudice and stereotyping, the arts encourage reflexive processes and critical engagement with diversity and pluralist perspectives. This article investigates curricular approaches to the global dimension within education in relation to theoretical perspectives and policies, presenting an intercultural art case study as a model of practice in engaging diverse participants in reflection on their own and others' experiences across a range of socio‐cultural contexts. Current political shifts reaffirming the centrality of the discrete disciplines over cross‐curricular practice could potentially undermine a more holistic approach to education. The article argues that policy and practice, implemented in response to changing political and philosophical ideology, must nevertheless maintain a commitment to fostering interdisciplinary values of cultural awareness. Such practice must form part of an inclusive internationalist educational vision, impacting on social cohesion.  相似文献   

3.
高等师范院校美术教育专业是培养普通美术教育人才的重要基地,也是实现“教师专业化教育”的重要渠道。因此,在理论上要从明晰美术及美术教育内涵、探究师范教育本质,诠释美术学科教育功能、倡导新的教育理念,反思高师美术教育的价值取向等方面进行较深层次的认识和理解;在高师美术学科教学实践中要结合师范教学实际,全面实现美术教育性,全面凸现教育功能,培养适应社会发展需要的高素质美术基础教育师资。  相似文献   

4.
工艺美术与艺术设计学科之间,有着种种的历史渊源。从表面来看,随着经济文化的快速发展,传统的工艺美术学科不能涵盖整个发展的现代造型艺术,而更名为艺术设计学科,工艺美术变成艺术设计下设的一个专业方向。但工艺美术与艺术设计两者之间并不是简单的顺延交替或者是涵盖包含的关系,它们彼此之间各不相同,既有交叉又相对独立。工艺美术与艺术设计两者之间不可替代,在现代社会中,我们更要重新审视发展传统工艺美术,弘扬民族文化,全面提升我国的文化软实力。  相似文献   

5.
每一个时代的经济结构和社会方式决定了这个时代工艺美术的存在和变化。工艺美术的概念在当前文化产业大势兴起的时代背景下有着更为丰富的内涵。工艺美术产业的发展必须以传统文化和艺术规律为本,在采用大工业化的生产方式前提下,还必须融合时代的政治、文化元素,同时结合考虑地域特色,打造地域品牌,形成传统与创新、规模与特色的中华艺术瑰宝。  相似文献   

6.
通识教育是发源于欧洲的一种高等教育思想。英国高校的通识教育在其发展历程中逐步完善,最终形成了以崇尚人文主义传统的教育理念、专业教育通识化的课程设置、师生交互式的个性化教学实践形式为一体的通识教育样式。聚焦于当前我国高等教育的发展现状,通识教育已成为全面提升大学生综合素养不可或缺的一个重要选择。英国高校通识教育对我国的启示是,构建符合我国优秀文化传统的通识教育理念;建立专业教育与通识教育相融合的课程体系;提升高校教师通识教育能力;实行智力训练和能力培养的教育方法。  相似文献   

7.
The issue raised by the authors in this article question why studio art continues to be ignored as a site and source for research in art education. The necessity of the field to be able to participate within the research community in addressing cultural, social, educational and political concerns is acknowledged. It is argued, however, that the exclusive use of methods of inquiry that align with the conventions of social science research has been done at the expense of fully appreciating the capacity of artistic research undertaken in studio contexts. This tendency is especially prevalent in doctoral research in higher education. Three accounts of dissertation research are given that incorporate studio activity as a central agency of inquiry in conceptualising and theorising issues. Each highlights the capacity of art practice to reveal insights that are a consequence of what the researcher did in the studio setting as issues, ideas and interpretive stances emerged, and problems were re‐conceptualised. What is different in these accounts from more mainstream approaches to research is the readiness to accept that constructing new knowledge is a creative and critical process.  相似文献   

8.
This article presents the first segment of a qualitative study that explores the feasibility of integrating traditional arts in Philippine art and design education. The views of educators on traditional arts were sought to provide an impetus for the study and a springboard for discussion regarding the relevance of traditional Filipino arts in a predominantly Westernised educational system. The educators’ views and opinions on the central question, ‘Why and how should the study of traditional Filipino arts be integrated in the art and design programme?’ will be used to guide a trial integration of the learning of traditional arts in tertiary art and design classes. They will form part of the multiple perspectives that will be gathered from various sectors throughout the course of research. This phenomenological study, on the whole, seeks to uncover the potentials of traditional arts as a rich resource for learning, particularly for students of art and design.  相似文献   

9.
Art education exists between technology and literacy, that is, between the methods social groups use to equip themselves with material objects, to shape and control their environment, and the mastery of specific technologies used to communicate ideas and values. Technology and literacy also function as metaphors, implied comparisons between the visual arts and realms of contemporary education generally seen as possessing higher status in Western cultures. My intent in this historical essay is to examine both terms in historical contexts grounded in North American art education in order to reveal elements of political and social control in these metaphors. While art‐making is a means to technical literacy, responding to visual images has been used as a means to maintain social groups and continue particular cultural traditions. Art education itself can be considered one of many technologies useful in managing a complex society, at the same time as it is perceived as a means of human liberation.  相似文献   

10.
Fine arts teachers' concerns about male underachievement in a Quebec coeducational high school, and a related survey showing boys' negative perceptions of fine arts motivated this interdisciplinary literature review. Referring to biology and cognitive science, the article explores concepts of sex‐related cognitive traits to help in designing sex‐adapted approaches to individual learning in art education. The nature‐nurture controversy still surrounds sex‐based cognitive differences studies, though science agrees that natural and socio‐cultural factors are somehow closely interwoven in the complex gender identity construction process. Sex‐related biological predispositions influencing cognition are proposed notably in ‘instrumentality‐expressiveness' and ‘empathising‐systemising (E‐S)’ theories. The article suggests that in the context of art education, these sex‐related cognitive models deserve study, because they could initiate sex‐adapted teaching strategies with the necessary flexibility and wider scope to overcome gender‐stereotyped biases and stimulate boys' interest in the arts. This suggested approach should not be confused with stereotype‐based pedagogy, which merely strengthens learned gender characteristics, producing or maintaining academic underachievement.  相似文献   

11.
In the recent decades art education has tried to move away from the trends based on practical skills and techniques towards a greater stress on interpreting and understanding visual culture, created by the mass media. This approach implies a revision of the field of study and a redefinition of goals, replacing the study of art with a study of ‘visual culture’, a concept that better describes the daily environment of students and which reorientates art education towards social and cultural awareness. In this article, starting from Dewey's conception of art as experience, a theoretical framework is offered based on three ideas. Firstly, the subject of art education involves aesthetic experience, which includes both ‘high’ art and popular culture. Secondly, it is necessary to reconstruct the balance between understanding and production in art education, in order to consider art products as narratives, stories or comments about life experiences. Thirdly, to review the educational function of art education in order to determinate its value for social reconstruction and for which Rorty calls ‘self‐creation’.  相似文献   

12.
Postmodern pedagogy is constantly confronted with Lyotard’s condemnation of grand narratives found in the philosophy of modernity, on the basis of which basic patterns of moral education were developed. In searching for new answers to the question of how education can prepare individuals for life in an age of late modernity, this paper presents the idea of approaching identity and moral development through the inductive educational approach and highlights the importance of education through the arts in the latter, especially in view of the theoretical notion of aesthetics as ethics of postmodernity. In an age in which artistic creativity is deemed less important than acquiring competences aimed at technological development, it is crucial to provide a clear answer as to why and how different art practices may exert an influence on the full development of a child’s personality. In order to demonstrate the meaning of artistic experience in general education, one must seek arguments supporting the intrinsic value of the artistic experience. This paper stresses the meaning of artistic experience as a means of communication providing both the artist and the art recipient with the opportunity for personal fulfilment. In this context, Aristotle’s concept of mimesis and its role in education through the arts is emphasised as part of the comprehensive inductive educational approach. The argument is illustrated with some qualitative data from the implementation of a project in Kindergarten Vodmat, Ljubljana, Slovenia, using the inductive educational approach and art as a tool for cultural enrichment of pre-school children.  相似文献   

13.
民族民间艺术教育的价值   总被引：1，自引：0，他引：1  
民族民间艺术是艺术的母体,更是宝贵的艺术教育资源。长期以来,艺术教育是以西方艺术教育模式为主导的,表现为对自身艺术资源的漠视。中国特色艺术教育体系的建立,应以文化自觉为前提。缺乏对民族民间艺术尊重,艺术教育将是失去使命感与精神性的肤浅的教育。  相似文献   

14.
从文艺和社会科学学科教育过程,归纳出文化素质由“知识、品格、精神”三要素组成。并提出人文教育要构建品格意识,以提高教育的社会功能。  相似文献   

15.
Education increasingly operates in neoliberal terms; privatisation, marketisation and competition have become key drivers for schools in England. This article explores the findings from an ethnography that points to how arts education practices are being used to ‘art‐wash’ schools resulting in parents with the requisite economic, social and cultural capitals ensuring that their children benefit the most from a creative education. Whilst most of the narratives on artwashing have so far focused on arts institutions and global capital, this article questions how some of the specific processes of gentrification may be extended to the current education system in England and ask if schools and arts organisations may increasingly be ‘art‐washing education’.  相似文献   

16.
The question whether the study of education and teacher education belong at a liberal arts college deserves careful consideration. In this essay Bruce Kimball analyzes and finds unpersuasive the three principled rationales that are most often advanced on behalf of excluding educational studies, teacher education, or both from a liberal arts college. Specifically, Kimball argues that no principled definition of the conventional liberal arts disciplines excludes the study of education without barring other fields now regarded as legitimate, and consistency demands that all such fields be excluded if any are. In addition, teacher education, even if considered as merely “craft know‐how” or as professional training, cannot be excluded from liberal arts colleges without arbitrarily classifying it as suspect and subjecting it to strict scrutiny. But the question of whether educational studies or teacher education fit any asserted definition of liberal education does not finally resolve the question of whether they belong in a liberal arts college. Kimball concludes by suggesting that there are moral and prudential reasons for liberal arts colleges to offer teacher education and, concomitantly, the study of education, even apart from the unpersuasive objections that they do not fit a definition of liberal education.  相似文献   

17.
在国外高等教育发展中,面对社会经济政治的变化和高等教育的发展,文科通过自身的分化与综合。由绝对统冶到与理工科并存竞争。再到相互交叉、渗透,一直保持着重要地位。它持久的生命力来自它巨大的社会作用,它在发扬民族优良传统、继承宝贵文化遗产、形成世界观、提高个人修养方面的作用是无可替代的。文科研究直接面向社会现实问题,为决策机构服务。各国的文科教育在专业结构、课程设置等均有突出的特点,对我国教育改革有借鉴意义,  相似文献   

18.
非物质文化遗产是民族存在的生命线,高校图书馆所具有的社会职责和功能,使之成为保护非物质文化遗产的高等文化事业机构。民间美术以其自身特点,被纳入非物质文化遗产的行列。因此,高校图书馆应承担起保护、弘扬民间美术文化遗产的责任。本文以山东艺术学院图书馆收藏民间美术作品为例,探讨高校图书馆保护民间美术的重要性和特殊性。  相似文献   

19.
Modularisation can be examined as a process of organisational change informed by particular discursive structures and conceptual problematics, both of which are related to questions of cultural politics and of power. Drawing on the work of Habermas and other critical social theorists, the paper argues that modularisation is dominantly informed by a ‘technocratic rationalist’ mode of thought, derived from the logics of science, technology and industry rather than contemporary art or other cultural practices. This is especially evident in the way modularisation prioritises a quantitative systems logic, relegates and de-realises educational content, and. contrary to its own rhetoric of diversity and choice, exercises a universalising drive through strategies of assimilation and extension. Crucially for art education, this identification suggests an intensified contradiction between the prevalent discourses and values of contemporary art, and those of educational organisation. The paper explores some of the implications of this contradiction for art education in the 1990s.  相似文献   

20.
Consistency, Understanding and Truth in Educational Research   总被引：1，自引：0，他引：1  
What do Elliot Eisner's discussions of objectivity mean for the strength of the link between consistency and truth in educational research? Following his lead, I pursue this question by comparing aspects of qualitative educational research with appraising the arts. I argue that some departures from the highest levels of consistency in assessing the arts are compatible with truth and objectivity, and that this is at least suggestive for how consistency in qualitative educational research should be viewed. In the final part of the paper I look at some problems inherent in comparing the value of works of art, and consider whether similar issues arise when we attempt to grade different kinds of educational research.  相似文献   

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