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1.
This article begins with a brief summary of the findings of a recent research project that surveyed the content of the art curriculum in a selection of English secondary schools. The research findings suggest a particular construction of pedagogised subjects and objects rooted in ideas of technical ability and skill underpinned by a transmission model of teaching and learning. Drawing upon psychoanalytic and social theory reasons for passionate attachments to such curriculum identities are proposed, when in the wider world of art practice such identities were abandoned long ago. Working with the notion of the subordination of teaching to learning and the difficulties of initiating curriculum practices within increasingly complex social contexts, the article argues for learning through art to be viewed as a productive practice of meaning‐making within the life‐worlds of students. The term, ‘encounters of learning’ is employed to sketch a pedagogical quest in which an ethics of learning remains faithful to the truth of the learning event for the student.  相似文献   

2.
A small-scale action research project was used to consider the policy and rhetoric surrounding development of the ‘expert learner’ and how this might be further explored to provide opportunities for learners to have greater direct involvement in reflection and discussion with teachers. The research was based within a further education setting, using participants from an ‘HE in FE’ curriculum area: teacher education. It sought to explore how involving students as partners in the peer observation process might be used to engage with student voice and enhance the teaching and learning experience for all involved. To evaluate the creation, sharing and development of teaching and learning that might be generated in such circumstances, the research used two theoretical frameworks to analyse the data: communities of practice and ecological learning systems. This article reviews the literature around these two frameworks and critically reflects on the influences of these approaches in communities of teaching and learning. Analysis of interviews, and the interactions and dialogue contained within these, revealed something else happening within these connections. As such, it considers the opportunities facilitated in this context and how development of a newly-devised continuum of practice may be used to enable professional dialogue to enhance student–teacher interactions.  相似文献   

3.
Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.  相似文献   

4.
Whilst a part of the fine art degree course is about teaching technical skills and learning from tutor/peer group crits, a larger part is about the facilitation of a ‘safe’ and structured space in which students gain the confidence to experiment with personal ideas, to hone a self‐critical reflection and understand who they are as individuals, before being cast out into the world as ‘artist’. In this article I examine the thought processes and decision‐making of one undergraduate female painting student. For this student, who struggled to find her own ‘grotesque’ female body image in the canon of art historical works or contemporary popular media, the spaces of the painting degree course created a frame for possible enactments of identity and desire, as well as for playing with roles and practices. Through a mix of interviews with the student, viewing her visual work and written narratives, I analyse how she was able to carve out a space for her visual representation within the institutional frame. My analysis reveals how this student uses the transitional spaces of the degree course to develop creative strategies through which to explore her sexual desirability and aesthetic self. As an individual who felt marginalised from the visual realm of the ‘body beautiful’, the degree course offered an important refuge where she could examine how she felt about her own body and develop a confidence and character to present her body to the world.  相似文献   

5.
Discourses of ‘internationalisation’ of the curriculum of Western universities often describe the philosophies and paradigms of ‘Western’ and ‘Eastern’ scholarship in binary terms, such as ‘deep/surface’, ‘adversarial/harmonious’, and ‘independent/dependent’. In practice, such dichotomies can be misleading. They do not take account of the complexities and diversity of philosophies of education within and between their educational systems. The respective perceived virtues of each system are often extolled uncritically or appropriated for contemporary economic, political or social agendas. Critical thinking, deep learning, lifelong and lifewide learning are heralded as the outcomes of Western education but these concepts are often under‐theorised or lack agreed meanings. Equally fuzzy concepts such as ‘Asian values’ or ‘Confucian education’ are eulogised as keys to successful teaching and learning when Asia prospers economically. They are also used to explain perceived undesirable behaviour such as plagiarism and uncritical thinking when Asian economies do not do so well. We argue that in general, educationists should be aware of the differences and complexities within cultures before they examine and compare between cultures. This paper uses the Confucian‐Western dichotomy as a case study to show how attributing particular unanalysed concepts to whole systems of cultural practice leads to misunderstandings and bad teaching practice.  相似文献   

6.
The impact of performative focused agendas on how teachers ‘do’ teaching and how children ‘do’ learning cannot be understated. While research continues to highlight the negative impact of ability grouping on children’s academic and social learning experiences in the classroom, policy imperatives (both global and local) continue to promote ability grouping as an ‘effective’ pedagogic tool for meeting the diverse needs of children, especially in the areas of numeracy and literacy. We argue that this is a symbolically violent process that negatively impacts the psychosocial positioning of children as they negotiate their identities within the figured world of the primary school classroom. This in turn influences their learner identities, as well as their perceptions of their ability to learn. Drawing on data collected with 100 children in three case study schools, we show how ability grouping evoked strong emotional and psychosocial responses characterised by feelings of ‘shame’, ‘upset’ and ‘inferiority’ for those in the low-ability groups. In contrast, children placed in higher-ability groups felt a sense of ‘pride’, ‘happiness’ and ‘confidence’. Ability grouping maps a geography of affect within the classroom demarcating not only how children ‘do’ learning, but also how they embody learning through a particular feeling of ‘being’ a learner in the classroom.  相似文献   

7.
This paper explores the basis and main characteristics of fine art as a subject discipline and looks at how these elements combine to create a distinctive and in many ways unique learning environment. Taking the premise that fine art as a subject discipline is concerned with encouraging the development of individual artistic practice and enabling the student to articulate and define the social and cultural context that they are working within, this paper considers how fine art students come to develop alternative ways of thinking, seeing and conceptualising. Referring to the Art and Design Subject Benchmark statements the paper argues that in a fine art education, a set pf principles, core characteristics, skills and abilities are combined to create a unique learning environment that gives its graduates a set of abilities that are particularly relevant to our complex society.  相似文献   

8.
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   

9.
Curriculum aims often remain unrealised aspirations. This is because the values and principles implicit in them fail to get articulated in forms that can effectively inform and guide the practice of teaching. Ideas such as ‘learner-centred education’, ‘independent/autonomous learning’, ‘self-directed learning’, ‘enquiry/discovery learning’, ‘collaborative learning’, ‘active learning’ and ‘learning with understanding’ refer to critical aspects of the learning process rather than its outcomes. While often enthusiastically embraced by teachers, they rarely get realised in appropriate forms of virtuous action. Such is the power of an outcomes-based model of teaching and learning to shape the practice of teaching. This paper cites examples of curriculum design that specify the pedagogical values and principles implicit in various educational aims, and shows how they can provide a basis for practical experiments by teachers in their classrooms and schools, in a quest to transform their teaching into concrete forms of virtuous action. Indeed, the paper depicts a number of actual action research projects in which teachers generated some common insights into how to transform their teaching into the practice of virtue in education. It also explores the role of theory-informed action research in developing teaching as a virtuous form of action.  相似文献   

10.
In this paper I address the challenge of developing theory in relation to the practices of mathematics teaching and its development. I do this by exploring a notion of ‘teaching as learning in practice’ through overt use of ‘inquiry’ in mathematics learning, mathematics teaching and the development of practices of teaching in communities involving teachers and educators. The roles and goals of mathematics teachers and educators in such communities are both distinct and deeply intertwined. I see an aim of inquiry in teaching to be the ‘critical alignment’ (Wenger, 1998) of teaching within the communities in which teaching takes place. Inquiry ‘as a tool’ and inquiry ‘as a way of being’ are important concepts in reflexive developmental processes in which inquiry practice leads to better understandings and development of theory.  相似文献   

11.
‘What is art for?’ This provocative question was the motto of the 31st Annual Convention of the National Art Education Association (NAEA) held in Atlanta, Georgia, 1991. As a visiting scholar for a semester at Harvard Project Zero, I had rich opportunities to study art education programmes in higher education and public schools all over the United States. As a consequence, I felt complelled to reformulate the NAEA question, and ask ‘What is art education for?’ This essay argues for the importance of understanding and meaning-making in art education. It starts with a review of some common rationales for the teaching of art that stress both the alleged ability of the arts to promote ‘good’– i.e. creative, harmonious, and civilised – characters and the instrumental value of the arts as a means of communication. These rationales are then evaluated within the context of Nelson Goodman's philosophy, which emphasises the primary role of curiosity in the arts. The following two sections discuss the rationales, contributions and limitations of two art programmes that are currently being carried out in the United States: Arts PROPEL and Discipline-Based Art Education (DBAE). Arts PROPEL has introduced long-term, open-ended projects that integrate production (making) with perception (learning to ‘read’ art works and observe the world closely) and reflection (thinking about one's work and the works of others). The DBAE curricula are sequentially organised and integrate content from the disciplines of art creation, art criticism (learning what to look for and how to interpret), art history (studying contexts and alternatives of taste and style), and aesthetics (building a personal philosophy of art). In the final section, Arts PROPEL and DBAE are compared. In the context of previous rationales for the teaching of art, the similarity in aims of these programmes stand out as more important than the differences in approach. Neither do these programmes overstate the humanising power of art, nor do they focus on visual literacy per se. Instead, both programmes emphasise the role of reflection, interpretation, and understanding in art. Productive and analytic art activities are used as important vehicles in making sense of the world and of ourselves. It is concluded that Arts PROPEL and DBAE offer promising and supplementary approaches to promote curiosity and to teach art for the sake of understanding.  相似文献   

12.
We live in ‘a world of clashing interests’ [Zinn, H. (1991). Declarations of independence: Cross-examining American ideology. Toronto: Harper Collins, p. xx]. In a grapple for survival, universities choose to spend less money and time on teaching and learning, less time on robust evaluation of student learning and concomitantly less active support for collaborative reflective practice. However, the situation is even more dire than that outlined above because university management seeks to portray its focus on teaching and learning as genuine and a priority. Considerable effort is spent on encouraging teachers to compete for teaching excellence awards at the same time as universities push academics harder and harder into ‘real research’, that is, research that is not about teaching and learning. This is further exacerbated by the use of teaching quality instruments which have been criticised as unreliable indicators of student learning. This paper argues that individual reflective practitioners collecting and collaborating together can advocate for teaching in the current higher education environment but the outreach of this advocacy is likely to be limited when the advocacy remains within ‘pockets of resistance’. To further promote change from within the institution and extend the breadth and depth of an individual's influence beyond the pockets of resistance, we suggest that individuals use collaborative reflective practice-based strategies aligned with each of the dimensions of the institution's ‘cultural web’. Collaborative reflective practice has the potential to advocate for teaching beyond small groups of enthusiasts because it taps into the often hidden but heart-felt passion and commitment to teaching held by many academics.  相似文献   

13.
Distinctions are drawn between different kinds of learning (such as ‘understanding’, ‘factual knowledge’ and ‘skills’) and between different kinds of learners (such as ‘holist’ versus ‘serialist’ learners, and between ‘visualizers’, ‘verbalizers’ and ‘oers’) so that teaching methods can be matched to them. Learning-centred teaching therefore involves adopting teaching methods, such as ‘student-centred learning’, ‘active learning’, ‘didactive teaching’, ‘problem-based learning’, etc., where they are appropriate, but not where they are inappropriate.  相似文献   

14.
The present study reports findings on pre-service teachers’ thinking during planning and implementing play-based art activities. ‘Thinking’ (in the present study) is informed by discourses emphasising art teaching and learning in relation to play and theoretical assumptions conceptualising planning as ‘practice of knowing’. Pre-service teachers’ thinking was explored through: (a) a tool ‘sk?ptikó’ (a series of questions), created by the researchers to initiate inquiry during planning and provide evidence about participants’ ‘practice of knowing’, and (b) a semi-structured interview using the method of photo-elicitation. Classroom observation, researchers’ reflective notes, document analysis (‘sk?ptikó’) and photographs were used in conjunction with data gathered from semi-structured interviews to confirm the findings. The findings suggest that there is a relationship between pre-service early childhood teachers’ thinking (planning) and practice (implementation). The rationale behind their decisions appears to compete with their thinking on philosophical/moral choices (knowing why). The notion of space has been challenged through artistic practices incorporating ‘play’, while art activities were characterised as playful, reinforcing active learning. The study highlights the significance of thinking through documentation, as this was found to contribute to reflective pedagogical practices.  相似文献   

15.
The recent explosion in ICT means computers are marketed as an essential element of modern education. Governments have spent heavily on ICT but evidence of the effectiveness of this investment is contradictory; teacher attitude is cited as both a barrier to and a facilitator of its implementation. Initially used to simplify course administration, ICT now has the potential to fundamentally change practices; recognising the opportunities ICT offers as a bridge between classrooms and the relevant world beyond, teachers access online resources such as museum collections and practitioners. No consensus exists within art and design education as to the role of ICT or even its validity in the arts; using the computer as a tool for fine art may mean different teaching skills are required and different learning approaches are enabled. This article reviews international research on the adoption of ICT in schools and colleges, specifically looks at examples of good practice in art and design education and reviews trends in technology to determine the benefits and limitations for future practice.  相似文献   

16.
Two artists involved in ‘socially engaged art’ practice were invited to work with art education teacher candidates and instructors in an effort to rethink notions of teaching, learning and art. We initiated this residency, which we called ‘The Summerhill Residency’, to examine how learning encounters might create environments for meaningful exchanges between the ways in which artists and secondary art education teacher candidates learn to think about pedagogy and the nature of artistic learning. Drawing upon Bourriaud's theory of relational aesthetics, we consider, yet trouble, the relational aspects of the processes and products of the artist residency, and examine the crisis of imagination that permeated teacher candidates' experiences. Throughout the project, a/r/tography offered a rich form of living enquiry that opened up possibilities for learning within a community of enquirers.  相似文献   

17.
Despite the upsurge in interest in e-learning (or online learning) in Chinese higher education, little is known about the ways in which lecturers design and run their online courses, or about how they perceive e-learning. This paper reports the results of interviews with higher education teachers in China working in conventional, campus-based universities, concerning their conceptions and beliefs of e-learning. The interviews were analysed from a grounded theory perspective that gave rise to seven emerging themes, namely: the ‘centrality of the lecture’, ‘online cooperative learning’, ‘network learning’, ‘student learning’, ‘lecture plus online work’, ‘infrastructure and access’ and ‘professional development’. Discussion of these emerging themes helps us understand the ways in which these teachers think about e-learning and teaching, the beliefs they hold about their ‘e’ practice, the ways in which they implement e-learning, the problems they face in incorporating e-learning into their courses and the ways in which they perceive e-learners. This provides a fascinating and unique insight into e-learning in Chinese higher education. Evidence shows that it is a complex area with many influences, some of which can be attributed to social, cultural and Confucian-heritage factors. It is concluded that, despite enthusiasm by some for innovating e-learning, the dominance of traditional teaching methods in China suggest that the conditions for mainstreaming e-learning in the near future are not strong.  相似文献   

18.
This article reflects my experiences of learning art in the 1970s and 1980s and my teaching career in school art education in twenty‐first century South Korea. This autobiographical reflection shows how I have struggled with my identity as an art teacher in the post‐colonial context of Western influences on Korean society since World War II. There has been greater tension and a greater struggle for different values, practices and identities when new values and practices have been introduced into the particular socio‐cultural context of South Korea. My struggles with particular kinds of pedagogic identity valued within the rapidly changing political, economic and cultural context of Western influences on Korean art education demonstrate the hidden structural mechanism of the relationship between culture, power and identity in the post‐colonial world of globalisation. This study as an autoethnographical research provides critical insights into how identities are produced by pedagogic discourses and practices of art education that are constructed through the specific systems of practice and language which transmit and regulate such identities and values.  相似文献   

19.
This study examined pre-service primary teachers' perspectives on teaching and learning experiences within college-based courses in ‘practical’ subject areas within a teacher education programme. Following three individual lectures (one each in art, music and physical education), pre-service teachers (n=11) participated in focus group interviews sharing their perspectives on the teaching and learning experiences. These data were analysed thematically and supported by teacher educators' (n=3) planning and reflection documentation. Although the problematic nature of the ‘practical’ suggests appeal and peril of the ‘practical’, the important nature of negotiating the ‘practical’ to enhance student learning is apparent. Students emphasised the value of practical engagement and expressed a strong preference for working in groups to create a safe learning environment to develop confidence and competence. These insights suggest key aspects of a pedagogy of teacher education in these ‘practical’ areas. The importance of being aware of and, in some cases, challenging student perspectives on how they learn best in these curricular areas is discussed.  相似文献   

20.
《电视节目编导与制作》是一门集技术、艺术、文学于一体的综合性课程。根据影视类精品课程建设现状及对该门课程的学习情况分析,认为混合式学习能促进学生实践能力提高。文章提出基于混合式学习的实践教学模式,建立分层实践教学体系结构,结合"感知温州"纪录片创作的案例进行实践过程分析。通过基于混合式学习的实践教学改革的施行,学生的影视技艺、创新意识和实际应用能力不断提高,并学会用混合学习方法推广到其他课程实践。  相似文献   

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