首页 | 本学科首页   官方微博 | 高级检索  
相似文献
 共查询到20条相似文献，搜索用时 31 毫秒
1.
The emergence of new media provides new tools for promoting critical thinking and creativity in an environment that encourages collaboration, co‐authoring and sharing ideas and artworks with audiences. Embedding new media in art lessons and integrating art with other disciplines not only promotes visual competence but also transversal competences necessary for the future lives of children. Despite the many benefits that this process entails, there is still no broad integration of new media in art lessons or art integration through technology in primary schools, as teachers are often oblivious of the new possibilities and means of engaging children. However, there is a need to embrace today’s dominant culture of communication if we really want to prepare children for the future. This article is about art technology integration in the primary classroom. It discusses ways of studying important real‐life issues with children and of bridging the gap between school life and daily life. It reports on two case studies with sixth grade classes (11–12 years old) that engaged in a stop motion animation project to communicate messages that were important to the children. Children shared powerful stories, anchored in real‐life contexts and developed critical thinking, communication, collaboration and creativity skills. The findings contribute to the discussions about arts integration that are grounded in empirical qualitative data. The implications of the study move beyond the art subject itself and highlight how generalist teachers can embrace interdisciplinarity and art integration, and view art as transformative pedagogy in the curriculum.  相似文献   

2.
This article sets forth a conceptual, philosophical and social agenda for art and design education in the twenty‐first century, considering how a set of beliefs articulated within US art education discourse interfaces with conceptualisations about emerging global digital media and technologies. Discussion highlights selected writings in the USA primarily, writings about art education technology orientations; and then describes the professional experiences and insights of the writer as she embraced, implemented and made sense of technology in terms of her own multicultural educational orientation in a US university. Based on these insights, this writer proposes that technology pedagogy is not actually about digital technologies per se, but about what we intend to do with new technologies in the twenty‐first century. Old notions of art as an embodiment of things that matter and a testament to the human condition are now connected to contemporary ideas about citizenship, caring and public engagement. In this trajectory, citizenship education is then posed as central to a future vision of art education in the digitally connected classroom. Caveats and limitations of the educational and transformative power of new global electronic media being set forth in this article are also noted, including paradoxical self‐contradictions within the orientation itself.  相似文献   

3.
ABSTRACT

This article presents an educational approach that merges ideas of critical pedagogy with those of visual culture. According to this approach – termed visual critical pedagogy – art is an integral part of the textures of society and culture and their manifold and complex visual expressions, including the more controversial and subversive among them. It objects to locking art and visual culture in art departments, and to restricting art history to a formalist analysis of ‘masterpieces’ – which represent primarily the Western art market and its underlying politics. It likewise rejects the conception of art history as the history of artists and art movements – a conservative approach still prevalent in many academic institutions. Integrating critical pedagogy with visual culture provides fertile ground for an educational practice within art classes and beyond them. Visual critical pedagogy is formulated using the concepts exposure, deciphering, representation and visibility, shared by both critical pedagogy and visual culture. These are discussed in the context of educational projects and activities planned and implemented by Jewish and Arab students enrolled in an education-through-art program in an academic college in northern Israel.  相似文献   

4.
自然主义教育学以"自然"的不同内涵而有不同历史形态。亚里士多德、夸美纽斯与卢梭为其代表人物。亚里士多德的自然主义教育,以人的潜能为自然,以城邦需要为其补缀,是古雅典自由教育反省的结果;他对教育艺术和良善生活艺术统一的追求,为自然主义教育学定下基调,但具有泛灵论的思维特点。夸美纽斯的自然教育,以改善宗教社会为目的,以外在世界为自然,并以其规训教育艺术,使教育世俗化成为可能,具有经验论特点。卢梭以人的内在自然为自然,提出自然教育概念,并上升其为教育本体;其教育一般方法的旨趣为教育艺术提供了余地;自然主义教育是其契约国家的教化工具,它使教育研究直面人本身,但具有机械论特点。自然教育学的历史形态反映教育科学思维发展的历史性;其共时性,在于追求教育艺术和良善生活的统一。  相似文献   

5.
In this article we explore examples of public pedagogical actions and interventions, reading them through a social justice education framework lens. In our discussion we start with definitions of social justice, public pedagogy and case study methodologies. Then, we look at a variety of international examples to highlight the pervasiveness of public pedagogical opportunities in visual culture that include a festival, an individual, a citywide symposium, an online community, a cultural group and a museum exhibition. They are divided into three categories based on social justice principles suggested by Ayers et al. and later interpreted by Dewhurst: (1) Public pedagogy and social justice is rooted in people's experiences: Fiesta del Señor de Choquekillka: Ollantaytambo, Peru and Janet Weight Reed – an artist's public pedagogy utilising social media; (2) Public pedagogy and social justice is a process of reflection and action together: Ideas City Festival and the Vlogbrothers; (3) Public pedagogy and social justice seeks to dismantle systems of inequality to create a more humane society: CULTURUNNERS and sh[OUT]: Lesbian, Gay, Bisexual, Transgender and Intersex art and culture. It is our hope that in looking more closely at these international examples of public pedagogy and social justice education that the power of such alternative sites of learning is apparent and encourages further interventions and investigations in such spaces of inquiry.  相似文献   

6.
教育学的内容体系是一个长期以来得到人们的关注,但却没有得到很好解决的问题。现有的教育学教材大多存在内容庞杂、贪多求全,缺少深度、逻辑性差,叙述枯燥,语言贫乏等诸多缺点。确立教育学内容体系的主要依据应当是该课程的目的。作为一个未来的教师通过学习教育学这门课程主要应达到三个目的,即获得教育的基础知识和了解教育的基本规律,树立基本的教育理念以及掌握教育的一般艺术。与此相适应,教育学的内容体系应当由教育原理、教育理念和教育艺术等三个部分构成。  相似文献   

7.
This article is based on a project that explored the practices of art and design beginning teachers (BTs) working with learners in a post‐age‐16 context. The aim of the project was to: explore contemporary art and design practices; explore the concept of artist teacher learner researcher; enable beginning teachers to collaborate with post‐age‐16 pupils and develop new approaches and strategies to art and design pedagogy. Through practices that blurred learner‐teacher identities a dialectical pedagogy emerged and a collaborative community of practice developed, all enabled through a renegotiation and reconceptualising of places of learning. The beginning teachers also started to construct their artist teacher identities, understand what it means to practise as an artist teacher in the classroom, understand the impact of these practices on teaching and learning and develop new learning and teaching methods. This project demonstrates the possibilities of these practices for contemporary art and design pedagogy and also how these practices can endure and be sustainable for this community of beginning teachers in the current cultural, social and political contexts of education.  相似文献   

8.
  相似文献   

9.
教育学:科学抑或艺术   总被引：2，自引：0，他引：2  
“教育学是科学还是艺术”是教育学史上的经典论题之一。围绕这一论题,基于不同的学术立场和文化语境,学者们提出了一些富有启发性的观点。总体上,“科学”指向“知”,追求符合教育事实的规律;“艺术”指向“行”,探寻指导教育实践的规则。因此,两者的对峙实质上是“科学理论”与“实践理论”的分野。随着教育学作为统一的知识体的瓦解,“教育学是科学还是艺术”这一论题面临着前提性的困境,但又由于其对教育学发展路向的暗示,获得了在现时代的存在合理性。  相似文献   

10.
This paper provides a critique of recent theoretical work on ‘critical pedagogy’, focusing particularly on its relationship with media education. The first part of the paper questions critical pedagogy on several grounds: its synthesizing political and theoretical ambitions; its neglect of educational practice; and its evasion of questions of power and authority. It concludes by considering the implications of recent criticisms of this approach in terms of classroom practice. The second part of the paper considers the ways in which critical pedagogy theorists have sought to engage with media education. It questions the pedagogical relations which are established by such writers’ critical practice, and the theories of the media and of learning on which they are based. It contrasts these arguments with approaches to media education developed in the UK and elsewhere, focusing particularly on the relationships between pleasure and ideology and between theory and practice.  相似文献   

11.
  相似文献   

12.
随着经济的不断发展,人才结构发生了巨大变化,我国提出,＂大众数学＂,＂人人学有价值的数学,人人都获得必需的数学,不同的人在数学上得到不同的发展＂的理念,给专科艺术数学教育提出了新的课题：如何在艺术专业体现数学的基础性,普及性。本着从艺术类数学教学的现状出发,并在此基础上进行分析研究,结合教育学、心理学的理论,提出适合艺术类数学教学的对策,解决教学中存在的问题。  相似文献   

13.
This article describes the experiences of three teachers who engaged in culturally relevant pedagogy and an arts curriculum designed to enhance student understanding of critical events in history. Their students attended a professional dance production based on the history of the Underground Railroad and then were exposed to a curriculum guide developed with the tenets of culturally relevant pedagogy in mind. Teachers reported that their students’ comprehension of important themes improved, and that the arts experience was deeply beneficial.  相似文献   

14.
Recognising that many art educators are increasingly using the term visual culture, rather than art, to describe their central concern, the author examines why this development is taking place, what visual culture might mean in the context of art education, and how pedagogy might be developed for visual culture. The paper draws on attempts by both art educators to redefine their field and others outside art education who are attempting to define visual culture as an emerging trans‐disciplinary field in its own right.  相似文献   

15.
In this article we explore two urban interventions art projects in the public sphere designed by our Masters’ students at New York University as they set the stage for a discussion on how urban art interventions can function as a form of critical public pedagogy. We argue that these kinds of public art projects provided a space for dialogue with people on the streets about the increased corporatisation of the public sphere. This kind of urban interventionism, we believe, is needed in art education today, as the public sphere is increasingly being eroded by private interests and it is only by reclaiming the public sphere that we can develop a cultural politics that in turn renews our democracy.  相似文献   

16.
In many early childhood classrooms, visual arts experiences occur around a communal arts table. A shared workspace allows for spontaneous conversation and exploration of the art-making process of peers and teachers. In this setting, conversation can play an important role in visual arts experiences as children explore new media, skills, and ideas. The investigation of informal conversations during visual arts experiences will serve to improve understandings of the cognitive, imaginative, social, and affective components of young children’s creative endeavors. In particular, the exploration of conversational discourse contributes to understandings of conversation as an integral component of pedagogy in early childhood arts. As an exploration of the nature of conversation as pedagogy in early arts experiences, I present a ‘telling case’ (Mitchell 1984) featuring the collaborative work between a teaching artist and two young students as they explore and create together. The findings from this research have important implications for early childhood and art education teacher educators striving to develop supportive educational practices that will assist early childhood teachers in promoting supportive visual arts practices.  相似文献   

17.
An American artist and art educator discusses her experience teaching at the American University in Cairo, Egypt (AUC). Students are confronted by local and international discourse about authenticity, integrity and influence. They express their frustration and anxiety about their chances for success in the global art market. The author questions the effectiveness and function of art education at the AUC, describes the atmosphere of the local Egyptian art scene and communicates teaching strategies she used in the classroom at AUC. From this experience the author proposes the need to cultivate a more experimental, flexible pedagogy that encourages art students to take risks, instead of focusing on the economic viability of their work.  相似文献   

18.
This paper discusses a belief that the informing spirit of art and the complexities in interpreting artistic intentions and traditions are being glossed and over simplified in an effort to make art ‘accessible to the non–specialist primary teacher.’ Much recent literature appears long on eulogy and short on pedagogy. And while there is undoubtedly a special need for pragmatic and realistic strategies to implement attainment target two, there is a danger of seriously compromising the educative value of art if sight is lost of the diverse and sometimes irreconcilable complexities of artistic intentions viewed across time, space and culture.  相似文献   

19.
关于提高高等师范教育学课堂教学质量的几点思考   总被引：1，自引：0，他引：1  
推进教育学课程改革,提高教育学课堂教学质量,是目前高等师范教育亟待解决的一个问题。教育学课程改革要从精心组织教学内容、创新改革教学方法、采用现代化教学手段、大力加强信息反馈、积极推进考试改革等方面入手,力求激发学生的学习兴趣,使他们学以致用。  相似文献   

20.
艺术与媒介的关系向来不受人们的重视,传统认为那仅仅是一种简单的依附关系,即内容与形式的关系,媒介不能也不会从根本上影响到艺术的本质,因此二者的关系无关紧要。但人类艺术实践表明,媒介于艺术的生产、传播、接受及艺术的观念和本质都有决定性影响。因此,我们需要在参考、借鉴现有媒介理论的基础上重审二者的关系。  相似文献   

设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号