意趣同工——论西南村寨文化艺术精神与幼教美育

我国西南是少数民族聚居区,其文化艺术形式多样并独具特色。试图探究村寨文化艺术精神中天然意趣的审美价值取向和培养以家族式教育为主的幼儿审美意识之间的关联性,并从艺术本源出发,将“生活的艺术”和“艺术的生活”融入幼教领域,构建符合幼儿身心发展的审美意识理念。     

浅议德育教育中的美学应用

德育教育既是一门科学,又是一门艺术。新时期应在德育教育中引进审美艺术,按美的规律教育人,塑造人,在美育的潜移默化中唤起德育教育对象美的情感,实现德育教育真、善、美的统一,达到德育教育的目的。     

Art Education for Understanding: Goodman,Arts PROPEL,and DBAE

‘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.     

On Art and Knowledge

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.     

‘Core Subjects’ Policy and Arts Education for the Rich

What happens to art education when the national school curriculum in Israel follows a ‘core subjects’ policy? Allocating only two hours for all five art subjects (visual arts, music, drama, dance and cinematic arts) that remain outside the core curriculum increases the social‐economic gap between children whose parents can fund their art education privately and children whose parents cannot afford this. This also has worrying consequences for art teachers (most of them women) deprived of job security.     

Boys' Lack of Interest in Fine Arts in a Coeducational Setting: A Review of Sex‐Related Cognitive Traits Studies

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.     

论幼儿园科学教育与艺术教育之融合

幼儿园中科学教育与艺术教育实践,被作为两个不同的学科各成体系,彼此分离。基于对科学与艺术一种自然而融合关系的认识,处理好幼儿园科学教育与艺术教育两个领域的教育目标互通,内容相融,活动设计与实施相互交叉的关系,使其既符合幼儿认知发展规律也符合幼儿教育规律。     

金工教学与美育

金工课程是增强学生美学意识的一座理想平台,金工科学处处呈现出美,教师应不断探索教学艺术,提升自身的美学素质,在金工教学中对学生进行潜移默化的美育,才能使自然科学与人文科学较好的结合。     

论大学的科学史教育

人文文化和科学文化是人类文化存在的两种形态。两种文化一开始并不是相互隔离的,而专业化的教育模式和对理性的过度崇拜造成了两种文化长期分裂。我国目前自高中起实施的文理分科教育和大学阶段的专业化教育,加深了两种文化之间的鸿沟,也成为制约当代大学生综合素质提高的重要因素。如何实现大学教育的文理沟通,科学史教育是一个重要途径。这是由科学史学科本身具有沟通科学和人文的性质所决定的。     

The Single Sex Debate for Girls in Science: a Comparison Between Two Informal Science Programs on Middle School Students’ STEM Identity Formation

Currently, there are policy debates regarding the efficacy and legality of single sex formal and informal education programs. This issue is particularly poignant in science education due to the historical marginalization of women in these fields. This marginalization has resulted in women being positioned as a stigmatized group within many science, technology, engineering, and mathematics (STEM) related fields. Research points to adolescence as the age where this sense of marginalization begins to develop. As a result, policy responses have utilized various frameworks such as: increased access for women, changing pedagogy to address women’s learning styles, changing the language and culture of science to prevent marginalization of stigmatized groups, and finally exploring the role that individual identity plays in the marginalization of women. This study adds to the policy debate as it applies to single sex education by comparing middle school participants’ STEM identity formation during two informal science learning environments (an all girls’ STEM camp and a co-educational STEM camp). Additionally, this study focuses on the influence of camp activities within two informal science education programs: particularly the provision of role models and authentic STEM research activities, as means to improve STEM identity and make these fields relevant to the lives of middle school students. The results indicate that both camps improved girls’ STEM identities. These findings suggest that the single sex environment is not as important to STEM identity as the pedagogy used within the program.     

Artwashing Education?

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’.     

Of All Studies,Study Your Present Condition: Essay Review of Denis Dutton's The Art Instinct: Beauty,Pleasure, and Human Evolution (Oxford: Oxford University Press, 2009)

In this review I will assess the validity of Denis Dutton's provocative argument for Darwinian aesthetics. In The Art Instinct Dutton draws on the insights of Darwin and the evolutionary psychologists Geoffrey Miller and Steven Pinker to analyse art as the product of evolution. Pinker asserts on the dust cover that ‘this book marks out the future of the humanities – connecting aesthetics and criticism to an understanding of human nature from the cognitive and biological sciences' and that ‘Dutton has made a bold and original contribution to this exciting new field’. Miller's opinion of The Art Instinct is noticeable by its absence. In his review of The Art Instinct, arts academic Richard Hickman concludes: ‘for educators, if we accept that young people have an “art instinct”, then it is incumbent upon us to ensure that this instinct is nurtured and developed’. I agree. My aim is to critically assess Dutton's contribution and speculate about how it might inform future directions in educational research.     

浅谈美育与艺术教育的关系——关于大学美育的几点认识

作为公共课、选修课的美学的子学科和文学艺术欣赏类的各门课程是实施大学美育的主要途径,而这些课程的教学内容与审美实践主要是艺术教育。这些课程的目的不是传授专门的知识和技能,而是着眼于提高大学生的艺术素养和审美发展。在具体艺术教育中,美育与德育有联系。但不能片面的将美育放在从属于德育的地位;美育中的审关实践不能简单理解成“鉴赏”,而忽视实践技能的训练。     

Political and Aesthetic Equality in the Work of Jacques Rancière: Applying his Writing to Debates in Education and the Arts

This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in the classroom—both over‐hyped claims about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art.     

Changing Play – writing,researching and learning in an early years arts project

ABSTRACT

‘Changing Play’ is an ongoing project initiated by education curators from the Serpentine, a prestigious London art gallery, working with the Portman children’s centre nursery. Viewed by curators as a collaboration between artist, children’s centre staff and parents, and the gallery, Changing Play combines art and action research, and expands the boundaries of the gallery. In the words of one of the education curators, ‘the project is about social change’. It is not for the gallery curators to develop proposals but to ‘co-develop work’. Ethnographic evidence employing narrative, visual arts informed analysis is being used by the gallery to report to funders, inform iterative planning and inform future directions. The paper focuses on methodological questions on ways in which ethnographers might meet artistic projects both during and after being in the ‘field’. It takes the form of a ‘loose parts’ montage which reflects the ways in which the art project was conducted.     

Towards a New Art Curriculum: Reflections on Pot Fillers and Fire Lighters

This contribution is derived from an address presented to the NSEAD Annual Conference (1999)‘Towards a New Arts Education’ in association with Bretton Hall, a specialist institution for the arts and education, to mark the 50th anniversary of its Foundation in September 1949. [1] An analysis of the role of art and design education is set in the context of an arts related curriculum and the case for an interdependent, teachable and accessible programme is outlined. Proposals for the maintenance and development of a future for arts education is tested against certain key questions and a theory of ‘good teaching’ in the arts     

Cognitive conflict and intuitive rules

This paper is a part of an extensive project on the role of intuitive rules in science and mathematics education. First, we described the effects of two intuitive rules ‐‐ ‘Everything comes to an end’ and ‘Everything can be divided’ ‐‐ on seventh to twelfth grade students’ responses to successive division tasks related to mathematical and physical objects. Then, we studied the effect of an intervention, which provided students with two contradictory statements, one in line with students’ intuitive response, the other contradicting it, on their responses to various successive division tasks. It was found that this conflict‐based intervention did not improve students’ ability to differentiate between successive division processes related to mathematical objects and those related to material ones. These results reconfirmed that intuitive rules are stable and resistant to change. Finally, this paper raised the need for additional research related to the relationship between intuitive rules and formal knowledge.     

论传统工艺美术与艺术设计学科的演变与发展

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。