艺术制度论的再度阐释与反思

20世纪60年代以后所涌现的先锋派艺术从根本上否定了传统的艺术观念,也带来了美学的转向,分析美学对艺术作出了制度性的定义。艺术的制度论一方面迎合先锋派艺术,缺乏批判性;另一方面自身也存在理论困境,难以充分说明艺术的本质。对艺术制度论不可盲目接受,而要作出批判性回应。     

文艺评论深入美育的学理可能及路径

随着时代的发展,美育研究继上世纪初再一次成为美学、教育学关注的热点。文艺评论作为作者、文本、读者三者之间进行良性沟通的桥梁,它的审美属性、政治属性、艺术属性内在地规定其对以艺术教育为主要途径的美育具有不可忽视的作用。文艺评论深入美育实践,不仅是文艺评论的内在要求及其历史发展的必然结果,同时也是美育进入成熟期及其走向自觉的重要标志。通过论述文艺评论深入美育实践的学理可能、具体路径及存在的问题,考察其深入美育何以可能。     

趣味的二律背反之于文艺批评

随着分析美学在20世纪后半期的崛起以及其对传统美学的批判和清算,文学艺术的批评问题在逐渐受到冷落。整体上说来,分析美学家大多摒弃了文艺批评的普遍性,而将文学艺术的批评归结为个人的趣味好恶,走向了批评的取消主义。然而,取消主义者看不到趣味的二律背反所蕴含的辩证关系,因而不能真正从理论上取消文学艺术的批评。     

丰子恺美学思想的价值与局限

丰子恺美学思想体现出中国传统美学思想和西方近现代美学思想的融合,且他始终以人作为自己的终极关怀目标。但丰子恺对传统文化缺乏批判、革新精神,并且作为艺术教育实践家的他总是把艺术的社会美育功能过于夸大。这里既有个人因素,也有时代环境影响。丰子恺美学思想给我们当代美学的健康发展提供了良好的借鉴。     

“媒介素养”视阈下的高校影视公共教育

面对影视资源的泛媒介化传播语境,影视公共教育应走出“艺术素养教育”的单向维度,而走向更具包容性的“媒介素养普及教育”,它包括基本的影视艺术审美素养、影视信息甄别素养和影视文化批评素养。影视公共教育要立足于感性审美和理性批评的融合视阈,探索课程与教材建设的体系化、教学方法与手段的互动性及公共教育平台的延伸性。     

Art and Design Education in the Ecology of Care

In the light of challenges arising from contemporary issues such as inclusivity, sustainability and justice, the connections between art, design and caring appears to be pertinent. What role can artists and designers play in the ecology of care? How can we lead art and design students to connect and lend their creative skills to care needs? Drawing on the ethics of care and a relational view on health this article highlights the various teaching approaches and initiatives introduced at Nanyang Technological University, Singapore, to support and guide students to realise various art and design for health and wellbeing projects that provide opportunities for students to part take in ecology of care using their creative skills. Although creative explorations at the intersection of art, design and caring is still at an early stage, outcomes from this ongoing effort have been encouraging in response to the shifting social needs to create a more inclusive and flourishing society in Singapore.     

Aesthetics,Popular Visual Culture,and Designer Capitalism

While rejecting modernist philosophical aesthetics, the author argues for the use in art education of a current, ordinary‐language definition of aesthetics as visual appearance and effect, and its widespread use in many diverse cultural sites is demonstrated. Employing such a site‐specific use of aesthetics enables art education to more clearly address the realities of everyday life under designer capitalism, a socio‐economy based on the drive to create evermore desire. Aesthetic manipulation is viewed as a primary means to facilitate the smooth operation of this system. The recent craze for Bratz dolls is used to illustrate the centrality of aesthetics to designer capitalism. Finally, the author offers suggestions as to how art education can view consumer products like Bratz as pedagogic opportunities.     

后现代语境下现实主义艺术批评研究

现实主义艺术批评随着现实主义的演进,尤其是在当下后现代相对强势的文化语境下,出现了很多新的特征。根据恩格斯提出的“美学的和历史的观点”对演进状况进行分析,就会发现现实主义艺术批评在审美的角度更加关注人文,文化和叙事性的探讨,而在历史的角度上,它的意义则更加倾向于道德价值体系的建构。     

美术教育对受教者的关注及施教者知识建构要求

美的本质和人的本质、生活的本质的关系问题,一直是美学研究的核心问题。在这里,我们尝试从美术教育这个视角,初步探讨美的本质与美术教育中的一些现实问题,从美学的范畴以及在美学研究的构架中分析研究学校美术教育的问题,这对研究美学来说,也是一个重要的环节。     

论娱乐与审美——娱乐体育的基本理论探索

根据娱乐是“精神要素”的基本属性概念,比较了娱乐与审美的异同,把娱乐体育的本质理解为对美的境界追求。进而阐述了娱乐体育具有主体创造性和美的欣赏两大基本特征。以审美的技术与文化行为两种范式,初步论述了娱乐体育对繁荣时期体育文化起着独特作用     

儿童文化视角下幼儿艺术教育的异化与回归路径探析

儿童文化的本质是一种审美文化,艺术与审美渗透到了儿童生活的方方面面。在儿童文化视角下审视儿童艺术,二者之间呈现出整体与部分、本质与表征、限制与被限制的关系。幼儿艺术教育本应更多地受到儿童文化的观照,然而当前成人文化处于霸权地位,导致幼儿艺术教育中儿童文化的缺场与儿童文化的自觉困境,幼儿艺术教育发展呈现出从艺术教育目标、内容、方法、评价到环境的异化样态。为此,要针对幼儿艺术教育各个要素的异化样态进行纠正与积极建设,让其目标设定从成人视角转向儿童视角,内容从分裂转向整合,方法从机械转向创造,评价从注重结果转向关注过程,环境从封闭转向开放,让儿童文化重新回归幼儿艺术教育。     

“文艺美学”何以可能

本文通过对文艺、文艺学、美学、艺术哲学、艺术学等概念术语的认真梳理,从学科名称、研究对象、研究方法三个方面入手,认为有20余年历史的文艺美学学科名称混乱、对象模糊、方法缺失,因而文艺美学不能被称作是独立的学科,建议恢复文艺美学这个术语的泛称意义。     

毛泽东文艺美学思想探析

毛泽东文艺美学思想是毛泽东文艺思想的重要组成部分。毛泽东在论述文艺思想的同时，深刻地揭示了蕴舍在其中的文艺戋学内容，提出了文艺美高于生活美的科学论断．解决了艺术美与生活美的关系问题。同时将追求艺术美作为文艺批评的一个标准，重视艺术的审美特性。在他所创作的大量诗词作品中生动地体现着自己的审美观，是艺术美的实践者。     

大众艺术与高职院校群众艺术教育

随着大众艺术的蓬勃发展和中华民族文化艺术传承的普及提高,群众艺术教育的内涵也越来越丰富。为了进一步推动群众艺术发展,构建和谐社会、和谐文化,高职院校群众艺术教育应积极探索改革思路。     

An Empirical Study of Geahigan's Inquiry Model in Learning Art at Senior Secondary School Level

The philosophical foundation for teaching art criticism in schools has been dominated by formalist and expressionist aesthetics, while from a practical point of view it has been influenced by art criticism models that emphasise observation and linguistic practices. Instead of asking students to observe an artwork and make verbal or written statements, George Geahigan proposed an inquiry‐based art criticism learning model that engages students in personal response, research, and aesthetic concept and perceptual skill acquisition activities. Using inquiry‐based art criticism as a foundation for curriculum development and connecting the model to authentic situations in schools, the present study investigated the effectiveness of the model on student learning. Fifteen secondary school teachers were invited to participate. Eight teachers taught the experimental group (n=85) with inquiry‐based curriculum plans and the other seven teachers taught the control group (n=82) with their own school curriculum plans. Students of both groups were asked to write an art criticism essay before and after the implementation of the curriculum plans. The results demonstrated that the overall improvement of the experimental group after one academic year was significantly greater than that of the control group. This article reports on the theoretical framework, methodology and results of the study. It was found that the inquiry‐based approach was a successful strategy in improving students’ skills in analysing, judging and using aesthetic and contextual knowledge in art criticism writing. The discussion focuses on the improvements that were made in the art criticism essays of the experimental group.     

Critical Thinking: Art Criticism as a Tool for Analysing and Evaluating Art,Instructional Practice and Social Justice Issues

Recent educational initiatives have emphasised the importance of fostering critical thinking skills in today's students in order to provide strategies for becoming successful problem solvers throughout life. Other scholars advocate the use of critical thinking skills on the grounds that such tools can be used effectively when considering social justice issues. In this article we make the case that the teaching and learning strategies of analytic art criticism can serve as fundamental tools used not just for the study of art but can also centre critical thinking and analysis in all aspects of the art education curriculum. Our argument begins with a review of literature on the use of art criticism for critical thinking and meaning making. Then we describe our efforts to address critical thinking with our students by using the critical analysis model of art criticism and applying it to learning environments for forming reasoned judgments about teaching and learning, and also as springboard for examining social justice issues. We believe that promoting this form of affectively driven, intellectually guided critical thinking makes our students potentially more successful not just in their encounters with art and education, but also in their lives as human beings beyond school.     

文艺边界拓展与文论原点位移

数字媒介及其网络文化带来了艺术审美边界的拓展,形成了当代文艺的不断"扩容",调整了人类文明元典预设的艺术逻各斯的依存形态,带来文论学理原点的位移,并实施着文艺谱系置换后新的文论原点的重建.这主要表现为:艺术是什么--虚拟世界的自由表征;艺术写什么--数字化生存的平民叙事;艺术怎么写--以机换笔的感觉撒播;艺术干什么--自娱以娱人的文化消费.     

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.     

“德美一体”语文教学模式初探

语文教学承担着德育、智育、美育等多重育人任务。构建“德美一体”的语文教学模式,就是充分利用健康向上、包含丰富道德底蕴的文学作品,以及社会生活、文化中美好的事物来启发、诱导、熏陶学生对美好、高尚品德的向往和追求。把关育与德育相结合,把做人的道理蕴涵在具体可感的形象中,用美引善、以美诱善,使学生产生对可贵品质的敬仰、亲近、向往的情感。教师通过创设充满审美愉悦的课堂氛围激趣引思,借助美术、音乐等艺术形式丰富文学内涵,使学生在接受精神审美,享受审美带来的愉悦的同时,活跃思维,提升兴趣,使德育、智育、美育互相渗透、互相促进、协调发展。这种模式既是对提升教学有效性的有益尝试,也是对落实语文学科“文道统一”的本质的积极实践。     

THE SIGNIFICANCE OF DEWEY'S AESTHETICS IN ART EDUCATION IN THE AGE OF GLOBALIZATION

On the occasion of Dewey's sesquicentennial anniversary, Kazuyo Nakamura explores Dewey's aesthetics, which holds the plurality of art and culture in high regard. Nakamura develops a theoretical foundation for art education in the present age of globalization based on educational insights drawn from Dewey's aesthetics. The theme of this essay unfolds based on three topics: Dewey's view of the educational value of art in general education, the fundamental viewpoint of art in relation to democracy, and the discussion of the educational aspect of individuality and community with respect to the experience of art. Based on Dewey's aesthetics, this essay presents new perspectives on art education that emphasize the realization of personal values, development of intelligent visual literacy, and enhancement of the quality of communication of art, in the context of globalization.