‘The torment of every seminary’: the teaching of French in British schools, 1780–1830

This article reconsiders the way in which the French language was taught in British schools from 1780 to 1830. In particular, it is shown that (contrary to recent claims) the use of recitation‐ and conversation‐based techniques, as opposed to rule‐based grammatical learning, persisted well into the 1820s, both in influential pedagogic textbooks and in the practical teaching methods favoured by certain schools. In order to reveal the extent of this trend, several neglected sources – such as Nicolas Dufief’s Nature Displayed in Her Mode of Teaching Language to Man (1804) and Arthur Hill and Matthew Hill’s Public Education (1822) – are assessed in some detail. In essence, this article argues that the favoured methods used to teach French in British schools in the early nineteenth century were far more diverse and heterogeneous than is usually acknowledged.     

The Artist‐Led Pedagogic Process in the Contemporary Art Gallery: Developing a Meaning Making Framework

Drawing on recent research which examined how selected artist educators perceive themselves as arts practitioners and analysed how these constructions inform their pedagogy, this article proposes a framework of meaning making in the art gallery. Art practice is defined as a process of conceptual and experiential enquiry which embraces inspiration, looking, questioning, making, reflective thinking and the building of meanings. The pedagogic process instigated in the gallery resembles art practice in that artists seek to ‘teach’ skills including questioning and critical reflection and promote experiential learning. Hence artist educators function as facilitators enabling learners to engage directly with art works (which are seen to embody the knowledge of the artist creator and contribute actively to the construction of meaning), whilst sharing their knowledge through dialogic exchange. The devised Meaning Making in the Gallery (MMG) framework encapsulates the pedagogic relation‐ship between artist, learners and artworks in the gallery and proposes a model of creative teaching and learning which has potential application within cultural institutions and beyond.     

The Nineteenth‐Century Artist‐Teacher: A Case Study of George Wallis and the Creation of a New Identity

‘Artist‐teacher’ is a conceptually rich term in the field of art and design education used to describe the professionally distinct roles of artist and teacher. George Wallis (1811–91), a nineteenth‐century artist and teacher, the subject of this article, first used the term ‘artist‐teacher’ to describe himself and his theories of art education. To better understand this new term, the researcher organised the diverse aspects of Wallis's life from 1811 to 1845 as a network of enterprises to track the streams of thinking that contributed to this professional statement. Through comparison, ordering and sequencing the various enterprises, a deeper and reflective understanding of Wallis's teaching developed. In fact, the network of enterprises displays the growth of Wallis's thought as a slow and evolving process, eventually highlighting the turbulent situation that provoked Wallis to defend his theories and practices when he conjured the new term.     

De‐Schooling Art and Design: Illich Redux

Using Ivan Illich's seminal works, Deschooling Society and Tools for Conviviality as touchstones, this paper returns to further pursue the thrust of my article in iJADE 25.3 (2006), ‘Domain poisoning: the redundancy of current models of assessment through art’, and might be considered as a more radical addendum. The central strand of Illich's work on ‘deschooling’ is an indictment of the trend to dehumanisation and the counterproductivity which results from institutionalisation. This paper argues that it is time to revisit Illich's call for deschooling with particular reference to the teaching of art and design, and, in turn, to look at the construct of the art teacher for the twenty‐first century as connoisseur/critic/animateur, aloof from the world of domain‐based assessment. As has been suggested many times before within these pages and beyond, accountability makes teachers risk averse. In short, this article suggests that it is time that we took a structural risk and removed this glass ceiling to aspiration while calling for complete deregulation of art and design education and the reinstatement of the art teacher as an autonomous ‘agent of change’.     

The complexity of Chinese pedagogic discourse

This is one of X commentaries on Wu’s ‘Interpretation, autonomy, and transformation: Chinese pedagogic discourse in a cross-cultural perspective’ (JCS, 43(5), 569-590). It highlights the paper’s demystification of Western pedagogic discourse and recovery of the meaning of Chinese traditional pedagogic discourse as a response to the long-lasting debates on the Chinese–Western/traditional–modern dichotomies seen in China’s modernization. However, the paper overlooks the complexity of Chinese pedagogic discourse: it over-emphasizes the formal or linguistic dimension of pedagogic discourse, and presumes the dichotomy of Chinese–Western discourses and the discontinuity of traditional–modern cultures. After elaborating the ends, substances, methods, and teacher roles found in Chinese pedagogic discourses, this study argues that contemporary pedagogic discourses are essentially inhabited in indigenous traditions, and actively entangled with Western discourse. The meaning of Confucian traditional pedagogy should not (and cannot) be ‘recovered’ from the past, but be ‘found’ in the present.     

论尚·丁格利的动力装置怎样表现后现代“达达”理念

尚·丁格利,20世纪瑞士后现代艺术家,以独特的动力装置作品震撼欧美各大现代美术馆,一生曾多次受包括纽约现代艺术馆在内的多家有影响力的美术馆邀请为其创作,最终使达达主义以独立的艺术风格跻身世界艺术史,然而他本人却拒绝承认属于达达主义者。正因如此,国内研究达达主义艺术的学者总是将目光集中于马塞尔.杜尚,而忽略对丁格利艺术理念的研究,而事实上,正是丁格利的作品以更加清晰、全面的艺术理念体现了达达主义     

The Narrative Approach in Art Education: A Case Study

This case study takes as its focus the work of the Fine Art graduate Dumile Johannes Ndita, who visually narrates his experience of life in contemporary South Africa. The artist graduated from Border Technikon, East London, an institution which teaches the narrative approach. It is the aim of the authors to illustrate how this method enables students to transfer lived experience into image. The three voices in this paper come from different backgrounds. The artist will explain the meaning of his drawings, the teacher will give background information on the community and culture in which he himself and the artist operate and outline teaching methods. Students taught by this method create work that has impact and meaning beyond the confines of the art school. To argue this point, the theoretician will add her voice and reflect on meta‐narratives presented in Dumile Johannes Ndita's drawings. Intricate inter‐textual patterns, shared and interconnecting institutional narratives tie our individual voices to those of the wider community and culture of present‐day South Africa and beyond.     

A Dialectic of Disinterested and Immersive Aesthetics: Santiniketan Art Education and Labour Translated

This article argues for art education's potential to transform mundane work, mindful of the steep challenges of the aesthetic and mundane dialectic. Those challenges, magnified in the context of capitalism and industrialism, confronted twentieth‐century Indian artist educators Rabindranath Tagore and Nandalal Bose, but also confront twenty‐first‐century art educators. Tagore created Visva‐Bharati University to counteract the excessive materialism of modernism, recognising diversity and the immanence of the transcendent in humanity. Tagore's aesthetics, though deeply relational, nevertheless regard the mundane as essentially irredeemable. It is in Visva‐Bharati's environment, however, that Nandalal Bose was able to conceive an aesthetic, developed from Yogic ideas of immanence and Far Eastern aesthetics, which envisioned the transformation of the mundane through creative activity.     

移位的神话,命定的悲剧——《威尼斯之死》的原型批评

托马斯·曼的小说《威尼斯之死》因其扑朔迷离的神话色彩成为一部光芒璀璨的经世之作。许多批评家都从神话原型对艺术家的悲剧进行分析。但是大部分评论文章都简单地把艺术家悲剧的原因归咎于情感与理智的失衡,没有对艺术家悲剧的源头进行分析和论证。文章运用神话原型批评对小说中的神话元素加以分析,论证了艺术家的悲剧是他们追求唯美主义的必然结果,这一悲剧是注定的。     

Comenius,moral and pious education,and the why,when and how of school discipline

ABSTRACT

The present study provides an analysis of John Amos Comenius’s thoughts on moral and pious education, educational governance and school discipline as expressed in Didactica Magna. This is examined from the background of his view of education as a societal phenomenon, the purposes of different categories of knowledge for individual formation and the role of pedagogy in the upbringing of children. Theoretically, this paper expands on Michel Foucault’s ideas about governmentality and discipline, as well as on Henri Lefebvre’s spatial theories. The article argues that Comenius can be viewed as a significant contributor to the early modern shift towards new administrative techniques for school governance, transmitting the mode of disciplinary power into pedogogised and didactic forms. The article contributes to achieving more systematic knowledge for understanding the focused areas of schooling, the concept of discipline and the pedagogic premises of disciplinary practice in an early-modern European educational context.     

Turning a City into a Milieu of Study: University Pedagogy as “Frontline”

In 2016 Bruno Latour delivered a lecture at Cornell University in which he responded to what he called the actual situation of disorientation and (literal) lack of common ground by offering some “hints for a neo‐Humboldtian university.” One hint he offered was that we should consider pedagogy as the frontline for staging an approach to societal challenges that links basic research and public engagement. Here, Jan Masschelein follows and extends upon this hint through exploring some ways to reclaim or reinvent the university as pedagogic form. Concretely, he describes the development of a course on designing educational practices that is conceived as a way to turn cities into a milieu of public and collective study. Masschelein's contribution to this symposium offers a “technical story” about physical, material experiences, one that contains some prepositions and propositions, an example, many detours, and a few practical notes and considerations. By this means, he explores the meaning and form pedagogy takes when we do not reduce it to teaching and extension, but instead approach it as the genus and the locus of a nexus between public engagement and basic research. Masschelein concludes by proposing the “public design studio” as a pedagogic form suited to the neo‐Humboldtian university.     

On the Dangers of Antiquarian Investigations: Nietzsche,the Excesses of History,and the Power of Forgetting

Drawing on Nietzsche’s insights as well as those of his critics, this article explores the dangers and limitations of the antiquarian type of historical investigations. The author begins his analysis by closely examining Nietzsche’s conception of antiquarian history and explaining why he finds this mode of historical investigation so troubling. Next he shows that the problem that Nietzsche associates with the antiquarian type of historicizing can be seen in a contemporary genealogical investigation: Daniel Mendelsohn’s book The Lost. Returning to Nietzsche, he then analyzes the meaning and value of his notion of the ‘power of forgetting’ and argues that it can serve as an antidote to some of the dangers of antiquarian history. In the final part of this article the author examines how the power of forgetting might be educationally valuable.     

Continuing the Journey—the Artist‐Teacher MA as a Catalyst for Critical Reflection

This article discusses the personal experience of reading an Artist‐Teacher MA, both as a way of engaging with a course of study aimed specifically at art teachers and also as an attempt to explore and possibly reconcile the pedagogic issues related to the area of critical and contextual studies that had arisen within my own practice. Critical and contextual studies has grown to become an essential component of art education in schools, yet there would appear to be limited pedagogic approaches amongst art teachers or enthusiasm for alternative curriculum models other than those inferred from exemplar material provided by examination boards for assessment purposes. As a consequence of engaging with the Artist‐Teacher MA, I confronted my pedagogic practice and reconsidered my personal position within the continuum of the role of teacher and that of artist. In turn this has led me to consider the notion of the pupil‐artist and and to question the implications of this for my continuing classroom practice.     

建筑装饰观念的革命--从高迪作品看新艺术运动的建筑思想

新艺术运动是十九世纪末二十纪初欧洲工业化进程的产物，影响波及包括建筑在内的几乎所有艺术领域。本对西班牙建筑艺术家高迪作品进行个案分析，从建筑造型形态和装饰语言角度剖析论证了新艺术运动建筑必须“致力于实现人类培养和美化的理想”的人思想。     

Education,art, and exile: cultural activists and exhibitions of refugee children’s art in the UK during the Second World War

Abstract

During the 1930s and 1940s art increasingly came to be used as a therapeutic tool with children who were perceived as damaged by their experiences of war or displacement. This article explores two related exhibitions – Children’s Art from All Countries (1941) and The War as Seen by Children (1943) – which provided a platform for children’s impressions and experiences of war as seen through their drawings, whilst also raising money and awareness for refugee children’s causes. Although supported by an influential network of British educators and cultural figures, the exhibitions were conceived and organised by displaced German, Austrian, and Czech artists and cultural educators who were members of the Free German League of Culture in London during the Second World War. The exhibitions are considered as sites of educational and political interventions by adult refugees in the context of therapeutic interventions with refugee children in British educational settings. In so doing, this article argues that the exhibition organisers conceived of cultural and creative learning as a transformative vehicle for supporting and re-forming personal identities, and for the re-imagining of collective democratic futures.     

A Pedagogic Reading of Wittgenstein's Life and Later Works

This article establishes a pedagogic reading of Wittgenstein's later work, which explores the significance of teaching and learning themes through close textual analysis and archival work on his Nachlass. I argue for the prevalence and importance of Wittgenstein's references to teaching, learning and training by showing the role these references play in the structure and central points of his later works. The opening passages of the Philosophical Investigations and the Brown Book about how we learn language are a framing device for arguments later in the texts; one to which Wittgenstein repeatedly returns at crucial junctures. Learning is the process that weaves together our practices and their expected outcomes, which in turn shapes and reshapes the norms operative in our shared forms of life. Reading Wittgenstein with sensitivity to pedagogic themes thus undermines interpretations that rely on rule‐following as the explanatory mechanism by which linguistic use generates meaning. Instead, we learn to use language that carries meaning by being taught the patterns, norms and judgements that come with particular uses. I thus argue that these references to learning and teaching are far from incidental and are instead central to understanding major concepts such as rule‐following, experience and judgement.     

Analyses Of “Teaching”

Abstract

This article aims to critically examine how misrecognition is conceived as a challenge for pedagogic action.Krassimir Stojanov’s notion of the pathological behaviour patterns of teachers and Charles Bingham’s ‘pitfalls of recognition’ introduce how misrecognition may appear in schools, and offer advice to teachers and students on responding to the challenges of misrecognition.Their ideas elicit the problems embedded in the theory of recognition and the problems resulting from understanding misrecognition as a challenge for pedagogic action.This article concludes that recognition theory offers pedagogic action a problematic challenge: it is as problematic to follow Honneth’s original ideas as it is to invent new directions in understanding misrecognition as a pedagogical challenge.     

Picturing progressive texts: images of ‘democratic schooling’ in the work of John and Evelyn Dewey and contemporaries

Visual images played an increasing role in professional discourse and in popular and political debate about progressive education over a century or more. In the early 1900s photography was adopted by some progressive texts to convey new ideas illustrated by practice. This paper highlights an iconic example: John and Evelyn Dewey’s celebrated Schools of To-Morrow (1915), with reference to a small selection of its photographic illustrations. Consideration is given to how images were constructed, their status as historical evidence and issues of interpretation. Comparison is made with other illustrated works, preceding and following Schools of To-Morrow, by advocates of child- or student-centred pedagogies. The article urges critical reflection on visual representation in arguments for and against progressivism in more recent times. Insights drawn from earlier examples should be borne in mind by historians seeking to evaluate the role of pictorial sources in discourses of pedagogical reform.     

Aesthetic Creativity,Reflexivity and the Play with Meaning: a VideoCulture case study

This article presents a case study of a video film called Die Liebe (Love, ) which was produced by two young girls from migrant family backgrounds in Ludwigsburg (Germany) as part of the VideoCulture project. In terms of production, the article describes the role played by the relatively open‐ended pedagogic style; the importance of aesthetic ‘discovery'; the uses of non‐linear editing; and the young people's sense of audience. In terms of reception, it describes the various responses of audience groups, focusing particularly on questions to do with the interpretation of symbolism and the balance between ‘openness’ and ‘closure’