教学“艺术论”研究现状与反思——教学基本理论问题研究之六

教学艺术是教师娴熟地运用综合的教学技能技巧,按照美的规律而进行的独创性教学实践活动,具有灵活性、机智性、独特性、规范性、即时性、发展性、塑造性、审美性、形象性、情感性和创造性等特点。教学艺术的层级结构、功能、研究方法、审美等为教学艺术论的主要研究范畴,其研究基础良好、内容丰富、方法多元,但要警惕线性的、静态的研究倾向和走向"玄学"与"泛化"的可能。     

康德美学的先验形式

康德是西方哲学史上划时代的伟大人物,是他与黑格尔、歌德等人以德国古典哲学为基础．创立了西方文艺理论中具有代表性的德国古典文艺理论。在这个理论体系中,先验性是康德审美形式的首要肯定。康德提出在进行认识之前先要审查人的先天认识能力,他认为人先天秉有三种互异的能力：认知、欲求、快与不快,并以此为根基,确定了三种先验科学的合法性,这三种科学即认识论、伦理学、审美学。进而用“分析法”证明先验审美形式的存在。     

Ethnocentrism and Higher Art Education: Lingering Legacies,Imperative Nondualities

Art education in the USA has made great progress toward greater inclusiveness and is generally a force against resurgent fascism. Nevertheless, higher art education theory is dominated by Euro‐Western philosophical legacies, encumbered by dualism, which impede art education’s emancipative democratising potential. Recent debate about the uselessness of aesthetics illustrate this ethnocentrism. This article analyses the ethnocentrism that lingers in the postmodern legacies that undergird the debate; then shows how engagement with nondualist philosophies, predominantly non‐Euro‐Western, can make a profound difference to art education theory and practice. They are imperative to comprehending hybridity promoting global citizenship, resisting fascism and advancing global equity.     

我看黑格尔的艺术难题

19世纪初黑格尔提出著名的"艺术难题"论,宣告艺术"终结"说。200年之后的今天,艺术在现实中的境遇似乎也在一步步地证实着黑格尔的预言。重新审视这个难题,通过对黑格尔提出难题的理论背景以及艺术的产生、艺术的本质,以及艺术在现实社会中的境遇等诸方面的分析,可以推论出当代艺术在艺术边缘化和各种生态危机的双重压力下,应该勇于突破自身狭小的圈子,站在更高纬度上关注自身,关注自然,关注社会,甚至整个宇宙,勇敢承担起其精神使命,在拯救自身的同时也实现人类的自我救赎。     

Education in the Realm of the Senses: Understanding Paulo Freire's Aesthetic Unconscious through Jacques Rancière

In this article I re‐examine the role that aesthetics play in Paulo Freire's pedagogy of the oppressed. As opposed to the vast majority of scholarship in this area, I suggest that aesthetics play a more centralised role in pedagogy above and beyond arts‐based curricula. To help clarify Freire's position, I will argue that underlying the linguistic resolution of the student/teacher dialectic in the problem‐posing classroom is an accompanying shift in the very aesthetics of recognition. In order to demonstrate the always already aesthetic nature of all education, I will turn to the aesthetic philosophy of Jacques Rancière. Through Rancière we can begin to understand how the pedagogy of the oppressed is predicated on an aesthetic redistribution of the sensible, of what can be seen and what can be heard. As Rancière will confirm, if we truly want to understand the aesthetics of pedagogy, we cannot simply see aesthetics as external to teaching and learning. Rather, education as an aesthetic event has to be taken seriously, and aesthetics should regain primacy in discussions of critical pedagogy.     

Learning to Be: The Modelling of Art and Design Practice in University Art and Design Teaching

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.     

浅析色彩在美术教学中的实践与运用

长期以来,素描教学作为基础美术教育的重点一直倍受人们的重视,而色彩教学却往往被人们冷落。从美学的整体角度考虑,我们应让色彩教学与素描教学两者在基础美术教育中得到同等的重视和协调发展。笔者从色彩教学的现状出发,阐述了色彩在美术教学中的实践和运用。     

Encountering Pedagogy through Relational Art Practices

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.     

Exploring,Developing, Facilitating Individual Practice,While Learning to Become a Teacher of Art,Craft and Design

The artist teacher project set out to facilitate trainee teachers’ creative practice and inform their critical pedagogy in the classroom. The approach outlined in this article encouraged them to consider predictable and formulaic practice, and to question, reflect upon and challenge orthodoxies in their teaching of art, craft and design. They critically appraised their practice within a community of reflective practitioners in critical presentations, and in their reflective writing, and discussed and debated the contradictory positions between what they explored in their individual practices as artists and that experienced in the classroom. This project highlighted how fundamental the critical presentations were because the peer‐review, feedback and support, facilitated dialogue in a creative, dynamic space and community of practice. These ‘crits’ also became a forum for airing frustrations and trying to come to terms with the re‐emergence of their artist identities while at the same time, having to suppress many of their convictions and ideals in order to conform to what they found on school placement.     

实践理性是艺术审美的最终指向——兼谈艺术审美素质教育的层次构成

从唯美主义对康德审美“无利害”、“无目的”的误读出发,通过对康德、黑格尔、萨特等人的艺术观的分析,提出艺术审美教育的层次论。本文认为,艺术审美教育应该最终指向实践理性,但艺术审美也有自身的自由存在状态,也就是“纯艺术”或者“为艺术而艺术”的存在状态,在二者之间,还应该有许多中间层次。艺术审美教育必须进行多层次、多样化的理论与实践探索。     

沃尔海姆论艺术的标记、类型、种类和共相的关系

理查德·沃尔海姆(1923-2003)是一位英国分析美学家、哲学家。他对分析美学的核心问题即艺术定义进行了重新思考,提出了艺术品即物理对象假说,并引申出对艺术的再现性和表现性问题的再思考。他推导出一系列理论结论,诸如艺术的理想理论,艺术的表象理论,艺术的标志物、类型、种类和共相的关系等。文章主要论述了艺术的标记、类型、种类和共相的关系问题。     

NGO Art Education

How is art education being put to use today? To explore this provocation, I read between the lines of teaching for civic literacy through visual arts education in the United States as mandated by the Partnership for 21^st Century Skills. I consider an art education of social practice's utility within this mandate. In order to accomplish this, I describe artist Rick Lowe's Trans.lation: Vickery Meadow social sculpture project and then analyse this through a service aesthetics’ lens and neoliberal motives. In the process of overlaying social practice within the Partnership for 21st Century Skills as a model for visual arts and citizenship education toward globally competent graduates, I articulate the possible limitations of such micro‐utopian ventures for art education that amount to NGO‐esque art, making the case that these efforts, while facilitating a feeling of civic engagement, only further intensify the depoliticisation of art education acting as a form of Rancière's better police in reasserting the neoliberal status quo. I sound a cautionary note about such a pragmatic turn risking the exacerbation of our collective interpassivity through aligning art education too closely to our apparent use value for late capitalism.     

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.     

康德实践观点简析

因社会变革而导致的对实践概念是否应重新界定的争论,已成为实践美学研究中的焦点问题。鉴于哲学理论的发展是通过对作为本源的理论原型的反思而实现的,所以,从康德的实践观点出发,认识人的艺术实践与道德实践活动,这对当下实践概念的重新界定极具理论启示意义。     

黑格尔雕刻美学思想浅析

黑格尔是德国古典美学的集大成者。他在其体大恢宏的客观唯心主义和辩证法的哲学基础之上,建构了他的美学体系。而雕刻美学正是其美学体系的重要组成部分。黑格尔认为,雕刻是古典型艺术的典型代表。雕刻艺术是物质与精神的统一,是主观和客观的统一,是普遍的人性与特殊的神性的统一。在雕刻里所看到的,正是精神离开有体积的物质而回到精神本身的过程。     

文艺美学园地的拓荒者--胡经之的文艺美学研究论析

胡经之为克服以往文艺研究政治化和美学研究哲学化倾向的弊端,率先倡导建立文艺美学学科,并对这一学科的定位及存在的合理性进行了准确而充分的论证;他的文艺美学理论视角新颖、构架独特、范畴整合合理。他的研究方法独具特色,具体表现为:适应时代要求与保持学术规范的统一;融会中西传统与追求自我创新的统一;重视理论研究与密切联系实际的统一。     

Book reviews

Jacques Rancière remains neglected within educational debates. In this paper I examine the potential of his philosophies for enacting critical interventions in relation to contemporary (higher) educational concerns. Rancière argues against the progressive temporality of pedagogic relations and provides an alternative thesis that equality is a point of departure for social and pedagogic encounters. He also emphasises the importance of aesthetics and the ‘distribution of the sensible’ as a mechanism for understanding who is un/able to be seen, speak and produce knowledge. These arguments are examined through an analysis of two research-based art installations: Sociologists Talking (2008, 2009) and The Idea of a University (2010). I consider the potential for ‘alternative’ forms of knowledge production and communication to enact different pedagogic methods and re/distribute the sensory spaces in which research and teaching take place.     

中西方美学比较

中西方美学分别产生于春秋战国与古希腊罗马时期。先秦美学强调人与人之间的协调性、艺术对情感的表现性及善与美的教化性；古希腊美学强调人与自然的和谐性、艺术对现实的再现性及真与美的功利性。中国的艺术哲学产生于魏晋时期，《文心雕龙》完成了中国古代美学体系的建构。西方直到文艺复兴时代随着人性复苏、艺术哲学的发展，康德与黑格尔的美学体系才得以诞生。中西方美学体系形成之展开方式虽有不同，但基本规律一致。     

自然美对美学的意义

自然关学的兴起,对以艺术作为主体的传统美学提出了全新的挑战。作为审美对象的自然,突出的是自然作为在先的被给予性。自然关对艺术美的突破在于,消除艺术美中主体性的膨胀,回复人与世界原初的肉身交融。自然美对美学的深层启示在于：关是对在先的被给予性的感性确认。     

Constructivist Practice in Preservice Teacher Education in Mathematics: (re)producing and affirming the status quo?

Teacher educators often tend to place enormous faith in constructivist approaches to teaching, which emphasise collaboration, inquiry and problem solving. With reference to my own pedagogical practices in preservice teacher education, I argue that constructivist practice may in fact cement, rather than challenge, the taken‐for‐granted cultural, sexist and racist assumptions informing teaching‐mathematics‐as‐usual. I suggest that students should experience a different mathematics; a mathematics that reveals how processes of collaboration and inquiry, based on constructed binaries, selectively constitute mathematical subjectivities. Preservice teachers and teacher educators who are aware of activities and practices which are overly regulatory and/or discriminatory might work together to re‐vision and enact an alternative mathematics: a mathematics able to challenge and disrupt the status quo.