浅议学校普通美术教育的性质

随着素质教育理念的推行,艺术教育作为素质教育的内涵之一,日益受到人们的关注。但是,对于学校普通艺术教育的性质的认识,却存在着一些误区。文章提出学校普通美术教育的三大性质,即素质教育性质;自我实现性质;心性塑造性质。     

The Critically Designed Garden

This article is concerned with design applied to gardens, using examples from the Chelsea Flower Show in London. There is a discussion of those show gardens that represented Syrian refugees’ gardens in Iraq and the Windrush generation immigration to the UK. The garden designs combine the aesthetics of organic materials and spatial architecture with an implicit critique of topical contemporary social issues. The article concludes by commenting on the risks posed by the reduced and impoverished UK arts education policies for producing the next generation of applied design practitioners.     

塞尚与现代艺术

美术史上以塞尚为一个分水岭,塞尚被称为“现代艺术之父”也由此而来。塞尚的艺术第一个冲破了文艺复兴传统的束缚,使西方绘画进入一个新的时代。塞尚认为绘画是要寻求诸种关系的和谐,画家应该根据对自然的直接感受经过重新安排,在画面上创造“第二个自然”。他打破了传统的透视法,要求把客观物象条理化、抽象化,推动了欧洲的纯绘画观念的流行和形式主义绘画的发展。     

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.     

塞尚与现代艺术

美术史上以塞尚为一个分水岭,塞尚被称为"现代艺术之父"也由此而来。塞尚的艺术第一个冲破了文艺复兴传统的束缚,使西方绘画进入一个新的时代。塞尚认为绘画是要寻求诸种关系的和谐,画家应该根据对自然的直接感受经过重新安排,在画面上创造"第二个自然"。他打破了传统的透视法,要求把客观物象条理化、抽象化,推动了欧洲的纯绘画观念的流行和形式主义绘画的发展。     

绝处逢生:教育的生命诉求

生命缺失,是现实教育的一个病理性存在,在现实教育中,生命往往被遮蔽与忽视了。在这种异化教育中的教师与学生过着一种非人的生活,教师在由神到微人之间徘徊,学生在由物到上帝之间穿梭。然而人与动物有着本质的区别,人的生命在受到不合理的规训后,会努力寻找新的途径而决不任由生命受到残酷的摆布,要还教育以生命,让教育成为师生共度的生命场。     

德国难民义务教育入学政策浅析

由于中东问题的持续动荡,大批难民涌入欧洲。德国最开始针对难民持欢迎态度,导致德国成为难民申请避难最主要的目标国之一。在这一背景下,德国难民儿童和青少年人数也急剧上升。即使德国已拥有较为完善的针对移民子女义务教育的相关政策法规,但是难民学生人数的增加无异于对德国义务教育又提出了新的挑战。针对这一现象,德国各州根据本州自身情况,针对难民接受义务教育资格出台了相关规定。本文从规定出台背景原因,各州规定具体内容两方面入手,结合德国社会实际情况,浅析规定对德国社会的益处和可能存在的问题,最后进行总结以及对未来的展望。     

高更的艺术美学观初探

保罗·高更是 19世纪法国后印象主义绘画代表人物 ,他用感性的方法去观察自然、解释自然 ,形成了自己的艺术美学观。高更认为 :自然是和谐、统一和有序的 ;艺术能够促使人的感情升华 ,在艺术中是“激情第一 ,理智第二” ;艺术可以作为一种由感性通向理性、超越感性本身的途径。     

Developing beliefs about classroom motivation: Journeys of preservice teachers

This paper examines the developing beliefs about classroom motivation of eight preservice teachers during teacher education. The framework conceptualises the contexts in which preservice teachers participate and the filtering effect of prior beliefs. Qualitative analyses of multiple data sources reveal two distinct trajectories in the development of beliefs about classroom motivation. The findings highlight the importance of filtering prior beliefs, alignment and conflict of ideas, significance of self-motivating factors and power of emotions in developing beliefs about classroom motivation. Implications emphasize the importance of enabling preservice teachers examining existing beliefs and integrating these with learning during teacher education.     

幼儿美术教育的价值取向与实施策略

幼儿美术教育是幼儿园艺术教育领域的重要组成部分,受到幼儿园教育工作者的普遍重视.为保证幼儿美术教育促进幼儿积极情绪情感与学习体验获得之目标的实现,幼儿园教育者应重塑有关幼儿美术教育的价值取向,排除当前教育功利化的消极影响,积极改革幼儿美术教育的内容、途径与评价方式,并营造家园共育的良好环境,通过创设充满审美情趣的幼儿园美术环境与开展丰富的美术作品评鉴和赏析活动,对幼儿进行潜移默化的艺术熏陶,促进其审美意识与能力的发展.     

中国近代美术教育兴起的意义

中国的近代美术教育随中国的政治变革、文化的更新而产生。从发展史的角度看其意义:虽然从起步到发展的过程中历经坎坷,其不成熟的教育体系中也有许多缺憾,但是它为新中国成立后,中国的美术教育走向现代奠定了实践经验和理论基础。     

关于基础美术教育的思考

本文站在培养具有“创造意识”、“创新精神”和“实践能力”人才的角度,探讨基础美术教育如何适应现代社会人才培养观的需要。提出基础美术教育应加强艺术设计教育,重新整合教材内容,以充分发挥其在素质教育中的重要性。     

塞尚何以重要

保罗·塞尚是促使西方艺术从古典形态向现代形态转变的关键人物,他在《西方美术史》教学中是一个重点也是一个难点。本文结合西方艺术在19世纪末20世纪初的历史背景,通过塞尚的艺术发展历程追溯其艺术风格、艺术思想的形成过程及其重要意义,为这个教学内容提供一个清晰晓畅、简明扼要的脉络。     

成就艺术化的人生--试论学校教育中艺术教育的重要性

该文论述了艺术对人类生活的重要性、艺术教育本身应包含的内容以及艺术教育是对重视技术与理性的传统教育的补充,说明了艺术教育对学生以后的人生以及整个社会文明的重要影响.     

Six into One: The Contradictory Art School Curriculum and how it Came About

This article reports historical research which sought to understand the present‐day post‐secondary art curriculum through analysing its history in terms of changes in conceptions of art. It found that there have been six distinctive curricula: Apprentice, Academic, Formalist, Expressive, Conceptual and Professional. As a new curriculum has been introduced, it has co‐existed with much contained in a previous one. Most of the curriculum changes have taken place in the past 65 years. During this time, there has been a massive expansion in the education of artists and at the same time art schools accommodated first modernism and then post‐Duchampian aesthetics. A conclusion is that this has made for a very crowded curriculum. Moreover, despite there being an ever increasing choice of things a student might learn, it appears that there is nothing which all students have to learn. It can be problematic that one part of the curriculum is in contradiction to another part, and moreover this lack of a core raises fundamental, ontological questions about what art as a discipline is.     

论美育的目的和任务

美育的目的就是通过审美教育活动，促进个体的审美发展，推动个体的全面发展，进而达到个体自身及个体与社会和谐完美的发展。美育应以马克思主义美育学的理论作指导，通过丰富多彩的审美欣赏和审美创造活动，帮助个体树立正确的审美观，培养和提高他们对自然美，社会美，艺术美，科学美和技术美的感受，鉴赏，表现，创造的能力，从而造就一代有丰富个性，完美人格，全面发展的新人。     

论大学生的艺术教育与素质教育

艺术使人得以充实完美，懂得和实践艺术是大学生思维和心灵健康发展的基础。大学生在艺术参与过程中发展着自尊、自律、合作、自我激励、审美能力。这些无疑是大学生学习、生活成功的必要素质。艺术教育是素质教育的重要组成部分，也是提高大学生整体素质的途径之一。章在充分论证艺术教育对大学生素质和全面发展的重要作用的同时，对普通高校开展艺术教育活动的宗旨、对象、特点和内容提出几点建议。     

试论电脑美术在学前教师教育专业美术教学中的定位

随着现代文明的发展,电脑美术迅速普及到了社会的各个层面,渗透到美术教育领域。在学前教师教育专业,电脑美术教学应与专业特性结合,使它成为培养学生创造性思维与创业素质的载体,培养出更适合新时代需要的幼教人才。     

Refugee education and justice issues of representation,redistribution and recognition

This paper examines justice issues of representation, redistribution and recognition within a specialised secondary school for immigrant and refugee students in Queensland, Australia. Fraser’s three-dimensional model of justice – towards the ideal of ‘participatory parity’ – is drawn on to analyse interview data gathered from a study that sought to identify productive approaches to addressing cultural diversity. Through these lenses, injustices created by mainstream/dominant discourses within and beyond the school are highlighted. The paper details the school’s efforts to support greater equity for these students through educator advocacy, critically reflective practice and a centring of students’ perspectives. The significance of educators identifying and challenging the limits and exclusions of these discourses to support these efforts is highlighted. Fraser’s theorising is presented as useful in capturing, understanding and addressing justice and marginality in schools amid the broader social context where matters of justice are characterised by uncertainty, complexity and contention.     

中国近现代师范美术教育回望与反思

中国近现代的美术教育经历了一个世纪的风雨历程,但中国的师范美术教育总是没有摆脱专业美术教育的影响,没有形成师范特色。原因是其自身的培养目标不明确,执教者的艺术取向大于教育取向,社会动荡中的中小学美术教育和政治的运动使美术师资的培养不被重视。并指出中国师范美术教育的教育专业化道路。