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1.
This article revisits the critical realist ethnographic process that was adopted in my doctoral thesis, which was concerned with the experiences of ethnic identity of white British and Pakistani British children as they started kindergarten in the northwest of England. The article focuses on the ethnography that emerged from the visits that I carried out alongside staff to children's homes before they started kindergarten and on the way in which these were portrayed and analysed in the final thesis. I conclude that the process of observation, writing field notes and then producing a fuller ethnography produced a very partial representation of the empirical world. This was problematic in that, in critical realism, what is observed in the world of the ‘empirical’ and considered in the world of the ‘actual’ forms the basis for understanding the underlying causal tendencies which point to the underlying explanatory concepts in the world of the ‘real’. I argue, however, that more careful critical realist ethnography has the potential to be a powerful methodological framework which accepts the contested nature of reality but which, unlike postmodernism, provides a means of addressing possibilities and of moving beyond ‘undecidability’.  相似文献   

2.
In this article, I explore ‘the dream scene’, a mode of installation art described by art critic and art historian Claire Bishop to demonstrate how artistic practice can provoke participation and social engagement. I will focus on a concept entitled ‘the crypt’ that emerged in my doctoral research, and one that I continued to explore in a novel way in a collaborative event at Tate Exchange, in Liverpool, UK in March 2018. It is my intention that ‘the crypt’ can provide an example of what ‘a dream scene’ can look like and, more importantly, what a dream scene can do. Finally, I will attend to some of the implications that this type of engagement has for arts‐based educational research.  相似文献   

3.
Whilst a part of the fine art degree course is about teaching technical skills and learning from tutor/peer group crits, a larger part is about the facilitation of a ‘safe’ and structured space in which students gain the confidence to experiment with personal ideas, to hone a self‐critical reflection and understand who they are as individuals, before being cast out into the world as ‘artist’. In this article I examine the thought processes and decision‐making of one undergraduate female painting student. For this student, who struggled to find her own ‘grotesque’ female body image in the canon of art historical works or contemporary popular media, the spaces of the painting degree course created a frame for possible enactments of identity and desire, as well as for playing with roles and practices. Through a mix of interviews with the student, viewing her visual work and written narratives, I analyse how she was able to carve out a space for her visual representation within the institutional frame. My analysis reveals how this student uses the transitional spaces of the degree course to develop creative strategies through which to explore her sexual desirability and aesthetic self. As an individual who felt marginalised from the visual realm of the ‘body beautiful’, the degree course offered an important refuge where she could examine how she felt about her own body and develop a confidence and character to present her body to the world.  相似文献   

4.
In this empirical study, we investigate an early childhood education activity in mathematics on the concept of ‘pattern’. The children participating in the study attend an intermediate form of schooling in Sweden called ‘the preschool class for six-year-olds’, intended to facilitate their transition from preschool to school. Following a prolonged activity over 45 minutes, we analyse for what the children are supported in discerning and what they give as evidence of having discerned in and about patterns. The theoretical point of departure is variation theory, conceptualising learning as increased discernment. The results show that in terms of the important Vygotskian distinction between ‘pseudo concepts’ and ‘concepts (proper)’, the children's discernment and what they are supported in discerning are of the former kind. Pseudo concepts are discussed as integral to the institutional form of the preschool class and premised to be important to the child's further conceptual development.  相似文献   

5.
This article examines the political economic theories that informed the development of the first publicly funded art school in Britain, by the Select Committee on Arts and Manufactures of 1835/6. It begins by assessing these origins in the context of some recent experiments in art school pedagogy. It then responds to the challenge offered by Mervyn Romans in iJADE, Vol. 23, No. 3 (2004) to the argument that economic necessity was the motive for the establishment of publicly funded art education in Britain. I argue that in this instance, economic necessity should be defined according to the terms of political economic theories that offered ‘scientific’ reasons for the economic benefits of political change. I analyse this political economic discourse with reference to the examination of Martin Archer Shee, then President of the Royal Academy of Arts, at the Select Committee on Arts and Manufactures in 1836. I conclude by suggesting that the establishment of the first publicly funded art school in Britain in 1837, as it was distinguished from the Royal Academy of Arts, can be understood as part of a political economic experiment that was realised only when Henry Cole took charge of the School of Design as ‘The Department of Practical Art’ in 1852. This experiment depended on risking the models of professionalism in art that existed at that time, in order to advance new combinations of politics, economics and public pedagogy under capital, in ways that are no longer readily recognisable.  相似文献   

6.
Western cultural practices contribute to our understanding of the purpose of higher education and how we are to conduct ourselves in educational contexts. In this article, entitled ‘Seekers after truth?’, I analyse recent works of popular fiction which draw on and contribute to the idea that postgraduate research is a process of locating and amassing clues leading to the revelation or discovery of a truth. These novels re-inscribe the metaphor of the postgraduate researcher as detective or ‘seeker after truth’. This article considers the contradictory and productive meanings that arise from the trope of the researcher-detective. In addition, I argue that, although there are challenges in bringing the work of one field to bear on another, analyses of discourses which are not produced within higher educational contexts can nonetheless promote reflection on educational concepts. In this case, fiction enables us to consider ideas about what it is to do postgraduate research and to be a postgraduate researcher.  相似文献   

7.
In this article, the theoretical framework of developmental pedagogy is presented as a tool in studying and developing children’s knowing within the arts. The domains of art focused on are music, poetry and dance/aesthetic movement. Through empirical examples from a large‐scale research project, we illustrate the tools of developmental pedagogy and show how this perspective contributes to our understanding of children’s learning of music, dance and poetry. More specifically, we will analyse: (a) the important role of the teacher in children’s learning within the arts; (b) the importance of conversing when learning the arts; (c) what constitutes the knowledge, what we refer to as ‘learning objects’, to be appropriated within the three domains of art focused on; and (d) how to conceive of progression in children’s knowing within the arts.  相似文献   

8.
In this article empirical examples are used to connect theories about young people, contemporary art forms and learning. The first part of the article introduces the new forms of consciousness which, according to the youth researchers Birgitte Simonsen and Thomas Ziehe, characterize young people of today. In the second part, the qualities of contemporary art forms experienced by young people are connected to the theories of the French art critic Nicholas Borriaud regarding ‘relational aesthetics’. Finally, the third part of the article discusses four preconditions for learning, which were experienced as positive by the young people included in the empirical material: ‘the hook’, ‘the experience of otherness’, ‘social interaction’, and ‘meta‐reflection’.  相似文献   

9.
The article presents a curriculum‐sociological study of ‘religion’ in the classroom. More specifically, it is a study, inspired by Bernstein, Foucault and Bourdieu, that examines various forms of identity politics tied to ‘religion’ and ‘culture’ as these concepts unfold in the classroom in relation to knowledge production and social classification. Categories such as ‘Muslim’ and ‘Danish’ are tentatively broken down in a study of the classroom as a locus for knowledge production and the production of social difference. What knowledge of religion is produced? What spaces for subjects? What ways to be a pupil? And in what ways do ‘Muslim‐ness’ and ‘Danishness’/‘Christian‐ness’ figure in the social economy of the class? The classroom is studied as a micro‐political arena for relations and politics concerning minorities and majority. In this sense, ‘religion’/‘culture’ may be seen partly as knowledge clusters and partly as subject‐producing technologies colouring and shaping bodies. These knowledge clusters, in turn, are coloured by the social economy associated with the agents’ bodies, making it a productive and potent part of social classification. Categories such as ‘Muslim’ and ‘Danish’/‘Christian’ are in themselves to be understood as processes of social classification and distribution. Hence, ‘religion’ may be understood as a class‐producing practice as the latter is transformed and produced in the pedagogical field of practice.  相似文献   

10.
The new curriculum in art establishes two elements in the study of the subject in schools; one active, a doing and making element, and one more cerebral not necessarily involving the making of works of art. This second element has been designated ‘knowledge and understanding’ and ideally should be related to the practical activities in the classroom, but it raises the question how understanding is achieved in art and what form such understanding might take. So far as knowledge is concerned the matter is fairly straightforward for it is easier to itemise the things that can be known about art. With ‘understanding’, however, we have to ask how it might be judged or recognised; how it might manifest itself. Does it manifest itself in discussion about works of art, or in the making of works of art, or are there other phenomena which might indicate the presence of understanding?  相似文献   

11.
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12.
Many philosophers and sociologists of science have tried to understand the profound changes that have occurred in science, engineering and technology. In the first part of this paper, I present the work of one such scholar: Jerome Ravetz who, in collaboration with Silvio Funtowicz, has characterised what he calls ‘postnormal science’. The purpose of this theoretical part of the paper is to describe what characterises contemporary science and to formulate which competencies contemporary scientists need to act ethically. In the second part of the paper, I present and analyse the course ‘Philosophy of Science and Ethics’ that I have taught since 2005 to biochemistry, chemistry and nanotechnology students at the University of Copenhagen. The course is intended to prepare its participants for postnormal knowledge production that is scientific work that is embedded in a societal context characterised by uncertainty and conflicting values systems. With this in mind, I analyse the course by relating its content to the concepts that describe postnormal science, and I discuss how the course develops the ethics competencies that contemporary scientists need to work in postnormal science. I will also briefly discuss the relevance of the course for engineering students.  相似文献   

13.
In recent years, literacy problematics and different concepts (Cooperative Learning, Learning Styles) have taken up much of the school’s literature teaching. It has pushed discussions of the professional content into the background. This article takes up the content discussion for renewed debate, but now also with the aim of discussing the literary texts one can present to children in school. The research questions posed are: Which texts can justifiably be presented to children as part of teaching in school? What will happen if 10 to 12-year-old Danish school pupils are presented with classical and canonized texts by authors like Kafka, Proust and Dostoyevsky? How will they react? How will they read the texts? The point of departure for the article is an observational and interview study of a Danish 6th grade’s reading and analysis of classical and canonized adult literature. The study takes its starting point in three concepts rooted in theory, i.e. unpredictability, defamiliarization and entitlement, which are subsequently used to get to grips with the empirical part of the study. The article does not attempt to depict a hard-and-fast picture of all children being equally enthusiastic about the new texts. Instead it presents a picture of a class in which lively literary conversations are conducted. And irrespective of whether the child is one of those who enjoys the texts, whether the children are irritated, challenged or provoked by them, they are never experienced as trivial or irrelevant.  相似文献   

14.
This article offers an exploration of the art room as part of a broader project to consider the ways in which normative practices in art and design education can include and exclude students. The art classroom is explored here as a ‘disrupted space’ and one that can promote movement between the structures and boundaries that affect our ways of being in, and experiencing, the world. The art room offers a space for colonising otherness, as well as an ‘alternative’ or risky physical space, a refuge, or one with the potential to disrupt the dominant educational landscape.  相似文献   

15.
This article explores the deep‐rooted ‘night owl’ image of art practitioners and calls for attention on a consideration of the time for learning in art. It has been recognised that the human body has its own internal timings and knowing the ‘time’ pattern is important for better productivity in conducting creativity‐related activities. This study surveyed 230 art students and 251 management students in a university and examined if there existed any cross‐disciplinary differences in terms of self‐confidence of creative ability, preferences of a particular time for creativity tasks, and routine patterns for daily activities such as getting up, going to bed and working. The results reveal that the art students have more confidence in their creative ability than the management students; about 58 per cent of the art students feel more creative after 10 p.m., as opposed to 29.2 per cent of the management students; and there exist significant differences between the two groups in terms of what time they get up, go to sleep and prefer to work.  相似文献   

16.
‘Laddish’ behaviours in school have been identified as impediments to the academic progress of some boys and girls. This article provides and discusses empirical evidence to support Jackson's proposal in an earlier article that ‘laddish’ behaviours may act to protect the self‐worth and/or social worth of many boys, and that ‘laddishness’ may be prompted by both a fear of academic failure and a fear of the ‘feminine’. Drawing upon data from interviews with 50 boys across two secondary schools, the article focuses upon a key characteristic of ‘laddishness’, namely, the overt rejection of academic work. It is suggested that overtly rejecting academic work serves a dual function for some boys. First, it enables them to act in ways currently consistent with hegemonic forms of masculinity in their schools. Secondly, it provides an excuse for failure and augments success.  相似文献   

17.
The sociology of education in New Zealand, as in other countries, is affected by the dilemma inherent to the discipline, namely: is it a sociology of education or a sociology for education? In this article I analyse three factors in which the dilemma is played out: ‘cultural oppositionism’ in the indigenous (kaupapa Maori) approach, critical policy research and the role of empirical research. I argue that a sociology for education is fundamentally weakened by its politicisation, a flaw not helped by the difficulties in drawing political goals from moral imperatives. In contrast a sociology of education, which uses the strengths of empirical research and theoretical analysis, offers the better hope of renewal for, what is, in New Zealand, a moribund discipline.  相似文献   

18.
This article explores the participatory media practices used by the Center for Urban Pedagogy, a non‐profit community‐based media organisation in New York City. Taking as her point of departure a digital media investigation into bodegas in the south Bronx (neighbourhood grocery stores), the author explores how CUP uses the power of art and design to cultivate civic engagement among youth, in part by strengthening participants’ public speaking, digital media and research skills. In interviews with participants, the author finds that this work mitigates participants’ expressed fears of being dismissed as boring when speaking with public officials, a fear taken seriously through a reading of the work of child psychoanalyst D. W. Winnicott. Winnicott worried that the person who felt boring too often retreated from participating in civic life. If, argues the author, youth are to claim what Appadurai describes as the fundamental ‘human right to research’ in the public realm, then the civic as well as the psychological dimensions that enable participants to engage in transformative action must be strengthened.  相似文献   

19.
Current education policy discourse in Ireland, as elsewhere, is replete with reference to innovation, creativity and enterprise. Meanwhile, the ‘pedagogical turn’ is a dominant motif in current discourse in art practice, curating and critique, in Ireland and internationally. This article firstly considers some of the implications of the ‘turn’ as a concept in art and education. In that context, it goes on to address changing patterns of curriculum design, development and reform in Ireland. Next, it describes the evolution of Irish education policy over the past decade in the context of global experiences. The particular experience of art education in Ireland is then considered in the light of the curriculum culture and the wider policy discourses already identified. Finally, some implications of the Irish experience are addressed, in terms of art practice at the edges of art education, and art education at the edges of education practice.  相似文献   

20.
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.  相似文献   

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