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1.
刘良洪 《湖北广播电视大学学报》2007,27(4):46-47
纵观中国近现代的艺术教育,让人发现一个所谓的艺术教育“滑坡”现象。根源于这种现象的是国人的重理轻文、重“科举”而轻人文。这种教育环境下培育出来的“人才”恐怕也很难成为现代艺术界所需要的那种富有情感天分的精英,而更多的则是应试人才罢。本文旨在以艺术教育为例,阐述艺术教育改革的必要性和迫切性。 相似文献
2.
袁玲 《南阳师范学院学报》2012,11(7):98-100
工艺美术与艺术设计学科之间,有着种种的历史渊源。从表面来看,随着经济文化的快速发展,传统的工艺美术学科不能涵盖整个发展的现代造型艺术,而更名为艺术设计学科,工艺美术变成艺术设计下设的一个专业方向。但工艺美术与艺术设计两者之间并不是简单的顺延交替或者是涵盖包含的关系,它们彼此之间各不相同,既有交叉又相对独立。工艺美术与艺术设计两者之间不可替代,在现代社会中,我们更要重新审视发展传统工艺美术,弘扬民族文化,全面提升我国的文化软实力。 相似文献
3.
刘永昌 《陕西教育学院学报》2011,27(3):119-122
传统教育注重智力和学科能力的发展,缺乏情感态度与价值观及人格的养成,就连艺术教育也是以技能和专业知识为目标而缺少审美、情感和人文内容。基础教育实际存在不同程度忽略甚至否认艺术教育的重大价值的倾向。近年来教育科学研究的重大发现,使人们重新认识和审视艺术教育的价值。在教育教学中渗透艺术性、融合艺术形式,特别是通过综合性的艺术教育模式,能使学生的人格、智力、人文素养等方面得到整合发展。 相似文献
4.
社会上存在很多对艺术教育的迷思,比如,艺术与教育的关系是什么?艺术是否可教?艺术完全是灵感的产物吗?艺术是否值得被教?艺术教育的作用是什么?符号理论可以表明艺术教育的可行性及价值。我们不应该将艺术仅仅视为达成某一具体目的的手段,而应该将其既看作目的,又视为手段。艺术完全是灵感的产物这一假设是没有根据的,学生的感觉回应和情感反应可以被教育,艺术教育是可能的,也是有价值的。 相似文献
5.
林曦 《福建工程学院学报》2008,6(5)
基于知识更新快速、学科交叠的现代教育,探讨培养高素质的艺术设计人才的教学。认为艺术设计专业美术基础教育要同样重视文化知识学习和技能训练;艺术学习要有轻松自由的游戏心态;培养多方面的兴趣爱好,以积极的态度关注艺术与生活;在专业学习与借鉴中,逐步形成具有时代精神的个性风格;培养健康自信的人格;积极参与比赛,提高专业素养。 相似文献
6.
Attwell Mamvuto 《Teaching Artist Journal》2019,17(1-2):34-44
African art education discourse is deeply enshrined in community visual arts and its programming. This article is an analytical narrative documentation of anecdotal historical debate on art education in Zimbabwe. The referential data-based entry provides a historical analysis of the evolution of art education and its programming as a post-CIET phenomenon. The CIET observations provide points of departure for continued debate on achievements and areas requiring further interrogation in art education and community visual arts in Zimbabwe. I conclude by coining a road map for art education in the quest for comparable programming against regional and international best practices. 相似文献
7.
Kyong-Mi Paek 《British Journal of Sociology of Education》2015,36(6):915-933
Over the past decades, many art advocates have argued for the intrinsic value of learning in the arts. Nevertheless, the arts continue to struggle to find a secure place within the school curriculum. Concerned about the arts’ impact on classroom practice, this paper aims to cast light on diverse realities constructed by art teachers as insiders in marginal contexts. This will be done by reviewing a critical cultural inquiry into art education practice in South Korea. Two interpretive analyses of individual teachers’ life stories have disclosed the practitioners’ relationships to established power dynamics between the dominant practice and a developing alternative practice network within the system. The discussion focuses on the inherent contradictions and opportunities identified within the context of Korean education. This paper provides cultural resources for conscious professional transformation of practitioners and contributes to broader discussions on the socio-educational status of art in education. 相似文献
8.
Robi Kroflič 《Pastoral Care in Education》2013,31(3):263-280
Postmodern pedagogy is constantly confronted with Lyotard’s condemnation of grand narratives found in the philosophy of modernity, on the basis of which basic patterns of moral education were developed. In searching for new answers to the question of how education can prepare individuals for life in an age of late modernity, this paper presents the idea of approaching identity and moral development through the inductive educational approach and highlights the importance of education through the arts in the latter, especially in view of the theoretical notion of aesthetics as ethics of postmodernity. In an age in which artistic creativity is deemed less important than acquiring competences aimed at technological development, it is crucial to provide a clear answer as to why and how different art practices may exert an influence on the full development of a child’s personality. In order to demonstrate the meaning of artistic experience in general education, one must seek arguments supporting the intrinsic value of the artistic experience. This paper stresses the meaning of artistic experience as a means of communication providing both the artist and the art recipient with the opportunity for personal fulfilment. In this context, Aristotle’s concept of mimesis and its role in education through the arts is emphasised as part of the comprehensive inductive educational approach. The argument is illustrated with some qualitative data from the implementation of a project in Kindergarten Vodmat, Ljubljana, Slovenia, using the inductive educational approach and art as a tool for cultural enrichment of pre-school children. 相似文献
9.
20世纪中国文艺思潮的本质，就是走向现代性，在现代文学里体现为反专制、争民主。巴金文艺思想的本质是以人性自由为价值观出发的写真实论。即真与善。真是巴金文艺思想的生命，是核心，善是巴金文艺思想的基点，是价值。凡是善被遮蔽的时候，真的追求就特别突出，凡是善正常体现的时候，他的这种真的追求就失去了那种斗争的焦灼感、冲动感。与茅盾、郭沫若比较，巴金的真实观是感受真实观，巴金文艺思想的历程，也侧写了中国现当代文艺思想的历程。 相似文献
10.
Manuel Belver Ana Ulln María Acaso 《The International Journal of Art & Design Education》2005,24(1):93-99
In this article, a basic controversy for art education in Spain is analysed, and its antecedents in thought and social and artistic practices are reviewed. The controversy refers to the question whether school art education should be oriented towards the fine arts or towards the manual arts. Consequently, which should be the cultural model of reference in contemporary art education? These two controversies are considered as two dimensions whose poles have, to a certain extent, the capacity to articulate various educational trends. The values associated with each pole of each dimension are discussed: for the first dimension, creativity, originality, self‐efficacy and the value of accomplished work; for the second, increase of cultural capital and intercultural solidarity. Finally, the possibility is considered of elaborating educational models that would integrate the various mentioned educative values. The question is raised of the compatibility of these educational values, and it is pointed out that art education has the capacity to generate educational spaces of interchange and dialogue in which to combine languages and perspectives that can contribute to human development and to the mutual coexistence of social groups. 相似文献
11.
孙平 《扬州大学学报(高教研究版)》2011,15(1):38-41
学习自由是高等教育的基本原则之一,近几年来越来越受到学者们的重视。从历史学的角度来探讨学习自由的演变轨迹,可以将其分为早期实践期、正式形成期、大发展时期三个历史阶段,进而得出以下结论：学习自由既是一种思想,也是一种价值目标;学习自由是一种相对的自由,对学生而言,在享受学习自由的同时,还要履行相应的社会义务和责任;学习自由的历史发展演变折射出高等教育的理念一直处于不断发展变化之中。 相似文献
12.
优绩主义（meritocracy）是现代社会进行选择与分流的基本原则，“追求成功”是现代社会及学校教育与之相适应的文化规范。本文基于一所重点中学高三教育的经验资料，以“成功伦理”概括其凸显的育人价值取向，从高三教育对于“成功”的意义诠释、对学生相关价值观念和性情倾向的塑造、所建构的人际交往规范三个方面，呈现并辨析了案例中学对于“成功伦理”的理解与培育。在个体性竞争的选拔制度的引导下，“追求成功”的价值取向已不仅是学生个人学业上的目标，更是被高三教育深刻地构建成为学生适应融入社会生活时应具备的观念共识。然而，优绩主义内在的理论悖谬使“成功伦理”有违教育的正当价值，高中应当为学生超越“成功伦理”创造可能。 相似文献
13.
Richard Hickman 《The International Journal of Art & Design Education》2007,26(3):314-324
This article is an account of a pilot project designed to help art & design teachers in training use their particular strengths to report on classroom observation through visual art. The project is underpinned by the notion that the arts provide a particular way of knowing and that teaching should be student‐centred. I argue that if the arts can be seen to be a particular way through which we can understand the world then they can be used as both a pedagogical tool and possibly a vehicle for collecting data and reporting research. A group of 19 student teachers of art & design were given tasks which involved reporting on their school placement experience via a visual art form rather than through a text‐based form such as writing. The resulting images were discussed in a seminar and a sub‐group of three students was purposely selected for interviews. It was found overall, the students valued the approach taken and that they gained valuable insights into their professional placements through adopting an art‐based approach to educational research. As a result, I advocate in this article a greater use of arts‐based approaches to research which explores educational experience, not only in the arts, but in all areas of teaching and learning. 相似文献
14.
高职高专教育是实现我国高等教育大众化、培养应用型人才的重要力量。高职院校艺术专业随着高职教育的兴起而发展起来．由于起步较晚及其他原因．艺术专业的素描教学一直沿用以前的传统教学模式和教学理念,只停留于对物象作客观记录与描绘的训练方式,忽略了对学生创造性与审美能力的培养。随着现代设计教育的发展、教育观念的更新以及培养目标不同等,明显不能适应当今高职艺术教育的新趋势。所以,我们应根据高职教育办学宗旨．以就业为导向,以培养能力为核心,从教育理念、内容、方法和手段上逐步构建与普通综合院校艺术专业有所区别、又能充分体现高职艺术教育鲜明特色的素描教学体系。 相似文献
15.
艺术与自由的本质也许只是社会意识形态所“强加”或反映的一种形式,以文学这个特殊艺术对象为例,可以管窥当代西方文论中艺术与自由的本质关系：由外及内,从艺术与时代、历史的关系谈论艺术是否具有自由;由内及外,假定存在着“艺术”这样一种东西,看它是否真的具有自由性。可见,艺术与自由不可能有所谓的终极所指,永远只是处于能指的滑动中。 相似文献
16.
Gordon Bell 《The International Journal of Art & Design Education》2000,19(1):10-19
This contribution is derived from an address presented to the NSEAD Annual Conference (1999)‘Towards a New Arts Education’ in association with Bretton Hall, a specialist institution for the arts and education, to mark the 50th anniversary of its Foundation in September 1949. [1] An analysis of the role of art and design education is set in the context of an arts related curriculum and the case for an interdependent, teachable and accessible programme is outlined. Proposals for the maintenance and development of a future for arts education is tested against certain key questions and a theory of ‘good teaching’ in the arts 相似文献
17.
Nadeem Omar Tarar 《The International Journal of Art & Design Education》2008,27(3):332-345
With the formation of Pakistan as a modern Islamic republic in 1947, the institutions of art and design education were transformed under the sway of modernization theories of development. A conceptual and physical infrastructure was put in place to modify existing institutions and to create new ones for encouraging modern art and artists in the country. The 1950s saw major developments taking place in the former Mayo School of Art which was upgraded to the National College of Arts to train designers, artists and architects to meet the requirements of a new nation. The distinction between arts and crafts formed the discourse through which the changes in art education were articulated. The process of change unleashed in art education is emblematic of the changes taking place in the other sectors of economy and culture. The Bauhaus influence which formed the initial impulse to bring artists and craftsmen in the service of national industry gave way to the competing fine art movements in painting resulting in abandoning the synthesis of arts and crafts envisaged in the earlier approaches to art education. 相似文献
18.
杨诚德 《临沂师范学院学报》2001,23(3):125-128
科学教育与艺术教育在人类教育中是辩证统一的两个方面，科学渗透着丰富的艺术思路，艺术蕴含着缜密的理性逻辑思维，肯定或否定、重视或忽视任何一方面都是不完全的教育。应通过形象教育、情感教育、价值教育等途径实现科学教育与艺术教育的统一。 相似文献
19.
民族民间艺术教育的价值 总被引：1，自引：0，他引：1
杨广敏 《集美大学学报(教育科学版》2007,8(1):62-66
民族民间艺术是艺术的母体,更是宝贵的艺术教育资源。长期以来,艺术教育是以西方艺术教育模式为主导的,表现为对自身艺术资源的漠视。中国特色艺术教育体系的建立,应以文化自觉为前提。缺乏对民族民间艺术尊重,艺术教育将是失去使命感与精神性的肤浅的教育。 相似文献
20.
Cynthia B. Loza Allan B. De Guzman Regalado T. Jose 《The International Journal of Art & Design Education》2008,27(2):124-132
This article presents the first segment of a qualitative study that explores the feasibility of integrating traditional arts in Philippine art and design education. The views of educators on traditional arts were sought to provide an impetus for the study and a springboard for discussion regarding the relevance of traditional Filipino arts in a predominantly Westernised educational system. The educators’ views and opinions on the central question, ‘Why and how should the study of traditional Filipino arts be integrated in the art and design programme?’ will be used to guide a trial integration of the learning of traditional arts in tertiary art and design classes. They will form part of the multiple perspectives that will be gathered from various sectors throughout the course of research. This phenomenological study, on the whole, seeks to uncover the potentials of traditional arts as a rich resource for learning, particularly for students of art and design. 相似文献