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1.
In many early childhood classrooms, visual arts experiences occur around a communal arts table. A shared workspace allows for spontaneous conversation and exploration of the art-making process of peers and teachers. In this setting, conversation can play an important role in visual arts experiences as children explore new media, skills, and ideas. The investigation of informal conversations during visual arts experiences will serve to improve understandings of the cognitive, imaginative, social, and affective components of young children’s creative endeavors. In particular, the exploration of conversational discourse contributes to understandings of conversation as an integral component of pedagogy in early childhood arts. As an exploration of the nature of conversation as pedagogy in early arts experiences, I present a ‘telling case’ (Mitchell 1984) featuring the collaborative work between a teaching artist and two young students as they explore and create together. The findings from this research have important implications for early childhood and art education teacher educators striving to develop supportive educational practices that will assist early childhood teachers in promoting supportive visual arts practices.  相似文献   

2.
The concept of the ‘creative’ in creative writing has a vexed history. This article explores the myths surrounding creativity and how they have influenced the way teachers have approached playwriting pedagogy. It reports on research into the teaching and learning experiences of students and teachers in secondary schools, focusing on the participants’ understanding of creativity and the impact this had on the pedagogical process. The research found that a counterproductive idealist view of creativity persists in classrooms: the teachers and students were operating on a conception of creativity and creative practice that reflected a belief in a mystical and unknowable creative process. This article explores the experiences of creativity through systems theory and argues that this approach can inform teaching and learning for creative processes and products. The article concludes that the teaching and learning practices were unnecessarily tentative and that knowledge of creativity theory would improve the students’ development of both playwriting proficiency as well as creativity-relevant skills. It suggests that demystifying the creative process should result in greater student proficiency and improved teaching and learning experiences for teachers and students.  相似文献   

3.
Abstract

One of the significant roles performed by the higher degree research (HDR) supervisor is to assist students to prepare their dissertations for examination. At a time when there is increasing interest in how the academy manages the transition of creative arts HDR candidates from apprentice to peer, there is also concern about the processes, practices, and policies associated with this largely under-researched area of research training. In a recent national Office of Learning and Teaching funded project, we investigated the policy expectations, expert and peer beliefs and expectations, and examiners’ practice around HDR examination, and canvassed the creative arts academic community for their recommendations on best practice in the examination of creative arts doctorates. An unexpected finding was the role of the HDR supervisor in relation to these key areas, and the impact of supervisors upon the examination of students’ theses. This article presents our findings with special reference to the role, understandings, and aspirations of HDR supervisors in the context, and process, of preparing their students for creative arts HDR examination.  相似文献   

4.
《教育心理学家》2013,48(2):167-180
The research program described in this article has focused on the work students do in classrooms and how that work influences students' thinking about content. The research is based on the premise that the tasks teachers assign determines how students come to understand a curriculum domain. Tasks serve, in other words, as a context for students' thinking during and after instruction. The first section of this article contains an overview of the task model that guided research. The second section provides a summary of findings concerning the properties of students' work in classrooms, with special attention to work in mathematics classes. I conclude with a brief discussion of implications of this research for understanding classroom processes and their effects.  相似文献   

5.
As we navigate through a new form of economic era where science, technology, knowledge and services will replace consumer goods as drivers of growth, and the workplace will increasingly value creative abilities, there appears a need for an educational paradigm shift. However, within an Australian context of increasing school accountability, a great deal of emphasis is placed on standards vis-à-vis improving literacy and numeracy skills for students, and measured by high-stake testing. This current Australian agenda is also part of an ongoing concern for improving the educational outcomes and life chances of boys. Through a social justice lens, this paper offers an exploration of how an innovative and creative arts curriculum has the potential to engage and enhance educational outcomes for all students, particularly for boys who are at risk of underachieving. First, this paper offers an explanation of the changing nature of workplace trajectories and the significance of the creative arts in this shifting economic era. Concurrently, as we prepare students for an unknown future, this paper examines how engagement in the creative arts has the potential to facilitate emerging understandings about learning while providing opportunities to develop learner engagement, motivation, cognitive capacities and academic achievement. Second, while avoiding essentialist accounts of gender and recuperative masculinity politics, we recognise that ‘some’ boys are underachieving in schools and that these boys are often from lower socioeconomic communities. We also recognise that many of these boys are disengaged and invest considerable energy performing masculinities that are in opposition to, and resistant to, the formal processes of schooling including participation in the creative arts. Third, we draw on findings from recent research, including a doctoral study, to discuss perceived barriers to boys' engagement with the creative arts and implications for educational practice.  相似文献   

6.
This paper reports a research study into the effects of rich, sustained visual arts instruction on 103 inner city 9‐year‐olds in two major US cities. We use the lenses of social learning theory, theories of motivation and self‐efficacy, and recent research on artistic thinking to investigate the programs' effects on children's self‐beliefs and creative thinking. The study enlisted a pre–post measure, treatment‐comparison group design along with structured observations of participant and comparison group classrooms. The arts students made significant comparative gains on a self‐efficacy scale and on an ‘originality’ subscale of a standard creativity test. These effects are attributed to children's engagement in art and to the social organization of instruction including reinforcing peer and student–adult relationships. Relationships between self‐efficacy beliefs and tendencies to think originally are explored.  相似文献   

7.
Most teachers will come into contact with pupils who are experiencing or have experienced a loss or bereavement and they often feel ill equipped to offer the kind of support they would like to. This paper offers insights into the nature of this area and a specific approach through which children may be supported. The writer discusses some research and thinking on loss and bereavement and the implications of this. She presents two case studies of work with individual students using the creative arts. She also discusses the connections between behavioural problems, loss and the use of the arts in supporting the students.  相似文献   

8.
Abstract

The purpose of this study was to examine student perceptions of the learning environment in their program major and general education classrooms. The participants were 870 undergraduate students majoring in engineering, fine arts, education, economics and nursing programs at a university in Thailand. We found significant differences in the perceptions of the classroom learning environment across various disciplines. Engineering and economics students perceived the learning environment in general education classrooms as more cooperative than the learning environment in program major classrooms. Fine arts and nursing students perceived greater involvement among students in the program major classrooms than in the general education classrooms. Our findings contribute to the body of research on inter-disciplinary differences in classroom learning environments in universities and the ways in which these differences may impact student learning outcomes.  相似文献   

9.
Purpose: To address the dynamic challenges associated with developing a globally sustainable society, numerous scholars have stressed the need to cultivate the imagination of agricultural students. This study aimed to explore how pictorial representations stimulate the imaginative capacities of agricultural extension students. Design/methodology/approach: We adopted a focus group method that enabled in-depth discussions amongst selected participants. Three focus group discussions were held with 15 student participants in Taiwan. Regarding the pictorial representations, a series of works from three great artists were selected, namely Jean-François Millet, Pablo Picasso and Joan Miró. The works were chosen. Findings: The results indicated that different indicators of imaginative capacities were stimulated by different types or combinations of pictorial representations. For example, realistic visual stimuli were beneficial for cultivating student intuition of problem solving. The atmosphere and colour of visual stimuli affected student sensibilities. The abstract stimuli and remote analogues were beneficial in generating original ideas and breaking design fixations. These stimulations occurred largely according to encountering problems and project needs. Practical implications: These findings can assist agricultural educators in developing imaginative curricula and instructional strategies and might increase students’ creative performance. Originality/value: This research provides intriguing insights into the complexities of human imagination. First, the present study developed a novel approach to assess how pictorial representations stimulate the imaginative-capacity indicators of agricultural extension students. Our results indicated that various indicators were stimulated by various types or combinations of pictorial representations, and how and why these stimulations occurred largely depended on design problems and project needs.  相似文献   

10.
绘画的创造才能是由多种能力、多种因素构成的 ,心理因素是其中重要因素之一。本文论述的基本点是如何从心理学的角度探讨绘画艺术创造性才能的培养 ,特别是高等美术基础教育中的绘画艺术心理具有的普遍性和特定性 ,开启良好的艺术心理素质对个人艺术才能的形成是有非常之意义的  相似文献   

11.
While there is a growing body of scholarship on the creative industries and on the career trajectories of graduates from creative industries programmes, there has to date only been a limited amount of research that examines in detail, the careers of fine arts graduates. Fine art is arguably the least ‘vocational’ of creative disciplines, in that there are relatively few employers that seek to employ fine artists as fine artists. If fine arts graduates are not employed in their chosen field – that is, in the ‘Creative Trident’ terminology, in a core creative occupation – how do their careers parallel or differ from those of other creative graduates? Do they find employment as ‘embedded creatives’, using or applying their experience and practice in sectors beyond the core creative industries, or as ‘support workers’, enabling and facilitating the creative work of others? Do they experience portfolio careers? And how do their artistic training and attitudes to creativity affect their working relationships and experiences? This article draws on rich qualitative data about the experiences of a small group of graduates (including the author) who all graduated from the same course at the same institution in the UK in 1994, to provide some insights into the career paths and trajectories of a sample of fine arts graduates.  相似文献   

12.
On the whole, the creative arts have not been used well in the academic study of religion in religious education classrooms. This paper contends that, since throughout history the creative arts have been used successfully in the passing on of religious beliefs, so today the creative arts should be an integral component of religious education teaching rather than mere peripheral activity.  相似文献   

13.

Most teachers will come into contact with pupils who are experiencing or have experienced a loss or bereavement and they often feel ill equipped to offer the kind of support they would like to. This paper offers insights into the nature of this area and a specific approach through which children may be supported. The writer discusses some research and thinking on loss and bereavement and the implications of this. She presents two case studies of work with individual students using the creative arts. She also discusses the connections between behavioural problems, loss and the use of the arts in supporting the students.  相似文献   

14.
This article examines an ESL English language arts teacher’s conceptions of linguistic diversity, literacy learning and her role as teacher in a culturally and linguistically complex classroom. It further examines her processes of learning about, and developing curricular and pedagogical innovations to meet, her students’ learning needs. The successes and paradoxes of, as well as constraints to, those efforts are explored. The paper uses Ball’s theory of generativity and recent research on effective English language arts instruction in culturally and linguistically complex classrooms to facilitate analysis. It offers some implications for teachers’ development of generativity for teaching culturally and linguistically diverse students.  相似文献   

15.
ABSTRACT

Teachers are increasingly expected to employ integrated technology practices in their classrooms to help students learn more, better, faster and cheaper. Unfortunately, teachers generally have not been provided education or training on how to employ these technology practices. Attempting to get integrated technology practices into pre‐service and in‐service teacher education, especially in reading and language arts, is at the core of this article. An overview of technology integration is provided along with discussions about: (a) goals and content for teacher education courses or training, (b) research on integrating technology into reading and language arts education, (c) integration without education and training, and finally (d) issues that affect integration.  相似文献   

16.
ABSTRACT

Despite the growing importance of digital portfolios for justifying creative work and study opportunities, little is known about arts students’ creative appropriation of online portfolios in secondary school. In particular, there is a research gap concerning the challenges that young black women face when curating portfolios as visual arts students. This paper describes the key challenges that three such government school students negotiated when taught to creatively appropriate an online portfolio software for curating showcase visual arts e-portfolios: In formal contexts, art students’ e-portfolios are strongly shaped by assimilatory norms. Visual arts students who want to develop portfolios that follow local or global crafts and fandoms must negotiate their low status in, or complete exclusion from, the national syllabus. Students in under-resourced school and home settings may already be using other online portfolio solutions that suit their purposes better than the particular software prescribed in arts lessons. Online portfolios are public by default and young women negotiated this risk by using pseudonymous self-presentations. Each student's classroom practices were also constrained by a technology selected for its minimalist exhibition aesthetic. Students curated showcase exhibitions, but the prescribed service did not facilitate a wider exploration of contemporary digital practices.  相似文献   

17.
Using an observation study in Norwegian lower-secondary school classrooms this paper explores how subject matter and students’ real-world experiences are linked within the use of examples in teaching. The theory of “mimetic didactics” claims that giving students the possibility to interpret examples as both subject matter and something that is relevant to their own lives becomes a possibility through imaginative “as-if” experiences. The study finds that “as-if” experiences in the data are created by identifying with others and through a context-dependent knowledge base. The topics in the examples actualise being human within the political, economic and existential realm and offer possibilities to make knowledge relevant for the students’ future. The study’s contribution to classroom research comprises new concepts on the content aspects of classroom talk: the questions of knowledge accumulation and purpose.  相似文献   

18.
This article engages with gender, performance and embodiment in drama classes in a Swedish context. It presents a case study of how instructors at an academy of dramatic arts integrate theoretical knowledge on gender into their students’ creative and pedagogical practice, as well as an analysis of why this approach works. Visualisation of how the body is used on a concrete level offers a departure from traditional uses of theory as a way to challenge reality; instead the research describes how theory can be used in concrete didactic bodily movements, thus bringing the body, which is often overlooked in studies of pedagogy, into a discussion on knowledge acquisition.  相似文献   

19.
This article reflects on the purposes and functions of examination criteria for Masters' research degrees with creative practice components. With a particular focus on dance projects that incorporate both a performed and a written expression of the research, we consider how a rubric for creative practice research degrees might address formative and summative assessment purposes and clarify goals for learners, supervisors, examiners and academic institutions. Our discussion is situated within a South Pacific postgraduate learning context and is informed by post-colonial and post-Cartesian concerns over how dance knowledge is recognized in global academia. Much current literature has argued how particular research methods and diverse approaches to the presentation of research outputs can destabilize dominant, logocentric methods of valuing knowledge. Our queries extend this argument into the actual quantifiable measuring and evaluation of such knowledge, which Masters' grading necessitates in order to maintain its value as an institutional currency. This leads to the reflections on the rubric for Masters' degrees with Creative Practice components that is currently used within the Dance Studies programme of the University of Auckland, and how this rubric might be seen as contributing to an evolving ‘cultivated’ community of practice within postgraduate examination. The rubric continues to grow through ongoing consultation with postgraduate students, supervisory staff, internal and external examiners and international experts in creative arts academia. Our reflections extend the argument for how creative practice might be further rationalized within academia.  相似文献   

20.
In this article we examine how 19 students in creative arts disciplines in two universities experience work in not‐for‐profit and public sectors. We explore the notion of transfer from university education and suggest that ‘creative transfer’ is taking place, often in more than one direction. Students draw on their life‐wide experiences as they deem appropriate in new situations and also vicarious learning from university settings. The extent to which creative transfer happens is, we suggest, tempered by relational affordances between the individual, the people they encounter, the opportunities they perceive in new situations and the value or reward perceived in the new work environment. These findings have implications for supporting students in practice‐based learning and work settings and we provide some recommendations for maximising the potential for multi‐directional transfer.  相似文献   

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