Aesthetics (Teaching and Learning)
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- Alexander, H. A. (1986). Eisner's aesthetic theory of evaluation. Educational Theory, 36(3), 259-70.
The author argues that Elliot Eisner's assumptions underpinning his theory of educational evaluation are problematic. Nevertheless, if the role of artistic thinking in the genesis of educational concept were developed more fully, his approach could bear considerable fruit.
- Baca, J. F. (2005). The human story at the intersection of ethics, aesthetics and social justice. Journal of Moral Education, 34(2), 153-169. Permalink
Murals tell specific stories, but, because they are created from many specific stories, they also tell a common story, a story of the things that connect people to each other. In this way, muralism is an antidote for the hatred and disconnectedness in society. Moral education is participatory. It is a creative, critical and analytical process. This document shares the authors' personal experiences of moral education.
- Bates, R. (2012). An anarchy of cultures: Aesthetics and the changing school. Critical Studies in Education, 53(1), 59-70.
It is the contention of this paper that schools are currently sandwiched between demands of the economy on one side and increasingly fundamentalist communities on the other; that schools need some degree of autonomy from each; that the greatest challenge of the century is how we can live together despite our differences; and that the only way of successfully meeting this challenge is for schools to put social justice at the heart of their activities, activities that are best informed by the "cultivation of reasoned imagination"--that is, by an "aesthetic" approach to the development of intellectual, social, cultural, economic and personal identities.
- Beardsley, M. C. (1975). Semiotic aesthetics and aesthetic education Journal of Aesthetic Education.
Author considered the range of questions involved in aesthetic education focusing on the categorization of art works as carriers of meaning in the broadest sense, signs.
- Du Terroil, A. M. (1975). The aesthetic experience: An historical review and behavioral hierarchy. Permalink
This analysis of aesthetic appreciation provides a theoretical model to help teachers recognize the aesthetic level at which students are operating. The purpose of the study is to explain to art educators how to expand a student's capacity to appreciate works of art. The study is presented in two parts. Part I describes and evaluates theories of aesthetics from the early Greek philosophers to present day theorists. Part II delineates three dimensions of aesthetic response. The first dimension, "perception," includes the attention of the observer and his orientation toward the art object. The second dimension, "cognition," includes meditation on the work and an integration process whereby the significance of the work is internalized. The final dimension, "modification," encompasses assimilation of the aesthetic experience and a final transformation process which reorders or reinforces the value system of the viewer in response to the confrontation. References from the fields of psychology, aesthetics, philosophy, and art appreciation are included.
Discussed the process of aesthetic consciousness and how to retain it and understand what it is.
- Hamblen, K. A. (1988). Approaches to aesthetics in art education: A critical theory perspective. Studies in Art Education, 29(2), 81-90.
Provides a brief background on current developments in aesthetics and the contested concepts of three approaches to aesthetics: (1) historical philosophical aesthetics; (2) aesthetic perception and experience; and (3) aesthetic inquiry. Concludes by proposing a fourth approach based on critical theory.
Article surveyed the historical roots of our current concern with aesthetic education from the 1870s until the present.
- Kaelin, E. F. (1989). An aesthetics for art educators. Permalink
Discipline-based art education (DBAE) is a movement to incorporate aesthetics, studio production, art history, and art criticism into a curriculum of instruction in the arts. The 10 essays in this book focus on the role of philosophical aesthetics in the discipline of art education. Divided into two parts, part 1 of the book is an attempt to show the possibility of applying philosophical aesthetics as a foundational study for art education. Five essays are included: (1) "Aesthetics Yesterday and Today"; (2) "The Educational Function of the Fine Arts"; (3) "Isness and Oughtness: Reasoning about Values"; (4) "Aesthetics and the Teaching of Art"; and (5) "Why Teach Art in the Public Schools?" Part 2 is written from the view that the neglect of phenomenological philosophy in the United States has precluded the use of some very powerful analytical techniques. The essays include: (6) "Aesthetic Education: A Role for Aesthetics Proper"; (7) "'Epoche' and Relevance in Aesthetic Discourse"; (8) "An Existential-Phenomenological Account of Aesthetic Education"; (9) "Between the Innocent Eye and the Omniscient Mind: Phenomenology as a Method for Art-Critical and Aesthetic Analysis"; and (10) "Three Themes for Determining a Measure of Aesthetic Literacy."
- Kim, J. (2009). Dewey's aesthetics and today's moral education. Education and Culture, 25(2). Permalink
This article opens by raising a need to examine today's moral education for a new century. John Dewey insists that "arts are educative," so that "they open the door to an expansion of meaning and to an enlarged capacity to experience the world." This insight retains remarkable implications for today's moral education. Aesthetic experience is holistic, taking one to a deeper understanding and more enjoyable appreciation and investigation of everything that goes into human meaning making, regardless of whether it is artistic or not. For Dewey, education needs aesthetic elements such as responsiveness, an emotional reaction supplying a delicacy and quickness of recognition, sensitiveness, and susceptibility. Dewey also states that the individual has a natural tendency to react in such an emotional way, but this natural disposition requires cultivation, and aesthetic experience affords the training of an emotional reaction and responsiveness. First, the author explores Dewey's aesthetic theory in relation to moral education. Then, she addresses what difference the characteristics inherent to aesthetic experience--feelings and emotions, imagination, and embodiment--make in moral education for a new century.
- Medina, Y. (2012). Critical aesthetic pedagogy: Toward a theory of self and social empowerment Peter Lang New York.
This book introduces a progressive type of education called Critical Aesthetic Pedagogy. This pedagogy utilizes the arts to promote critical learning, and incorporates particular types of aesthetic experiences into pedagogical practices to increase students' social empowerment and commitment to social justice. The first coherent body of work that marries critical pedagogy and aesthetics, the book guides theory and practice for teacher educators interested in infusing their critical pedagogical practices with the arts. It also proposes tangible reforms in the public school system that will enable a critical aesthetic process to take root and thrive. "Critical Aesthetic Pedagogy" can be used in upper-level undergraduate and graduate teacher education and art education courses. It can also help P-12 teachers and art organizations to successfully develop and carry out critical aesthetic practices at all levels. In addition, it provides a rationale for school administrators, community leaders, and educational policymakers for embracing critical aesthetic practices as a way to improve the education of all children.
- Uhrmacher, P. B. (2009). Toward a theory of aesthetic learning experiences. Curriculum Inquiry, 39(5), 613-636. Permalink
The purpose of this article is to reveal ways to provide the opportunity for students to have aesthetically engaged learning experiences. Using John Dewey's ideas from "Art as Experience" as a framework, the author uses aesthetic theory to show how such ends can be reached. In addition, he suggests six themes that teachers can draw upon to help students attain engaged learning experiences. The themes, which are elaborated upon fully in this article, include connections, active engagement, sensory experience, perceptivity, risk taking, and imagination. In addition to providing engaged learning, the upshot of providing aesthetic learning experiences is likely to include student satisfaction, an increase in perceptual knowledge, episodic memory retention, meaning making, and creativity and innovation.
- Weitz, M. (1972). What is aesthetic education? Educational Theatre Journal.
Aesthetic education aims at the creation of the child as a total being in which receptivity to the arts and engagement with them become equal with the demands of the intellect and their recognized disciplines.
- White, B. (2007). Aesthetic encounters: Contributions to generalist teacher education. International Journal of Education & the Arts, 8(17), 1-28.
This article describes the learning experiences of three pre-service teachers within a university-level course entitled "Aesthetics and Art Criticism for the Classroom." Discussion is focused on the nature of the meaning-making that emerges from aesthetic encounters and its educational value. Specifically, what can pre-service generalist teachers learn from aesthetic encounters that they may ultimately apply in their own classrooms? For evidence of emergent meaning-making I rely on examination of what I call "aesthetigrams". These are essentially maps of one's encounter with an artwork. They provide a basis for reflection on the encounter, for the student and for myself as the instructor, as well as insights into the nature of aesthetic learning.
- White, B. (2011). Embodied aesthetics, evocative art criticism: Aesthetically based research. Studies in Art Education: A Journal of Issues and Research in Art Education, 52(2), 142-154. Permalink
This study introduces one approach to arts-based research, one that emerges from aesthetic encounters and ensuing art criticism. Examples are drawn from one preservice teacher's attempts to write art criticism, both discursive and evocative, based on her personal responses to a chosen artwork. The articulation of her responses is a form of research into herself as a teacher-to-be, her capacities for meaning making in relation to artworks, and her abilities to share that discovered meaning. The study concludes with a discussion of the difficulties inherent in that task.
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