| Co-Investigator(Kenkyū-buntansha) |
EBINA Atsuko Hirosaki University, Faculty of Education, Professor, 教育学部, 教授 (20302010)
KANEKO Yoshimasa Kochi University, Faculty of Education, Assistant Professor, 教育学部, 助教授 (20263965)
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| Research Abstract |
Making modelling activities conceived from materials, locations and suchlike a pillar of the school art curriculum, and having such activities revolve not around images of the mind, wherein reside things like meanings and concepts, but external images in which outside entities such as materials and location provide the basis for the student's imaginings, has resulted in a distinctly anti-intellectual framework in which ideas and emotions cease to be prerequisites for the production of art. As if to underline this nature of the curriculum, special emphasis is given to the "enjoyment" of modeling activities.
Against this backdrop, the addition to the curriculum of "things we want to communicate to each other" is conditional on the existence of knowledge of human beings and reality, so compared to what until now has been the guiding classroom philosophy for art education, this places it firmly in the camp of intellectual education, contrary to what one might expect. In any case, while the
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explanatory document may not offer any grounds for adding "things we want to communicate to each other", it does describe the addition as an important part of expression in terms of examining oneself and trying to understand others. As such it can probably be viewed as subjective expression involving a spiritual and ethical way of being. The attempt to make people grasp such matters of the mind through the modeling arts constitutes a revolution in art education, and one may also imagine, shows that school art education has finally woken up to its role as a humanities subject involving more than just art appreciation.
For the purpose of this research I assumed this to be the case, and took as my basic hypothesis the proposition that intellectual education can achieve the purpose of art education. By the purpose I refer here to the nurturing of "modeling capabilities" and cultivation of "artistic sentiment" specified in the curriculum. I considered whether this hypothesis is actually correct in terms of methodology, and ascertained its validity in practical terms. In other words, in an attempt to find a path through the difficulties confronting intellectual art education, I have made a theoretical study of the connection between this and specific methods and processes of instruction, starting with the conceiving and setting of subject matter, then ascertained the propriety of the practical methodology constructed. Secondly, by employing subject matter based on this, I have verified this theory to be realistic and effective in the classroom. Less
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