[雙語(yǔ)翻譯]外文翻譯--美術(shù)教育中的哲學(xué)關(guān)注（英文）

1、 Procedia - Social and Behavioral Sciences 51 ( 2012 ) 489 – 494 1877-0428 © 2012 Published by Elsevier Ltd. Selection and/or peer review under responsibility of Prof. Ay?e Çak?r ?lhan doi: 10.1016/j.sb

2、spro.2012.08.194 ARTSEDU 2012 Philosophical concerns in fine arts education Nur Balkir Kuru* Asst. Prof., Kadir Has University, Faculty of Art and Design, Cibali/34083, Istanbul/Turkey Abstract Due to the rapid changes i

3、n society it is increasingly important to ask why we teach the way we do, which teaching methods we should adopt and which we should reject or abandon. As a result, it is crucial that philosophical concerns are integrat

4、ed into art and design curricula. Novel interpretations and applications of teaching methodologies that will offer new and diverse art forms, perspectives, and worldviews are necessary. In what ways do philosophical th

5、eories influence critical analysis and create new opportunities for both educators and students? How can the so-called ‘trendy’ deconstructive approaches stemming from postmodern theories influence the variety of artis

6、tic and educational fields? This paper will examine the ties between philosophical theories and art education in order to examine possible pedagogical connections between theory and praxis. These possibilities are set

7、out by means of specific applications or methodologies as practiced in inquiry-based art classes in higher education. Keywords: Fine Arts, education, postmodern, visual culture, deconstructive, semiotics 1. Introductio

8、nBecause art theory that is typically dependent on formalist rules and based on limitative Kantian aesthetics is now considered passé, instructors have come to recognize art education as an interdisciplinary and hol

9、istic field, incorporating a much wider range of fields such as philosophy, sociology, physics, and psychology. This is a period in which all identities, styles, and formats disappear and all approaches are encouraged.

10、 Owing to the rapid development of the information age, the borders between sciences, arts, philosophy, and other disciplines are dissolving. If art cannot be separated from various fields then it is imperative to incl

11、ude in our classes new approaches that will combine and synthesize these diverse areas of study. Considering the reformatting of art education in higher education may open up possibilities of re-thinking art education

12、in terms of method, curriculum, and responsibility. This presents the challenge of re-thinking art education within the framework of new educational and philosophical theories. In Philip Higgs’ (2002) words, The philo

13、sophical challenge of re-thinking education, of deconstructing education, does not consist in changing, replacing, or abandoning education. On the contrary, to deconstruct is first and remost to undo a construction wit

14、h infinite patience, to take apart a system in order to understand all its mechanisms, to exhibit all its foundations, and to reconstruct on new bases (p. 175). * Nur Balk?r Kuru. Tel: +90-539-489-3176 E-mail address:

15、nur.balkirkuru@khas.edu.tr © 2012 Published by Elsevier Ltd. Selection and/or peer review under responsibility of Prof. Dr. Ayse Cakir IlhanAvailable online at www.sciencedirect.com© 2012 Published by Elsevier

16、Ltd. Selection and/or peer review under responsibility of Prof. Ay?e Çak?r ?lhanOpen access under CC BY-NC-ND license.Open access under CC BY-NC-ND license.491Nur Balkir Kuru / Procedia - Social and Behavioral Sci

17、ences 51 ( 2012 ) 489 – 494 philosophical approach in education is about learning processes, knowledge and knowing through a critical eye. It is a way to begin questioning the dynamic of teaching and learning. As

18、 Deborah Smith Shank (1995) puts it, How we think is directly related to how we learn. When learning is understood as thinking, it is a process and not a product. It becomes an ongoing process of inquiry, which cannot

19、 be defined by the limits of subject matter parameters (p. 236). “Real inquiry begins when doubt begins. It ends when the doubt ends,” says Jessie Whiteland (2004, p.104). Whiteland believes that the desire to learn

20、and decipher meanings starts with doubt and wonder. Established belief and social value systems can be transformed only as a result of questioning the validity of the ongoing systems. Questioning assumptions and accept

21、ing multiple worldviews as well as making connections between established beliefs and individual beliefs (that are fed by social and cultural conditioning) could be tools for teaching an inquiry/issue based art educati

22、on. A philosophical attitude in education is about opens a field of inquiry to enable certain previously unconsidered questions to be asked. Art education in higher education must set out to create a dialectic thinker

23、 in the student – one who is able to criticize in order to reformulate ideas and ideologies. This notion correlates with Peirce, who believed that the university is a place for learning and not instruction, as noted by

24、 Smith-Shank (1995). Thus, the role of the instructor evolves to a facilitator of the learning activity. This shift ultimately changes and challenges the whole notion of the primary foundations of instruction methods d

25、esigned as modernist, behavioral, and information- processing cognitive models (Smith-Shank, 1995). A philosophical approach to art education may involve different suggestions for the interpretation and application

26、 of art. For example, it is argued that different agendas and tactics of postmodern theorists may present a disunified body of theoretical ideas that may lack certain models and cogent ideas (MacDonald, 1999). From the

27、 academic standpoint, the openness and eclectic nature of postmodern thought may also be perceived as a distressing development due to the erosion of “high and elite culture against the surrounding environment of philis

28、tinism, of schlock and kitsch” (Marriner, 1999, p. 58) For such opponents, when the means of inquiry is complicated, a difficulty arises in relating thought to action, which is characteristic of deconstructive postmode

29、rnism. However, an art education based on deconstructive approaches would thrive on differences and possibly reconsider original contexts, bringing together elements and welcoming all the ambiguities and surprises that

30、 arise from multiple references. As eclecticism becomes central to contemporary art dynamics, art education automatically enters the realm of the popular –whether the popular is rejected or not. Since art education can

31、not be confined to narrow disciplines and technical qualities of art any longer, the key to new learning is to make connections and integrations between things, regardless of their artistic qualities. For instance, a

32、n inquiry-based visual culture education is directed towards viewing things with a critical eye, with the goal of decoding and deconstructing every form of visual representation. Shi Pu and Shei-Chau Wang (2004) state

33、that to have a critical eye is the readiness to take things apart and to go beyond their face value. A critical eye looks at everything in detail. Art education with an analysis of visual culture nurtures the critical e

34、ye and provides students and teachers with the freedom to challenge and explore ideas. While challenging ideas, an inquiry- based approach to art education at higher education level can result in the empowerment of both

35、 students and teachers. Shi Pu and Shei-Chau Wang (2004) point out that a semiotic approach to teaching foundation-level art and design enables students to have a “critical eye.” For them, the criticality of looking

36、 does not exclusively refer to a deconstructive and ever-sceptical gaze bestowed upon every form of visual representation; rather, it is the readiness to take things apart and to go beyond their face value. As Wang and

37、 Wang further argue, Hence, resuscitating the critical eye of college students who study art, we propose, has at least two dimensions. One is a “de-contamination” process to restore the curiosity, alertness and rawne

38、ss of visual encounters of a young child – what the 18th century British empiricists called a “blank slate.” Admittedly this restoration is a utopian proposal that is increasingly difficult to execute in today’s societ

39、y of the spectacle (p.117). As a particular frame of mind for experiencing ideas, deconstruction can significantly change the nature of educational discourse. Likewise, semiotics – the science of signs and their stru

40、ctures - offers a means to understand, think, and make connections in postmodern pedagogy. In terms of teaching the core courses to freshmen students, the interconnectedness of concepts serves as an ideal basis for sem