论文部分内容阅读
在过去的40年里,艺术教育观念发生了实质性的巨变。艺术发生变化的同时,社会、政治、经济也发生了巨变。这些引起艺术教育视阈的扩大。这使得更多的对话和讨论变得必需。近些年,人们更集中精力以完成艺术课程和艺术教育技能标准的设置。英国已经确立了国家课程概要;在美国,艺术教育的国家标准已经发展起来。这两个国家不管是国家或政府、地方政府还是学校都着眼于评估学生在艺术方面“懂得什么以及能做什么”。在艺术教育中理论所扮演的角色更加重要。借助理论建立一个完备的体系,借以对课堂、学校、协会及国家范围内教授内容做出解释并协调个人评价。本文探讨英美两国艺术教育课程理论发展及评价手段,同时论及艺术教育理论的局限。这并不是敌视理论,而是在于突出理论的要务不是遮蔽既有(或隐现)的含义的多样性,也即是理论应该揭示并彰显事实而不是对之武断加以限制。
In the past 40 years, the concept of art education has undergone a substantial change. At the same time as the art changes, social, political and economic changes have taken place. All these have caused the expansion of the visual education of art education. This necessitated more dialogue and discussion. In recent years, people have focused more and more on the setting of skills standards for arts courses and arts education. The UK has established a national curriculum outline; in the United States, national standards for art education have developed. Whether the two countries are state or government, local governments or schools are all focused on assessing students’ “what they know and what they can do” in art. The role of theory in art education is even more important. Use theory to develop a comprehensive system to explain and coordinate individual evaluations of classroom content, schools, associations and national professorships. This article explores the theoretical development and evaluation of art education curriculum in both the United States and Britain, and discusses the limitations of art education theory. This is not a hostile theory, but rather that highlighting the important task of the theory is not to mask the multiplicity of existing (or hidden) meanings, that is, that the theory should reveal and highlight facts rather than arbitrarily restrict them.