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

1、中文 中文 5950 字， 字，3300 英文單詞， 英文單詞，18500 英文字符 英文字符文獻(xiàn)出處： 文獻(xiàn)出處：Kuru N B. Philosophical Concerns in Fine Arts Education[J]. Procedia - Social and Behavioral Sciences, 2012, 51(51):489-494.Philosophical concerns in fine arts e

2、ducationNur Balkir KuruAbstractDue to the rapid changes in 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

3、, it is crucial that philosophical concerns are integrated into art and design curricula. Novel interpretations and applications of teaching methodologies that will offer new and diverse art forms, perspectives, and worl

4、dviews are necessary. In what ways do philosophical theories influence critical analysis and create new opportunities for both educators and students? How can the so-called ‘trendy’ deconstructive approaches stemming fro

5、m postmodern theories influence the variety of artistic and educational fields? This paper will examine the ties between philosophical theories and art education in order to examine possible pedagogical connections betwe

6、en theory and praxis. These possibilities are set out by means of specific applications or methodologies as practiced in inquiry-based art classes in higher education.Keywords: Fine Arts, education, postmodern, visual cu

7、lture, deconstructive, semiotics1. IntroductionBecause art theory that is typically dependent on formalist rules and based on limitative Kantian aesthetics is now considered passé, instructors have come to recognize

8、 art education as an interdisciplinary and holistic 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

9、disappear and all approaches are encouraged. 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 va

10、rious fields then it is imperative to include 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 poss

11、ibilities of re-thinking art education 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 P

12、hilip Higgs’ (2002) words, The philosophical 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

13、 foremost to undo a construction with 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).Inspired by these words,

14、 I would propose that there is a need to think afresh about what can be done towards the enlightenment of art education. Although philosophical approaches may not provide clear-cut answers, they may help us to better und

15、erstand what such an enlightenment of education could mean.2. Fragmentation of Meaning and Assemblage of Converging IdeasStructuralism emerged in France during the 1960’s as a criticism of existentialists, who emphasized

16、 the concept of human freedom and choice. Structuralists argued that human 3. The Impact of Theoretical Currents in the Field of Art EducationA philosophical approach in education is directly associated with freeing the

17、student and teacher from the intellectual ties and established assumptions of the status quo to achieve a liberation that will shake off the assumptions of the academic world about the ideal and/or correct ways to prac

18、tice learning and teaching. A 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 Debor

19、ah 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 be define

20、d 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 and decipher me

21、anings 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 accepting multiple worl

22、dviews 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 education.A philosophical

23、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 in the student – one w

24、ho 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 Smith-Shank (1995). Thus

25、, 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 designed as modernist, behav

26、ioral, and information- processing cognitive models (Smith-Shank, 1995).A philosophical approach to art education may involve different suggestions for the interpretation and application of art. For example, it is argue

27、d 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 academic standpoint, the openness

28、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 philistinism, of schlock and kitsch” (Marr

29、iner, 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 postmodernism. However, an art education based

30、 on deconstructive approaches would thrive on differences and possibly reconsider original contexts, bringing together elements and welcoming all the ambiguities and surprises that arise from multiple references. As ecle

31、cticism 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 cannot be confined to narrow disciplines and

32、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, an inquiry-based visual culture education is dir