Feminist Approaches to the Survey
Feminist Approaches to the Survey
复制标题
女权主义调查方法
作者：
Linnea S. Dietrich;Diane Smith
基于我们1993年的CAA专题小组“艺术史的课程转型”和随后的教育学会议，我们建议重新定义我们学科中的知识，并修改艺术史调查的教学。我们对艺术史上的入门调查课程有两个假设：它们将继续被教授(尽管发生了转变，也许有一天会在平等和良好整合的知识领域包括非西方和西方艺术)，以及女权主义被理解为包括多元文化主义、后殖民理论，以及总体上朝着解放所有人的方向打破界限(图2)。3)。在过去的二十年里，我们看到了妇女研究项目的蓬勃发展和几乎每一篇学术论文的女权主义重读。已经取得了很大成就，但学科本身并没有改变。在艺术史上，女权主义意味着增加关于女性成就的信息，最近还意味着改变原有的学习结构。然而，如果没有教育实践的更新，仅仅在理论层面上解构现代传统是不够的。我们建议在这里分享我们的课堂策略、作业和修正主义教学的“细节”。我们的主要目标是增强学生的能力，让他们成为自己学习的合作者，而不仅仅是数据的接受者。为了实现这些目标，我们必须做的不仅仅是提供艺术家和时期的年表，尽管年表提供了一个有用的脚手架，可以在此基础上建立主题；提供文化背景；展示形象与形象、文化与文化、历史与评论的关系。大多数调查文本提供了年表，但可以补充其他文本--文章、主要资料来源、关于艺术写作和方法的书籍、实地考察、客座讲座、你所在地区的资源。目前的调查文本往往不适合我们对其提出的新要求，但最近出现了更合适的文本，我们希望正在编写更好的文本。调查文本最大的问题是它们单一的、威权的语气，仿佛任何遗漏的东西都是微不足道或毫无价值的。我们都使用了海伦·加德纳的《穿越时代的艺术》(第9版，1991)和惠特尼·查德威克的《女人：艺术与社会》(1990)作为文本。在最近一个有167名学生的班级里，迪特里希希望这两本书之间以及学生和课本之间能进行对话。在课程结束时，她
Based on our 1993 CAA panel "Curriculum Transformation in Art History" and subsequent sessions on pedagogy, we propose to reconceptualize knowledge in our discipline and to revise the teaching of the art history survey. We make two assumptions regarding the introductory survey classes in the history of art: that they will continue to be taught (though transformed, perhaps one day including non-Western and Western art in equal and well-integrated areas of knowledge) and that feminism is understood to include multiculturalism, postcolonial theory, and the unfixing of boundaries in general toward the liberation of all people (fig. 3). In the last twenty years, we have seen the flowering of women's studies programs and feminist rereadings of almost every academic discourse. Much has been accomplished, but the disciplines themselves have not been transformed. In art history feminism has meant adding information on women's achievements and more recently changing the preexisting structure of learning.' It is not enough, however, to deconstruct the modern tradition on the level of theory without a renewal of educational practice. We propose here to share our classroom strategies, assignments, the "nuts and bolts" of revisionist teaching. Our primary goal is to empower students and to have them become collaborators in their own learning and not mere receptacles for data. To achieve these goals, we must do more than provide a chronology of artists and periods, although chronology provides a useful scaffolding on which to build themes; to provide cultural context; to demonstrate relationships of image to image, culture to culture, and historical to critical commentary. Most survey texts provide the chronology but can be supplemented with alternative texts-articles, primary sources, books on art writing and methodology, field trips, guest lectures, the resources in your region. Current survey texts are often not appropriate for the new demands we are making of them, but more suitable texts have appeared recently, and we hope even better ones are being written. The biggest problem with the survey texts is their monolithic, authoritarian tone, as if anything omitted is insignificant or unworthy. We both used Helen Gardner, Art through the Ages (9th ed., 1991), and Whitney Chadwick, Women: Art and Society (1990), as texts. In a recent class of 167 students, Dietrich hoped for a dialogue between the two books as well as between students and texts. At the end of the course she