Teaching and Shaping Elementary Generalist Perceptions With Artist Journals
Teaching and Shaping Elementary Generalist Perceptions With Artist Journals
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通过艺术家期刊教授和塑造基本的通才观念
DOI：
10.1080/00043125.2018.1505382
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发表时间：
2018
期刊：
影响因子：
--
通讯作者：
T. Evans
中科院分区：
文献类型：
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作者：
T. Evans
在多项研究中，多面手对糟糕的艺术创作，尤其是绘画的看法，可以预见地与对糟糕的艺术教学的看法联系在一起（Daher & Baer, 2014; Duncum, 1999; Huxhold & Willcox, 2014; Jeffers, 2009）。我对通才方法课程的目标是超越艾斯纳（Eisner，1999）所说的对通才的期望，即“教授他们不知道且通常不喜欢的东西”（第17页），通过提供本质上令人满意的工作室体验，从而在视觉艺术教学中带来舒适和自信。通才作为初级教育者能够经常将艺术融入课堂教学（Seidel，Tishman，Winner，Hetland和Palmer，2009）。由于他们的看法决定了幼儿视觉艺术体验的质量和频率，因此该人群的教师教育课程对于公立小学艺术教育的成果至关重要（Garvis、Twigg 和 Pendergast，2011）。因此，通才的视觉艺术课程应该增强他们对艺术教学能力的信心，否则他们就会转向扼杀“最有可能带来[创造力]的过程和条件”的教学法（Robinson，2001，p.107），这与培养感知和想象力是对立的。
Generalists’ perceptions of poor artmaking, especially drawing, have been predictably linked to perceptions of poor art teaching in several studies (Daher & Baer, 2014; Duncum, 1999; Huxhold & Willcox, 2014; Jeffers, 2009). My goal for the generalist methods course is to override what Eisner (1999) calls the expectation for generalists “to teach what they do not know and often do not love”(p. 17) by offering an intrinsically satisfying studio experience that leads to comfort and confidence with visual arts instruction.Generalists as primary educators are in the position to integrate art frequently into classroom instruction (Seidel, Tishman, Winner, Hetland, & Palmer, 2009). Since their perceptions determine the quality and frequency of visual art experiences for young children, teacher education curriculum for this population is vital to the outcome of art education in public elementary schools (Garvis, Twigg, & Pendergast, 2011). Therefore, visual arts course curriculum for generalists should undergird confidence in their capability to teach art, else they turn to pedagogy that stifles “the processes and conditions that are most likely to bring [creativity] about”(Robinson, 2001, p. 107), the antithesis of nurturing perception and imagination.