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1. The Divine and Artistic Ideal: Ideas and Insights for Cross-Cultural Aesthetic Education (EJ805161)
Author(s):
Gu, Ming Dong
Source:
Journal of Aesthetic Education, v42 n3 p88-105 Fall 2008
Pub Date:
2008-00-00
Pub Type(s):
Journal Articles; Reports - Evaluative
Peer-Reviewed:
Yes
Descriptors: Aesthetics; Asian Culture; Philosophy; Western Civilization; Cross Cultural Studies; Aesthetic Education; Foreign Countries
Abstract: Art has been related to the divine across cultures. In most traditions, the divine has been viewed as the ultimate aesthetic ideal, and aesthetics is full of notions, ideas, and concepts related to it without which artistic criticism and aesthetic education would be in a much impoverished state. The divine in art, however, is a slippery category. This article examines some critical and theoretical data on the divine, divine creation, and divine spirit in artistic representation from the Chinese and Western traditions and explores how the Chinese and Western traditions employ ideas of the divine for artistic conceptions and aesthetic education. On the basis of comparison and contrast, the study will try to obtain some rational insights into the relationship between artistic creation and the divine in terms of logical analysis. Finally, it will make some efforts to reconceptualize the insights drawn from both traditions and explore to what extent the divine is still relevant to present-day aesthetics, how an aesthetic ideal may be conceived on ideas of the divine in artistic representation, and in what ways an art work may be considered to have entered the divine realm of artistic ideal. (Contains 69 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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2. Looking to Learn: Museum Educators and Aesthetic Education (EJ793898)
Blume, Nancy; Henning, Jean; Herman, Amy; Richner, Nancy
Journal of Aesthetic Education, v42 n2 p83-100 Sum 2008
Journal Articles; Reports - Descriptive
Descriptors: Museums; Art Education; Visual Arts; Aesthetic Education; Educational History; Social Studies; Web Sites; Art Teachers; Teacher Student Relationship; Case Studies; Artists; Art Products
Abstract: Museum education. Aesthetic education. How are they similar? How do they differ? How do they relate to each other? What are their goals? As museum educators working with classroom and art teachers, they are often asked these questions, and they ask them themselves. "What do they DO?" is probably the most frequently asked question of all, and the answer is complex. Even more complex is how these questions relate to the Rembrandt Project. Given that looking at original works of art is such a priority for museums and museum educators, how do they address the project's reliance on technology? And how do these questions relate to the social studies and visual arts standards, another major component of the project? How does the project relate to the work they do in their own museums? Writing collaboratively implies that they have certain areas of commonality; but they also have differences, which will be apparent in individual sections of this article: Jean Henning and Nancy Richner discuss the Nassau County Museum of Art, Nancy Blume writes about Asia Society, and Amy Herman explores the Frick Collection. Their focus will be the domain of museum education as that is what they know best, but there are inevitably areas where it overlaps and complements the domains of art education, aesthetic education, and social studies. (Contains 5 figures and 26 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
3. A Study on the Effect of Aesthetic Education on the Development of Aesthetic Judgment of Six-Year-Old Children (EJ785808)
Acer, Dilek; Omerodlu, Esra
Early Childhood Education Journal, v35 n4 p335-342 Feb 2008
2008-02-00
Descriptors: Young Children; Aesthetic Education; Value Judgment; Foreign Countries
Abstract: The aim of this study was to investigate the effects of aesthetic education on the development of aesthetic judgment of 6 year-old children. The sample of the study comprised 77 children selected randomly from state run primary schools from various socioeconomic levels in Ankara. The experiment group consisted of 22 children, the placebo group of 23 children and the control group of 32 children. The experiment group received an aesthetic education program, the placebo group was offered a placebo education and the control group did not take any education. The Taylor-Helmstadter Pair Comparison Scale of Aesthetic Judgment was used to measure the aesthetic judgments of children. The findings of the study show that there is a significant difference in the aesthetic judgments of male children in the experiment group who received aesthetic education (p less than 0.05). Moreover, it found that the educational and socioeconomic levels of parents did not have any effects on the aesthetic judgments of children (p greater than 0.05). Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
4. Creative Writing and Schiller's Aesthetic Education (EJ772113)
Howarth, Peter
Journal of Aesthetic Education, v41 n3 p41-58 Fall 2007
2007-00-00
Journal Articles; Opinion Papers
Descriptors: Writing Workshops; Literary Criticism; Writing Instruction; English Literature; Creative Writing; History; Intellectual Disciplines
Abstract: For academics committed to the idea of an all-round aesthetic education, one of the great successes of the last thirty years has been the tremendous expansion of creative writing classes. Despite the dramatic expansion of creative writing as an academic discipline, the methods, ideals, and values of creative writing workshops have very often been at odds with the theoretical approaches to literature being taught by the rest of the literature department. The traditional workshop aims to foster participants' creative freedom so as to produce a well-formed piece of writing showing appropriate control of tone, style, and register. Unlike the traditional seminar, it does not usually ask students to analyze that writing in terms of its historical background, sociopolitical significance, or linguistic dynamics. The result has too often been an arts curriculum that is intellectually at odds with itself and that encourages double-think in its students. This article argues that the relation of creative writing to literary criticism is more than a territorial dispute within the English literature department because it goes to the core of what any kind of "creativity" means, and what an aesthetic education is meant to be. Surveying two recent attempts to cross this critical-creative divide by making "creative writing" part of a Cultural Studies program, the author maintains that understanding creativity as a function of social background actually makes some of its distinctive social function invisible. Moreover, the push to politicize or contextualize creative writing misrepresents the political aims of the literary theory it rejects, the ostensible formalism of the 1940s New Critics and their inspiration, T. S. Eliot. Their politics in turn can be traced back to Emerson, the inventor of the term "creative writing," and behind him to the foundational treatise of aesthetic education, Schiller's "Letters on the Aesthetic Education of Man," in which formal principles of free creativity are part of a political program for a united and freely democratic society. Paradoxically, however, it is Schiller's failure to make creative art realize his democratic project that may be most helpful in imagining how the gap between creative freedom and historical criticism might be bridged rather than widened. (Contains 45 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
5. Understanding, Experiencing, and Appreciating the Arts: Folk Pedagogy in Two Elementary Schools in Taiwan (EJ800903)
Chen, Yu-Ting; Walsh, Daniel J.
International Journal of Education & the Arts, v9 n6 p1-19 Jun 2008
2008-06-10
Journal Articles; Reports - Research
Descriptors: Foreign Countries; Elementary Schools; Aesthetic Education; Asian Culture; Art Education; Folk Culture; Art Teachers; Teacher Attitudes; Teaching Methods; Art Appreciation
Abstract: Drawing on Bruner's notion of folk pedagogy, this research explores how Chinese aesthetic education is perceived and valued at two elementary schools in Taiwan. Using qualitative methods, the research explores how arts teachers guide children to experience arts through the arts curricula in school and the local culture. The study reveals that the two schools share a respect for nature and a concern for local culture. The seven arts teachers' folk pedagogy includes the desire to connect beauty and arts learning, develop children's aesthetic feelings, cultivate children's character, and integrate arts into everyday life. The teachers' shared views provide a broad picture of these folk beliefs in Taiwan as well as a cultural lens for examining aesthetic education in Taiwan and the larger Asian culture. (Contains 7 footnotes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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6. An Exegetic Study of the So-Called Proposition of Confucian Aesthetics (EJ784583)
Wang, Yi; Fu, Xiaowei
Journal of Aesthetic Education, v42 n1 p80-89 Spr 2008
Descriptors: Aesthetic Education; Foreign Countries; Chinese; Aesthetics; Misconceptions; Translation; Ethical Instruction; Educational Theories; Hermeneutics; Discourse Analysis; Non Western Civilization
Abstract: Since Wang Guowei and Cai Yuanpei introduced the concepts of aesthetics and aesthetic education, respectively, to China in the early twentieth century, there has been a strong tendency in many of the aesthetic discussions to examine ancient texts and materials using modern concepts of aesthetics. In particular, sentences with the character-word "mei" are often sought in classical works and interpreted as speeches on or about beauty, which has led to frequent misunderstandings of the classical texts and of the ancient Confucian aesthetic theory. The most typical among these misunderstandings is the misinterpretation of one of Mencius's remarks on the goodness of human nature--"To possess these qualities of goodness fully is beautiful" ("Chongshi zhiwei mei")--as a representative statement of the Confucian aesthetic theory of "the union of the beautiful and good." The main interest of the present analysis is an attempt to decode the genuine meaning of the statement. With references to ancient dictionaries like "Origin of Chinese Characters" and exegetic works (from 206 BC to the modern times) of "Mencius," this article attempts to contextualize "mei" in the original text and historical context in order to interpret the meaning of the sentence and the real intention of Mencius. In this way the authors hope to determine whether it can be regarded as the proposition of Mencius or the Confucian aesthetic theory of "the union of the beautiful and good." (Contains 21 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
7. Good Work and Aesthetic Education: William Morris, the Arts and Crafts Movement, and beyond (EJ784579)
Petts, Jeffrey
Journal of Aesthetic Education, v42 n1 p30-45 Spr 2008
Descriptors: Handicrafts; Aesthetic Education; Aesthetics; Art Expression
Abstract: A notion of "good work," derived from William Morris and the Arts and Crafts Movement but also part of a wider tradition in philosophy (associated with pragmatism and Everyday Aesthetics) understanding the global significance of, and opportunities for, aesthetic experience, grounds both art making and appreciation in the organization of labor generally. Only good work, which can be characterized as "authentic" or as unalienated conditions of production and reception, allows the arts to thrive. While Arts and Crafts sometimes promotes a limited aesthetic (both theoretically and stylistically) around handicraft, a good-work aesthetic theory encompasses a broader range of working methods and materials without compromising the core Arts and Crafts "authenticity" principles of control over production and creative autonomy. In this article, the author focuses on the Morrisian theory of art and the aesthetic and the emergent good-work thesis. He argues that an Arts and Crafts or Morrisian aesthetic theory is fundamentally one of good work rather than handicraft per se since it delivers insights into the nature of works as collaborative projects and the developmental courses, participatory and esoteric, open to the arts generally; and it is a robust counter to anti-aestheticism and intellectualism in the theory and practice of the arts. In arguing for the theoretic and historic significance of a Morrisian aesthetic, the author takes encouragement and a lead from Paul Guyer's recent acknowledgement of the neglect of Morris in accounts of the history of philosophical aesthetics. (Contains 64 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
8. Art's Educational Value (EJ825837)
Richmond, Stuart
Journal of Aesthetic Education, v43 n1 p92-105 Spr 2009
2009-00-00
Descriptors: Art Education; Artists; Aesthetics; Art Appreciation; Visual Arts; Postmodernism; Art Products; Art Expression; Creativity; Social Influences
Abstract: This paper explores critically the nature of art's value in education and argues in favor of both intrinsic and instrumental value. Form and expression, while being out of favor in some contemporary circles, are re-claimed as appropriate features of art. Concepts and forms in art as elsewhere serve to structure impressions and experience and selectively shape perception and knowledge, and as such provide a necessary framework for understanding. Drawing on Wittenstein the paper argues that far from being rigid, restricting systems, both language and art are in many ways rough hewn and open-textured and involve a necessary element of indeterminancy. Thus, the idea of limitation through form is itself limited. Fragments must be placed in a suitable historical context and related to a whole to be understood. Form, with its implication of order and relationship (with some looseness of interpretation), is related to understanding, the development of which is a primary educational aim. Artistic understanding includes interpretation but is a more commodious concept in that it incorporates the aesthetic with all its implications of feeling, imagination, and sensibility. Understanding in art implies knowledge and structure, but it is also a holistic, expansive, humane, and experiential concept. Expression is an artist's singular, personal contribution to an artwork and its embodiment shows ideas and feelings shaped through a visual language and sensibility. It is difficult to exclude expression as all art must emerge from an artist's mind and body and as such is valued as giving life to art. The paper, through many artistic examples, discusses the meaning and place of aesthetics, rules, creativity, and responsiveness as well as the social and historical values of art in education and concludes that it is within the contextual complexity of artistic understanding, richly empowering of the self, brought to bear on the realities and qualities of life in visual, aesthetic form that's distinctive educational value is to be found. (Contains 18 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
9. Orientational Meliorism, Pragmatist Aesthetics, and the "Bhagavad Gita" (EJ825831)
Stroud, Scott R.
Journal of Aesthetic Education, v43 n1 p1-17 Spr 2009
Descriptors: Aesthetics; Religion; Orientation; Literature; Philosophy; Experience
Abstract: This article develops an understanding of Dewey's aesthetics by connecting it to a project that can be extracted from his overall pragmatist approach--orientational meliorism. As I will argue, Dewey emphasizes the effect that one's mental habits or orientations toward experience and activity has on the quality of one's experience. Orientational meliorism takes its lead from Dewey's aesthetics and his religious writings that hint at the power of improving or meliorating the quality of experience by altering one's orientations toward activity in general. Here I want to expand on this theme by looking at how orientational meliorism plays into Dewey's quest to render more of life aesthetic and consummatory. First, I focus on the way that experience can be more aesthetic or consummatory as revealed in Dewey's writings on aesthetics. Second, I describe what would make everyday activity aesthetic on such a Deweyan scheme. I then supplement this Deweyan account of making more of life aesthetic with a method drawn from a tradition that is removed from Dewey, but that shares his commitment to meliorating personal experience--that of ancient Hinduism. Specifically, I will argue that "karma yoga," the path or discipline of action in the "Bhagavad Gita," can be seen as a method for creating more experiences that can be classed in Deweyan terms as "aesthetic." (Contains 46 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
10. Dewey and Taoism: Teleology and Art (EJ825833)
Sartwell, Crispin
Journal of Aesthetic Education, v43 n1 p30-40 Spr 2009
Descriptors: Religion; Philosophy; Art; Asian Culture; Aesthetics
Abstract: In some ways, the inaugural thought of the Western tradition is Aristotle's, repeated with regard to almost every subject-matter he investigated. We could call this thought teleology, technology, or means-ends rationality. Here is the first sentence of the "Nicomachean Ethics": "Every art and every inquiry, and similarly every action and pursuit, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all things aim." This notion reappears in fits and starts through the tradition, and has a particularly fraught relation to Christianity. But in Adam Smith's economics and in utilitarian ethics, as well as in economic and political orders they reflect, they re-assert their dominance. And in pragmatism, teleology becomes a theory of all value, and in particular a theory of truth. The West, however, also suffers from teleology, or from (in the current phases) "excellence" or a "purpose-driven life." And it is possible for a planet to suffer from our enthusiasm for its technological transformation. Within the Western tradition, the Easter tradition is read as a cure for teleology, as a place where ends are annihilated into being, or into immediacy, in which one lets go of purpose and finds peace. This paper explores that imaginary construction of teleology's Asian other. But even Aristotle, and even the pragmatists, felt an urgency to collapse ends into means, to find meaning in the process as well as the products of living. They found it, I propose, and perhaps the zone where West meets West's East, in the concept of art, particularly as set out in Dewey's great work of aesthetics, "Art as Experience." (Contains 4 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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