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EXPRESSION AND ART EDUCATION: A STU...

OWEN, LUISA LANG.

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EXPRESSION AND ART EDUCATION: A STUDY BASED ON THE AESTHETIC THEORIES OF COLLINGWOOD AND DEWEY.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	EXPRESSION AND ART EDUCATION: A STUDY BASED ON THE AESTHETIC THEORIES OF COLLINGWOOD AND DEWEY./
作者:	OWEN, LUISA LANG.
面頁冊數:	204 p.
附註:	Source: Dissertation Abstracts International, Volume: 41-01, Section: A, page: 0069.
Contained By:	Dissertation Abstracts International41-01A.
標題:	Education, Art. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8015916

EXPRESSION AND ART EDUCATION: A STUDY BASED ON THE AESTHETIC THEORIES OF COLLINGWOOD AND DEWEY.
OWEN, LUISA LANG.

EXPRESSION AND ART EDUCATION: A STUDY BASED ON THE AESTHETIC THEORIES OF COLLINGWOOD AND DEWEY. - 204 p.

Source: Dissertation Abstracts International, Volume: 41-01, Section: A, page: 0069.

Thesis (Ph.D.)--The Ohio State University, 1980.

This study is concerned with the problem of educating the student for artistic expression. Its purpose is to give an account of what is involved in an education for art as expression. Since the expressive experience itself should ultimately determine the form of an education for expression, it is necessary first to clarify the concept of expression and to explore what is basically involved in the nature of the expressive experience.Subjects--Topical Terms:

1018432
Education, Art.

EXPRESSION AND ART EDUCATION: A STUDY BASED ON THE AESTHETIC THEORIES OF COLLINGWOOD AND DEWEY.
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245 1 0 $a EXPRESSION AND ART EDUCATION: A STUDY BASED ON THE AESTHETIC THEORIES OF COLLINGWOOD AND DEWEY.
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500 $a Source: Dissertation Abstracts International, Volume: 41-01, Section: A, page: 0069.
502 $a Thesis (Ph.D.)--The Ohio State University, 1980.
520 $a This study is concerned with the problem of educating the student for artistic expression. Its purpose is to give an account of what is involved in an education for art as expression. Since the expressive experience itself should ultimately determine the form of an education for expression, it is necessary first to clarify the concept of expression and to explore what is basically involved in the nature of the expressive experience.
520 $a The term expression is used throughout this study to mean the imaginative activity of becoming conscious of one's emotion. It is to be distinguished from evoking emotion, which is a deliberate arousal of a certain state of mind in others by a skillful representation of it. Expression is also not to be confused with the exhibition of symptoms of emotion; nor should it be understood to mean a description of or generalized account of emotion by which emotions are classified along with other emotions.
520 $a To give clarity to the concept of expression and to give an account of the nature of the expressive experience, an analysis of the aesthetic theories of R. G. Collingwood and John Dewey is undertaken. A comparison of the two theories is made showing them compatible and in agreement on the issues relevant to this study. Together the two views provide the necessary information for establishing in essence what is involved in an education for art as expression.
520 $a It is pointed out that though references to expression are numerous in art education, the concept of expression as used in this study has received only superficial interpretation. The writings of four prominent art education theorists who have identified expression as an important aspect of art education are examined. The views of Laura Chapman, Edmund Feldman, Irving Kaufman, and Viktor Lowenfeld discussed in light of the expression theories of Collingwood and Dewey are shown to be misusing the concept of expression. It is pointed out further that these art educators share in common the assumption that art involves the distinction between means and ends, which according to the theories of expression is an aspect of craft.
520 $a This study regards the distinction between art and craft as particularly significant in establishing appropriate guidelines for art education. Since craft is conceived as the power to produce a preconceived result by consciously controlled action, the distinction is essentially one between a technical activity involving the skillful manipulation of means for the purpose of realizing a given end, and an activity which is not goal oriented, in which means and ends are organically related and which involves the expression of emotion. In observing the implications of this distribution, the problem in educating for art becomes one of emphasizing the imaginative activity of expressing emotion and deemphasizing those activities which are craft oriented.
520 $a An account of educating the student for artistic expression is given in terms of descriptions of activities in which the student is involved with expression. Such activities include experiences with unconventional as well as conventional art media and entail acts of creation as well as act of appreciation. In each experience the student's attention is directed to the sensuous emotional field of feeling which he, by an act of his consciousness, converts from impression into idea. This total imaginative activity together with the bodily gesture expressing it is identified in this study as art. It is deemed that this activity itself is the educative process for art as expression. Accordingly, it is concluded that every utterance and every gesture imaginatively realized has the potential for educating the student for artistic expression.
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