本文選題：藝術(shù)發(fā)生學(xué) + 藝術(shù)智能　； 參考：《東南大學(xué)》2006年博士論文

【摘要】： 到目前為止,在思考藝術(shù)的發(fā)生問(wèn)題時(shí),我們每每習(xí)慣追溯到原始藝術(shù)那里。拉斯科山洞巖壁上的野牛、新石器時(shí)代的陶盆,似乎是我們總也繞不過(guò)去的話題。但藝術(shù)智能概念的提出,從藝術(shù)發(fā)生動(dòng)力學(xué)的切入角度,使我們關(guān)注到藝術(shù)的發(fā)生與人類(lèi)個(gè)體的成長(zhǎng)、發(fā)展之間的關(guān)系,從而使藝術(shù)發(fā)生問(wèn)題的討論更具有現(xiàn)實(shí)意義和普遍意義。 藝術(shù)智能,作為一個(gè)概念被經(jīng)常提及,與多元智能理論的風(fēng)行不無(wú)關(guān)系。不過(guò),在多元智能理論的框架下,它并不是一個(gè)嚴(yán)格意義上的學(xué)術(shù)名詞。而歷史上的另一些學(xué)者,雖然沒(méi)有運(yùn)用“藝術(shù)智能”這種表述,卻基于對(duì)藝術(shù)的開(kāi)放性的認(rèn)識(shí),認(rèn)為確實(shí)存在這樣一種智能:人們通過(guò)選擇、組織媒介物(而不是通過(guò)言語(yǔ)或文字),表達(dá)自己的主觀感受和情緒,發(fā)表對(duì)生活的看法、顯示對(duì)生活的態(tài)度。本文正是在對(duì)藝術(shù)智能這一概念的辨析中,首先廓清了我們對(duì)它的理解。 “智能”概念本身同時(shí)暗含著雙層意義:一、任何智能都不是抽象的,必然要以某種具體的形式體現(xiàn)出來(lái);二、無(wú)論是何種智能,必然有一個(gè)從無(wú)到有、由弱到強(qiáng)的發(fā)展過(guò)程。本文依據(jù)這兩條線索結(jié)構(gòu)了全文。一方面,藝術(shù)智能必將以某種具體的藝術(shù)活動(dòng)的面目展現(xiàn)出來(lái),早期的藝術(shù)智能表現(xiàn)為幼兒有意識(shí)的涂鴉,以及具有交流性質(zhì)的哼唱等等。另一方面,藝術(shù)智能有一個(gè)成長(zhǎng)的過(guò)程。它最初表現(xiàn)在幼兒的藝術(shù)活動(dòng)中,并在持續(xù)的類(lèi)似活動(dòng)中得到加強(qiáng),但隨著兒童的逐步社會(huì)化,藝術(shù)智能不再表現(xiàn)得生機(jī)勃勃,在通常情況下,從此步入了發(fā)展的停滯狀態(tài)。而在相對(duì)少數(shù)的人那里,它卻實(shí)現(xiàn)了從“U形”谷底的第二次發(fā)展。我們正是以這樣兩條線索呈現(xiàn)了對(duì)于“藝術(shù)智能”的理解。在行文當(dāng)中,我們把兒童的藝術(shù)智能稱(chēng)為“早期藝術(shù)智能”,這是對(duì)“早期教育”概念的效仿,以便突出我們對(duì)于個(gè)體藝術(shù)智能的發(fā)展表現(xiàn)出的關(guān)注。 隨后,我們涉及了早期藝術(shù)教育的現(xiàn)實(shí),因?yàn)椤敖逃北晃覀冋J(rèn)為是突破“U形”曲線瓶頸的關(guān)鍵所在。根據(jù)實(shí)地考察和調(diào)研,我們發(fā)現(xiàn):甚至在先進(jìn)的教育理念已經(jīng)被接受的情況下,積習(xí)還是難于松動(dòng)、改變。當(dāng)然,在我國(guó)幼兒教師負(fù)荷過(guò)重,也是造成早期藝術(shù)教育難以達(dá)到理想效果的重要原因之一。我們提出了早期藝術(shù)教育中具有普遍、典型意義的兩種消極現(xiàn)象,并對(duì)比呈現(xiàn)了藝術(shù)教育史中相對(duì)應(yīng)的積極實(shí)踐,從而結(jié)合現(xiàn)實(shí)進(jìn)一步明確了我們的觀點(diǎn)。最后,我們談到了心目中早期藝術(shù)教育的理想狀態(tài)。它既涉及筆者在一家韓國(guó)幼兒園為期一個(gè)月的兼職,與在本地幾所幼兒園的考察、調(diào)研的所見(jiàn)所聞進(jìn)行的對(duì)比與總結(jié),也涉及與第二章中“想象性游戲”相呼應(yīng)的,對(duì)于發(fā)揮其教育價(jià)值的思索。并強(qiáng)調(diào)指出:成人的作用是兒童成長(zhǎng)環(huán)境中的關(guān)鍵性因素,這一作用的良好發(fā)揮甚至能起到點(diǎn)石成金的作用。
[Abstract]:So far, when we think about what happens to art, we often go back to the original art. The bison on the rock wall of Rasco Cave, the Neolithic pottery basin, seems to be a topic we can never get around. But the concept of art intelligence, from the angle of the dynamics of art occurrence, makes us pay attention to the relationship between the occurrence of art and the growth and development of human beings. In order to make the discussion of artistic problems more practical and universal significance. Artistic intelligence, as a concept is often mentioned, and the popularity of the theory of multiple intelligences. However, within the framework of multiple intelligences, it is not a strictly academic term. Other scholars in history, though not using the expression "artistic intelligence," are based on an understanding of the openness of art that there is a kind of intelligence: people choose through choice. Organize media (not through words or words) to express their subjective feelings and emotions, express their views on life, and show their attitude towards life. In the analysis of the concept of art intelligence, this paper first clarifies our understanding of art intelligence. The concept of "intelligence" itself implies double meanings at the same time: first, any intelligence is not abstract, it must be embodied in some concrete form; second, no matter what kind of intelligence, there must be a process of development from nothing to existence, from weakness to strength. Based on these two clues, this paper gives the full text. On the one hand, art intelligence will be displayed as a specific art activity, the early art intelligence will be manifested in the children's conscious graffiti, as well as the humming with the nature of communication and so on. On the other hand, artistic intelligence has a growing process. It was initially manifested in the artistic activities of young children and was strengthened in the continuous similar activities, but with the gradual socialization of children, artistic intelligence is no longer alive, and in general, it has stepped into a stagnant state of development. In a relatively small number of people, it has achieved a second development from the bottom of the U-shaped valley. It is with these two clues that we present our understanding of artistic intelligence. In the writing, we call children's artistic intelligence "early artistic intelligence", which is a imitation of the concept of "early education" in order to highlight our concern for the development of individual artistic intelligence. Later, we deal with the reality of early art education, because education is considered to be the key to breaking through the "U" curve bottleneck. According to the field investigation and research, we find that even when advanced educational concepts have been accepted, it is difficult to loosen and change the habit. Of course, the overloading of preschool teachers in our country is one of the important reasons why early art education is difficult to achieve ideal results. We put forward two kinds of negative phenomena in the early art education, which have universal and typical meaning, and compare and present the corresponding positive practice in the history of art education, so as to further clarify our point of view in combination with the reality. Finally, we talk about the ideal state of early art education. It not only involves the author's one-month part-time job in a Korean kindergarten, but also the comparison and summary between the author's observation and investigation in several local kindergartens, and the "imaginative game" in chapter two. Thinking about giving play to its educational value. It is emphasized that the role of adults is the key factor in children's development environment, and the good play of this role can even play a role of turning stone into gold.
【學(xué)位授予單位】：東南大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2006
【分類(lèi)號(hào)】：J0-05

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 蘇紅;論繪畫(huà)中的“兒童畫(huà)”情結(jié)[D];浙江理工大學(xué);2010年

2 孫林;6歲幼兒繪畫(huà)中情感表達(dá)方式之研究[D];南京師范大學(xué);2011年

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本文編號(hào)：1824772