著者

立原 慶一

出版者

美術科教育学会

雑誌

美術教育学:美術科教育学会誌 (ISSN:0917771X)

巻号頁・発行日

vol.7, pp.199-220, 1985-11-20 (Released:2017-06-12)

著者

立原 慶一

出版者

宮城教育大学

雑誌

宮城教育大学紀要 (ISSN:13461621)

巻号頁・発行日

vol.42, pp.111-122, 2007

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The character of the arts and crafts curriculum is that of a theoretical framework consisting of expressive activities and art appreciation, structured in order to realize the educational objectives of fostering expressive ability and cultivating artistic sentiment. This paper first of all questions the theoretical conformity of the curriculum, and secondly makes a number of observations on its view of art education. Expressive activities can be divided into thematic expression, and "art play" (zokei asobi). The subject of arts and crafts is managed to all intents and purposes with the object of cultivating artistic sentiment, but in the realm of zokei asobi especially, it is revealed to be self-destructive in nature, for example in the contradiction between the object of the subject and the expressive activities designed to achieve that object. Children are forced to regress in a manner unthinkable in any other school subject, and the theoretical contradictions in the curriculum have been consistently neglected. Activities involving "thematic expression" have their essence in the representation of intellect, emotion and intention as subject matter, and ought to be accompanied by a sense of achieving an act of expression, and the joy of eliciting a response from others. On the other hand however, as well as a process of mental and moral effort in ideas, this is one of technical struggle in the quest for efficacy in bringing such effort to artistic expression, for example persisting until one has worked out the concepts of the method of expression. In contrast, because zokei asobi does not require the student to envisage the finished result, form start to finish at no point is a deliberate effort or struggle to achieve expression required. In zokei asobi, insofar as can be inferred from the text of the curriculum, because defining of the student's own mode of living by forming an image of the world (reality) is absent, there can be no circumstances under which a worthy everyday existence is brought to the student. This means that the student is only playing with material surfaces, with no thought for his or her relationship with others or society, or with him or herself, or of pathways to improving these relationships. Little wonder then that children are becoming alienated in terms of their character formation. As well as emphasizing extending the ability to see, art appreciation is based on the ability to sense something in works of art. In art appreciation lessons special emphasis is placed on the task of observing objectively what one can see and gradually building up understanding, ultimately gaining a feel for the artist's intention and emotions in the work. This is also the ultimate purpose. The idea is to raise children as participants in a cultural construct, and as members of the art appreciation community, through this sort of desirable art appreciation.

著者

立原 慶一

出版者

美術科教育学会

雑誌

美術教育学:美術科教育学会誌 (ISSN:0917771X)

巻号頁・発行日

vol.18, pp.153-163, 1997

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At present, there are numerous students revealing that they "don't know what (they) should express." This condition is very grave. Expression entails pain and effort. Growth a s a human being cannot be expected if students do not deepen what they see, feel and think daily through activities of expression and if they do not discover themselves from within. One approach to solve this pending question might be trying to learn from progressive educational theories on young and teenage children's pictorial expression. The subject established in this research is the examination of what is the desirable form of expression for children and how to foster its development. I would like to elucidate the way in which this subject opened up with time and societal development. I will also examine the theory from the point of view of its validity in modern education. This historical genealogy and its structural characteristics have not been realized theoretically to date. This research, based on actual circumstances, surveys serious problem conditions in fine arts departments as mentioned above, and attempts to open a new phase of fine arts education theory. The extracts of the theoretical results featured in this research were highly valid. In order to increase educational effectiveness, contemporary school education based on tried theories, must work anew towards the structural grasp of establishing subject and theme contents.

著者

立原 慶一

出版者

美術科教育学会

雑誌

美術教育学 : 美術科教育学会誌 (ISSN:0917771X)

巻号頁・発行日

no.30, pp.229-240, 2009-03-21

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本研究が提案する方法論に基づいて,一連の題材実践を行いその結果を考察してきたが,それによって制作者の鑑賞及び評価能力を高めることが確かめられた。それは一定の手続きを踏んで作成された,質問紙による自作品の鑑賞体験が当該能力の育成にとって効果的である,との方法論的仮説である。質問事項は,基本的には作品の表現性(「主題形成」と同義)を直観させるとともにその成立条件を洞察させるべく,制作者に力強く働きかけた。各質問項目では文章のテンプレートが,主題意識とその効果的な造形表現化のあり方との関係を見極めさせるなど,有効に作用したのである。

著者

立原 慶一

出版者

宮城教育大学

雑誌

宮城教育大学紀要 (ISSN:13461621)

巻号頁・発行日

vol.49, pp.127-135, 2014

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When asked to compare Katsushika Hokusai's Great Wave Off Kanagawa and Gustave Courbet's The Wave, the following two points were identified: whether the pictures have drama, and whether they capture the wave structurally from the novel viewpoint of at sea. Genpei Akasegawa's Great Wave Off Kanagawa features in a Japanese language textbook used at the middle school affiliated with the Miyagi University of Education, but does wording that one might assume to be inspired by it appear on worksheets, or not? This was also taken into account. We set out to rank art appreciation ability with a view to exploring the status of these three. First, a pattern was recognized that seemed slightly lacking, in that there was no awareness of drama in the work, and theme was confined to the dynamics of the wave; second, a pattern in which despite being receptive in class to plastic properties and then aesthetic properties, when it came to sensitivity to theme, these were completely discarded for total reliance on preconceptions; and third, a pattern that achieves subjective appreciation, while based on the writings of Akasegawa. For a method of art appreciation of the third type to be realized involves a certain level of art-appreciation ability, and a response to the reading experience, and here aspects of these were investigated.

著者

立原 慶一

出版者

美術科教育学会

雑誌

美術教育学:美術科教育学会誌 (ISSN:0917771X)

巻号頁・発行日

vol.32, pp.281-297, 2011-03-20 (Released:2017-06-12)

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本稿はWebサイト上に公開されている鑑賞教育指導案を可能な限り調査・収集し,批判的に考察しようとする。その際,鑑賞体験を形づくる鑑賞行為の四要因が,分析するための視点として設定される。この四契機こそ学習指導要領美術編(以下「要領」と略す)〔2・3学年〕B鑑賞(1)が鑑賞体験の本質に対する洞察と,それに基づく鑑賞能力観を形づくっているものに他ならない。それは近接学問分野にはない,美術教育独自の見識を示している。それぞれの類型における典型的な指導案例を対象として,各契機の有無と教育作用の様態を究明することによって,各類型に分別されるべき根拠を明確にした。事例ごとに教育的有効性を論評するとともに,契機が欠落することによって起因する問題点,及び改良すべき点を明らかにした。

著者

立原 慶一

出版者

美術科教育学会

雑誌

美術教育学:美術科教育学会誌 (ISSN:0917771X)

巻号頁・発行日

vol.16, pp.227-237, 1995

著者

立原 慶一

出版者

美術科教育学会

雑誌

美術教育学 : 美術科教育学会誌 (ISSN:0917771X)

巻号頁・発行日

no.15, pp.217-231, 1994-03-25