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Balancing the narrative and the normative: Pedagogical implications for early childhood art education.

机译:兼顾叙事与规范:对幼儿美术教育的教学意义。

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This practice-based dissertation is a study of narrative pedagogy in the context of my early childhood art classes. I define narrative pedagogy as a pedagogy that seeks to balance the narrative and normative. The narrative represents what is happening in the classroom---the children's ideas, interests, experiences. The normative represents what I believe ought to be happening---my curricular aims, lessons, values. The two exist in a dynamic relationship.; In Chapter 1, I introduce the mobile as a metaphor for conceptualizing narrative pedagogy. The narrative and normative shapes exist in a dynamic state of tension, balanced on delicate wires. The constant and unpredictable pressures of schooling are the air currents that keep the mobile in constant flux. The artist-teacher relies on embodied sensibilities to balance the narrative and normative shapes. These sensibilities I call a narrative frame of mind.; In Chapter 2, A Call for Balance, I discuss the current tensions and imbalances between child and subject in early childhood art education. In Chapter 3, A Search for Balance, I delineate how I used narrative inquiry as a research genre to portray and explicate my understandings of the relationship between the narrative and normative. In Chapter 4, I create narrative portrayals of pedagogical situations that explore the tensions between the narrative and normative in five early childhood art classroom contexts: Art Classroom as Museum Gallery, as Studio, as Haven, as Stage, and as Laboratory. Each portrayal concludes with "Balancing Lessons." In Chapter 5, A Delicate Balance, I explicate the aesthetic dimension of the sensibilities of a narrative frame of mind, using the lenses of aesthetic knowing and teacher as artist. I arrived at six categories: Aesthetic Vision, The Rightness of Fit, Improvising the Dance of Shapes, Holding the Tension of Opposites, Imagining and Playing with Possibilities, and Experiencing Aesthetic Satisfaction. I conclude with implications that discuss the lessons learned in cultivating these aesthetic sensibilities.
机译:这篇基于实践的论文是在我的早期儿童艺术课的背景下研究叙事教育学的。我将叙事教学法定义为寻求兼顾叙事和规范的教学法。叙事代表了教室中正在发生的事情-孩子们的想法,兴趣,经验。规范代表了我认为应该发生的事情-我的课程目标,课程和价值观。两者以动态关系存在。在第1章中,我将移动设备作为隐喻来概念化叙事教学法。叙事和规范的形状以动态的张力状态存在,在细腻的电线上保持平衡。恒定且不可预测的压力是使移动设备保持恒定流量的气流。艺术家-老师依靠体现的情感来平衡叙述和规范的形状。这些感觉我称为叙事心态。在第二章“寻求平衡”中,我讨论了幼儿美术教育中儿童与主体之间当前的紧张关系和不平衡。在第3章“寻求平衡”中,我描述了我如何使用叙事探究作为研究类型来描绘和阐明我对叙事与规范之间关系的理解。在第4章中,我创建了教学情境的叙事描写,探讨了五个早期儿童艺术教室环境中的叙事与规范之间的张力:美术馆教室,工作室,避风港,舞台和实验室。每个描述都以“平衡课程”作为结束。在第5章“微妙的平衡”中,我使用审美认识和老师作为艺术家的视角,阐述了叙事心理框架的敏感性的审美维度。我分为六个类别:审美观,合体性,改善形体舞蹈,把握对立的张力,想象和玩游戏以及体验审美满意度。最后,我将提出一些含义,以讨论在培养这些审美敏感性方面的经验教训。

著录项

  • 作者

    Krakowski, Pamela Grace.;

  • 作者单位

    University of Pittsburgh.;

  • 授予单位 University of Pittsburgh.;
  • 学科 Education Art.; Education Early Childhood.
  • 学位 Ed.D.
  • 年度 2004
  • 页码 212 p.
  • 总页数 212
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 学前教育、幼儿教育;
  • 关键词

  • 入库时间 2022-08-17 11:44:01

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