美国俄亥俄代写Assignment:艺术作品

2017-09-05 16:50

艺术作品是学生学习制作个人原创作品的技巧和技巧。这一变化意味着一种不同于过去20年来控制艺术教育的创造性自我表现模式，格林尼（1995）认为，“做你自己就是在创造自我、认同的过程中”（第页）。格林尼当然是个人主义、创造力和自我意识的倡导者。然而，对学科创新创造者看到通过一个本质主义的镜头。一种本质主义的课堂定位应围绕教师。教师也应该成为学生应该效仿的榜样。如果老师是一个本质主义的课堂重点，计数（弗林德斯&松顿，c）认为他们应该采取下一步行动并达成的权力和帮助建构课程。DBAE创始人价值的艺术产品通过使用已知的艺术典范的作品和把艺术作为一个过程，从外往里。创始人认为，学生将示范的各个方面看作是一个关于回应、理解和创造的过程。这种方法有一个缺陷，因为在许多不同的社会中，哪一个有优秀的艺术作品供学生学习呢？克利马德（2004）认为，一个社会的价值观和并入课程是困难的因为它无法考虑到社会各个阶层，他们的感觉是值得研究的。
美国俄亥俄代写Assignment:艺术作品
Art production is students learning skills and techniques to produce personal, original artwork. This change signifies a different model from one of creative self-expression which had controlled art education throughout the previous decades and one in which Greene (1995) would contend that "to be yourself is to be in process of creating a self, an identity" (p. 20). Greene is certainly an advocate for individualism, creativity, and an awareness of oneself. However, the creators of the DBAE saw creativity through the lens of an essentialist. The orientation of an essentialist classroom should revolve around the teacher. The teacher should also be the model to which students should try to emulate. If the teacher is the focus of an essentialist classroom, Counts (Flinders & Thornton, 2004c) believes that they should take the next step and reach for the power and help construct the curriculum. The DBAE founders value the art product by using known exemplary works of art and treat art as a process moving from the outside inward. The founders contend that students view aspects of the exemplary as a process of discovery about responding, understanding, and thus creating. There is a flaw in this methodology because which of the many different societies have excellent pieces of art for students to follow? Kliebard (2004) suggests that what a society values and incorporates it into the curriculum is tough because it cannot take into account the different segments of society and what they feel is worthy of study.

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