“New Art” and “New School”. (From “New School” magazine, 1910)

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Marina Teofilova ◽  
◽  
◽  

At the beginning of the ХХ century many international organizations of fine arts teachers and conducting a number of scientific conferences and congresses were set up, with prominent pedagogues, psychologists, sociologists, philosophers, artists and artists. This is the time when the International Society for Education through Art, which traditionally holds four-yearly international congresses dedicated to aesthetic education and the place of artwork in school. The magazine “New School”, published in the period 1910–1914, reflects the most progressive views about the time associated with the idea of a future ideal school and aesthetic education. The reading of the 1910 issue is curious in the light of the distance of more than a century. That is why the actuality and the possible references to the modern school provoke logical conclusions and reflections on the processes and directions of the artistic education today.

Author(s):  
Tetiana Bulhakova ◽  
Volodymyr Hryshko

The modern school is intended to develop the need for children to perceive cultural values, to accumulate artistic experience and to use them as a basis for harmonizing the attitude towards the surrounding world. The foundations of this were laid in the second half of the last century, although there was a significant shift in the direction of communist upbringing. In the Soviet age of the period of our study in education, prevailing formation of the qualities of a cultural citizen, the builder of communism. In the artistic and aesthetic education, the formation of patriotism and internationalism, the fiction, music, and fine arts were penetrated.


Author(s):  
Liher Pillado Arbide ◽  
Ander Etxeberria Aranburu ◽  
Giovanni Tokarski

Traditional labour relationships have been disrupted due to the digital platforms based businesses. This article aims on the one hand to share the consequences the sharing economy has generated for workers, and how MONDRAGON’s principles as one of the best examples of worker owned business group in the world, can be applied within the new digital era. On the other hand, this paper provides a literature review on how digital platforms can operate with fairer principles based on the framework that platform coops consist of. Last but not least, Mondragon University and The New School have set up a capacity building program on team entrepreneurship and an online incubation program that aims to support the creation of platform coops, whose results after two editions and future opportunities for research are shared.


2021 ◽  
Vol 18 (1) ◽  
pp. 122-139
Author(s):  
Viktor K. Zaretsky ◽  
Yury V. Zaretsky ◽  
Tatiana D. Karyagina ◽  
Oksana S. Ostroverkh ◽  
Anna V. Tikhomirova ◽  
...  

To overcome the crisis of the modern school institution, it is necessary to qualitatively rethink its foundations and to design fundamentally new approaches to implementing the educational program. The theoretical and methodological bases of the concept of a new type of school as a development practice, based on the provisions of Russian cultural-historical psychology and the activity approach are presented. The purpose of the work is to consider in the modern context the key theoretical provisions of Russian psychology and to formulate the methodological principles arising from them, which set the conditions for organizing the educational process, thus ensuring the transition from theory to practice. The key concepts of the school model are development, agency and collaboration: infinite development is formulated as the supreme goal and value of the school, the development of the position of agency is considered as the main productive process, and collaboration is the main professional principle. Eight basic principles are formulated as follows: intent - implementation - reflection as a methodological scheme for organizing school processes, the principle of multidimensional development, the principle of equal importance of school activities, the principle of congruence, the principle of organizing the educational space as a space for growing up, the principle of fellowship of practices and the development-oriented approach to evaluation. Thus, the article presents the authors view of the school as a scientifically grounded anthropological practice. The implementation of the concept, which has already begun in Russia, is an experiment that will make it possible to verify these theoretical and methodological provisions.


Author(s):  
Eve Loh Kazuhara

The Japan Art Institute was a Japanese art institute focused on the teaching, research, and exhibition of Nihonga-style art, established by Okakura Tenshin in 1898. Tenshin, who left the Tokyo School of Fine Arts the same year, brought along with him notable artists like Hashimoto Gahô [橋本雅邦], Yokoyama Taikan [横山大観], Hishida Shunso [菱田春草], and Shimomura Kanzan [下村観山]. In the initial years, the Institute received substantial funding from William S. Bigelow, a wealthy doctor from Boston who was a colleague of Tenshin’s. The Institute set out to focus on research, production, and exhibition. Two sections were set up in order to achieve this—the first section was in charge of production of painting and crafts, while the second was preoccupied with preservation and conservation technology. It was the first section that endeavored to create a new style of Nihonga (Japanese-style painting) in accordance with Tenshin’s ideals. In the years following 1906, the Institute ran into financial difficulties and, with its main members away in foreign countries, it entered a period of hiatus.


Author(s):  
Cynthia Persinger

Art historian Meyer Schapiro was born in Šiauliai [Shavley], Lithuania, on September 23, 1904, but soon immigrated to the United States with his family in 1907. Schapiro grew up in the working-class, left wing, Jewish immigrant neighborhood of Brownsville, Brooklyn. He graduated from Columbia University with a Ph.D. in fine arts and archaeology in 1935 (having completed his dissertation in 1929). He spent his career at Columbia, though he also taught regularly at the New School for Social Research from 1936 until 1952. While trained as a medievalist, Schapiro was an early proponent of modern art, and over the course of his career he taught courses, lectured, and published on both fields. Through his lectures and publications, Schapiro’s ideas shaped several generations of artists and art historians. Though he published several books including those on Post-Impressionist artists Paul Cézanne (1950) and Vincent van Gogh (1952), his most respected ideas on both medieval and modern topics were published in articles. Schapiro is known for his innovative and interdisciplinary approaches to art history; he explored new art historical methodologies through the use of Marxism, psychoanalysis, and semiotics. He is also known for his essay "Style" (1953), a systematic consideration of past and current theories of style.


2020 ◽  
Vol 9 (4) ◽  
pp. 33
Author(s):  
Lan Yu ◽  
Yukari Nagai

Painting materials are one of the mediums that help painters to show the effects of paintings. The use of different painting materials can help the painter to display different painting styles and artistic conception. Six hundred sixty-seven children aged 7 to 13 participated in the study. This study is mainly about the impact of the use of different painting materials on children’s painting creation. The questionnaire survey was conducted based on primary school fine arts education to study the influence of painting materials on children’s painting ability. The content of the questionnaire survey was to investigate children’s usage of different painting materials in painting works and the grasp of painting materials knowledge. This research also provided some painting materials training methods for primary school fine arts teachers to guide children to use different painting materials for painting creation based on the study results.


Art Education ◽  
1975 ◽  
Vol 28 (2) ◽  
pp. 24
Author(s):  
Jerome J. Hausman

1999 ◽  
Vol 40 (1) ◽  
pp. 1-29
Author(s):  
Erika Fischer-Lichte

At the beginning of the nineteenth century, a consensus existed among the German educated middle classes that Greek culture represented an ideal and that Greek fine arts and literature were to be regarded as the epitome of perfection. From Schiller's Briefe über die ästhetische Erziehung des Menschen (Letters on the Aesthetic Education of Man) to Hegel's Lectures on Aesthetics, the message was the same: Greek culture was unique in that it allowed and encouraged its members to develop their potential to the full so that any individual was able to represent the human species as a whole. The model it provided was, however, inimitable and its standards unattainable, but both were invaluable as objects of careful study. Thus, it is small wonder that all surviving tragedies by Aeschylus, Sophocles and Euripides were translated into German, some even several times over. Despite this, they were never staged during the eighteenth century.


1952 ◽  
Vol 6 (1) ◽  
pp. 27-50 ◽  
Author(s):  
Charles S. Ascher

The International Health Conference, convened by the United Nations in New York in the summer of 1946, adopted a Constitution for a World Health Organization. It set up an Interim Commission of persons designated by eighteen named states to prepare for the First World Health Assembly and to carry on tasks inherited from previous international organizations. Unexpected delays in ratifications of the Constitution obliged the Interim Commission to operate for two years. WHO has thus been free to shape its destiny only from the time of the First World Health Assembly in the summer of 1948; it began its work formally as of September 1, 1948. The activities from 1946 to 1948 were largely determined by heritages from earner organizations; these, indeed, dominated the first program of WHO. The intervening three years have witnessed new trends, which some observers applaud and others view with doubt, if not alarm. It may be fruitful at this time to record some of these trends, to note the pressures which caused them and their implications for WHO's program and work-plan.


2021 ◽  
pp. 44-52
Author(s):  
Tetiana Kyrdan ◽  
◽  
Lyudmyla Titorenko ◽  

The article deals with the problem of aesthetic education of senior school students, which provides the development of creatively active personality, who can fully perceive the beautiful, harmonious and perfect in the environment. Therefore, modern school channels its efforts to ensure the aesthetic education of the pupils, creating pedagogical conditions that enhance aesthetic education of the learners. Since ancient times, aesthetic education has occupied a prominent place in the process of shaping personal and cultural identity. The ability to feel, perceive, understand, realize, and create beautiful things are specific manifestations of spiritual and cultural maturity of a person whose aesthetic perception and sense is shaped and developed throughout the life. One of the ways to enhance the development of aesthetic values and perception is through engaging learners in extracurricular activities. The latter enable students to expand cultural horizons and world view as well as enhance creative thinking. Extracurricular work deepens sociocultural knowledge as well as adds to the FL communication skills of the learners. Pupils who have failed, for various reasons, to realize their creative potential in the classroom, can do when engaged in extracurricular work due to the atmosphere of trust, mutual understanding, cooperation and mutual created. The authors offer a practical guide to an extracurricular activity in English for senior schoolers. The purpose of this activity is to improve pupils’ communication skills, enhance aesthetic sensitivity and motivation for learning a foreign language.


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