Aesthetic Education
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2021 ◽  
Vol 9 (3) ◽  
I. B. Bicheva ◽  
S. N. Kaznacheeva

Introduction. The article deals with the problem of the development of an aesthetic orientation to the professional activity of a preschool teacher. The federal state educational standard of preschool education in the field of aesthetic education and child development and the continuity of the process of aesthetic professional development of teachers substantiates the need for its formation.Materials and Methods. The authors used methods of analysis, systematization and generalization of scientific literature on the problem of research, experimental study of the formation of the aesthetic orientation of teachers of preschool educational organizations. The purpose of the article is to substantiate the methodological support of teachers of a preschool educational organization in the development of aesthetically oriented professional activities.Results. The authors define the aesthetic orientation of a preschool teacher as a complex of components, including aesthetic feelings, aesthetic cognition and knowledge, aesthetic activity, experience and behavior, and aesthetic assessment. There are the results of studying the aesthetic orientation of teachers of preschool educational organizations in Nizhny Novgorod. There is a complex of pedagogical conditions, implemented on the basis of a socio-cultural approach and the principles of cultural conformity, subjectivity, humanization, aesthetics, and creativity. The authors consider a workshop as the main form of methodological support for teachers in the formation of an aesthetic orientation. The content of six workshops has been developed that contribute to the development of aesthetic education, aesthetic upbringing, the formation of the experience of aesthetically oriented activities and aesthetic creativity, as well as the development of the ability to evaluate the phenomena of the surrounding world from the point of view of aesthetics and formulate the correct aesthetic judgment.Discussion and Conclusions. The authors emphasize the need for purposeful design of active methods of methodological support of teachers for the development of aesthetic knowledge, aesthetic sensitivity to the surrounding reality and art, the organization of a multicultural professional educational space, as well as the effective solution of the problems of aesthetic education and upbringing of preschoolers in interaction with parents. As a prospect for further research, the authors indicate the development of a model of aesthetic development in the general management system for the professional development of preschool teachers.

2021 ◽  
Vol 32 (2) ◽  
pp. 73-99
Herwig Weber ◽  

One of the greater influences on Xavier Villaurrutia’s poetry was the philosophical work of Martin Heidegger. Also, among the Mexican poet’s favorite readings was The notes of Malte Laurids Brigge, a novel by Rainer Maria Rilke, which is conceptually connected with Georg Wilhelm Friedrich Hegel’s dialectical philosophy and Friedrich Schiller’s humanism. The present work is an interpretation of Nostalgia de la muerte by Villaurrutia based on the concepts of “turn towards the open” (Heidegger), “personal death” (Rilke), “subject as the absolute and as nothingness” (Hegel) and “aesthetic education of the human” (Schiller).

2021 ◽  
Vol 5 (8) ◽  
pp. 225-228
Yang Yan

The article deduces the concept of self-education that had been advocated by Laozi, the founder of Taoism, in his philosophy on aesthetic education. From the perspective of his philosophical thoughts, this article analyzes the inspiration and inheritance of “aesthetic” in the Chinese traditional culture based on the concept of self-education, discusses the similarities between the concept of self-education and beauty, as well as explores the internal relationship between self-education and aesthetic feeling so that the enlightenment and value of the concept of self-education in aesthetic education can be reflected and learnt.

2021 ◽  
Vol 21 (3) ◽  
pp. 173-189
Selvi Kasman ◽  
Fahmi Marh ◽  
Saaduddin Saaduddin

This paper aims to reveal the aesthetic values and ideas contained in the musical art of Adok in Korong Ubun-Ubun, which acts as a means of aesthetic education for the performing arts community and the supporting community. As a virtue contained in Adok art, the aesthetic values and ideas make the position of Adok art different when compared to other traditional arts, so that the research is important. The research location was Jorong Ujuang Ladang, Korong Ubun-Ubun, Kanagarian X Koto Singkarak, Solok Regency. The object of research was Art Adok, focusing on the aesthetic aspects of the performance. This study uses an ethnographic approach and data collection techniques through participant observation. Minang values related to the value of taste (aesthetics) in Adok art contribute positively to the perspective of the supporting community so that they can change people’s perceptions and understanding of Adok art. The results of this study can also prove that the Adok art can be one of the presentations of Minang’s which the supporting community has not realized. 

T. Medvid

The essence of K. Orff’s musical and pedagogical concept is considered in the article; the importance of the creative development of students of secondary schools is revealed. The meaning of 'elementary music,' which is connected with movement, dance, and word and creates a basis for the child’s development, is clarified. The five-volume collection 'Orff-Schulwerk. Musik für kinder' is analyzed; its role in creating analogues in different countries is revealed. The problem of stimulating the creative potential of the individual by means of the music-pedagogical system is highlighted. The instruments of the children’s orchestra developed by K. Orff together with K. Sachs are described, which included melodic and noise percussion instruments, the simplest wind, and strings. The principle of active music-making and creative development of personality on the basis of playing children’s musical instruments, rhythmic movements, dance, and pantomime is analyzed. The role of rhythmic, vocal, and instrumental improvisations for the creative development of students is revealed. The curriculum at the Orff’ Institute is covered, which included the methods of teaching children’s musical instruments, a course of rhythmic exercises, choreography, conducting, solfeggio, instrumentation. The work ‘Theory and practice of music and aesthetic education according to the system of K. Orff’ (by E. Kurishev, L. Kurisheva) is analyzed, which highlights the practical experience of Ukrainian teachers in the classroom and extracurricular activities with students. The countries that have shown interest in Orff's pedagogy and continue to work actively on this system are listed. K. Orff's conviction is formulated that the art of the future is inherent in the nature of human abilities and it is only necessary to create conditions for the creative development of the individual.

N. Tereshenko

The article suggests that due to the structural characteristics of the cultural model of schoolchildren’s aesthetic education by means of ball choreography, the main components were identified as cultural positions of ball choreography, means of ball choreography, and criteria of aesthetic education of schoolchildren in ball choreography. There are given the structural components of the cultural model of aesthetic education of schoolchildren by means of ball choreography, that are functioning within two regulatory bases – the functioning of informal choreographic education and the importance of subjects of the artistic and aesthetic cycle in the invariant part of secondary schools’ curricula. The first component is the cultural creation of personality, which will be considered as a process in the context of ball choreography. Active involvement of students in ball choreography is one of the ways of their personal emotional development and aesthetic growth. Communication with the art of choreography, music, physical development, expansion of aesthetic horizons, the formation of a culture of relationships (personal and public) become a basis for the cultural formation of the high school student within the process of ball choreography. The second component of the cultural positions of ball choreography is the cultural formation of the dancer. Education of the ball choreographer involves the creation of an appropriate creative artistic environment in which the teenager will constantly feel the need for personal, creative, and aesthetic self-realization. The third component of the cultural positions of ball choreography is the cultural formation of the artist-choreographer. Defining this position, we realize that high school students of ball choreography at a certain stage of their aesthetic development create a desire to turn this hobby into a profession. In the context of this idea, it is advisable to organize specialized art (choreographic) education within general secondary education. Despite the fact that underage dancers do not yet have a professional choreographic education, they can fully meet the set standards for a ball choreographer. The next block of our cultural model, which we define is means of ball choreography. Analyzing the functionality of the means of choreographic art, we focused on the following components: music, choreographic text, choreographic drawing, stage choreography, and choreographic drama.

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