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Micrdrilms International 300 N INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. 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These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. Univers!^ Micrdrilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8318362 Gimenez, Pamela Suzanne THEORIES OF IMAGINATION IN ART EDUCATION PHILOSOPHIES The Ohio State University PH.D. 1983 University Microfilms I n ter n Sti 0 n si300 N. zeeb Road, Ann Arbor, MI 48106 THEORIES OF IMAGINATION IN ART EDUCATION PHILOSOPHIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Pamela Suzanne Gimenez, B.A., M.A. ***** The Ohio State University 1983 Reading Committee: Approved By Professor Ross A. Norris Professor Philip L. Smith Professor Kenneth A. Marantz Ross A. Norris, Adviser Department of Art Education ACKNOWLEDGMENTS Many people have helped me in this research. I would like to thank Kenneth Marantz for many enlightening conversations and for his constant encouragement. Philip Smith has also spent much time talk­ ing with me and has provided careful and constructive criticism of my research as well as helpful suggestions. I am deeply grateful to Ross Norris, my adviser, for his attention to my work and for his patience, kindness and encouragement. I have been fortunate to work with Professor Norris not only because he is an excellent and meti­ culous philosopher of art education but also because he has pioneer­ ed the systematic study of imagination in art education. Working under his guidance in conducting my own research of imagination has been an exciting and rewarding experience. I would like to thank my friend and colleague, Mary Erickson of Kutztown State College, for her constant interest in my research. Over the many years we have known each other, she has been a great source of encouragement both by her stimulating conversation and by her insightful questioning. To my husband, Jose Luis, go my deepest thanks and appreciation for his understanding and enthusiasm. Without his support and inter­ est this endeavor might have been more task than adventure. ii VITA September 3, 1945 .......... Born - Saint Louis, Missouri 1967 ....................... B.Â., Webster College Saint Louis, Missouri 1974 - 1976 ......... Educational Research Associate, Education Department, Columbus Museum of Art, Columbus, Ohio 1976 - 1978 ................ Assistant Curator of Education, Education Department, Columbus Museum of Art, Columbus, Ohio 1978 ....................... M.A., The Ohio State University, Columbus, Ohio 1978 - 1981 ................ Graduate Teaching Associate, Depart­ ment of Art Education, The Ohio State University, Columbus, Ohio 1979 - 1980 ................ Graduate Student Representative, Department of Art Education, The Ohio State University, Columbus, Ohio PUBLICATIONS "Imagination," Review of Research in Visual Arts Education, No. 12 (Fall 1980), pp. 50-52. FIELDS OF STUDY Major Field: Art Education Studies in Philosophy of Art Education Professor Ross A. Norris Studies in Philosophy of Education Professor Philip L. Smith Studies in Experimental Psychology Professor Mari Jones iii TABLE OF CONTENTS ACKNOWLEDGEMENTS 11 VITA 111 LIST OF TABLES vl INTRODUCTION 1 CHAPTER I 27 Early Liberal Arts Education and Art Education 29 Humanistic Art Education 33 The Theory of Imagination In Humanistic Art Education 43 The Theory of Imagination In Plato's Ethics 48 The Theory of Imagination In Aristotle's Ethics 56 The Theory of Imagination In the Stoic's Ethics 61 Summary 70 CHAPTER II 77 Early Pragmatism In Art Education 78 Pragmatic Art Education 84 Ihe Theory of Imagination In Pragmatism 87 Imagination In the Service of Reason 93 The Theory of Imagination from Proclus 94 The Theory of Imagination from Syneslus 96 The Theory of Imagination from Richard of St. Victor 98 Summary 105 CHAPTER III 112 Early Child Development Theory In Art Education 113 Developmental Theory In Art Education 118 The Theory of Imagination In Developmental Theory 123 The Theory of Imagination In Idealist Aesthetics 130 Imagination In Plato's Theory of Divine Inspiration 141 Imagination In Dante's Theory of Vision 145 Imagination In Rhetoric and Poetic 150 Summary 158 Iv CHAPTER IV Existential Phenomenology in General Education 168 Existential Phenomenology of Art Education 171 Existential Phenomenology in Art Education Research 180 The Theory of Imagination in Existential Phenomenology 185 The Theory of Imagination from Sartre 188 Imagination and Will: Augustine 196 The Concept of Imagination from Maimonides 200 Summary 208 SUMMARY 218 BIBLIOGRAPHY 222 A. Works Cited in the Text 222 B. Ancillary 231 LIST OF TABLES List of classical terms. This list is of the terms phantasia and eikasia and their deriva­ tives as first used in pre-socratic and Platonic periods ....... 18 vi INTRODUCTION Part I Early art education in the United States, around 1870, is said to have been typified by Walter Smith's rigorous methods of copybook geome­ tric drawing. Smith's belief was that drawing should be utilitarian, having industrial aims, and not mere "play" or "picture making."! For some others, however, drawing was a medium of self-expression and this meant, as Samual Eliot, Superintendent of Schools of Boston, described it in 1878, the "freer play of imagination in drawing."2 An immediate effect of this latter position was to do away with previous methods of copying from copy books; another was to expand the contents of "drawing" to include pictorial composition, figure drawing, and painting. These changes were based on the nascent belief that art education could contri­ bute to the development of the Individual's perception and appreciation of beauty and the development of taste. The "Manuel Training Movement," instituted in the late 1800's took over the utilitarian functions previously belonging to art educa­ tion. Deprived of these functions, upon which were based justifications for the existence of art education, art educators adopted a quite dif­ ferent position, "art for art's sake," a view held by professional artists of that time.3 In art education, this resulted in an emphasis on the fine arts and art appreciation. Certain earlier movements Ir art education such as "The School Decoration Movement,Initiated in 1 2 1870, were reinforced and gained popularity because of "art for art's sake." The "Picture Study Movement"^ also grew out of this belief. The addition of science to the public school curriculum in the late 1890's initiated art education to the "Nature Study Movement"^ and the "Correlation of Subject Matter Movement."^ Again, a practical function for art education was identified. Art educator's were encour­ aged to adjust the focus of art education from its newly acquired cultural and aesthetic emphasis back to a practical one of using art to study nature and other subjects. Thus, two beliefs, seemingly at odds, appear to have been held in art education. One belief was "art for art's sake." Art educa­ tor's holding this belief, emphasized the values of acquiring taste and appreciation of beauty. These art educator's advocated methods which allowed for "freer play of imagination," as Green put it. The other belief was "art as practical." Art educator's holding this belief emphasized the importance of acquiring scientific knowledge or facts through the use of art as a practical tool. They did not advocate methods for the use of imagination in drawing but rather, methods which resulted in accurate reproduction or representation of plant and animal specimens. The "art for art's sake" group and the "art as practical" group each advanced a distinct set of beliefs and assumptions about what art and art education was or should be. These beliefs and assumptions were the basis for justification of educational practice. In this paper, sets of beliefs and assumptions justifying educational practice are called "philosophies." 3 Philosophy treats of distinctions made about the world, know­ ledge and values. In art education, such distinctions are embodied in particular concepts used to both describe educational objectives and to serve as criteria for the attainment of objectives. For example, the "art for art's sake" group used the concept "imagination" in just this way.
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