The Effects of Constructive Language Instruction and Cooperative Learning

Total Page:16

File Type:pdf, Size:1020Kb

The Effects of Constructive Language Instruction and Cooperative Learning James Madison University JMU Scholarly Commons Masters Theses The Graduate School Summer 2014 The effects of constructive language instruction and cooperative learning on the quality of artwork at the middle level Laura Allison Thompson James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the Art and Design Commons Recommended Citation Thompson, Laura Allison, "The effects of constructive language instruction and cooperative learning on the quality of artwork at the middle level" (2014). Masters Theses. 348. https://commons.lib.jmu.edu/master201019/348 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Effects of Constructive Language Instruction and Cooperative Learning on the Quality of Artwork at the Middle Level Laura Allison Thompson A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Arts in Art Education School of Art, Design, and Art History July 2014 Dedication I dedicate this thesis to my amazingly supportive husband, Aaron, whose counsel, patience, and encouragement sustained me throughout this arduous, yet deeply fulfilling, process. ii Acknowledgements I would like to thank my committee chair, Dr. Karin Tollefson-Hall, for her encouragement, support, and reassuring words throughout my research. I would also like to thank Dr. Mary Beth Cancienne for providing much needed guidance through the development of my research questions and data collection processes. Lastly, thank you to Dr. Katherine Schwartz, for participating in my graduate studies and serving on my committee. I have grown immensely as both scholar and art educator during this experience, and for that I express my sincere appreciation to family, friends, colleagues, and art educators whom made this thesis possible. iii Table of Contents Dedication ............................................................................................................................................... ii Acknowledgements ............................................................................................................................... iii List of Tables ......................................................................................................................................... vi List of Figures ...................................................................................................................................... viii Abstract .................................................................................................................................................. ix I. Introduction ..................................................................................................................................... 1 A. Background of the Study ........................................................................................................ 1 B. Statement of the Problem ....................................................................................................... 5 C. Statement of Need ................................................................................................................... 6 D. Research Questions .................................................................................................................. 7 E. Assumptions .............................................................................................................................. 7 F. Limitations ................................................................................................................................. 7 G. Definition of Terms ................................................................................................................. 8 H. Procedural Overview ............................................................................................................... 9 II. Review of the Literature ............................................................................................................... 12 A. Learning Theories and Practice in the Middle School Art Room .................................. 12 B. Cooperative Learning in the Middle School Classroom .................................................. 14 C. Cooperative Learning in the Art Classroom ...................................................................... 18 D. The Importance of Dialogue in Education ....................................................................... 25 E. Explicit Instruction in Constructive Language ................................................................. 30 F. Dialogue in the Art Classroom ............................................................................................ 32 G. Assessing the Quality of Middle School Artwork............................................................. 34 III. Methodology .................................................................................................................................. 38 A. Design....................................................................................................................................... 38 B. Research Questions ................................................................................................................ 39 C. Sample ...................................................................................................................................... 39 D. Context of Study ..................................................................................................................... 39 E. Preparation of the Assignment ............................................................................................ 40 F. Role of the Researcher .......................................................................................................... 40 G. Procedure ................................................................................................................................. 40 H. Instrumentation ...................................................................................................................... 44 I. Data Analysis ........................................................................................................................... 44 iv IV. Results and Interpretations .......................................................................................................... 46 A. Numerical Data ....................................................................................................................... 46 B. Pre- and Post-Intervention Surveys .................................................................................... 47 C. Quality of Art Rubric Scores ................................................................................................ 57 D. Individual Student Observations: Symbolic Self-Portraits .............................................. 77 E. Group Observations: Constructive Language Videos ..................................................... 81 F. Group Observations: Theme Team Collaborative Paintings ......................................... 84 G. Individual Artist Statements ............................................................................................... 108 V. Conclusions and Recommendations ........................................................................................ 112 A. Research Question 1 ............................................................................................................ 112 B. Research Question 2 ............................................................................................................ 115 C. Recommendations for Further Studies............................................................................. 116 VI. Appendices ................................................................................................................................... 118 A. Parental Consent Form ....................................................................................................... 118 B. Student Assent Form ........................................................................................................... 120 C. Cooperative Learning Survey ............................................................................................. 121 D. Quality of Art Rubric ........................................................................................................... 122 E. Symbolic Self-Portrait Lesson Plan ................................................................................... 123 F. Symbolic Self-Portrait Worksheet Packet ........................................................................ 127 G. Constructive Language Video Lesson Plan ..................................................................... 132 H. Constructive Language Video Worksheet ........................................................................ 134 I. Constructive Language Video Assessment ...................................................................... 136 J. Theme Teams Lesson Plan ................................................................................................. 138 K. Asset Inventory ..................................................................................................................... 141
Recommended publications
  • Scattergories 4 Questions by Will Nediger, Jinah Kim, and Joey Goldman Round 6
    Scattergories 4 Questions by Will Nediger, JinAh Kim, and Joey Goldman Round 6 1. An Eavan [AY-ven] Boland poem named for one of these things says that “an ageing woman finds no shelter in language” and that “[one of these things] is not a woman.” One of these things titles a theatrical monologue by Olwen Fouéré [fwair-AY] which adapts passages from a novel. A character who personifies one of these things is the subject of a chapter which begins with the words “O tell me all about [that character]” in the shape of a triangle, and ends with a request for stories about her children Shaun and (*) Shem. The names of hundreds of these things are referenced in a chapter about the gossip of two washerwomen who turn into a tree and a stone when night falls. The word for these things is implied to follow the words “a way a lone a last a loved a long the.” Anna Livia Plurabelle’s middle name references one of these geographical features. For 10 points, Finnegans Wake opens by describing what type of geographical feature running “past Eve and Adam’s”? ANSWER: rivers [accept riverrun; anti-prompt on “Liffey” by asking what the Liffey is] (The Boland poem is called “Anna Liffey” and the Fouéré play is called riverrun.) <WN> 2. A “madame” named after this author runs a brothel at which theology is secretly discussed in Ada Palmer’s Terra Ignota series, in which this author is called the Patriarch. A writer whose pseudonym is a contracted combination of this author and the town where this author lived secretly arranged for Thomas Jefferson to translate his radical book Ruins of Empires, from which the monster in Frankenstein learns history.
    [Show full text]
  • The World of Frida Exhibition Guide the World of Frida Reflects Frida Kahlo’S Passion and Pluck, and Demonstrates the Power, Scope and Weight of Her Work
    Exhibition Guide Orgainzed by: Walnut Creek | California | www.bedfordgallery.org Curatorial Statement The World of Frida celebrates the culture, style, and persona of visionary Mexican painter, Frida Kahlo (1907-1954), an artist who continues to inspire with her story of love, loss and incredible bravery. Celebrated globally today as an iconic, renegade artist and outspoken feminist, Frida Kahlo’s life began perilously. Stricken with polio as a child, and later tragically injured in a bus accident at age 18 that left her permanently injured, Kahlo was subjected to an enormous amount of pain and turmoil early in her life. While recovering from the bus accident Kahlo returned to her childhood hobby – painting. Soothed by the solace of art making, it was during this period that Kahlo decided to become an artist. In 1927, Kahlo became politically active, joined the Mexican Communist Party and met the famous Mexican muralist, Diego Rivera. The two married a year later in 1928. Kahlo spent the 1920’s and 1930’s traveling the U.S. and Mexico with Rivera while he worked on commissions, still continuing to create work herself, but undoubtedly in his professional shadow. Their marriage was tumultuous into the 1930’s and they divorced in 1939. Kahlo continued to paint, and eventually had her first solo show in Mexico in 1953, shortly before her death in 1954. Following her death, Kahlo remained largely unrecognized until the late 1970s when art historians and political activists rediscovered her work. By the late 1990s, her work was considered a significant contribution to art history, and she became an icon to many – including the Chicano, feminist, and LGBTQ movements.
    [Show full text]
  • Dec 24 Pages 2 and 3
    DETROIT, Since 1989 www. laprensa1.com TOLEDO: TINTA CON SABOR TOLEDO CLEVELAND • LORAIN Ohio and Michigan’s Oldest & Largest Latino Weekly Check out our Classifieds online! www.laprensa1.com SO YOU’RE AGAINST May/mayo 29, 2015 Spanglish Lazo Cultural Edition Vol. 12, No. 5 (LP1) IMMIGRATION? SPLENDID! WHEN DO YOU LEAVE? CIVIL RIGHTS COMMISSION MEETS JUNE 1, P. LP4 Empresarios de la Cámara de Comercio Regional de Toledo se reúnen para conocer los beneficios de invertir en México Por: Isabel Flores, Corresponsal La Prensa 20 V 15: Con el tema “Haciendo de inversión que ha negocios en México: Un panorama de presentado Toyota oportunidades para exportación”, un y General Motors estimado de cuarenta empresarios, allá en México, una integrantes de la Cámara de Comercio opción muy Regional de Toledo, se reunieron el importante es que pasado miércoles 20 de mayo en las puedan vender ellos instalaciones de dicha institución, partes a las grandes ubicada en 300 de la avenida Madison, armadoras”, agregó suite 200, para escuchar la presentación el Cónsul de de Juan Manuel Solana, Cónsul de México. México para Michigan y norte de Ohio. Previo a la “Las oportunidades de inversión en presentación del México son muy importantes. Cónsul, Colleen Últimamente ha habido un gran Kardasz, Directora desarrollado en la industria automotriz, de International así como en el sector de energía”, Trade Assistance expuso Juan Manuel Solana en Center, hablo entrevista para La Prensa. “También se sobre los beneficios de pertenecer a incentivos que ofrece el gobierno para encuentran muy contentas y se espera subrayó el beneficio de cómo hacer la Cámara de Comercio y presentó los las artes y filmación de películas.
    [Show full text]
  • Leveled Reading- -Resources- -Activities
    BIO Sphere -Leveled Reading- ATI RE VE -Resources- C K R A A A A L L L L C C C -Activities- C D L W O R Editable Presentation hosted on Google Slides. Click to Download. Early Life Early Life Frida ● Frida Kahlo was born on July 6, 1907 in ● In 1925, she was in a bus Kahlo Mexico City, Mexico. accident. Mexican Icon ● When she was six, she caught polio. This ● She had to stay in bed to gave her a limp for the rest of her life. recover for two years, and she Her father encouraged her to do sports was in pain for the rest of her life. to help her recover. ● While she was in bed ● She went to the National Preparatory recovering, she started painting. School. She was a good student and Depiction of Kahlo painting wanted to go to medical school. Frida Kahlo in 1919 Personality & Characteristics Life Story Life Story ● Kahlo was sociable and very interested in ● In 1929, she married Diego Rivera, who ● Kahlo became homesick, so they both politics. was famous for painting murals. moved back to Mexico City in 1933. ● She loved Mexican indigenous culture and ● They traveled a lot together around the ● They started to have troubles in their used it in her art and clothes. United States. marriage. Rivera had an affair with Kahlo’s sister, and he had also not wanted to However, she was very depressed and in a Her first art in an exhibition was a double ● ● move back to Mexico. lot of pain for most of her life.
    [Show full text]
  • Press Release Frida Kahlothe Painter
    SCHIRMER/MOSEL VERLAG WIDENMAYERSTRASSE 16 • D-80538 MÜNCHEN TELEFON 089/21 26 70-0 • TELEFAX 089/33 86 95 e-mail: [email protected] Munich, February 2010 PRESS RELEASE FRIDA KAHLO Back to the essence: Selected masterpieces Helga Prignitz-Poda Frida Kahlo – The Painter and Her Work reduced-size softcover edition 264 pages, 121 color and duotone plates ISBN 978-3-8296-0464-2 US$ 39.95; Can.$ 49.95; EUR 29.80; CHF 49.- I was considered a Surrealist. That is not right. I never painted dreams. What I depicted, was my reality. (Frida Kahlo) This book zooms right into her reality, and it does so in a new and unusual way: presenting Frida Kahlo’s paintings in total view and in selected details, it reveals the wealth of stories and creatures hidden in her self-portraits; it makes tangible her life- long physical and spiritual pain; and it illustrates painterly skills and techniques reminiscent of old European masters. Frida Kahlo (1907-1954) left behind a slender œuvre, 143 small-size paintings, rarely larger than 20 x 30 or 40 x 60 cm. Nevertheless, some of them became icons of 20th century art, such as The Broken Column or The Wounded Deer . The latter is almost a miniature but no less fascinating. Two thirds of Frida Kahlo's œuvre are self-portraits. This ostensible narcissism is bound up with her biography, with the country and epoch in which she grew up, and with her decidedly eccentric character. Exotic and explosive, sensuous and fascinatingly vital, Kahlo's paintings shed a complex and often frightening light on her soul, her "inner reality", as she called it.
    [Show full text]
  • Modern Couples Art, Intimacy and the Avant-Garde ) 1928 © Jersey Heritage Collections
    Creative Learning Teacher Resource Modern Couples Art, Intimacy and the Avant-garde ) 1928 © Jersey Heritage Collections Modern reflected image in mirror, checked jacket Liberated Radical Detail from Claude Cahun, Self-portrait ( Obsessional Couples 1928 © Jersey Heritage Collections Suzanne Malherbe/Marcel Moore Malherbe/Marcel Suzanne Detail from Claude Cahun, Modern Couples: Art, Intimacy Up Close him when she met him in New York before beginning a new life with a new Photography husband in Mexico; Salvador Dalí’s deftly executed drawings and annotated and the Avant-garde Modern Couples is an exhibition focusing on intimate relationships in all and collaged newspaper cuttings that were small enough to send to Federico Examine how photography has been used to document people’s stories and This exhibition showcases the creative output of over 40 artist couples active their forms – obsessional, conventional, mythic, platonic, fleeting, life-long, Garcia Lorca in a letter, reciprocated by the poet Lorca writing his Ode to communicate ideas, themes and relationships. in the first half of the 20th century – featuring the work of painters, sculptors, heterosexual, homosexual, bi-sexual, non-binary and gender fluid. The Salvador Dalí, 1926. exhibition also explores and reveals the way in which creative individuals came Ask photographers, architects, designers, writers, musicians and performers, Photographer Alfred Stieglitz gave as his gift the promise of a lifetime’s alongside personal photographs, letters, gifts and archival material. together – transgressing the constraints of their time, reshaping art, redefining • What impact do these images have on you? gender stereotypes and identities, collaborating in exciting ways and forging endeavour. At the outset of his relationship in 1917 with painter Georgia This exhibition is part of The Art of Change season, highlighting how artists news ways of living and loving.
    [Show full text]
  • 1. the Self-Portrait: from Renaissance to the Photographic Portrait………………………………………… 11 the Impulse to Represent the Self……………………………………………………………
    CRUEL BEAUTY The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo Figure 1. Fragment of Frida Kahlo’s, The Broken Column (1944), oil on tin, Source: Herrera, Hayden, Frida : A Biography, Harper and Row, New York, 1983. By Tatiana Pentes BA Usyd, Mart CoFa, UNSW A dissertation submitted in fulfillment of the requirements of the Master of Letters (Art History & Theory/ Gender Studies) University of Sydney, 1998 (Examination result: with Merit) Contents Table of Contents………………………………………………………………………………… 2 Preface…………………………………………………………………………………….……… 3 Acknowledgements……………………………………………………………………….……… 4 Abstract…………………………………………………………………………………………… 5 List of Figures…………………………………………………………………………….. 6 Introduction ……………………………………………………………………………………… 8 1. The Self-Portrait: From Renaissance to the Photographic Portrait………………………………………… 11 The Impulse to Represent the Self…………………………………………………………….. 12 Photographic Portraiture………………………………………………………………………… 13 2. The Bus Accident “Assassinated by Life”………………………………………………………………………… 21 3. The Struggle for Identity Socialism, Myths of Origin, and the Birth of Mexico (La Indigena)……………………….. 35 4. Mexican Folk Retablo (Catholicism) & Ex-Votive Painting…………………………………………………………………………. 41 5. European Surrealism & Latin American Modernism "Ribbon Arond A Bomb"……………………………………………………………………… 48 6. Conclusion An Innovative Feminine Vocabulary…………………………………………………………. 54 7. Chronology Quoted from The Diary of Frida Kahlo and Martha Zamora's Frida
    [Show full text]
  • Frida Kahlo and the Imagery of Tragedy
    Issue Six, Winter 2005 Anatomy and Poetics home current issue archives gallery contact Return to Contents Frida Kahlo and the Imagery of Tragedy Ken Wach The University of Melbourne The Mexican artist Frida Kahlo was born in Mexico City on Saturday 6th July 1907 and died in the house in the background of this photograph, aged 47, just one week after her birthday, on Tuesday 13th July 1954. For a long time the details of Frida Kahlo’s life and work were generally not well known. They have recently become prominent mainly through the work of the Mexican art historian Hayden Herrera, the emergence of Feminist-based scholarship and the staging of a retrospective exhibition in London in 1982, which was the first major Kahlo exhibition for over thirty years. Since that time Kahlo’s life and modest range of paintings have come under considerable scrutiny as many books, newspaper articles and academic journal papers testify. This recent explosion of contemporary interest has resurrected Kahlo’s artistic work from comparative obscurity and neglect to the point were her photogenic image, let alone her work, is almost universally associated with a certain bitter-sweet poignancy. On Thursday 17th September 1925, just two months after her eighteenth birthday, Kahlo was very seriously injured in Mexico City when a tramcar ran into her school bus. As a result of this accident Kahlo’s spinal column was broken in three places in the lumbar region , and her collarbone as well as two ribs were broken. Her right leg had eleven fractures and her right foot was dislocated and crushed.
    [Show full text]
  • The Boiler Spring/Summer 2018
    Notes Shir is Hebrew for song or poem. Hinuma is Hebrew for the white veil worn by women in the Jewish marriage ceremony. THE BOILER SPRING/SUMMER 2018 THE BOILER SPRING/SUMMER 2018 THE BOILER WINTER 2018 THE BOILER JOURNAL is a literary journal that publishes four times a year online at www.theboilerjournal.com THE BOILER accepts submissions online via its submission manager four times per year. Poetry should be 3-5 poems and prose under 3,500 words. Full guidelines and dates for upcoming issues are available on our website. Cover Photo: from Red Queen by Olivia Edvalson THE BOILER JOURNAL is published independently through its editors and generous funding from its supporters. Distribution. Online Copyright © 2018 THE BOILER JOURNAL All rights revert back to authors. No part of this journal may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from the authors, except for the inclusion of brief quotations in a review. For inquiries email [email protected] THE BOILER | SPRING/SUMMER 2018 THE BOILER SPRING/SUMMER 2018 EDITOR-IN-CHIEF SEBASTIAN H. PARAMO POETRY EDITOR SHANNON ELIZABETH HARDWICK POETRY READERS E. KRISTIN ANDERSON FICTION EDITOR JOSEPH PFISTER ASSOCIATE FICTION EDITOR KIMBERLY GARZA ASSISTANT FICTION EDITOR JAHZERAH BROOKS NONFICTION EDITOR APRIL JO MURPHY ASSISTANT NONFICTION EDITOR LAUREN PILCHER REVIEWS EDITOR GARDINER BROWN ART EDITOR MARISSA GONZALEZ THE BOILER |
    [Show full text]
  • FRIDA KAHLO Frida Kahlo Was a Mexican Painter, Known for Mixing
    FRIDA KAHLO Frida Kahlo was a Mexican painter, known for mixing traditional Mexican folk art with surrealism. Surrealism is a form of painting that is inspired by dreams. When Frida was young, she was enrolled in a prestigious school where she was studying medicine. While there, she was in a terrible trolley accident that broke nearly all of her bones. She healed and was able to walk again, but the pain remained. She devoted herself to painting, which was what she loved to do. At a young age she married the already famous painter Diego Rivera. His work was usually large painted murals that depicted the struggle of the working class in Mexico. Frida’s paintings, however, were much more personal. The Wounded Deer, 1946 In 1946 Frida Kahlo had an operation on her spine in New York. She was hoping this surgery would free her from the severe back pain but it failed. This painting expressed her disappointment towards the operation. After she went back to Mexico, she suffered both the physical pain and emotional depression. In this painting she depicted herself as a young stag with her own head crowned with antlers. This young stag is pierced by arrows and bleeding. At the lower‐left corner, the artist wrote down the word "Carma", which means "destiny" or "fate". She painted many self-portraits, mainly because a lot of the time she was confined to her bed. She endured many operations on her spine. She valued the traditional Mexican way of life. Many of Frida’s paintings have symbols in them that are native to Mexico.
    [Show full text]
  • The Unreliable Image: Contemporary Art, Social Identity, & Selfmaking In
    The Unreliable Image: Contemporary Art, Social Identity, & Self­Making in the Digital Age A THESIS SUBMITTED ON APRIL 8, 2016 TO THE DEPARTMENT OF LATIN AMERICAN STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE SCHOOL OF LIBERAL ARTS OF TULANE UNIVERSITY FOR THE DEGREE OF MASTER OF ARTS BY Alex Santana 1 Acknowledgements Why am I compelled to write?.... Because the world I create in the writing compensates for what the real world does not give me. By writing I put order in the world, give it a handle so I can grasp it. I write because life does not appease my appetites and anger…. To become more intimate with myself and you. To discover myself, to preserve myself, to make myself, to achieve self­autonomy. To dispel the myths that I am a mad prophet or a poor suffering soul. To convince myself that I am worthy and that what I have to say is not a pile of shit... Finally I write because I'm scared of writing, but I'm more scared of not writing. ––Gloria E. Anzaldúa, Speaking in Tongues: A Letter to 3rd World Women Writers ​ Without the help of some amazing mentors, the process of writing this thesis would have been impossibly difficult. I would like to express my gratitude, first and foremost, to my thesis advisor, Vicki Mayer. She has both challenged and encouraged me to produce writing that is in line with my own passions. Her commitment to interdisciplinarity, intellectual effervescence, and persistent enthusiasm has been contagious and absolutely inspiring. I would also like to acknowledge some professors who have grounded my thinking for this project, specifically Mónica Ramírez­Montagut, Delia Solomons, and Jimmy Huck.
    [Show full text]
  • Frida Kahlo Ңধ྿Ąιឍ۞Ϡ׻ᄃᘹఙ
    ᐹᏴ ሤ۞ଐຏۉৠăீ۞͑ᜲ Ңধ྿ąΙឍ۞Ϡ׻ᄃᘹఙ സ઼̚ିरڌ౮⎒ິƟέΔξϲ ځኝ඀ᄲ هనࢍந ШᘹఙିֈĞDBAEĂפώኝ඀ߏͽጯࡊ Discipline-Based Art Educationğࠎநኢૄᖂٙన ካధڟࢍ۞࡚ఙିጯಏ̮Ąд఺ಏ̮̚ጯϠ૟ кҢধ྿ĆΙឍӔன͕ଐăຑଐ׶ฏ˿ຏଐ۞ ׶ྋᛖΙឍ۞ೀૺүݡĂژҋ൪ညĂጯϠ૟̶ ੅ኢ׶ೡࢗΙឍүݡ̚ϡֽܑ྿ҋԧ۞Ч჌ԛ ˘Ă֭ଂ̚Ᏼፄ˘჌ܑன͞ёĂ౹ౄڱё׶͘ ૺܑ྿ҋԧଐຏ۞ҋ൪ညĄ Ιឍ۞ҋ൪ည̂кͅᑕс۞ˠϠဩ࿃ᄃૻধ۞ Ă֭ͷྻϡ፾প۞ԛёᄃࢲॾܑனдצଐຏ͕ ൪ࢬ̝˯Ăੵѩ̝γĂԧࣇ˵ਕଂΙឍ۞үݡ ඕĄጯϠాג൴னс׶ግҘ࣯఺๴˿г۞எ̚ ካೀ಼Ιឍ۞үݡฟؕĂዦ᝝ă੅ኢ֭ڟ૟ଂ ΃Ϋ۞ྤफ़ĂซܕಡӘѣᙯΙឍϠπᄃግҘ࣯ ᒢྋ˘࣎ᘹఙछ۞Ϡ߿ᄃ።ΫࡦഀĂົтң҃ எஎгᇆᜩ׎ᘹఙ౹үĄ Ιឍ۞ҋ൪ည̚ྻϡధк͞ё็྿˞ᖳಱ۞͕ ሤ۞ຑଐ׶፧ݓ۞ฏ ૉјࠎ፾׍࣎ˠࢲॾ۞ᘹఙԛёĄۉଐᖼԶăϠ׻۞፬ᒜă ׎፾প۞ܑன͞ё׶็྿۞ٺຏଐĄጯϠ૟៍ካధкΙឍ۞ҋ൪ညĂᒢྋ Ιឍ۞ҋ൪ညϤ˿ дˠࣇ͕̚Ă֭дᘹఙגᄃ൪ࢬԛ ૻধଐຏĂ҃எஎОڱ׶ଐຏ۞෪ᇈ͘ڱ൪छϡֽܑ྿ຐ ౹үҋֽڱёĂ֭ဘྏೡࢗҋ൪ညٙ̚็྿۞͕ଐĄጯϠ Ϋ˯঻ЩĄጯϠֹϡΙឍ۞෪ᇈ͘ ᄃԛ ̎۞ҋ൪ညĂ֭ͷ˵ܑ྿˞˘჌͕ଐĂጐณֹڱă̶ᙷүݡ̚۞෪ᇈ͘ژ૟ቚ௫̶˵ ҋ̎۞үݡĄځĂ֭ቚ௫ᄲגёĂ֭၆̙Т۞ܑன͞ёග̟ෞᆊĄ౅࿅఺ᇹ үݡ΄ˠО෪எ Ăҋ൪ညΞͽ็྿࣎ˠ۞זĂ֤ಶߏᘹఙछ дѩጯϠਕૉវົه࿅඀૟Ξ็ᅍጯϠ˘࣎៍۞ ྿ҋֽܑ̎ڱჰĄϡᘹఙछ۞෪ᇈ͘ޥĂΞૻধ ଐຏ׶ڱᖣϤҋ൪ညͽ̈́Ч჌ԛё۞෪ᇈ͘ ˵Ăֹҋ൪ည̙ ۞͕ଐĂ̙ҭΞͽវរᘹఙछ۞ܑ྿͞ёĂهᄃຍצгܑனҋԧ۞ଐჰăຏ Гߏ็௚࡚ఙኝ̚˘ј̙ត۞޽ؠүຽĂ҃ਕ Ξ౹үܑனҋԧ۞ᘹఙݡĄ 73 Frida Kahlo Ңধ྿ąΙឍ۞Ϡ׻ᄃᘹఙ ௐ ˘ ب Б ઼ ੼ ኝ඀ϫᇾ ିጯ၆෪ ৺ ̚ ώኝ඀̶ҾॲፂDBAEα̂ᅳાĶᘹఙΫķă ੼̚˘ٕ˟ѐ৺ጯϠ ጯ ᘹ ĶᘹఙԲෞķăĶ࡚ጯķăĶᘹఙ౹үķࢎؠ׍វ ఙ ି ΞҖ۞ିጯϫᇾт˭Ĉ ିጯॡᇴ ֈ ି 2/ᘹఙΫ(art history)Ĉ α༼ኝ ጯ న ጯϠ౅࿅ᘹఙΫ۞ࡁտĂᄮᙊΙឍ۞Ϡπͽ ࢍ ᚮ ΃ΫĄ ିጯྤ໚ ᔈܕᖎൺ۞ግҘ࣯̈́ ᐹ Ᏼ ᘹఙԲෞ(art criticism)Ĉ 1. ѣᙯΙឍ۞३ᚱăဦͯ׶შྮྤफ़ ү/3 ጯϠቚ௫ೡࢗΙឍүݡ̚็྿۞͕ଐăຑଐ 2. ିरᏴؠဦͯᄦј۞࿪ཝᖎಡ ݡ ׶ฏ˿ຏଐ֭ྋᛖ׎ຍཌྷĄ 3. ඊ੃ώ׶৵ೡώ 4/࡚ጯ(aesthetic)Ĉ 4. ࿖ඊă૾Ғ࿖ඊăᜐඊăৰ૾ඊ ጯϠ੅ኢă̶Ᏸ֭ෞᆊΙឍүݡܑ̚னଐຏ 5. ൪৽ Ąڱ෪ᇈ͘۞ 5/ᘹఙ౹ү(art production)Ĉ ኝ඀ߛၹ ጯϠྻϡΙឍ۞ܑன͞ёĂ౹ү˘ૺܑ྿͕ ώኝ඀ͽҢধ྿ąΙឍ۞ᘹఙࠎ͕̚Ă̶Ҿፋ ଐٕຑଐăฏ˿ଐຏ۞ҋ൪ညĄ ЪᘹఙΫ(art history)ăᘹఙԲෞ(art criticism)ă࡚ ጯ(aesthetic)ăᘹఙ౹ү(art production)ඈα࡚̂ ఙିጯᅳાĂֽ൴ण඀Ԕّă˘రّ۞ିጯ߿ જĄ œ Ιឍ۞Ϡπ œ ༊ॡግҘ࣯ॡ΃۞ࡦഀ ᘹఙΫ ሤ۞ଐຏۉᘹఙ ᜲ͑۞ீৠă ࡚ጯ Բෞ Ңধ྿ąΙឍ۞Ϡ׻ᄃᘹఙ ෪ᇈԛёژ̶ œ ೡࢗүݡ̰உ œ œ ྋᛖүݡຍཌྷ œ ග̟ෞᆊ ᘹఙΫ œ ԛёྻϡ œ ҋԧ౹ү 74 ሤ۞ଐຏۉৠăீ۞͑ᜲ ௐ ˘ ب Б ઼ ኝ඀̰ट ੼ ৺ ̚ ିጯ߿જనࢍܑ ጯ ᘹ ሤ۞ଐຏǕǕҢধ྿ąΙឍ۞Ϡ׻ᄃᘹఙۉఙ ͹ᗟ ᜲ͑۞ீৠă ି ֈ ି ጯ ˘ăᘹఙΫ ˟ăᘹఙԲෞ ˬă࡚ጯ αăᘹఙ౹ү న ࢍ ጯϠ૟౅࿅ᘹఙΫ۞ ጯϠ૟ቚ௫ೡࢗΙឍ ጯϠ૟੅ኢă̶Ᏸ֭ ጯϠ૟ྻϡΙឍ۞ܑ ᚮ ϫᇾ ࡁտĂᄮᙊΙឍ۞Ϡ үݡ̚็྿۞͕ଐă ෞᆊΙឍүݡܑ̚ன ன͞ёĂ౹ү˘ૺܑ ᔈ ˿Ą ྿͕ଐٕຑଐăฏڱᐹ πͽ̈́ᖎൺ۞ግҘ࣯ ຑଐ׶ฏ˿ຏଐ֭ྋ ଐຏ۞෪ᇈ͘ Ᏼ ΃ΫĄ ᛖ׎ຍཌྷĄ ଐຏ۞ҋ൪ညĄܕ ү ݡ ॡม 1༼ኝ 1༼ኝ 2༼ኝ ሤ۞ଐຏ ೭ᝍҋԧۉ ᗟ ፾প۞Ϡ׻̄ ĂᏴፄ̚ڱՀкΙឍӔன̙Т͕ 1.
    [Show full text]