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University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St John’S Road INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the moat advanced technological meant to photograph and reproduce this document have bean used, the quality is heavily dependant upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Pags{s)". I f 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 thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an imaga on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image o f the page in the adjacent frame. 3. Whan a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver nrints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Soma pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St John’s Road. Tyler's Green High Wycombe, Bucks. England HP10 8HR 7902204 EQlftlft, LO01SE BOURBEAU AKT ATTITUDE INVESTIMATION AT THE JUB10* MI6H SCHOOL LEVEL IH THE OUEMC AAEA. THE OHIO STATE IMIVEftSITY, 9H.D«» 197A Universita M iciqHms International 300 N ZEEB ROAD. AhJH ARBOR, Ml 48106 © Copyright by Louise Bourbeau-Poirier 1978 ART ATTITUDE INVESTIGATION AT THE JUNIOR HIGH SCHOOL LEVEL IN THE QUEBEC AREA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Louise Bourbeau-Poirier, B.A., M.A. ***** The Ohio State University 1978 Reading Committee: Approved By Professor Kenneth Marantz, Chairman Professor Arthur Efland Professor Paul Klohr Adviser Department of Art Education ACKNOWLEDGMENTS Among those persons who have been most instrumental in shaping my views on the practice of art education in the Quebec area, I wish to acknowledge the role played by scholars who accepted to be inter­ viewed: Rene Belanger, Henri-Paul Cunningham, Marc Gagne, Lucien Hudon, Claude Lagace, Armand Maranda, Clement Pare, and Omer Parent. I also want to thank the Directors of Teaching of the six Quebec Regional School Boards who allowed me to contact their Junior High School art teachers and students: Raynald Caron (Louis-Frechette), Marc Des Roches (Quebec), Gilles Gagnon (Chauveau), Claude Renaud (Jean-Talon), Jean Renault (Orleans), and Paul Vachon (De Tilly). I should like to add here an expression of my gratitude to the 56 school art teachers and 930 Junior High School students who answered my Questionnaires so graciously. Among those who have contributed to the production of the disser­ tation, I wish to thank The Ohio State University for its past and present support of my research. My appreciation goes to my adviser Dr. Kenneth Marantz. Yvette Gagnon and Raymond Kilfoil deserve special thanks for translating Questionnaires and Interviews. And in closing, 1 have a special debt to my husband Rosario for his encouragement and support. ii VITA Jan. 28, 1928 ........ B o m - Drummondville, Quebec 1945 ................. Teaching Diploma, Ecole Normale de St-Hyacinthe, Quebec 1945................... "Laureat" in music, Conservatoire de Musique, Universite de Montreal 1945-1962 ............ Teacher in elementary and secondary schools 1962 ................. B.A., Universite Laval, Quebec 1966.. ................. Fine Arts Diploma, Ecole des Beaux- Arts de Quebec 1967.. ................. Specialist's Certificate in Art Edu­ cation, MinistSre de l'Education, Quebec 1967-1970 ............ Professor of art education, Ecole Normale Laval, Quebec 1970-1971 ............ Assistant Professor of art education, Universite Laval, Quebec 1971-1973 ............ Graduate student at The Ohio State University, Columbus, Ohio 1973 ................. M.A., The Ohio State University, Columbus, Ohio 1975-1978 ............ Professor of Art Education, Direc­ tor of the undergraduate program with art teaching major, Coordina­ tor of Art Education at 1'Ecole des Arts Visuels, Universite Laval, Quebec iii PUBLICATIONS "Senslb11isation a la Beaute", monograph sent to UNESCO at the request of the Ministry of Cultural Affairs, Quebec, 103 pages, 1967. "La Nature de 1 'Enseignement des Arts Plastiques", in Vision, The Journal of the Quebec Art Education Association, N. 20, Automne 1975, pp. 18-20. "Visiter une Exposition, c'est aller vers ses Propres Racines Artistiques", in Vision, The Journal of the Quebec Art Education Association, N. 21, hiver 1976, pp. 6-8. "Les Avenues Multiformes de 1'Evaluation en Education Artistique", in Presentations on Art Education Research, Montreal: Concordia University, N. 2, 1978, pp. 71-75. FIELDS OF STUDY Major field: Art Education Studies in Fine Arts Studies in History of Art Studies in Education Studies in Psychology Studies in Sociology Studies in Music iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS....................................... ii VITA .................................................. iii TABLE OF CONTENTS..................................... v LIST OF F I G U R E S ....................................... vii INTRODUCTION .......................................... 1 Chapter I. BACKGROUND AND STATEMENT OF THE PROBLEM .... 4 Need For I n v estigation..................... 4 Why Investigate Attitudes? ................. 7 Why At The Junior High School Level? .... 11 Why In Quebec City? ......................... 22 Questions To Be A n s w e r e d ................... 27 Design Of The Investigation................. 32 II. REVIEW OF RELEVANT LITERATURE ................ 44 Attitudes................................... 44 Philosophical And Psychological Foundations Of Attitude Change ............ 51 Attitude Measurement ....................... 73 III. ALTERNATIVE CONCEPTUAL FRAMEWORKS FOR ANALYZING ART ATTITUDES ................... 81 Survey Research ............................. 81 Experimental Research ....................... 85 Learning Theories ........................... 86 Cognitive................................... 89 v Chapter Page Personality-Oriented Research .............. 98 My Investigation: A Functional Approach . 104 IV. PRESENTATION, ANALYSIS AND INTERPRETATION OF THE D A T A ..................... Ill Functions Of Art............................. 114 The Functional Approach ..................... 119 Operationalisation ......................... 120 The Conventional Teaching Of A r t ........... 125 The Free Expression M o v e m e n t .............. 150 The Aesthetic Education ..................... 166 V. CONCLUSION AND IMPLICATIONS.. ................... 192 APPENDIX A. ART ATTITUDE QUESTIONNAIRE ..................... 209 Raw D a t a ................................... 214 B. DATA GATHERED FROM SCHOOL ART TEACHERS.......... 220 C. INTERVIEWS............. 225 Rene B e langer............................... 225 Henri-Paul Cunnigham ....................... 233 Marc G a g n e ................................. 239 Luc ten Hud o n ............................... 247 Claude Lagace ............................... 251 Armand Maranda ............................. 258 Clement P a r e ............................... 262 Omer P a r e n t ................................. 266 BIBLIOGRAPHY .......................................... 274 vi LIST OF FIGURES FIGURE Page 1. A structure ior planning the investigation ................................ 34 2. A classification of information needed for the i n v e s t i g a t i o n ............... 33 3. Relationship between the Junior High School goal statements and the Art Attitude Questionnaire ........ 40 4. A functional map: artistic attitudes in their learning and externalizing context ................... 121 5. Triptych considered as a cultural showcase of Quebec art education .......... 196 vii To enter effectively into an exploration of the terrain of the Quebec art educational situation* it seemed to me Important to iden­ tify the essential elements of the landscape. The four essential features which seemed of greatest significance can be formulated as: "Art teachers teach students art concepts in order that a purpose would be achieved". As, I explored more closely the relationships of these features, two significant points emerged. First, it seemed that purpose preceeded other elements in the art educational situation and second, it appeared that purpose was rooted in the realm of values For example, if Quebec art education values freedom in self-expression the contextual goals of an art class will be chosen and
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