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Universiv Microlfilms International L U D V I G S E N , a R N E INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality o f the material submitted. The following explanation of techniques is provided to help you understand 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 you of complete continuity. 2. 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Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. UniversiV Microlfilms International L u d v i g s e n , A r n e CONFRONTATIONALISM; A FOUNDATION OF INTELLECT IN ART. EDUCATION AND ART EDUCATION The Ohio State University Ph.D. 1980 University Microfiitns internationai WN.Z^bR<»d,A™A*»,m«K* «karwRw,Wd»»WCIR4m,En.W Copyright 1980 by Ludvigsen, Arne All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark . 1. Glossy photographs^ 2. Colored illustrations_______ 3. Photographs with dark background 4. Illustrations are poor copy_______ 5. °rint shows through as there is text on both sides________ of page 6. Indistinct, broken or small print on several_________ pages throughout 7. Tightly bound copy with print lost in_______ spine 8. Computer printout pages with indistinct_______ p r in t 9. Page(s) lacking when material received, and not available from school or author_______ 10. Page(s) _______ seem to be missing in numbering only as text follows_______ 11. Poor carbon copy_______ 12. Not original copy, several pages with blurred________ type 13. Appendix pages are poor___ copy 14. Original copy with light type__ 15. Curling and wrinkled pages________ 16. Other______________________________________ ___ Universiw M ’ocxiim s Intemarional 300 Z= = = 3D.. ANN ARBOR Ml J 8 1 0 6 '3131 761-4700 CONFRONTATIONALISM: A FOUNDATION OF INTELLECT IN ART, EDUCATION AND ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Arne Ludvigsen, B.F.A., M.A. The Ohio State University 1980 Reading Committee: Approved By Kenneth A. Harantz Ross A. Norris Nancy MacGregor Adviser Department of Art Education To the monists and the dualists ACKNOWLEDGEMENTS I gratefully acknowledge the support of Kenneth Marantz, Chairman of the Department of Art Education, The Ohio State University, and the concerned assistance given by Arthur Efland and Nancy MacGregor. Most importantly, I also acknowledge the indispensable support of my wife Melissa who contributed her typing skills, editing abilities, and ideas to this dissertation. Without her understanding, this project would have been a great deal more difficult. October 29, 1946 ................ Born - Odense, Denmark May 1, 1975 .................... Naturalized American citizen Denver, Colorado 1969-1974........................ Part-time. Illustrator, artist, photographer, designer Boulder, Colorado Biological Sciences Curriculum Study 1972 ............................ D.F.A., University of Colorado Boulder, Colorado 1975 ............... M.A. in the field of Art Education University of Northern Colorado Greeley, Colorado 1975-1977........................ Teaching Associate, Department of Art Education The Ohio State University Columbus, Ohio 1978-1979 ..... Part-time Instructor University of Colorado Boulder, Colorado FIELDS OF STUDY Major Field: Art Education Studies in Art Studies in Philosophy TABLE OF CONTENTS Page DEDICATION....................................................... il ACKNOWLEDGEMENTS................................................ ill VITA ............................................................. iv LIST OF F I G U R E S ...................................................viii Chapter I. INTRODUCTION.......................................... 1 An Overall View of the Problems ; Rationale for the S t u d y ................................ 1 The Nature and the Structure of Education as the Problem................................ 4 Philosophy and Anti-Intellectualism As the P r o b l e m ........................................ 6 Misrepresentation of Philosophy; A Further Problem ...................................... 10 The Need for & Philosophy of Art Education That is Metaphysical in N a t u r e ........................ 14 FOOTNOTES.............................................. 17 II. M O N I S M ................................................ 18 Experience and Common Sense: An Educational N i g h t m a r e .............................. 18 S u m m a r y .......................................... 26 Experience and Phenomenology Proper ..................... 28 S u m m a r y .......................................... 32 An Attempt at Saving and Applying Phenomenology Proper: Roman Ingarden's Aesthetics Criticized .................................. 34 S u m m a r y .......................................... 38 Common Sense and the Assaults on Meta­ physics: The Panorama of the Problem................... 41 C o n c l u s i o n ............................................ 46 FOOTNOTES.............................................. 48 III. MONISTIC METAPHYSICAL PRINCIPLES ...................... 51 Page Introduction ........................................ 51 The O b j e c t .......................................... 55 Nullification of the Object; The Reign and Problems of Dialectics........................... 61 The T r i a d ...................................... 64 The Triad Compared to the T r i a n g l e ............. 70 Dialectic Aesthetics: A Revival of Marxism and Existentialism...................... 82 Summary and Conclusion .............................. 88 FOOTNOTES .......................................... 93 IV. CONFRONTATIONALISM.................................. 96 Fields of F o r c e s .................................... 96 Two, Not One, Antecedents...................... 101 Dual Antecedent as the Given and the Corroboration of M a g n e t i s m .................... 104 Counterness as an Ultimate Given: Relationship and Interrelationship of F o r c e s ...................................... 109 Counterness of Experience and Confronting as a Metaphysical and an Epistemological Concern ............................ 117 E x p e r i e n c e .............. 117 Confronting: A Further Concern with Experience................................ 122 Construction: An Epistemic Process ............ 128 Summary........................................ 134 Pre-Intuition ...................................... 137 Intersubj ectivity.............................. 149 Intra-Subjectivity ............................ 159 Developmental Extension of the Monist and the Dualist.............................. 164 Confrontation and the M i n d .................... 166 Self Confrontation and Conjectures About the S u p e r e g o ............................ 172 Encounter: Two Givens, One Formulated ........ 180 ^P^^ Intuition 185 Intuition as Experience and Expression ........ 186 Intuition as a Penetrable Boundary ............ 189 Intellectualism............ 191 I m a g e .......................................... 193 B e l i e f ........................................ 200 I d e a .......................................... 204 L a n g u a g e ...................................... 207 Con c e p t........................................ 210 C onduct........................................ 211 Consciousness .................................. 214 Function of the Topological Structure— A Summary and Conclusion ...................... 217 FOOTNOTES .......................................... 231 Page V. THE NATURE OF ART AND THE A R T I S T .................... 235 A Problem of Indentlty .............................. 235 The Artist is Necessarily a Dualist ............ 237 The Character of the Artist as Different From that of the Ill u s t r a t o r .................. 239 Explanation of the Unknown from the View of Religion and Religious Art Re-Interpreted .......... 245 The Origin of R e l i g i o n ........................ 245 The Artist and the Dragon
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