22 research outputs found
Controversy in aesthetics : implications for metacriticism in art education.
Aesthetic controversy over the link between art and criticism is
investigated with a view to exploring implications for
metacriticism in art education. Artistic intention is defined as a
principal controversy on the assumption that it is representative
of disputes in aesthetics as a whole concerning the relative
validity of divergent critical stances. A disparity is found to
exist between the centrality of aesthetic controversy as a focus of
metacriticism among aestheticians and its peripheral status in art
education theorizing. On the (discipline-based) assumption that
art teaching and learning should be grounded in the content and
methods of artists, art historians, art critics, and aestheticians,
this disparity is considered a research 'problem'. It is
hypothesized that controversy in aesthetics is a potential source
of curriculum development in art education.
Relevant 'kinds' of theory are analyzed with a view to clarifying
issues underlying aesthetic controversy, such as that prompted by
intention. An analysis is made of standard oppositions in
philosophy and aesthetics with particular reference to the divide
between analytical and Continental philosophical traditions.
underlying theoretical frameworks are identified and speculations
made about the kinds of critical strategies that might arise from
them. In this connection, teaching about intention in the field of
literature education theory is explored in some detail with the a1m
of discovering strategies for metacriticism that might be applied
to art teaching. Moreover, the research addresses the problem of
translating discipline-based content in respect of controversy into
a pedagogy of metacriticism. Following an examination of
pedagogical models in general education theory, it is concluded
that fundamental controversy (in aesthetics) implies a paradoxical,
though not illogical, alignment of 'commitment' and 'impartiality'
in respect of subject content and wider educational goals.
A synthesis is finally made of arguments arising from the analyses
of separate kinds of theory and this culminates in a formulation of
principles for teaching metacriticism. This is based on key
aspects of aesthetic theory which, in combination, reflect not only
the diversity but the contestability of art criticism, namely, the
distinctions between intrinsic and extrinsic evidence, descriptive
and interpretive statements, moral and aesthetic judgments, and
between intentional ism and anti-intentionalism. Discussion of the
metacritical principles is illustrated by reference to relevant
classes of artworks. Moreover, the implications of teaching
aesthetics and criticism as an interactive whole are discussed in
respect of curriculum development and teacher training at both
national and institutional levels. '!be study concludes with a
reflective criticism of the research method and suggestions are
made about possibilities for future research