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Narodziny i rozwój polskiej teorii wychowania estetycznego

100%
Gogłuska-Jerzyna M.
Kwartalnik Pedagogiczny
|
2015
|
issue 3(237)
21-33
EN
The polish conception of aesthetic education began in the 1960s. The grounds of this theory were formulated by Bogdan Suchodolski, who recognised it as an integral part of general education. According to this theory, aesthetic education encompasses two areas: education for art, i.e. education for aesthetic sensibility and aesthetic culture, and education through art, i.e. development of full personality, also in the intellectual, moral, social, educational, imaginative and creative areas. Essential for the Polish theory of aesthetic education are the proposals and conclusions presented by Irena Wojnar, particularly her recognition of education through art as a creating an “open mind” attitude. A distinctive feature of Irena Wojnar’s pedagogical reflection on art is its interdisciplinary nature, which takes into account not only the educational one, but also the aesthetic, psychological and social perspective on the educational values and functions of art. The conceptions of visual art and musical education developed within the “general” theory of aesthetic education have been used in designing the music and visual arts curricula. The contemporary Polish theory of aesthetic education joined the stream of new educational thinking, in the perspective of cultural pluralism and new ethical and social obligations to individuals and to the world. The so perceived aesthetic education, recognised by UNESCO as an important part of education for culture, including the so-called human culture, deserves both the attention and interest of theorists as well as innovative practical solutions.
2
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The Development of Art Appreciation Abilities of Pupils in Primary School

100%
Duh M., Korošec Bowen A.
The New Educational Review
|
2014
|
vol. 36
42-54
EN
In Slovenian schools pupils have few opportunities to observe, understand and enjoy works of art. Contemporary art education in Slovenia should aim to combine the development of productive and receptive artistic abilities. This would make more comprehensive artistic development of pupils possible. In this study we monitored the development of the art-appreciation abilities of 10–11-year old pupils in primary schools in northeastern Slovenia. Th e results show that the level of art-appreciation abilities is somewhat average, however, girls showed higher developed art-appreciation abilities than boys. Based on the results we can conclude that the development of art appreciation abilities in our art-education program is given too little attention.
3
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Popularity of art motifs among fourth-grade primary school students in Slovenia and Croatia

100%
Duh M., Herzog J., Huzjak M.
The New Educational Review
|
2016
|
vol. 43
92-103
EN
The article presents the results of an empirical study, whose purpose was to identify preferences for art motifs among fourth-grade primary school students in Slovenia and Croatia. From the viewpoint of the total sample (n=1,467), the study results have shown statistically significant gender-related differences in four out of five cases. No differences were observed with regard to social stratum. With regard to individual countries, statistically significant differences were noted in three out of the five cases. It was expected that there would be no differences in preferences for art motifs between Slovenian and Croatian students.
4
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Narodziny i rozwój polskiej teorii wychowania estetycznego

88%
Gogłuska-Jerzyna M.
Kwartalnik Pedagogiczny
|
2015
|
vol. 60(3 (237))
21-33
PL
The polish conception of aesthetic education began in the 1960s. The grounds of this theory were formulated by Bogdan Suchodolski, who recognised it as an integral part of general education. According to this theory, aesthetic education encompasses two areas: education for art, i.e. education for aesthetic sensibility and aesthetic culture, and education through art, i.e. development of full personality, also in the intellectual, moral, social, educational, imaginative and creative areas. Essential for the Polish theory of aesthetic education are the proposals and conclusions presented by Irena Wojnar, particularly her recognition of education through art as a creating an “open mind” attitude. A distinctive feature of Irena Wojnar’s pedagogical reflection on art is its interdisciplinary nature, which takes into account not only the educational one, but also the aesthetic, psychological and social perspective on the educational values and functions of art. The conceptions of visual art and musical education developed within the “general” theory of aesthetic education have been used in designing the music and visual arts curricula. The contemporary Polish theory of aesthetic education joined the stream of new educational thinking, in the perspective of cultural pluralism and new ethical and social obligations to individuals and to the world. The so perceived aesthetic education, recognised by UNESCO as an important part of education for culture, including the so-called human culture, deserves both the attention and interest of theorists as well as innovative practical solutions.
5
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WYŻSZE SZKOŁY NAUCZYCIELSKIE JAKO FORMA KSZTAŁCENIA nauczycieli WYCHOWANIA PLASTYCZNEGO NA POTRZEBY SZKÓŁ PODSTAWOWYCH

63%
Żukowska A. M.
Lubelski Rocznik Pedagogiczny
|
2013
|
vol. 32
EN
The establishment of Higher Teacher Education Schools is connected with the 1961 reform of the Polish education system implemented from 1962 to 1968. The reform, whose goal was interalia to modernize the teacher training system, gave rise to the idea of establishing higher vocational schools with a three‑year course of instruction. The graduates would receive general training to teachin primary school grades 1 to 4, and specialist training to teach one or two related subjects in grades 5 to 8. The organization of Higher Teacher Education Schools took their two forms into consideration:independent schools and schools organized as part of higher pedagogical schools (colleges) and universities. Visual arts education training was conducted as part of the art education study program combined with early (grades 1–3) education or as an independent extramural program “visual arts education” for graduates of vocational teacher training schools (lower teacher training colleges). The curricula prepared by the Ministry of Education and Higher Learning comprised social‑politicaland philosophy courses, pedagogical subjects and specialist courses in two disciplines. In 1973 after a new teacher education reform, the Higher Teacher Education Schools were transformed into independent higher pedagogical colleges, or university branches or faculties.
PL
Utworzenie wyższych szkół nauczycielskich wiąże się z podjętą w 1961 roku, a realizowaną w latach 1962–1968, reformą polskiego systemu oświatowego. W ramach reformy, której celem byłamiędzy innymi modernizacja systemu kształcenia nauczycieli, zrodziła się koncepcja powołania wyższych szkół zawodowych o trzyletnim okresie nauczania. Absolwenci mieli otrzymać przygotowanie ogólne do nauczania w klasach I–IV oraz specjalistyczne do nauczania jednego lub dwóch pokrewnychprzedmiotów w klasach V–VIII. Organizacja WSN uwzględniała dwie formy organizacyjne: szkoły samodzielne oraz szkoły organizowane w wyższych szkołach pedagogicznych i uniwersytetach. Kształcenie plastyczne realizowano na kierunku wychowanie plastyczne w połączeniu z nauczaniem początkowym lub samodzielnym kierunku wychowanie plastyczne na studiach zaocznych dla absolwentów SN. Plany nauczania opracowane przez MOiSW obejmowały przedmioty filozoficzne i społeczno‑polityczne, pedagogiczne oraz przedmioty kierunkowe z zakresu dwóch dyscyplin. W roku 1973 po przeprowadzeniu nowej reformy w zakresie kształcenia nauczycieli WSN‑ y przekształcono w samodzielne wyższe szkoły pedagogiczne, filie lub wydziały uniwersyteckie.
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