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研究生:蘇錦皆
研究生(外文):Jin Jie Su
論文名稱:視覺文化藝術教育課程建構與實踐評估之研究
論文名稱(外文):Assessing the Construction and Practice of Visual Culture Based Art Curriculum
指導教授:郭禎祥郭禎祥引用關係
指導教授(外文):Ann C.S. Kuo
學位類別:博士
校院名稱:國立臺灣師範大學
系所名稱:美術學系
學門:藝術學門
學類:美術學類
論文種類:學術論文
論文出版年:2011
畢業學年度:99
語文別:中文
論文頁數:381
中文關鍵詞:視覺文化藝術教育重要觀念視覺素養
外文關鍵詞:visual cultureart educationbig ideasvisual literacy
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本研究希望能結合當代藝術教育理念,將「重要觀念」融入影音學習,進行視覺文化藝術教育課程建構與實踐評估,為國內藝術教育理論的落實,提供有力的教學實踐依據,並希望學生能藉由正向的動態影像學習活動,提高視覺素養,並為未來相關課程提供參考依據及相關建議。本研究所獲得的結論如下:

課程內涵方面:一、必須強化動態影像方面的學習,提高視覺素養,以免學生的價值觀受到日常生活中大量影像的負面影響。二、必須考量視覺藝術教育與資訊科技、全球多元文化及學生社區生活之間做有意義的連結,才能與當代藝術教育理念相契合。三、必須加強與其他學科領域的統整結合,並確保有藝術學科的自主地位,以符合視覺文化藝術教育的跨領域統整趨勢。四、必須加強學生在人際社會經驗與學生自我生活之連結,以提供高中生在人際關係階段成長的需求。

實務困境方面:一、教師藝術教育專業不足,將影響本課程的實施推動。二、教師跨領域專業不足,是發展本課程的一大阻礙。三、教學設備及器材不足,是落實本課程的嚴苛挑戰。四、教師的課堂經營能力,將扮演本課程順利實施的推手。五、升學課業的壓力,仍影響本課程的教學正常化。六、教師的教學態度,將扮演本課程的決定關鍵。

教學成效方面:一、本課程具有影像專業認知上的教學及學習成效。二、本課程能有效提升學生關懷周遭環境與關注社會相關議題。三、本課程能讓學生運用資訊科技媒介,創造出關懷社會的影像作品。

根據以上結論提出如下的建議:

對教學實務的建議:一、藝術教師必須採取主動與積極的教學態度,隨時精進自我的專業成長,擴大教學參與層面,才能彰顯藝術教育的教學績效,並獲得家長、社會、學校及教育行政單位多方的支持。二、以藝術為核心的視覺文化藝術教育課程,由於跨越不同的學科領域,教師在跨領域統整的專業上,必須主動尋求在職進修管道與其他學科領域專業上的協同教學。三、「重要觀念」融入視覺文化藝術教育課程時,要能掌握其根本精神,因地制宜,靈活變通,才能真正發揮其最大的教學成效。四、藝術教學現場亟待專業教學評鑑的輔導,透過學術觀點,能針對藝術教學的教師專業、課程品質、學生學習各方面提出專業評估,除了可以彌補學術與實務間的間隙,更是教師與學校及教育行政當局最佳的交流對話平台。

對教育當局及師資培育進修機構的建議:一、整合不同學科領域教師的培育及進修管道,以符合視覺文化藝術教育的跨領域需求,並考量教學現場實際需求。二、整合不同學科領域教學設備資源的提供管道,強化教學資源設備的共享,以補有限的教學資源與設備。三、鼓勵教師參與國內外各類型的藝術教育學術交流學會,並強化藝術教師交流學習的平台,以促進教師藝術教育學術理念的俱時精進,並縮短理論與實務的鴻溝。四、強化當代藝術教育師資的培育計畫,並控管藝術教師的新舊交替與供需平衡,同時讓新一代的藝術師資能抵達教學現場。

對後續研究的建議:一、研究對象可擴及至數位落差較大的鄉村地區。二、持續本課程的發展實施,並繼續研發其他視覺文化相關課程。

This study hopes to incorporate the Big Ideas of contemporary art education into audiovisual learning and assess the construction and practice of visual culture art curriculums. In the end, this study aims to offer a solid foundation on which to build practical teaching methods for domestic art education. It is hoped that through positive visual learning strategies, students will improve their visual literacy. In addition, this study also seeks to provide a frame of reference and relevant suggestions for future art education courses. The conclusions of this study are as follows:

The content of this curriculum revolves around four major points. First, more emphasis should be laid on learning through videos. This will improve students’ visual literacy and reduce the negative impact of large quantities of daily visual images on students’ value systems. Second, a meaningful link has to be forged to connect visual art, information technology, global cultural diversity, and students’ community life so that the curriculum will dovetail well with the concepts of contemporary art education. Thirdly, other subjects/courses should be incorporated to retain the autonomy of art subjects and to keep pace with the interdisciplinary trends of visual culture based art education. Fourthly, a stronger link has to be established between students’ social experiences and their personal lives so that they are provided with support for maintaining good interpersonal relationships.

Six main concerns are raised about current difficulties in the practical application of art education: first, the promotion of this curriculum will be difficult for want of teachers’ specialty expertise in art education; second, teachers’ inadequate interdisciplinary knowledge is a major obstacle to the curriculum’s development; thirdly, the lack of teaching equipment and aids has posed a serious challenge to the curriculum’s implementation; fourthly, teachers’ ability to manage the classroom will be a determinant of the curriculum’s progress; fifthly, the pressure of academic pursuit will still hinder this curriculum from being normalized in teaching. Ultimately then, the success of this curriculum will be determined by the decisive factor of each instructor’s attitude toward teaching.

This curriculum has three effects: first, it facilitates the teaching and learning of professional visual image concepts; second, it effectively prompts students to pay attention to issues in their immediate surroundings and society as a whole; thirdly, in this kind of curriculum, students learn to utilize information technology mediums to create films that manifest concern for society.

In response to the aforementioned observations, suggestions are as follows: Four suggestions are proposed for the improvement of practical teaching: first, art teachers must adopt a positive, active attitude toward teaching, cultivate their professional skills whenever possible, and inject more energy into teaching so as to demonstrate the educational efficacy of the curriculum; meanwhile, these measures will also help teachers receive support from multiple groups, including parents, society, school, and administration authorities; second, because the art-based integrated curriculum involves multiple fields, art teachers should take the initiative to seek channels for advancement in their fields while on the job, and also find time to supplement their studies with education and training in other specialties; thirdly, when teachers incorporate Big Ideas into the curriculum, they need to grasp the essential principles of these concepts and allow flexibility and adjustment regarding their practical application; in this way, the value of teaching will be maximized; fourthly, art education classrooms have a pressing need for professional teaching evaluations, which can provide specialist assessments of every aspect from an academic point of view, including teachers’ specialty expertise in art education, course qualities, and students’ learning effectiveness. Such assessments will not only bridge the gap between academic theory and practical implementation, but also serve as the best communicative platform for exchanges between teachers and school administrators.

There are also suggestions regarding the concerned educational authorities and teacher cultivation/progressive training organs: first, subject/course boundaries in traditional teacher education curriculums should be done away with in order to meet the interdisciplinary needs of contemporary art education—the practical and actual needs of the classroom must not be overlooked; second, the teaching equipment and resources of different subjects/courses should be integrated so as to be available to all— in this way the problem of limited resources will be resolved; thirdly, teachers should be encouraged to participate in different kinds of art education seminars both at home and abroad; channels for exchanges between art teachers should be reinforced to ensure that their academic principles follow current trends, as well as to narrow the huge gap between theory and practice; fourthly, effective programs should be introduced to train contemporary art educators; meanwhile, efforts should also be made to maintain the supply-demand equilibrium of art teachers so that new generations of art educators can have access to classrooms.

Suggestions for further study: First, the research target can be expanded to the countryside where the digital gap is wider. Second, focus can continue to be placed on the development and implementation of this curriculum, but the design of other courses related to visual culture is also needed.

第一章 緒論
第一節 研究背景..…………………………………………………….…….…1
第二節 研究動機..…………………………………………………….….……4
第三節 研究目的與研究問題..……………………………………….….……7
第四節 研究範圍..……………………………………………………..………8
第五節 研究限制..……………………………………………..………………9
第六節 名詞釋義......………………………………………………….….…...10
第二章 文獻探討
第一節 當代藝術教育思潮.…....……………………………………..………13
第二節 視覺文化藝術教育...…...……………………………….……………23
第三節 重要觀念…………...……………………….…………….….….……41
第四節 教學現場..…...……..……..……………………………….………….88
第三章 研究設計與實施
第一節 研究方法....………………………………….…….………………...121
第二節 研究架構..……..……………………………….……………………122
第三節 研究對象..……...…….……………………………………………...124
第四節 研究程序 .…………………………………………………………..128
第五節 教學設計..……...……………………………….…………………...131
第六節 研究工具..…...………………………………….…………………...144
第七節 資料處理..…...………………………………….…………………...151
第四章 結果與討論
第一節 課程理念與實踐 .………….…….………………………………...155
第二節 實務困境與課程調整發展….………………………………………209
第三節 教學成效評估..…………………………………...............................244
第四節 反省與討論..……………………………...…….…………………...282
第五章 結論與建議
第一節 結論..………………………………………….…….……………….291
第二節 建議..………………………………………….…….……………….296
參考文獻
一、中文部份...…………………………………………………..…….….…301
二、西文部份..…….….………………….……………………………….….307
附錄
附錄一 範例作品教學引導..………..………………………………..….…...317
附錄二 討論活動學習單………..………………………………..….……….327
附錄三 教學活動單元補充教材……………………………..….…...............337
附錄四 紀錄片拍攝企畫書範例.……………………………………..….…..350
附錄五 紀錄片拍攝規範及說明….…….…………………….……….……..352
附錄六 心得回饋單..……...….…….…………..………….……….…….…..353
附錄七 意見回饋問卷....………...…………………………………………...354
附錄八 視覺文化藝術教育課程學習成效自評量表…….……….................355
附錄九 作品評分表. ………….………………….……..…….………..........357
附錄十 參與程度檢核表…….………………….……..…….……………….358
附錄十一 教學引導教材及補充教材參考資料來源………………………..359
附錄十二 全部學生作品一覽表.………………….……..…….……….........365
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