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노부자 漢陽大學校 師範大學 1989 論文集 Vol.- No.6
People are three-dimensional forms that dwell in space. The creation of visually pleasing three-dimensional objects can develop human sensibility. In teaching art, such as drawing or modeling, the common point of reference for the respective forms of experession is in figures and objects. The perception of these figures and objects is carried out through the visual sense mainly and the tactual is minimally utilized. Therefore, the main purpose of this study is to determine the importance of participation in three-dimensional art experiences which can provide guidance in teaching art. To provide a theoretical perspective, this study was formulated and based upon concepts in conjunction with the review of related lterature and the examination of art and art education. The provision of the theoretical perspective may contribute to future theory development and empirical investigation in art education. In order to clarify the three-dimensional art forms in relation to its space and form is discussed in Chapter Ⅱ. Chapter Ⅲ provides a background of effective learning in visual and tactual perception which is followed by a brief description of existing interdisciplinary events about spatial perception and its developmental stages in art is examined in Chapter Ⅳ. Finally, in ChapterⅤ, a detailed description of the educational significance of teaching and learning in art is described. Consequently, the data gatered from the analysis of the literature have been used in making generalizations concerning which ideas should be utilized in the production and criteria of three-dimensional art forms in art education.
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魯富子 漢陽大學校 師範大學 1987 論文集 Vol.- No.5
The purpose of this study was to evaluate the quality of the art education programs for teachers and also to create an awareness and understanding of what is essential in the organization and administration of art teacher education program quality in universities. In order to establish values and directions for objectives, content, metholology, and evaluation, which would apply to the theoretical framework for teacher education in art, the theoretical concepts of art education professionals were described and identified as those which have contributed to art education theories. It is hoped tha tthis descriptiv work will provide a basis for instigating new program development in art education requirements of teacher training programs met or exceeded the criteria presented in the National Art Education Association's Standards for Art Teacher Preparation Programs in most cases for studio and advanced work components. However, it was found that the requirements in teh appreciation component did not meet the standard in a large percentage of cases. Although supplemental art courses were available to the art education majors in a small percentage of cases, the content of art education courses was still found to be lacking in certain areas. In this paper, art is conceived of as a unique and valued field of human endeavor provided by no othe rrealm of human nuderstanding. Therefore, professional training through which one acquires the skills and concepts undergird the creation of art. As long as art is concerned, the structure of the discipline or advance-organizers would reveal to the learner the appropriate directions for his inquiry. That is to say, the art teacher will have to structure the learning experience so that the character of art discipline is revealed.
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노부자 한국조형교육학회 1993 造形敎育 Vol.0 No.9
급격하게 변화하는 현대의 삶 속에서 미술교사들이 당면하는 어려운 문제 중의 하나가, 학습자에게 누가 무엇을 어떻게 가르쳐야 하는가에 대한 문제일 것이다. 왜냐하면, 문화적 정치적 경제적 요구에 따른 교육환경의 변화와, 개성과 창의성이 강조되는 미술의 특성은 정형된 형식을 갖춘 공통된 교과과정이나 미술교육 프로그램외 계획을 어렵게 하기 때문이다. 사실, 역사적으로 살펴본 미술교육의 경향은 얼마 전까지만 하더라도 창의적이며 자유스런 자아표현(Lowenfeld, 1947) 같은 표현활동이 중심을 이루어 왔었다. 그러나 근래에 들어서면서 제작할등 중심의 표현활동과 더불어 미술의 이해적, 같상적 측면이 점차 강조되고 있는 것이다.(Barkan 1962, Eisner 1972, Chapman 1985, Feldman 1970, Greer 1984). 또한, 지난 한 50여년간을 살펴보면 미술교육의 목적이나 교수전략은 학생 중심으로 접근방법(child centred)으로 부터 훈련에 기초한 접근방법(discipline -based)으로의 변화를 살펴볼 수 있다.
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노부자 한국조형교육학회 1996 造形敎育 Vol.0 No.12
The purpose of this study was to examine art-teachers' role and their particular prerquisite for teaching broaden and diversified knowledge in art as well as ever-changing art concept with its various art materials and mediums in order to understand the present and the prospect of in-service art-teacher education in Korea for the year 2000. This study included the literature review on the transition of art concept, the diversity of art materials and mediums and a pertinent direction for its changes which art teachers could present to now generation preparing for the new era. In order for students 10 understand the essential concepts in art, followings should be considered as a core curriculum to implement in accordance with its structural and systematic teaching plan and study progress . 1) To understand and equip the skill the use or art materials and mediums: 2) to understand the symbolic meaning of visual form in artwork: and 3) to distinguish the similarity and difference between the characteristics and form in various artwork. In conclusion, what art teachers should face with and challenge for teaching broaden and diversified knowledge in art with its extended concepts and materials are follows ; 1) To understand and implicate various visual form which can be identified as art in order La comprehend distinctiveness of art concepts; 2) to acquire the knowledge of high technology, media and skills which could possibly produce art image; 3) to be flexible in one's thinking for accept the knowledge on various art forms and arc production progress; 4) to arm with art theory to identify what meanings and values can be deter mined as an artwork; and the last, 5) 10 have the knowledge and information or, art philosophy, educational methods, school administration and its organization.
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노부자 한국조형교육학회 1992 造形敎育 Vol.0 No.8
학교교육에 있어 교과교육의 중요성이나 교과이론 개발의 필요성이 여러 학자들(이칭찬, 1985 pp3124~125 : 한명희, 1990, p.26 ; 정범모, 1968, p.276)에 의해 주장되고 있으며 다른 교과와 마찬가지로 미술교과 역시 체계적 지식과 가치를 다루는 교과교육에 관한 연구는 필요하다고 보여진다. 이러한 시점에서 볼 때, 미술교과가 비록 다른 교과에 비하여 그 본질이나 특정을 규정짓기가 어렵고 이를 체계화하여 학습하는 데에 따르는 어려움이 있다. 하더라도, 아니 오히려 그 때문에도 이에 대한 학문적 체계의 수립이나 과학적인 지도기술에 대한 연구는 더욱 필요하다고 보여진다. 만약 우리가 비판 없는 미술적 성장이나 지식의 전달 및 기술의 연마에만 중점을 두어온 것이 사실이라면 이에 대한 반성과 재고가 있어야 할 것이다. 따라서 본 연구는 이와 관련된 이론적 문헌 연구를 통하여 미술교과 프로그램 내용의 과학적 체계성을 구축하고자 하였으며, 이를 근거를 미술학술 현장에서 실현가능한 미술학습의 module 개발을 제시함으로써 우리나라 학교교육 현장에서의 학습 활용에 도움을 주고자 시도하였다.
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