“创造力”美育话语的源与流

The Origin and Development of“Creativity”Aesthetic Education Discourse

有关“创造力”的美育话语始于马丁·布伯在1925年海德堡第三届国际教育大会上的演讲。现代美育学的创造力发展观已经从康德、歌德、席勒以及浪漫主义诗人的“天才论”话语传统中超脱出来。在作为公共教育的美育教学活动中,更重要的不再是创造力的“原创性”“独创性”和“不可教性”,而是它的“协同性”“互助性”与“可培养性”。近年来,欧美国家的“创造力”美育话语日趋繁盛,其在早期所显示出来的心理学支流与专业艺术教育支流之间的分化也逐渐模糊,不同学科之间的交叉与互融变得越来越频繁、深入。“创造力”美育话语尽管在对艺术传统的理解性教育方面显得有些深度不足,但它在促进教学参与者的思想活跃度、参与协作度和素质宽广度等方面具有明显优势;它更注重把传统艺术经验中仍然鲜活的部分和层面结合进当代社会关系之中,由此而引发创造、促成文化更新与繁荣。这一做法使得传统不再是前行的包袱,而成为创新的资源。

The“creativity”aesthetic education discourse originated from Martin Buber s speech at the 3rd International Pedagogy Conference at Heidelberg in 1925.The development view of creativity in modern aesthetics has already transcended the limitation of the discourse tradition of Kant,Goethe and Schiller as well as the“genius theory”of Romantic poets.The aesthetic teaching activities,as a kind of general education,no longer focus on“originality”,“uniqueness”and“unteachability”of creativity,but on its“collaboration”,“mutual assistance”and“cultivability”.In recent years,the“creativity”aesthetic education discourse in Europe and the United States has become increasingly prosperous,and the division between the psychological and the professional art has become more obscure.In this context,the intersection and integration of different disciplines are getting increasingly frequent and sophisticated.Although the“creativity”aesthetic education discourse may appear a little superficial in its understanding and teaching of the artistic tradition,it has its significant advantage in promoting the mental vitality,collaboration and quality of the participants in teaching.In addition,it focuses more on the integration of the still-vivid parts and dimensions of the traditional artistic experience into the contemporary social relations,which leads to creativity,cultural renewal and prosperity.Indeed,this approach allows tradition to become a resource for innovation rather than a burden for progress.