谈新课程改革下的美术课堂教学

新课程改革下的美术教学注重学生能力的培养，以学生为本，提高学生全面发展。教师与学生共同搭建平等，和谐的自主型课堂；学生在教师的引导下，以自主合作共同探究的形式进行学习。美术教师则通过形象的课堂教学，艺术的语言，多元化的学科整合，创设教学情景，丰富美术课堂，提高学生对美术的学习兴趣，激发他们的想象力和创造力。

How I Found My Way to the Written Word Through Visual Art

The author＇s practice-led research explores ＂the act of living.＂ In order to advance this idea, the author has acquired skills in investigation and expresses her thinking through a descriptive and explanatory visual language. The author＇s learning journey, while not unique, has not been an ordinary one. Initial academic failure to achieve in the school education system contributed to her choosing a life working on the land and harbouring the belief that she was unable to learn academically. Still, the author has gained a rich base of physical knowledge and experience through the traditional oral route including learning interpersonal communication through body language and vocal tonality. The author has used this intuitive knowledge to develop an arts practice where she explores the bio-cultural links between people and the lands they inhabit, creating works that aim to extend knowing through emphasising the experience and atmosphere of landscape. At this time, when our lives have become increasingly encoded and intellectually based, the author shares a belief with American philosopher Eugene Gendlin （b. 1926） that the ＂felt sense＂ can be developed in order to enable us to engage more fully with the world around us. The author explores this idea in her visual art but also realizes the need to express it in writing, both in order to reach a wider public and because of the possibilities offered by the written word to make public which is private and held deep within.

Conceptual Art： The Untold Story of African Art

Conceptual art is one of the twentieth century art movements that has gained popular attention in the contemporary artworld. It has received much scholarly prominence in the Western world, and perceived as an emergent art of European origin. What has been given little or no scholarly attention is the African essence of root of conceptual art movement. This article addresses the historical epochs of conceptual art in Africa and delves into the critical question of whether or not conceptual art is an emergent art in Africa. With the help of the images of African artworks, this article attempts to fmd visual answers by examining the art-historical account of the art through visual analysis in simple narrative format in telling the African side of the story. It concludes that the adoration and idolization of Marcel Duchamp as the father of conceptual art is contestable since the art was many centuries old in Africa before the twentieth century artists began to practice it in the West. Duchamp＇s attempt at dematerialization of art, and showing distaste to the traditional aesthetics of Western art at the time through conceptual exploration had been in practice in African art and, therefore, not an invention.

Kitsch or Visionary？＂ Charismatic Eschatological Community in Folk Art of the American South

Where do we draw the line of divinely inspired visionary art, and Christian kitsch？ Folk artists such as the Rev. Howard Finster and Sister Gertrude Morgan straddled the fence of kitsch and visionary art because they created work that was blatantly polemical and didactic, yet lived lives that inspired thousands of people across the US. The so-called ＂Southern Folk Art＂ movement consists of self-taught artists from the American South who are self-trained and rely heavily on ＂visions＂ and ＂prophetic words＂ as the genesis of their art. This article contends that the art produced by folk artists is documentation of their visionary insights as opposed to detached works that are admired for aesthetic reasons. While folk art of the American South portrays the charismatic imagination with themes of eschatological community and the second coming, it is the ＂visionary artist＂ that is contemplated, rather than his or her bona fide message of redemption and re-creation.

Ekphrasis in Houellebecq＇s The Map and the Territory as Mise-en-Abyme and as Metafiction

In Michel Houellebecq＇s novel The Map and the Territory （2010）, the references to visual art, painting, and photography take a central place in the narrative. In addition to the verbal representation of artworks, there is an entire system of commentary, interpretation, and criticism of art. The references to visual art appear explicitly as ekphrases which splice the narrative time and again. The unique nature of ekphrasis in The Map and the Territory lies in its representation of art devoid of an origin in the real wodd; for the paintings in The Map and the Territory do not exist in reality but are pure literary paintings, in the full meaning of the word, as the artworks mentioned in the story have an existence restricted to Houellebecq＇s novel. The article analyses the ekphrases in The Map and the Territory and argues that they are a virtual visuality mediated by words, employing solely the technique of ekphrasis as an enhancer of meanings in a text and thereby foregrounding its artifice. It further argues that the ekphrases are open to a field of interpretive possibilities by contemporary society, as every ekphrasis features within it subversion and a contemplation on contemporary reality

The National Monument in Indonesia： The Visual Art in Sacred Space

The paper is a part of the dissertation to reveal the psyche of the Ruler as the authorized man created the ＂space＂ in the Monument National in Indonesia, through investigation related metaphysically data as a process to having qualities becoming to ＂Indonesia＂. By using the Grounded Theory research method, which refers to Glaser and Strauss, phenomenological observations and Hermeneutic-lnterpretive method of Ricouer, the process of deriving quality form an architectural presence is revealed. By connecting the Spatial Archetype Theory of LobeU, the paper reveals the ＂inflated ego of the Ruler as Leader＂ was manifested by symbol rays of Radiant Axes civilization through Soekarno＇s unconsciousness thought of space. The presence of architecture the National Monument serves not merely as a city landmark, but more than that, it roles as the center of orientation and development for a Jakarta Master plan conceived 50 years ago and still maintained to this day as the basic of the Jakarta City Planning 2030 In effect, this means that the National Monument plays the role as the axis of Indonesia＇s modem civilization.

Charles Sheeler＇s Paragone： Literary Influence and the Shaping of a Hierarchy

This study is concerned with the literary and aesthetic influences that led to Charles Sheeler＇s formation of a paragone in his early 20th century work. This painter, photographer, printmaker, and experimental filmmaker had very specific ideas concerning the hierarchy of the visual arts. While he is known for embracing a wide range of media and materials, by 1919 his aesthetic thought reveals a desire to elevate the painting over all other media. This formation of a visual paragone was initially influenced by his involvement in the interdisciplinary circles which surrounded both Alfred Stieglitz and Walter and Louise Arensberg in New York City. In particular, his lifelong friendship with the poet and writer William Carlos Williams would shape his aesthetic thought leading to his elevation of painting over all other media. Sheeler＇s paragone would begin to form during his stays at the rural Doylestown House in Bucks County, Pennsylvania. This rural home, which he first rented with fellow painter Morton Schamberg in 1916, would become an artistic refuge for both artists. While commercial photography was beginning to take up more if his time in Philadelphia, it was the retreats to the Doylestown house that enabled Sheeler to continue experiments in painting and begin to think of the photograph as something other than a document of architectural work. At this early stage in his artistic career, Sheeler was beginning to form his own hierarchy and contribute to the continuing argument of painting versus photography.

Peripheral Realities： Visual Artists in Cebu, Philippines

Visual artists in the island provinces of the Philippines often find themselves navigating through adversities in the production and dissemination of their creative work. With the visual-arts praxis being exclusively cited in the nation’s capital city, the majority of artists spread over an archipelago of seven thousand islands fall under the notion of struggling, but persevering creator. This paper aims to describe and evaluate the art ecology of Cebu City, the art-related conditions of artists and their tenacity. The methodology used for case-creation： semi-structured interviews, in-depth interviews, and observation. The main finding of the study is that contemporary visual artists in the island province of Cebu, Philippines perceive the struggles from the production to the consumption of art as customary to their milieus. The study plots the current visual-arts ecology model of the locale and proposes future innovations for the development of the sector’s value chain. From the context of a developing country, the study also expands the discussion between creating art for art’s sake and art as a market commodity through the intermediate position of artists.

Design and Fabrication of a Three Dimensional Commemorative Artistic Plaque

In this paper, design and fabrication of a commemorative plaque are described and presented. The plaque was fabricated to honour the memory of the 14 women massacred at L＇Ecole Polytechnique in Montreal. This plaque is the result of a project partnership between the Faculties of Engineering and Fine Arts, and was sponsored by the Office of the Vice-President Academic and Provost. An art design was selected through a contest coordinated by the Visual Arts Departmment. The selected art design was then turned over to the Mechanical Engineering Department to be converted to a 3-dimensional （3D） solid model and then eventually fabricated on a computer numerical control （CNC） milling machine. The fabricated plaque was unveiled during the December 2010 Memorial event at UVic.

A Post-Colonial Study of American Animated Films

As a visual art, film has already been one of the main forms to exhibit culture in modem society. This paper tries to explore American animated films, one of the most successful and tipical styles of American films, from the view of post-colonialism so as to receal American animated films make every effort to set up the image of the Other and to propagate American culture and value. It is American cultural hegemony.

Preschool Child＇s Researching Interests and Role of Visual Art＇s Expressing Media

Genuine interest, research zeal, and visual art expressiveness which are typical of the pre-school period can pose a challenge to every teacher, at the same time, guide them when planning different contents for children to explore and discover. As one of the primary expressing media and an important support when forming concepts, visual art plays an indispensable role in the pre-school period. The following thesis is based on an action research whose key tendencies were focused on establishing children＇s interests in different useful materials and tools while enabling them an autonomous visual art use of these tools and didactical possibilities of the teacher involved. The activities included in the research were fully in line with the Slovenian National Kindergarten Curriculum and the project was carried out in the form of several successive meetings intended for visual art creative activities. All activities in the research were photo-documented while the analysis of the research＇s data was performed based on observation and written notes referring to individual child＇s responses, his or her questions, ideas, and incentives, the course of cognitive and creative process, communication with the peers and teachers and other potential particularities.

Civilization and Art： Lifeworld in the Variety of Visual Experience

The paper examines the assignment of the visual experience in the context of interrelation between civilization and art. Civilization is defined as ＂the survival of the weak＂. It is stressed that this definition can be applied to man, animal and every living being. Lie as ＂someone else＇s truth＂ and art as ＂the process of the creation of ＇copies of the copies of nature＇＂ are considered to be the weak man＇s tools for survival. The author argues that purpose of erotic scenes and scenes of hunting （death and violence） both in the past and in the present is the excitation at the woman of desire to reproduction.

Analysis on the Role of Art Design in the Construction of Spiritual Civilization——The Design of Incorrupt Government Poster Is Taken for Example

Poster design is a typical expressive form of visual art, while the construction of incorrupt government is the foundation of socialist spiritual civilization. The poster design themed with incorrupt government can promote the ideology of being honest in performing one＇ s official duties to be sublimaled when people are acquiring the visual aesthetic pleasure, so that it is firmly kept in the minds and the role of indirectly suppressing the corruption is played. In this paper, an in-depth analysis is made from the functions, value, and role of incorrupt government poster design by considering the harms of corruption and the needs on the of incorrupt government construction in the new period of socialism, and also the roles of poster design as the art carrier of corruption prevention and control in the construction of incorrupt government are emphasized, and then the positive role of art design in the construction of the socialist spiritual civilization is introduced accordingly through the special form of visual communication.

On visual art elements of the web interface

With the rapid development of modern high-tech, human society is advancing towards the information age. The advent of Intemet technology has brought mankind a new communication experience, and it makes communication between people undergo a fimdamental change. Today＇ s information and communication has broken the traditional way, storage, use and exchange of information are all inseparable from the network, the platform. Network development is affecting all aspects of human behavior and production life. In network technology, web interface design is a very important part. Web interface design is inseparable from the visual arts, both in mutual integration and the overall design, so that the web interface has the aesthetic appeal of the visual arts and the humanities connotation. Due to the development of network technology, people also put forward higher requirements for web design. Web interface design should not only reflect the excellent content, but also create one of the most intuitive visual arts presentation form. This text will begin from a Web page design and production, analyzed and studied its visual art elements to achieve a reasonable and beautiful web interface.

Vision and Imagination in the Renaissance Theatre

To see what lacks representation on stage is a fully creative act that the spectator performs thanks to his or her imagination, as （s）he is called to retrieve via memory what is objectively absent from the scene. The Renaissance audience accomplished such a creative act by making use of rhetoric and figurative arts. However, it is pre-eminently words that trigger and support the imagination, as Shakespeare＇s drama best exemplifies. Both in the Elizabethan drama and in the Italian Renaissance theatre, with its perspectival vision, the spectator＇s creative act takes place in an ideal space where the stage space turns into the locus of stereoscopic vision. Consequently, the creation and consumption of the vision originates first and foremost in drama （comedy and tragedy）. The psychological, aesthetic, and anthropological mechanisms at the heart of vision, and the fruition of the images deriving from words, can be found as operating within the dramatic text, from the point of view of both the playwright and of the spectator/listener, in a direct relationship of cause and effect. Religious and especially Jesuitical drama, whose theatrical experience aims at discovering a correspondence between words and images, testifies to the visual power of the theatre.

Study on the Digital Art Design and Practice of the Visual Elemems of Minority in Ningxia

Digital art design refers to the art and design activities that are implemented based on computers and related digital equipments. Today, the digital art has been extensively applied in all sorts of social areas and relevant industries such as animation, design, film and television production, games, advertising, multimedia design, and network. The artistic creations such as Helan Mountain Rock Painting, Xixia cultural patterns and ethnic patterns, in which Ningxia visual elements were taken as design themes, are diversified in forms and rich in contents, and also have been extensively applied. However, because of the application of the digital technology with powerful functions, the digital art has the ability to provide a wide creation space for national culture. Meanwhile, some special effects of the digital technology can also be applied in the creation of minority art.

Research on the Cultural Inheritance and Vision Interactive and the Applications on Contemporary Art Design

In this paper, we conduct research on the cultural inheritance and vision interactive and the applications on the contemporary art design. In the interaction design, establishment of metaphor interactive model is relates the key of user image model and designer image model is, through finding in two models product altogether has the characteristics, and reveals with the design language the characteristics, communicates with the user, thus enables the user to understand and grasp product the structure, function, usage-style and other information of rapidly. The inheritance rise of culture to some altitude, with the life or death strong and weak dependence department of the nationality and French structuralism anthropology believes that the behavior and standard of humanity are, the origins and development processes of various cultures by the deep structure of culture is decided has its similarity. Under this basis, this paper proposes the new combination model for later integration that will promote the development of the contemporary art design.

Proust Between Print Culture and Visual Art： Eve Kosofsky Sedgwick＇s ＂Works in Fiber, Paper and Proust＂

Marcel Proust is an author of global significance and renown. Trans- lations into Chinese and Korean of A la recherche du temps perdu are ongoing. The Gallica online library of France＇s Bibliothbque nationale makes the notebooks from which Proust＇s novel emerged between 1908 and 1922 digitally accessible any- where in the world. It is well known that Proust has been adapted to graphic novel format, individual volumes of his novel have been adapted for cinema, inspired ballet and musical theatre and his characters＇ lives have fuelled works of fiction by contemporary creative writers. This paper considers a very recent instance of Proust＇s reception and adaptation： ＂Works in Fiber, Paper and Proust＂ created by the critic and theorist Eve Kosofsky Sedgwick （1950-2009） and first exhibited at Harvard University in 2005. These remarkable objects--including what Sedgwick calls an ＂accordion-book＂ and a ＂loom-book＂--give a woven, layered physicality to Proust＇s words and remobilise them in ways that force us to reconfigure our understanding of the text-reader relation. Sedgwick＇s visual, textile artworks are the products of creative, adaptive practices undertaken as a sort of therapy that was instrumental in her coming to terms with the terminal cancer diagnosis she received in 1996. My paper explores Sedgwick＇s adaptive practice and interrogates the in- sights their challenging hybridity offers us into the ongoing transmission of Proust＇s work.

Visual Translations： Medicine, Art, China and the West

In the history of medicine, relatively little attention has been paid to the way medical illustration circulated globally---or to the issues raised by the cultural ＂translation＂ of such images. My goal here is to flesh out some of the history of this circulation and translation by exploring the aesthetic and medical connections be- tween two specific anatomical collections, both housed at the Gordon Pathology Museum at Guy＇s Hospital, London. The Joseph Towne collection of anatomical waxes and the Lam Qua paintings of the patients of medical missionary Peter Parker were both produced in the nineteenth century. Significantly, the two collections were part of related but culturally specific shifts in the way bodies （and diseased bodies） were viewed, represented, understood and treated. I explore some of the convergences and divergences between Western and Chinese medical and artistic priorities and will address some of the issues raised by them. These two collections are important, I argue, because they demonstrate how aesthetic considerations shape medical knowledge and wider attitudes about the human body.