Relevant bibliographies by topics / Definition of the art teacher

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Academic literature on the topic 'Definition of the art teacher'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Definition of the art teacher"

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Kulinka, Yu. "ART TECHNOLOGY IN THE FORMATION OF DESIGN CULTURE OF FUTURE TEACHERS OF LABOR STUDIES." INNOVATIVE SOLUTIONS IN MODERN SCIENCE 4, no. 23 (July 16, 2018): 62. http://dx.doi.org/10.26886/2414-634x.4(23)2018.6.

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This article presents the approaches to the understanding of the concept of «art-technology», describes the shape of the art technology for the formation of design culture of future teachers of labor studies; formulates author's definition of the art technology. The aim and the result of this study is to justify the methods of using art technologies in professional design training of future teachers of labor studies. The methods of art technique that can be used at the art lessons are proposed and tested in the process of professional design training of future teachers of labor studies.Key words: art therapy, art pedagogy, art technologies, professional training, future teacher of labor training, art lesson, art situations.
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Kushnir, K. "Peculiarities of valuable competencies development of future teacher of musical art." Musical art in the educological discourse, no. 3 (2018): 25–31. http://dx.doi.org/10.28925/2518-766x.2018.3.2531.

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The article is devoted to the current problem of modern art, especially music education. It reveals peculiarities of valuable competencies development of future teacher of musical art in conductoing-choral training at a higher education institution. The society is interested in development a highly-qualified specialist, who has high level of valuable competencies development, who meets the demands to the teacher in modern school. It is emphasized that the future teacher of musical art should be mobile, use computer technologies, take an active part in a socio-cultural environment, all this will contribute to achieve high results in the level rising of the conception under analysis determined and grounded in the article. The theoretical and practical aspects of professional mobility as a complex integrative quality of the future specialists are examined. Modern computer technologies, combined with the latest educational technologies, become effective means in the development of professional thinking of the future teacher of musical art, which allows to supplement and change the nature of the teacher’s activity, which will contribute to the spiritual development of the individual as well as development of their valuable competencies. The essence of values competencies is revealed and provides a definition of the concept of «valued competencies of the future teacher of musical art, in the conductor-choir training». Specialists of higher education institutions can find the information contained in this article useful for improving the training of future teachers of musical art and use it in teaching disciplines of the conducting-choral cycle.
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Wang, Xia. "FUNCTIONS OF ARTISTIC-PERFORMANCE SELF-EFFICIENCY OF A TEACHER OF MUSIC ART IN THE PEDAGOGICAL PROCESS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 164–67. http://dx.doi.org/10.36550/2415-7988-2021-1-195-164-167.

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The article considers the problem of the functions of artistic and performing self-efficacy of a music teacher in the pedagogical process. It is proved that the identification of the functions of performing and artistic self-efficacy plays a significant role in determining the theoretical and practical principles of improving the professional activity of a music teacher in modern conditions. Important functions of artistic and performing self-efficacy of a music art teacher are defined as: presentative-communicative, cognitive-evaluative, stimulating-developmental, constructive-transforming, reflexive-hedonistic. The presentative-communicative function is aimed at achieving the success of the teacher's professional activity, in particular the impact of his performance on the aesthetic education of students. The essence of this function is to demonstrate the teacher's creative personality while communicating with the student audience. In this sense, the artistic and performance presentation of the teacher is an important factor in achieving successful artistic and creative contact with students. Cognitive-evaluative function involves the teacher's ability to assess their performance, as well as the nature of the impact of music on the artistic and creative development of children. The stimulating-developmental function involves providing the teacher with the influence of art on the spiritual, aesthetic, musical development of students' personalities. The constructive-transforming function of the teacher's performance self-efficacy is to select a performance repertoire that would correspond to the teacher's artistic individuality, as well as correlate with pedagogical tasks. The reflexive-hedonistic function is focused on the teacher’s ability to objectively assess his performance skills, the ability to develop students ’listening abilities, and to enjoy communication with art. It is proved that the definition of the functions of artistic and performing self-efficacy of a teacher creates a theoretical basis for the development of methods of its formation at the art faculties of pedagogical universities
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Byvshenko, Anastasia Sergeevna, Natalia Vladimirovna Vlasova, Nikita Andreevich Ivanov, and Dmitry Nikolaevich Kuzmin. "The possibilities of theatrical art in the devel-opment of the negotiation competence of the teacher-mediator." Journal of pedagogical innovations, no. 1 (April 15, 2021): 67–76. http://dx.doi.org/10.15293/1812-9463.2101.07.

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The purpose of the article is the theoretical substantiation of the didactic potential of the means of theatrical art in the development of the negotiation competence of the future teacher-mediator. The main idea of the research is to consider the problem of organizing the training of negotiators for the field of education at the interdisciplinary level, which ensures the complex nature of the educational activities of students-future teachers-mediators. More results consist in the presentation of an innovative approach to the development of the negotiation competence of the teacher-mediator, in particular, in development of the idea to Supplement the structure of the negotiation competence of acting component, the formulation of the scientific definition of acting competence of the teacher-mediator, development and justification of the conditions of realization of educational activity in the University by means of theatrical art, contributing to the successful professionalization of the future teacher-mediator. The theoretical significance of the research is to expand the understanding of the phenomenon of negotiation competence in relation to acting creativity, in particular, with acting technique, and to identify opportunities for developing the negotiation competence of a future teacher-mediator based on the methodology of theatrical art (on the example of theatricalization, forum theater and the use of acting and directing memoirs in professional training).
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Лупак Н. М. "СТРУКТУРА КОМУНІКАТИВНОЇ КОМПЕТЕНТНОСТІ МАЙБУТНІХ УЧИТЕЛІВ МИСТЕЦЬКИХ ДИСЦИПЛІН: СУЧАСНИЙ ФОРМАТ." International Academy Journal Web of Scholar, no. 4(34) (April 30, 2019): 32–38. http://dx.doi.org/10.31435/rsglobal_wos/30042019/6447.

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The article deals with the essence of communicative competence of future teachers of artistic disciplines in the context of modernizing education and expanding the boundaries of art communication. The theoretical analysis of scientific sources on the problem of formation of communicative competence of future teachers, in particular, teachers of artistic disciplines has been carried out. The own definition of the notion «communicative competence» taking into account modern requirements for the professional training teacher of art has been proposed. The main tendencies for the structure of components of communicative competence as a system have been revealed. The own vision of the structure of communicative competence of future teachers of artistic disciplines, which is presented as a model, has been substantiated. The main structural elements have been demonstrated: criteria (axiological, cognitive, personal-active), components (valuable-motivational, informational-semantic, algorithmical-active, artistic-creative), indicators of formation of communicative competence.
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Kalinina, Larisa Yuryevna. "Art workshop as a form of student’s artistic and creative activity." Samara Journal of Science 7, no. 1 (March 1, 2018): 256–59. http://dx.doi.org/10.17816/snv201871306.

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The paper describes an innovative form of organization of educational art-creative activity of students - art workshop. The author refers to the justification of the concept art workshop in the context of current ideas of the theory and practice art education. The contradiction between the content of student creativity in the XXI century and common in the practice of traditional forms of introducing them to the art may be withdrawn by the structuring activities in accordance with the phases of the creative process. Article submissions are a contribution to solving a larger problem of early diagnosis of giftedness, since supposedly this quality of the individual manifests itself more and more noticeable in terms of artistic and creative process. A definition of art workshop is given, its features are highlighted: polyart nature of childrens activities, productive and aimed at understanding the meanings of reality through creative experience; engaging of elements of expression from the arsenal of modern composers, artists and poets. The implication is that the teacher is able to perceive the environment with immediate disciples, directing, but without limiting the collective creativity. This work makes it possible to orient teachers of music, fine arts teachers and teachers of additional education, as well as students of a pedagogical high school to making children be creative in accordance with their interests, abilities and their outlook.
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Danyliuk, Liudmyla. "Decorative-usage arts as means of formation of professional competence of future teachers of fine arts." HUMANITARIUM 44, no. 2 (December 31, 2019): 40–47. http://dx.doi.org/10.31470/2308-5126-2019-44-2-40-47.

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In the article on the basis of analysis and generalization of literary sources, pedagogical theory and practice, the means of formation the professional competence of future teachers of fine arts are determined. The main basis component of the formation of the art culture of future teachers of fine arts is decorative- usage arts, folk art crafts are noted in it. An important condition for the professional activity of future teachers of fine arts is the formation of art culture, which includes the ability to emotionally perceive of the environment, creatively transform it, culture of work, knowledge of culture people and nations in different periods of development of society, possession of universal values, in particular, the values of creative, which provide of personality of self-realization and self-development in decorative- usage arts and fine arts. The main basis component of the formation of the art culture of future teachers of fine arts is the decorative-usage arts, folk artistic crafts, the cultural and educational mission of which consists, first of all, in the increase of a productive representation of the values of human life, represented in figurative form of art works, the development of art intuition, aesthetic taste, emotional perception of art creativity, the definition of art as a specific spiritual activity in the development of culture of a particular epoch and on this based on the achievement of a high level of their own art skills.The important condition of professional activities of the future teachers of fine arts is formation of art culture is grounded. In the research and mastery of techniques of decorative-usage art in the future a teacher of fine art form of the desire to learn and protect the Ukrainian people’s material and spiritual achievements is determined.
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Aulls, Mark W., Diana Tabatabai, and Bruce M. Shore. "What Makes Inquiry Stick? The Quality of Preservice Teachers’ Understanding of Inquiry." SAGE Open 6, no. 4 (October 2016): 215824401668139. http://dx.doi.org/10.1177/2158244016681394.

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This nonexperimental, exploratory, mixed-design study used questionnaires with 167 preservice secondary teachers to identify prior educational experiences associated with student-teachers’ inquiry understanding. Understanding was determined through content analysis then open coding of definitions of inquiry and descriptions of best-experienced inquiry instruction, in terms of 23 potential learner-inquiry outcomes. Only two of seven educational-context variables related to understanding: prior experience doing a thesis or research—especially to definition quality and having taken a research-methods course—especially to description quality. How definitions and descriptions of inquiry are different and similar was analyzed qualitatively and quantitatively. Implications for methodology, theory, and practice were presented, for example, research opportunities and research-methods training during teacher education.
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Khairullina, Yulia. "The techniques of artistic drama in the preparation of a teacher of musical art to the teaching of the integrated course «Fine Art» in the context of the New Ukrainian School." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 319–22. http://dx.doi.org/10.33310/2518-7813-2019-65-2-319-322.

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integrated course «Art» in the conditions of the New Ukrainian school. It actualized the phenomenon of artistic dramaturgy in the context of application its regularities in the pedagogy of art. It was considered the features of using the techniques of artistic dramaturgy for ordering the structural and content elements of the modern «art lesson» in the secondary school. It was provided some recommendations to applicate the artistic dramaturgy as an educational technology. The levels of using the artistic dramaturgy at the lesson was describe. Dramaturgy, as «the art of constructing a dramatic work» is described by Aristotle, at that time, the main feature is formulated as the presence of action, changes in events in time. Using of artistic dramaturgy in pedagogy dates back to the 1960’s and 70’s of the twentieth century, when the implementation of new programs for a secondary school required updated methodological approaches. Ukrainian researchers of the problem of an artistic dramaturgy in the field of pedagogy ( O. Rudnitskaya, O. Sholokova, G. Padalka, L. Masol) provided the definition of the concept and levels of its existence in the art of pedagogy. According to previous studies, and based on his own intelligence, the author of the article gives the diagram of the art lesson, where was connected the didactic requirements to school lesson with the elements of the artistic dramaturgy. The author recommends a methodology of tracking the pupil’s emotional reactions for the forecasting the successful educational activity and improving the methodological training of future art teachers. In order to adequately implement the techniques of fiction dramatics, the future teacher needs to master special skills: linguistic and acting skills, possession of a musical instrument, elementary choreographic and pictorial skills, because the teacher is the performer of the lesson, screenwriter and director of artistic dramaturgy.
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Kosinska, Nataliia. "FORMATION OF THE SCENICALLY-SHAPED CULTURE OF FUTURE TEACHERS OF MUSICAL ART: METHODOLOGICAL BENCHMARKS." Modern Tendencies in Pedagogical Education and Science of Ukraine and Israel: the Way to Integration, no. 9 (September 20, 2018): 109–16. http://dx.doi.org/10.24195/2218-8584-2018-9-109-116.

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It is proved in the article that at the current stage of development of artistic and pedagogical education its traditional principles of development that are oriented at acquiring of knowledge, formation of experiences and skills, range of competences are established. It is defined that the new requirements are imposed on a teacher in the context of innovational approaches as follows: the modern society needs professionals who can perform professional functions and will be ready from the beginning of professional activity to manifest professionalism, competences in formation of the generation with a high level of aesthetic culture, values and ethical orientations. Methodological aspects of formation of scenically-shaped culture of future teachers of the musical art are highlighted. The concepts of methodological approaches in the context of problem formation of scenically-shaped culture of future teachers of the musical art are disclosed. It is defined that among the leading methodological approaches that determine the essence of scenically-shaped culture of a teacher of the musical art are cultural, axiological, competence-based and hermeneutic ones that enables definition of the corresponding professionally- meaningful quality, professional competence that allow a specialist to master the content of a musical composition as a particular cultural phenomenon, to consider it as synthesis of spiritual, emotional and aesthetic experience of humankind on the basis of interpretation of its artistic and sense dimension to build its scenic image and to relay it to the pedagogical, performing and vocal activities. This quality manifests itself in orientation on artistic image interpretation through a scenic image on the basis of universal and national culture experience, personal life and professional experience, value orientation in command of interpretative skills, vocal and acting techniques, pedagogical talent in decoding of shaped system of a musical composition through the mediation of a stage image, manifold quality, structural components of which are motivational and empathetic, cognitive and educational together with creative and active. Keywords: future teachers of the musical art; methodological foundations; scenically-shaped culture; cultural approach; axiological approach; hermeneutical approach; competency-based approach; image.
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Dissertations / Theses on the topic "Definition of the art teacher"

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Page, Troy. "What is the role of the art teacher in state-funded secondary schools in England?" Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/20224.

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For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of 'What is art'? and 'What is the role of the art teacher'? continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed 'art and design' teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland's streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman's rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children's individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed.
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Huggins, Jeremy James. "Definition of a threshold." Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/52100.

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This thesis explores the possible resolution of colliding autonomous architectural entities. The manifestation of this resolution occurs in the design of an art museum that utilizes the memory of the Victorian national spirit. The realization of this program underlies the author's continued pursuit to define the entities of boundary and threshold. This entire enquiry is presented through the utilization of photographs, drawings, and supporting text.
Master of Architecture
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Quevedo, Isabela. "Normative Dualism and the Definition of Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/6.

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Defining art has been one of philosophy of art’s biggest projects. However, no definition offered has achieved to account for all objects we consider art. In this paper, I argue that normative dualism, an unjustifiable Western prejudice for the mental, plays a big part in this failure. The division between fine art and utilitarian and “low” art has been perpetuated because the former is associated with the mental processes involved in its appreciation and, thus, considered more valuable. Theories of art also tend to exclude production (a physical process), concentrating mostly on the appreciation of art (a mental process). Ridding theory of the bias of normative dualism, by abolishing the division that sets fine art apart as more valuable and writing theory that takes art production into consideration, is the only way art theory will succeed in accurately describing art objects.
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Fokt, Simon. "Defining art culturally : modern theories of art : a synthesis." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3675.

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Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, and offers a new, cultural definition which can preserve the good elements of other theories, solve or avoid their problems, and have a scope wide enough to account for art of different times and cultures. The resulting theory is a synthetic one in that it preserves the essential institutionalism of Dickie's institutional views, is inspired by the historical and functional determination of artistic phenomena present in Levinson's historicism and Beardsley's functionalism, and presents the reasons for something becoming art in a disjunctive form of Gaut's cluster account. Its strengths lie in the ability to account for the changing art-status of objects in various cultures and at various times, providing an explanation of not only what is or was art, but also how and why the concept 'art' changes historically and differs between cultures, and successfully balancing between the over-generalisations of ahistorical and universalist views, and the uninformativeness of relativism. More broadly, the cultural theory stresses the importance of treating art as a historical phenomenon embedded in particular social and cultural settings, and encourages cooperation with other disciplines such as anthropology and history of art.
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Bhaugeerutty, Aruna Devi. "Sound art : discourses of definition on the contemporary artworld." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4092.

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Since the turn of the millennium, the term 'sound art' has gained increasing prominence while generating persistent discussion and debate. This study explores questions surrounding the definition of sound art through an analysis of these discourses. It also applies a Foucauldian notion of discourse to the concept of genre in order to promote a non-essentialist definition of sound art that is pursued through a project of clarification rather than classification. The research draws from a wide range of sources, from online symposia, magazine articles and publications to art exhibitions and their materials, to expose some of the conflicting and convergent representations of sound art within the artworld. Critical analysis of key ideas and themes identified in this source material is supported through reference to the history and theory of art and music as well as genre and culture. Sound art is an ambiguous and mutable concept that shares concerns with other forms such as experimental music and sonic art but has also developed specific generic meaning. Despite an apparent reluctance to define sound art, the category plays an active and important role within the institutions, industries and academies of the artworld. High-profile survey exhibitions such as Sonic Boom (Hayward Gallery, London, 2000) and Volume (MoMA PS1, New York, 2000) have been a major contributing factor to the growth but also uncertainty of sound art's discourse due to their idiosyncratic and inconsistent representations of the genre and the ways in which sound challenges artistic traditions of display. They also highlight ideological tensions relating to the categorisation of contemporary art in postmodernity, which is rooted in modernist concepts of media, in showing how sound art simultaneously invites and resists definition. Sound art is typically concerned with issues of sound, space and perception. There are many competing interpretations of these definitional ideas, however, arising from a simultaneous association with and differentiation from the traditions of music and the visual arts. The ensuing institutional battle of territories and phenomenological battle of the senses pulls towards and away from the visual respectively. This unique cluster of tensions underpins the discourse of sound art and affords a categorical porosity and liminality that ultimately characterise it. Issues of definition are therefore central to the identity of sound art. An in-depth understanding of the ontological debates and dialectics within its discourse not only draws attention to sound art as a conceptual, philosophical and material exploration of artistic and human experience but also exposes the way in which the arts evolve and artistic meaning is created to provide an insight into the very nature and value of art itself.
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Leclerc, Pierre E. (Pierre Emile). "Architectural definition of an environment suitable for contemporary art." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/79013.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.
Supervised by Fernando Domeyko.
Includes bibliographical references (p. 111).
The title of this thesis implies a critical consideration of the subject. i.e how do we create. show and consume the product of art today. which environment suits it the best and why. The term itself, contemporary art is actually too vague and encompasses such a long historical period that I will restate its period. for the purpose of this project. to the actual; and its actors: those who are affecting the art community now. The environment that I am proposing here is neither a museum or a gallery space. neither a studio or a housing project. The main intent of this work is to create an environment which is a living one. not a monument to art or to a particular period. It is an environment which can facilitate the creative act: in its process as well as in its consumption. It is an environment which offers to both. curators and artists liberty and stimulation to redefine and confront their particular concerns. which is in my understanding the understanding the beauty of art. i.e. their needs to question and search ones own visions. This thesis is the synthesis of my professional understanding. Working in art for many years and being involved in architecture through my studies here at MIT, I wanted to end by creating an environment which will be a representation of a living place where I , as well as other artists, would want to be involved; where the quality of its rooms and spaces (light, materials, sensual qualities ... ), the discovery through intellectual and physical movement, would offer conception, feelings and images of work to be realised, telling me that there is so much to do once I am out of here!!! Art and its process is a representation of our life. Its physical environment is also a possible interpretation of a physical environment which could be applied to many individuals ...
by Pierre E. Leclerc.
M.Arch.
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Kidd-Smithers, Rachel. "Definition and management of pupils' problematic behaviours : a teacher focused approach." Thesis, Staffordshire University, 2016. http://eprints.staffs.ac.uk/3674/.

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Current school guidance and policies from central government place behaviour as a key priority. Historically, governments have also placed behaviour at the forefront. Recently, for example, the 2010 White paper, Department for Education (DfE) ‘Behaviour and Discipline in Schools’ guidance (2011), and Education Minster Nicky Morgan’s appointment of a behaviour tsar (Tom Bennett) tasked with advising policy on how to raise standards of behaviour in schools (2015) confirms this emphasis. Even though regulatory bodies recognise the importance of schools managing ‘problematic behaviours’ there appears to have been a failure to explicitly define what constitutes a problem behaviour in schools. However, this is not surprising given the continuing controversy regarding how ‘behaviour’ (and particularly, ‘problematic behaviour’) should be characterised and defined. To date the support for schools and teachers to better understand ‘behaviour’ characteristics and more importantly ‘difficult behaviours’ is limited. Thus, the issue of behaviour and its management in schools is a longstanding concern. This raises the issue of how schools can continue to raise standards when no clear definition is offered to guide leaders and teachers to better understand ‘behaviours’. This thesis addresses these concerns in a systematic attempt to promote understanding of the following key areas: 1. How teachers define ‘problematic’ classroom behaviours and their reasons for this. 2. How teachers respond to such ‘problematic’ behaviours in classroom settings. 3. The extent to which teachers reflect upon such ‘problematic’ behaviours and the impact their responses have on the learners previously identified as exhibiting ‘problematic’ behaviours. This work incorporates a comprehensive review of how schools have historically managed pupil behaviours with reference to biological and sociological influences. For the purpose of this study, the ways in which relevant ideas and their boundaries are formed held particular interest. Hence, the methodology incorporates a heuristic approach. There was a primary interest in reviewing how teachers define and respond to behaviours deemed ‘problematic’. The methodological approach allowed both the researcher and research respondent to discover if factors such as gender, length of service, or subject area helped to define and shape teacher definitions. A key aim was to understand how teachers respond to those defined behaviours by identifying and analysing: a) What types of non-verbal and verbal communications do teachers use and why? b) What sanctions/ rewards do teachers use and why? c) To what extent do teachers use their classroom environment to respond to behaviours, i.e., seating arrangements, behaviour rules displayed? d) How and when do teachers use support networks in the management of behaviours? e) What heuristics do teachers employ in relation to their decision around defining learners’ ‘problematic’ behaviours? The research project concluded by examining the extent to which teachers reflect upon problematic behaviours, considering the possible impacts that their responses have towards pupils displaying ‘problematic’ behaviours. This main issue identified in this study was teacher congruency, i.e., how what teachers say and do when defining and managing pupils’ problematic behaviours differed. It is those observed differences in teachers’ consistency which was of most interest. The disparity in the ways different teachers identified and responded to ‘problematic’ behaviours was considered against the national backdrop, in which new benchmarks for behaviour have been produced (2015 Ofsted framework).The NFER 2012 findings, which identified pupils’ problematic behaviours as a contributing factor for teacher stress and teacher recruitment, especially within the secondary sector, provided an important context for this work while also highlighting the potential importance of enhancing understanding in this area. The study argues that teachers and education settings could benefit from understanding how teachers’ definition and management of pupils’ problematic behaviours might be influenced by factors not necessarily directly linked to those behaviours. By better understanding the processes involved in the identification and management of pupils’ and their problematic behaviours more parity between what teaches do and say may be achieved.
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Lech-Piwowarczyk, Ewa. "Language and the definition of art: Analytic and continental discussion of the nature of art." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6684.

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Art has a definite place in our culture and it plays a significant role there. Yet all the continuing efforts in analytic aesthetics to define art have failed, leading to an impasse. So, we still do not know how to define art. In order to overcome the impasse I argue that a change of philosophical perspective is necessary and I suggest a confrontation between Continental and analytic perspectives on defining art. In Part One I deal with analytic aesthetics. I single out Danto's theory of art as the paradigmatic analytic theory of art. I call attention to the fact that Danto defines art by means of language, a theory of art which is a discourse on the language of art. I show the impact of Danto's theory on the rest of analytic aesthetics. First, I present Dickie's theory of art of and show how he draws from Danto but departs from him later on. Then, I present Tilghman's critique of Danto, and I stress the point that in Tilghman's view the problem with Danto's theory is linguistic in nature. I identify Danto's understanding of language as the source of the problems recent analytic aesthetics has with the definition of art. In this way I locate the current impasse in analytic aesthetics and I claim that the underlying analytic understanding of language is too narrow in order to define art. I show the evolution of Danto's views and I discuss his attempt to enlarge his understanding of language with history. In Part Two I try to suggest a way out of the impasse. I shift the perspective and turn to phenomenology and Ingarden's theory of art. I call attention to the role of language in his philosophy and present his approach as quasi-analytical. Specifically, I interpret Ingarden as the continuator of Twardowski and not of Husserl in his understanding of language. I point to the fact that Ingarden's non-phenomenological view of language is a view that allows of seeing language not only as a container of ideas but also their shaper. I show that Ingarden attributes to language an attentional mode of being, and that he treats it as a means of communication. He exposes its cultural nature and enlarges its understanding with the notion of society. I claim that such a broader understanding of language may help analytic aesthetics overcome the present impasse. In Conclusion, I argue that supplementing the notion of language with the notion of history, as Danto does, or society, as Ingarden does, provides a fuller understanding of language, and consequently of art. Hence, it makes possible the overcoming of the impasse in analytic aesthetics. At the same time, however, I show that the very project of defining art has to be relativized in terms of understanding and responding to the significance of art.
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Volt, Marek. "The epistemic and logical role of definition in the evaluation of art /." Tartu : Tartu University Press, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017064998&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Sadlowski, Gail. "The Development of a Definition and Applied Evaluation Criteria for Psycho-Narrative Video Art." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500553/.

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This thesis is concerned with three problems. The first is that of distinguishing and defining one category of video art. The second is developing criteria for the evaluation of works in this category. The third problem is the application of these criteria to a new psycho-narrative video art piece created by the author as well as two pieces by other artists. This paper examines the use of film and video as an art form, focusing on specific influences affecting the evolution of psycho-narrative video art. Definitions for video art and psycho-narrative video art are developed. Descriptive criteria and three critiques are used to justify the conclusions. A concluding artist statement presents the personal view of the author.
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Books on the topic "Definition of the art teacher"

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Artworks: Definition, meaning, value. University Park, Pa: Pennsylvania State University Press, 1996.

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Desai, Arati. Art forms & forms of art...: Beyond definition. Baroda: Red Earth Art Galleries, 2008.

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Becoming an art teacher. Belmont, CA: Wadsworth/Thomson Learning, 2000.

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Branch, Alberta Curriculum. Art 7, art 8, art 9: Teacher resource 1985. Edmonton: Alberta Education, 1985.

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Art attack: Programmed art for the frenzied teacher. Sydney: Ashton Scholastic, 1988.

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University of the State of New York. Bureau of Curriculum Development. Art 7&8 teacher guide. Albany, N.Y: University of the State of New York, State Education Dept., Bureau of Curriculum Development, 1989.

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Education, Alberta Alberta. Art: Elementary teacher resource 1985. [Edmonton, Alta.]: Alberta Education, 1985.

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DEFinition: The art and design of hip-hop. New York, NY: Collins Design, 2008.

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Branch, Alberta Curriculum. Art senior high: Art 10, art 11, art 20, art 21, art 30, art 31 : teacher resource 1986. [Edmonton]: Alberta Education, 1986.

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Evans, Joy. Spring art ideas: Teacher resource book. Monterey: Evan-Moor, 1986.

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Book chapters on the topic "Definition of the art teacher"

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Wolff, Lutz-Christian. "The Teacher-Teacher Relationship." In The Art of Law Teaching, 113–14. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-9148-8_15.

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Atkinson, Dennis. "The Artist-Teacher." In Art, Equality and Learning, 115–37. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-454-6_7.

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Escaño, Carlos. "Art and Teacher Education." In Encyclopedia of Teacher Education, 1–6. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-1179-6_181-1.

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Kim, Bongcheol, Seungmin Oh, and Wonsug Jung. "Definition of Terms." In The Art and Science of Thread Lifting, 3–5. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-0614-3_1.

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Wolff, Lutz-Christian. "The Teacher-Student Relationship." In The Art of Law Teaching, 109–12. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-9148-8_14.

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Borchhardt, Kerstin. "Art, Technology, and Frankenstein’s Legacy." In Encyclopedia of Teacher Education, 1–6. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-1179-6_346-1.

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Barratt, Ken H. "High Definition Television — Technology or Art?" In Telecommunications, 90–98. Berlin, Heidelberg: Springer Berlin Heidelberg, 1987. http://dx.doi.org/10.1007/978-3-642-83145-4_16.

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Birch, Eva Lennox. "Autobiography: The Art of Self-Definition." In Black Women’s Writing, 127–45. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22504-0_8.

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Wolff, Lutz-Christian. "What Makes a Good Law Teacher?" In The Art of Law Teaching, 21–40. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-9148-8_7.

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Wu, Joseph, Hoi Yan Cheung, and Raymond M. C. Chan. "Changing Definition of Teacher Professionalism: Autonomy and Accountability." In Teacher Empowerment Toward Professional Development and Practices, 59–70. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4151-8_4.

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Conference papers on the topic "Definition of the art teacher"

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Beighton, Christian, and Alison Blackman. "Pedagogies of Academic Writing in Teacher Education: from Epistemology to Practice and back again." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5082.

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TThis paper discusses barriers to the development of academic writing, in the area of teacher education in UK higher education . We first situate these issues in a higher education context increasingly defined by new technologies and diverse cohorts of higher education students. Drawing on empirical data obtained from interviews with both students and teachers (N=21), we then critically examine a range of perspectives on the definition, role and function of academic literacy in this contemporary context. Findings include useful insights into the development of writing skills and teacher identity, but they also reveal fundamental differences in the epistemological presuppositions of those teaching academic writing. These accounts are reflected in significant differences in pedagogy, and raise important questions for practice which, although potentially irresolvable, may help to explain some of the difficulties which emerge when trying to teach academic writing. Such fundamental issues, we argue, need to be at least recognized if teachers hope to develop the writing capacity of trainee teachers in an academic context.
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Hernández, Cristina, Ruth Pinedo, Noelia García-Martín, and Débora Rascón. "PRE-SERVICE TEACHER EXPERIENCES: ART AND THINKING." In 13th International Technology, Education and Development Conference. IATED, 2019. http://dx.doi.org/10.21125/inted.2019.0979.

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Nadyrova, Damilya S. "Embodied Simulation in the Art of Teaching Piano." In 2nd International Forum on Teacher Education. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.07.26.

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Mura, Giulia, Mirella Ferrari, and Davide Diamantini. "Training school teachers to the use of ICT – a preliminary study on motivation and attitude to innovation." In HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2859.

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As part of a project introducing digital technologies in the daily practice of primary and secondary school teacher’s of an Italian municipality, the whole body of teachers was enrolled in a training course on the use of ICT in didactic. Before the beginning of the training , data on three main topics (attitude towards teaching, ICT expertise, attitude towards training on the use of ICT,) were collected via a pen and paper questionnaire. The aim of the questionnaire was to help identifing factos facilitating and preventing a successful exit of training, in order to better costumize it. A total of 456 questionnaire were analized, and main results higligthed an average level of ICT competence among the interviewed, with relevant gaps, however, on the tools more useful for teaching purposes. Teachers expressed a good inclination towards the more creative aspects of their profession,an element evaluated as positive in view of the adoption of more student-centered pedagocical practices. At the same time conflicting attitude were expressed on the whole idea of entering a training process. On the basis of the data and the literature review, suggestions for the definition of the teachers’ training are offered.
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Kolosova, Svetlana. "New Technological Approaches to the Analysis of Art Work in Literature Lessons." In 2nd International Forum on Teacher Education. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.07.15.

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Kashekova, Irina A. "Interdisciplinary Concept of “Image” in the Cross-Cultural Pedagogical Technology of “ART+”." In 2nd International Forum on Teacher Education. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.07.48.

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Mokina, Anna Y. "Features Of Continuous Architectural And Art Education: Sfu Example." In IFTE 2019 - 5th International Forum on Teacher Education. Cognitive-Crcs, 2020. http://dx.doi.org/10.15405/epsbs.2020.01.9.

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Yamashita, Hiromasa, Kenkichi Tanioka, and Toshio Chiba. "A historical game-changer: the world's smallest 8K UHD endoscope: current state of the art." In Ultra-High-Definition Imaging Systems, edited by Toyohiko Yatagai, Yasuhiro Koike, and Seizo Miyata. SPIE, 2018. http://dx.doi.org/10.1117/12.2297620.

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Nuraini, Dzakiyyah Latifah, and Yuliawan Kasmahidayat. "Bentang Banten Dance as Training of Art and Culture Teacher." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.046.

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Iswandi, Iswandi, Yasri Yasri, Nurhizrah Gistituati, and Ardipal Ardipal. "Designing model of the music art training for teacher of art and culture based on active learning." In International Conferences on Educational, Social Sciences and Technology. Padang: Fakultas Ilmu Pendidikan, 2018. http://dx.doi.org/10.29210/2018115.

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Reports on the topic "Definition of the art teacher"

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Schneider, Sarah, Daniel Wolf, and Astrid Schütz. Workshop for the Assessment of Social-Emotional Competences : Application of SEC-I and SEC-SJT. Otto-Friedrich-Universität, 2021. http://dx.doi.org/10.20378/irb-49180.

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The modular workshop offers a science-based introduction to the concept of social-emotional competences. It focuses on the psychological assessment of such competences in in institutions specialized in the professional development of people with learning disabilities. As such, the workshop is primarily to be understood as an application-oriented training programme for professionals who work in vocational education and use (or teach the usage of) the assessment tools SEC-I and SEC-SJT (Inventory and Situational Judgment Test for the assessment of social-emotional competence in young people with (sub-) clinical cognitive or psychological impairment) which were developed at the University of Bamberg. The workshop comprises seven subject areas that can be flexibly put together as required: theoretical basics and definitions of social-emotional competence, the basics of psychological assessment, potential difficulties in its use, usage of the self-rating scale, the situational judgment test, the observer-rating scale, and objective observation of behaviour. The general aim of this workshop is to learn how to use and apply the assessment tools in practical settings.
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Kost’, Stepan. THE CONCEPT OF CREATIVITY IN JOURNALISM. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11092.

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The article analyzes some theoretical and practical aspects of creativity. The author shares his opinion that the concept of creativity belongs to the fundamental concepts of philosophy, psychology, literature, art, pedagogy. Creativity is one of the important concepts of the theory of journalism. The author does not agree with the extended definition of creativity. He believes that journalistic activity becomes creativity when it is free and associated with the creation and establishment of new national and universal values, with the highest intensity of intellectual and moral strength of the journalist, when journalism is a manifestation of civic position, when this activity combines professional skills and perfect literary form.The author also believes that literary skill and the skill of a journalist are not identical concepts, because literary skill is a component of journalistic skill.
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