“…Dewey (1934) placed art in the realm of experience rather than product. In this view, almost any classroom activity can potentially provide an artistic experience if it involves attention to aesthetic qualities and the intentional application of artistic skills interacting with a symbolic object or idea (Eisner, 1985;Gardner, 1973;May, 1993). When teachers are aware of and can engage their students in appreciation and exploration of the aesthetic characteristics of experience in the world around us-the form and shape, dynamics and color, feelings and communication in many symbol systems-they can find artistic experiences in virtually any topic or subject area.…”
“…Dewey (1934) placed art in the realm of experience rather than product. In this view, almost any classroom activity can potentially provide an artistic experience if it involves attention to aesthetic qualities and the intentional application of artistic skills interacting with a symbolic object or idea (Eisner, 1985;Gardner, 1973;May, 1993). When teachers are aware of and can engage their students in appreciation and exploration of the aesthetic characteristics of experience in the world around us-the form and shape, dynamics and color, feelings and communication in many symbol systems-they can find artistic experiences in virtually any topic or subject area.…”
“…Didaktiska modeller och teorier kan inte exakt föreskriva undervisning, utan hjälper lärare att argumentera och resonera angående olika alternativa val. Undervisning är nödvändigtvis också starkt beroende av enskilda situationer och i den meningen också en konst (May, 1993).…”
Section: Didaktik Och Didaktiska Modellerunclassified
This article reviews what didactic models are, how they can be produced through didactic modelling and how didactic models can be used for analyses of teaching and learning and for educational designs. The article is as an introduction to this Nordina special issue on didactic models and didactic modelling in science education research.
“…Do I create the richest of conditions for aesthetic experiences to flourish, where emotional wholeness, intellectual meaning making and interaction with the environment are all part of the qualitative texture of an aesthetic experience (Dewey )? For May (), the emotional, intellectual and interactive parts are inextricably linked as they move toward a consummative experience with special intensity which Rosenblatt (1938/1995) calls emotional equilibrium, ‘mental or emotional poise or illumination’ (p. 42). Too much thinking can get in the way of aesthetic experience and the cognitive should sometimes give way to sensuousness and intuition:Just let it be like rain, or sunshine for that matter.…”
Section: Focus 2 Poetry Pedagogy: Aesthetic Experience and Aestheticmentioning
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