رویکرد ساحت تربیت هنری و زیبایی‌شناختی، رویکرد موضوع‌محور یا رویکرد دریافت احساس و معنا
محورهای موضوعی : پژوهش در برنامه ریزی درسیسیده الهام آقایی ابرندآبادی 1 , طیبه ماهروزاده 2 , محسن ایمانی نائینی 3
1 - دانشجوی دکترا رشته فلسفه تعلیم و تربیت، دانشکده علوم تربیتی و روان‌شناسی، دانشگاه الزهرا(س)، تهران، ایران.
2 - دانشیار دانشکده علوم تربیتی و روان‌شناسی، دانشگاه الزهرا(س)، تهران، ایران.
3 - دانشیار دانشکده علوم تربیتی و روان‌شناسی، دانشگاه تربیت مدرس، تهران، ایران.
کلید واژه: دریافت احساس و معنا, ساحت تربیت هنری و زیبایی-شناسی, موضوع محور, رویکرد,
چکیده مقاله :
به نظر می‌رسد انتقادات وارد بر غفلت نسبت به حوزۀ هنر و زیبایی شناسی در کشور بیشتر ناظر به بحث آموزش فعالیت‌های خاص هنری و جایگاه فرعی آن در برنامه درسی در جهت رشد استعدادهای هنری دانش آموزان است. هرچند تربیت هنری به معنای فعالیت‌های خاص، درخور توجه است اما به نظر می‌رسد که تربیت زیبایی شناختی به‌عنوان فرابرنامه درسی در نظام آموزش‌وپرورش کشور مورد بی توجهی افزون‌تری است و مفهوم‌پردازی جامعی از این نوع تربیت در نظام آموزش‌وپرورش کشور به‌خصوص از منظر اسلامی صورت نگرفته است. در این پژوهش با بررسی آراء فلسفی ملاصدرا؛ به رویکرد برگزیده وحدت‌گرای تشکیکی رسیده و با توجه به اینکه رویکرد دریافت احساس و معنا ناظر به رویکرد وحدت گرای تشکیکی است، به تبیین ضرورت تغییر در رویکرد ساحت تربیت هنری و زیبایی‌شناسی به رویکرد دریافت احساس و معنا به‌منزلۀ رویکرد اصلی و رویکرد موضوع محور به‌منزلۀ رویکرد مکمل، پرداخته شده است.
It seems that the critique of negligence in the field of art and aesthetics in the country tends to focus on the training of special artistic activities and its subordinate role in the curriculum for the development of students' artistic talents. Although artistic education implies certain activities, it seems that aesthetic education seems to have been overlooked as a phrasebook in the educational system of the country. A comprehensive conception of this kind of education in the country's educational system has not been made especially from the Islamic perspective. In this study, Mulla Sadra's philosophical views have come to be the subject of a unanimous approach. The approach of feeling and meaning is based on a linguistic unilateral approach. Therefore, in this research, the necessity of changing the approach of artistic education and aesthetics to the approach of feeling and meaning as the main approach and subject-centered approach is considered as complementary approach. The necessity of changing the approach of artistic education and aesthetics to the approach of feeling and meaning as the main approach and subject-based approach as a complementary approach is explained. The research method is documentary and descriptive-analytical, critical and inferential.
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