Art, experience and alterity: reflections in the horizon of ethical and aesthetic education

Since the 20th century, the education department has attached great importance to the aesthetic education work in universities, but most of the aesthetic education teaching models in universities are outdated, especially in vocational colleges where the emphasis on skills and the neglect of literacy have resulted in a low effectiveness of aesthetic education. The article attempts to apply the paradigm of art experiential teaching to aesthetic education teaching; Emphasize the application of aesthetic education models in the era of digital globalization; Incorporating the new era of aesthetic education into the "spiritual context of Chinese aesthetic education" reflects the modernity of aesthetic education teaching, in order to enhance the effectiveness of aesthetic education.

Purpose/methods: This study investigated the relationship between ethics education and training, and the use and usefulness of ethics resources, confidence in moral decisions, and moral action/activism through a survey of practicing nurses and social workers from four United States (US) census regions. Findings: The sample (n = 1215) was primarily Caucasian (83%), female (85%), well educated (57% with a master's degree). no ethics education at all was reported by 14% of study participants (8% of social workers had no ethics education, versus 23% of nurses), and only 57% of participants had ethics education in their professional educational program. Those with both professional ethics education and in-service or continuing education were more confident in their moral judgments and more likely to use ethics resources and to take moral action. Social workers had more overall education, more ethics education, and higher confidence and moral action scores, and were more likely to use ethics resources than nurses. Conclusion: Ethics education has a significant positive influence on moral confidence, moral action, and use of ethics resources by nurses and social workers.

From the perspective of holistic education, the construction of a cultural education model for aesthetic education in universities aims to comprehensively enhance students' aesthetic literacy and comprehensive quality. This article explores the connotation and value of aesthetic education in universities, analyzes the problems in the current cultural education model of aesthetic education in universities, and proposes corresponding countermeasures and suggestions. By integrating curriculum aesthetic education, campus cultural construction, and social practice activities, a comprehensive and multi-level aesthetic education cultural education system is constructed to promote the comprehensive development of students in morality, intelligence, physical fitness, aesthetics, and labor. The research results indicate that a scientifically reasonable model of aesthetic education and cultural education can effectively enhance students' aesthetic ability, cultural literacy, and humanistic spirit, providing important guarantees for cultivating high-quality talents with comprehensive development. The experimental results show that students A and C score higher in aesthetics, art, and aesthetic experience, and they also attach great importance to aesthetic education, with scores of 4 and 5, respectively. However, students B and D have slightly lower scores and relatively lower emphasis on aesthetic education, with scores of 3 and 2, respectively.

Research Article| October 01 2018 Aesthetic Education: Surviving Challenging Times Margo Collier; Margo Collier Margo Collier, PhD, is an associate professor in special education at the University of New Mexico. Her research interests include home-and-school partnerships, multidisciplinary collaboration in teaching and research, and meaningful assessment for all students. She has collaboratively taught higher-education courses in the areas of reading, social studies, assessment, and art. She earned an MA in architecture and has many years of experience in art and architectural design. Search for other works by this author on: This Site Google Rebecca M. Sánchez; Rebecca M. Sánchez Rebecca M. Sánchez, PhD/MFA, is an associate professor specializing in social studies education at the University of New Mexico. She has received numerous National Endowment for the Humanities grants supporting humanities initiatives to teach New Mexico history and culture. Her research focuses on place-based education, meaningful arts integration, social justice, and social studies education. Her work has recently been published in The New Educator, Rethinking Schools, and Critical Education. Search for other works by this author on: This Site Google Linney Wix Linney Wix Linney Wix, PhD, ATR-BC, is Professor Emerita, University of New Mexico. Her research area focuses on the art and teaching of Friedl Dicker-Brandeis, who taught art to children in the Terezín concentration camp near Prague during World War II. Wix studied art and memory in the context of Terezín during a 2013–14 Fulbright in the Czech Republic. She currently practices as a visual artist, creating primarily artist’s books. Search for other works by this author on: This Site Google Journal of Aesthetic Education (2018) 52 (3): 107–120. https://doi.org/10.5406/jaesteduc.52.3.0107 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Margo Collier, Rebecca M. Sánchez, Linney Wix; Aesthetic Education: Surviving Challenging Times. Journal of Aesthetic Education 1 January 2018; 52 (3): 107–120. doi: https://doi.org/10.5406/jaesteduc.52.3.0107 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of Aesthetic Education Search Advanced Search The text of this article is only available as a PDF. Copyright 2018 by the Board of Trustees of the University of Illinois2018 Article PDF first page preview Close Modal You do not currently have access to this content.

The development of creative abilities is crucial for the holistic development of an individual. If the goal of schooling is the comprehensive development of students, the educational environment should stimulate and support processes of creative thinking rather than hinder or block them. One area of education particularly associated with creativity is aesthetic education. By encouraging exploration and interpretation of art and other forms of artistic expression, aesthetic education supports the emotional, intellectual, and social development of students, enabling them to express themselves in original and personal ways, which is essential for cultivating a creative attitude. This article addresses the issue of external factors affecting creativity within aesthetic education implemented in general education schools, specifically in the subjects of visual arts, music, and Polish language. The research process is guided by the question of external conditions influencing creativity in aesthetic education and their potential significance for students’ creative development. The article presents the results of qualitative research conducted through individual interviews with 25 graduates from the 2022/2023 school year. The experiences shared by respondents highlight numerous factors that, according to existing literature, hinder the development of a creative attitude. The research is exploratory in nature.

As human society has entered digital society from former industrial and industrial society, a series of changes have taken place in public aesthetic education from "art is experience" to "culture is creativity": the goal changed from "cultivating personality" to "cultivating creativity"; the content expanded from artistic cultivation to cultural creativity; the object changed from mass to public; the implementation path changed from artistic experience under classroom organization to cultural creativity under industrialized organization. This reform is not subversive, but continuous. It has intensified basic function of aesthetic education and reshaped the relationship between aesthetic educational activities and aesthetic educational objects and the government. However, the protection of intellectual property rights for cultural creativity and the "degree" of creativity need special attention.

Attitude is everything, and attitude in all societies is cultivated by responding positively or otherwise to ethics- sets of moral standards and principles guiding human operations and interactions. This paper discusses aesthetic attitude, art studio ethics, and responsiveness of art students to ethics and use/maintenance of studio facilities. Using the Fine and Applied Arts Department of Obafemi Awolowo University, Ile-Ife as a template, the paper draws heavily on pedagogical art criticism and participant observation technique of art historical inquiry to establish the connectedness of aesthetic attitude, aesthetic experience and aesthetic standard, in relation to art training and artistic creativity. The study shows that an appreciable percentage of the students exhibited poor aesthetic attitude, which is traceable to a faulty (or imbalanced) visual aesthetic education provided within the context of Nigerian education curriculum. The study also reveals inadequate studio space, which constrains creativity and creative processes. The paper posits the grounding of visual art students in positive aesthetic attitude, maintenance culture and ethical behaviour to guarantee students’ holistic development as art professionals. It concludes that students’ attitude, with respect to art facilities and studio ethics, is a consequence of individual aesthetic education and experience; hence, it is behavioural. Keywords: Visual Art, Aesthetics, Art Studio, Aesthetic Attitude, Ethics DOI: 10.7176/ADS/101-04 Publication date: August 30 th 2022

Abstract. Education in ethics and professional regulation are not alternatives; education in ethics for psychologists should not be framed merely as instruction regarding current professional regulation, or “ethical training.” This would reduce ethics to essentially a legal perspective, diminish professional responsibility, debase professional ethics, and downplay its primary purpose – the continuous critical reflection of professional identity and professional role. This paper discusses the meaning and function of education in ethics for psychologists and articulates the reasons why comprehensive education in ethics for psychologists should not be substituted by instruction in professional codes. Likewise, human rights education for psychologists should not be downgraded to mere instruction in existing legal norms. Human rights discourse represents an important segment of the comprehensive education in ethics for psychologists. Education in ethics should expose and examine substantial ethical ideas that serve as the framework for the law of human rights as well as the interpretative, multifaceted, evolving, even manipulable character of the human rights narrative. The typically proclaimed duty of psychologists to protect and promote human rights requires a deepening and expounding of the human rights legal framework through elaborate scrutiny of its ethical meaning. The idea of affirming and restoring human dignity – the concept often designated as the legal and ethical basis, essence, and purpose of human rights – represents one approach to framing this duty by which the goals of psychology on the professional and ethical levels become unified.

This chapter emphasizes that it was the ethical (moral) basis of Judaism that was now seen as separating Jews from non-Jews. Moreover, it stresses that the Greek mirror played an important role in shaping the image of Jewish morality. Greek morality (or better non-morality) was perceived as antinomical to Judaism; even when Jewish writers were ready to agree that Greek ethics did exist, they found them fundamentally different from (and inferior to) Jewish ethics. The chapter thus demonstrates that Greeks and Jews alike distinguished between themselves and other nations on a moral basis. Some Greek writers believed that Greek ethics was what separated the Hellenes from the barbarians. The dominant view in Jewish tradition was similar, and also stressed the deep chasm between the moral behaviour of Jews and that of Gentiles.

Education in ethics

This abstract examines the integration of aesthetic education with ideological and political training in medical colleges. It emphasizes the concept of "aesthetic education" within "integrated ideological and political education." The focus is on moral and aesthetic development in students, alongside building campus culture. The approach utilizes traditional Chinese medicine's strengths and professional traits in its aesthetic education system. Medical students receive aesthetic training through courses, activities, and other methods. This approach blends medical aesthetics with Civic-Constitutionalism practice. It aims to instill cultural confidence and national identity, using the beauty of medical science. Ultimately, the goal is to develop medical students' aesthetic personalities through beauty-infused moral and ethical education.

The aim of this book is twofold. In the first instance, I seek to reconstruct in historical terms Coleridge’s relationship to his slightly older contemporary Friedrich Schiller (1759–1805). Then, on the basis of this relationship, I aim to offer an interpretation of Coleridge’s mature aesthetics in terms of Schiller’s notion of ‘aesthetic education’. The main argument of the book is that the claims Coleridge makes on behalf of the imagination imply an educative imperative best understood in terms of ‘cultivation’ or Bildung, according to which the experience of art as undetermined feeling indirectly results in real, though unspecified, moral and social benefits. In other words, in Biographia Literaria and elsewhere, Coleridge reworks Schiller’s thesis in the Aesthetic Letters. Part of my argument is that while conforming to the expectations of incipient bourgeois interests – and mostly male interests at that – the rationalist aesthetic programme as set out by Schiller and Coleridge nevertheless possesses a radical function in so far as it justifies a withdrawal from political and social action in the name of a more critical understanding of both the self and modernity.

Morality in Perioperative Nurses

Coleridge and Schiller’s similar investment in the notion of aesthetic autonomy is only the first step in theorizing the link between art and moral action. The next is to postulate an anthropology asserting that to be human in the fullest sense is to be ‘at play’. Here the moral, and in due course the political, purpose of freedom is made explicit. How Coleridge’s claim, that art leads indirectly to moral benefit, draws on Schiller’s argument for the Spieltrieb is the subject of this chapter. Beginning with an analysis of how the notion of ‘indirection’ presents itself in Biographia as a way to characterize the relationship between aesthetic pleasure and moral action, I then consider some specific instances in related texts where Coleridge reworks Schiller’s argument, sometimes mediated through Schelling. This leads, perhaps inevitably, to an analysis of what Coleridge, like Schiller, makes of the didactic, one of the most popular contemporary literary modes.

The aesthetic development of students in various forms of art education is a fundamental component of their professional and personal growth. Sculpture, as one of the oldest forms of art, offers unique opportunities for shaping aesthetic taste, developing imaginative thinking and enhancing sensory perception of the surrounding world. Aesthetic education in the process of creating sculpture covers several important aspects, including the ability to evaluate form and structure, the development of creative abilities, as well as the formation of aesthetic guidelines through artistic experience. These components help students to realize themselves not only as creators but also as bearers of cultural heritage and ethical standards in society. Modern pedagogical science confirms that engaging in the arts positively affects the emotional and cognitive development of students, as it involves them in the process of interactive self-awareness and understanding of their environment through art. Sculptural forms are both tangible and visible, and they can significantly and directly influence both tactile and visual perception, affecting not only the viewer but also the person creating the sculpture. 20th-century art critic G. Reid believed that sculpture should primarily be regarded as the art of touch. All individuals, from birth, who closely interact with three-dimensional forms, acquire a certain understanding of their structural and expressive properties and develop emotional responses to them. This combination of understanding and sensory perception, often referred to as the sense of form, can be developed and refined. It is this sense of form that sculpture primarily appeals to. Research in the field of aesthetic education also points to the fact that sculpture, as an art form with a powerful physical and visual aspect, can enhance students’ ability to engage in emotional reflection, helps them realize their own creativity and uniqueness, participates in the formation of their inner world and aesthetic culture, enriches their worldview, and provides a deeper understanding of cultural contexts, which are an integral part of their professional and personal development. This article examines the discipline of "Sculpture" as a means that fosters aesthetic education, demonstrating how sculpture can influence the formation of artistic orientations and personal qualities of students.