'Emotion and the arts Essay\r'

'The expression manities and the fair elegantsses follow par solelyel developmental patterns in kidhood. As in the a nonher(prenominal) phases of child growth certain developmental patterns argon symptomatic of growth in both the talking to fine humanities and the book prowesss. The run-in guiles, like the fine arts, generate their highest peak for the individual in creative expression. point a decade ago much command of art and musical and most teaching of language emphasized the mechanics feignd in dexterity activities typical of these areas.\r\nChildren’s language products, like their art products, should not be judged solely by freehanded standards. The modern teacher hopes that the oral report, dramatization, contri besidesion to discussion, or choral subscribeing is pleasurable; that the child has ameliorate in terms of his let past murder; and that the activity has contri simplyed to wholesome personalizedity growth. In public the process, n ot the product, is the thing-in both the language arts and the fine arts. In both the language arts and the fine arts, the study of mechanics has a place as a function to much artistic expression.\r\nIn their best forms, both the language arts and the fine arts involve a large throwaway of interpretation. The language arts and the fine arts live with similar determine for children; they have similar sate in that both are taked in that part of our cultural heritage which may be described as â€Å"expressive arts. ” Many language activities may be called arts in their own right. It is apt today as it has ever been to speak, for example, of â€Å"the art of conversation,” â€Å"the art of persuasion,” and â€Å"the art of writing. ” These and other language activities are arts in and of themselves.\r\nThey are arts because they involve aesthetic experience, personality enrichment, and creative urges and expression and until now because, less frequent ly perhaps, they involve fine trade and, on occasion, original contribution to our culture. For this agreement, too, the various language arts go off be developed more as arts by the classroom teacher. civilise people have accepted this idea in theory (Rokeach 1968). nontextual matter is a projection in material form, of a wide range of randy and intellectual experiences. It thus adds countless and important records to those which written documents have preserved for us.\r\nArt too supplements belles-lettres in a special sense, because it not tho furnishes material in additional quantity but material which is peculiarly different in kind. The arts of form with their vocabulary of visible shapes and colors underside actualize and preserve certain signifi washbowlt human interests which literature, from the very nature of the indirect terms which it uses, drive outnot express. These records of art are intimate in a erratic sense, because in many cases we see the actual forms and surfaces which the artists and craftsmen produced. For this reason original art material is peculiarity confidential.\r\nIt transmits, in addition to the actual subject matter, an element identical to what inflection and gesture add to words. Few educators would protest with the proposition that knowledge transmits values; art educational activity features a significant and unique contribution to habitual education in the study of values. The values embody in visual forms, of course, are not or so the techniques of art alone, but speak to the broad concerns of humankind. Indeed, the values present in visual forms are but visual representations of values taught in other subjects.\r\n optic knowing renders values-which are otherwise abstract concepts- natural and concrete (Rokeach 1968). It also augments the learning of values by creating a bond with what is taught in other disciplines and what is taught in other disciplines and what is experienced in other aspects of life. Students who learn to read visual forms, to know visually what values and counter-values can look like, can then critically image and question them for their merit, relevance, and utility. The concept of values is complex at best, and the amount of literature on the subject is vast.\r\nTo make matters more complicated, the word values often is utilize synonymously to mean beliefs and attitudes. This imprecise usage occurs not only in everyday parlance, but also in much of the social psychology literature. Unfortunately, much(prenominal) confused frequently obscures the issues that the words purport to represent. each(prenominal) of us has a prevalent approach to life, an political theory concerning the self and the physical and social environment. And ideology is unruffled of organized and interrelated beliefs, attitudes, values, and the behaviors that can them.\r\nAn ideology can be consciously held, preconscious held, or subconsciously held. The incorporated ideolo gy of a culture is represented in its power structures-political, economic, educational, aesthetic sexual, religious, and so on. These structures define the spot quo which, in turn, strongly influences the way we feel, think, and act with honor to love and family, work and play, the individual and society, nature and the environment, war and peace, beauty and ugliness, violence and love. An art education shares with general education the concern about the values of humankind.\r\nArt education, however, offers a particularly unique contribution: the art content of art education-visual forms-makes values, which are abstract concepts, vivid and concrete. To transmit the values of our heritage is a worthy educational endeavor. To transplant those values indiscriminately into modern-day culture without first critically examining them is unsound-that would be indoctrination rather than education. The critical examination of values helps to promote the do of civilization. Art educat ion makes a unique contribution to that prigress. Our future depends upon our creativity and our time.\r\nAs our physical imagery become less plentiful, we moldiness rely more heavily on human resources-our creative selves. We moldiness use the time of our lives creatively. The arts meet a basic human need: creative personal expression. In addition to their intrinsic value, the arts support insights into other aspects of life, helping people understand themselves and the globe in which they live. It is recognized that quality education should include the development of skills, knowledge, concepts, values, and sensitivities with which to understand and engage the culture of a nation.\r\nThe arts offer significant opportunities for this development. Learning must incorporate the arts as a central, significant, and constitutive(a) component. Artistic and educational institutions must recognize and support this concept. The arts can greatly enrich our lives and in so doing have bas ic value. The arts can and should touch upon every aspect of our lives. Through education we hope to extend appreciation of the arts to all citizens and to build discerning audiences. The arts filled with possibilities.\r\n addicted the chance, the arts will not fail us. We must not fail the arts.\r\nReferences: Eliade, M. , & Cappadona, D. A. (1985). Symbolism, the sacred, and the arts. Crossroad Publishing. Hjort, conjuration A. , & Laver, S. (1997). Emotion and the arts. Oxford University Press. Kieran, M. , & Lopes D. M. (2003). Imagination, philosophy, and the arts. Routledge. Kouwenhoven, J. A. (1967). The arts in modern American civilization. W. W. Norton. Rokeach, M. (1968). Beliefs, attitudes, and values. San Francisco: Jossey-Bass, Inc.\r\n'