This thesis is an examination of policy-making and practice in design education in England from 1837-1992. It takes a longue durée approach to the history of the development of design education to provide a new narrative which shows a pattern of recurring debates concerning the purpose of design education and how it should be taught. Using the curricula of furniture design courses at three art schools to illustrate the way policy was put into practice, this thesis argues that historical context is key to understanding why debates regarding the way designers should be trained for industry have recurred since 1837. Based on a wide variety of primary source material the thesis contributes to historiography by extending the scope of previous histories of art and design education, and also, for the first time, focuses solely on the development of design education, whilst acknowledging its place in the wider development of art and design education. Following the introduction, chapter two of this thesis examines the events which led to the 1835-6 Select Committee and argues that many of the issues raised during the Committee influenced the teaching of design education through the remainder of the nineteenth century; this is further demonstrated through chapter three. Charting the development of design education into the twentieth century through chapters four, five and six, this thesis shows that changing historical contexts, such as the development of industrial methods or wider changes in higher education, have also had an impact on design education. In the light of changing historical contexts, policy makers for design education have continually questioned what design students should be taught and how they should be taught, which accounts, in part, for the recurring nature of debates in design education.

The purpose of this study is to explore the South Korean art education system in the context of history, culture and politics. This thesis provides further explanation on how history has impacted the South Korean art education system and affects current curriculum, theories and practices. Four highly qualified educators and professors from South Korea were interviewed to collect date relating to current practices in South Korean art education. The study focuses on Korean history, which affected the education policies, social perspective, art education theories and curriculum. This study also highlights the relationship of western art education theories and the traditional Korean theories. Understanding culture through history and policies can provide in-depth perspective on why and how South Korean art education has evolved to what it is today. This information may assist art teachers as they modify lessons to fit the needs of students who are immigrating from South Korea.

This thesis is an autoethnography of an elementary art teacher who has transitioned from a traditional, teacher-led curriculum to a choice-based model where more freedom and responsibilities are given to the students. It is an account of the challenges and obstacles faced during the implementation of a choice-based curriculum and offers possible solutions, teaching strategies, and tips utilized to navigate the transition.

Submitted by MARISTELA SANCHES RODRIGUES null (maristelasr@uol.com.br) on 2016-06-23T10:19:24Z No. of bitstreams: 1 Tese_Maristela_Versão_Final_Completa_Capes_ Junho_2016.pdf: 4457588 bytes, checksum: 23a7f3f0803f98fe840d48106eb950d0 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-06-27T15:02:35Z (GMT) No. of bitstreams: 1 rodrigues_ms_dr_ia.pdf: 4457588 bytes, checksum: 23a7f3f0803f98fe840d48106eb950d0 (MD5) / Made available in DSpace on 2016-06-27T15:02:35Z (GMT). No. of bitstreams: 1 rodrigues_ms_dr_ia.pdf: 4457588 bytes, checksum: 23a7f3f0803f98fe840d48106eb950d0 (MD5) Previous issue date: 2016-05-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese se origina de uma pesquisa de Doutorado em Arte/Educação realizada no Instituto de Artes da UNESP/São Paulo, entre os anos de 2012 e 2016, com o objetivo de compreender as relações de envolvimento das/os professoras/es de arte, da rede pública estadual paulista, com o Currículo oficial de arte, implantado entre 2008/2010. Trata-se de uma pesquisa com abordagem qualitativa que utiliza como instrumento de coleta de dados, entrevistas semi-estruturadas com quinze professoras/es de arte, alocadas/os em diferentes Diretorias de Ensino do Estado de São Paulo. Seus objetivos são exploratórios e explicativos, e seus referenciais teóricos de cunho estruturalista e pós-estruturalista. A pesquisa parte da hipótese de que o envolvimento das/os professoras/es de arte com o Currículo está gerando transformações acerca de suas concepções de arte, ensino de arte e currículo de arte. Além de corroborar tal hipótese a pesquisa revela que as/os professoras/es têm produzido formas de apropriação/negociação com o Currículo que ampliam as concepções pensadas inicialmente, para outros âmbitos, e que envolvem o acesso à arte e à cultura, a história da arte, a arte contemporânea, a polivalência e as/os próprios professoras/es de arte. Estruturada e escrita sob a metáfora de uma grande viagem, a tese traça percursos e viabiliza encontros entre as/os histórias de vida e formação das professoras/es de arte entrevistadas/os, o Currículo de arte de São Paulo e a própria história de vida e formação da pesquisadora. / Esta tesis doctoral originase de una investigación realizada en el Instituto de Artes da UNESP/São Paulo, entre los años de 2012 y 2016, con el objetivo de comprender las relaciones de envolvimiento de las profesoras de arte, que trabajan en la red pública de educación de la provincia de São Paulo, con el Currículo oficial de arte, vigente desde 2008/2010. Tratase de una investigación con un abordaje cualitativo que utiliza, como instrumento para colectar los datos, entrevistas semiestructuradas con quince profesores/as de arte, que trabajan en diferentes regiones y núcleos de la red pública de educación de la provincia de São Paulo. Sus objetivos son exploratorios y explicativos, y sus referenciales teóricos son de abordaje estructuralista y pos- estructuralista. La investigación parte desde la hipótesis de que el envolvimiento das/os profesoras/es de arte con el Currículo está generando cambios en sus concepciones de arte, educación artística y currículo de arte. Para alá de comprobar esta hipótesis, la investigación revela que as/os profesoras/es han producido posibilidades de apropiación y negociación con el Currículo que amplían las concepciones pensadas, inicialmente, para ámbitos, y que envuelven el acceso del arte y de la cultura, de la historia del arte, del arte contemporáneo, de la polivalencia y de los/as propios/as profesores/as de arte. Estructurada y con la escritura embazada en la metáfora de un grande viaje, la tesis hace caminos y viabiliza encuentros ente las historias de vida y de formación de los/as profesores/as de arte entrevistadas/os, con el Currículo de arte de São Paulo y la propia historia de vida y de formación de la investigadora.

Each year there is an increase in the number of art students who transfer art credits from Texas junior colleges to North Texas State University. The lack of standardization in the junior college art courses indicated an area of investigation in which some procedures might be suggested in order to secure greater continuity and unity between the art curricula of the Texas junior colleges and that of North Texas State University.

本研究主要目的在於了解藝術領域通識課程在高中與大學階段的銜接性狀況，以政治大學學生做為個案。採用質性研究的觀點，訪談修習過高中與大學階段之學生與此兩階段的開課教師，共計10名。訪談後將錄音資料轉為逐字稿，佐以文獻分析而獲得結論並提出建議。 　　根據研究結果，可發現無論是高中或是大學藝術領域之教師，在規畫課程上皆未考量銜接性因素，主要原因是難以掌握上一階段的學生學習狀況以及本於有教無類的思維。面對未考量銜接性的課程，教師改採取調整課程設計的方式以符合不同學習背景的學生所需。除此之外，教師也會採用多元課程內容與評量方式，活化課程並增進學生對於課程學習的興趣。大學校方也能提供適合藝術學習的場域，引導學生於生活環境中進行藝術學習。 　　學生若本身具備藝術學習的熱誠，則自然能於高中與大學階段持續修習藝術課程，並且主動於課餘時間攝取藝術知能，延續藝術學習。雖然此兩階段的藝術課程並未考量銜接性，然學生能經過學習後明確感受課程深度的差異，符合課程銜接性中順序性的考量。因此授課教師若能於課程進行前針對學生先備知識的詢問，了解學生學習背景，將更有助於藝術課程的銜接性。 / The purpose of this study was to understand the curriculum articulation status of general education on art subjects in National Chengchi University. The method of qualitative research was to interview college students and the teachers of the affiliated high school and university. The 10 members involved in the process were interviewed in depth. The interviews were recorded, transcribed, and then combined with document analyses. Finally, the conclusions and recommendations were drawn. According to the findings, teachers of the arts in either high schools or university do not consider the curriculum articulation in the course of lesson planning. The reason is mainly that it is difficult for teachers to grasp the students’ previous learning status and that teachers believe in the philosophy of teaching all comers without discrimination. Facing the curriculum without considering the articulation, the teachers adjust the course design so as to meet the students’ different learning backgrounds. In addition, teachers adopt diverse course contents and assessments, which helps activate the curriculum and enhance students' interest in learning. The university authority can also provide a proper field for learning arts, guiding students to learn arts in the school environment. Students who are enthusiastic about arts learning can naturally continue arts courses both in high school and in college and actively intake arts knowledge in their spare time, expanding arts learning. Although these arts courses during the two stages do not consider the articulation, students can still feel the differences in curriculum depth clearly, in line with the considerations of articulation in order. Therefore, if the teachers can know students' prior knowledge before class and understand the students’ learning backgrounds, it will further contribute to the articulation of the arts curriculum.

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