Texte remanié de la 3e partie de: Thèse de doctorat--Philosophie--Toulouse 2, 2000.

Texte remanié de: Diss.--Neuphilologische Fakultät--Universität Tübingen, 1996. / Bibliogr. p. 361-377.

This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists / Master of Arts (Hons)

Der er ingen undoing i bioheden, der sker bare noget nyt. Går noget under, kommer noget nyt frem af det gamle. Vi har glemt at vi selv har gået under mange gange. Vi bygger huse ovenpå glemte samfund, som Mexico Citys opbyggelse af de gamle atzekertempler. Vi bygger alting oven på hinanden, lag på lag på lag, og det nye gemmer det gamle. Men under os ligger der stadig spor fra det der er født og forgået før os. Arkæologer og palæontologer graver brudstykker frem og vi er fastlåst i vores forestillinger. Er det først gravet op, kan vi ikke lægge det tilbage. Vi kan bare lede efter mere. Indtil vi finder ruinerne af os selv. Bioheden varer ved.

In an age of increased environmental awareness, environmental education in schools has become progressively valued and supported. With this in mind, the purpose of this study was to investigate the significance of art education within the context of environmental schools and other sites of environmental education. Specifically, this research aimed to identify ways art education is being used as a means to strengthen outdoor learning. Through qualitative research involving multiple case studies of the art programs of three environmental charter schools and one nature center in Pennsylvania, data was gathered by means of on-site observations and interviews with staff and students of the aforementioned sites. Although the findings of this study indicated that each of the sites incorporated some degree of art in their environmental curricula, the results demonstrated a significant deficiency in the presence and support of art education in the environmental education programs within each site. Based on the findings of this study, suggestions were made concerning ways art may be used as a means through which students might more closely examine and experience the natural environment. / text