G・オットーの初期著作における自己探求的な芸術教育学理論の基礎づけについての一考察

抄録

After the Second World War, German padagogues in art education have been obliged to reflect critically on the theories of art education in the 1920s. Confronting new social and educational situations in Germany, they had to keep in mind several new factors such as expression as beings in the world, contemporaneity, adolescence, contact with modern culture and society, and researches by younger generations.
G. Otto re-examined the traditional views of art education from the late 1950s through the early 1960s when the reconstruction after the war terminated. He thought that art education should be planned in a social context and struggled hard to build a new theory of art education suited to the time.
As the first step, Otto studied pedagogical anthropology, the adolescence and plastic art theories of the 1920s. In this process, he obtained from anthropology the idea that human beings were members of society. From the theories of plastic art, Otto learned that a human being can discover his relationship to the world by the act of production-expression using materials-subjects. These notions were not emphasized in the views of art education from the time of the >new education< plans.
The major views which Otto discovered in his early works are as follows : - “One can develop his ability only by keeping in contact with the world.” -Adolescence is the time when one should come into “contact with compounds made up of culture and society of the times.”
- “The treatment, study and experiment of materials correspond to the styles of young people's attitudes.”
Since 1963 Otto tried to integrate these views into his concept of art education. In that process, he identified the following as the fundamental points of view for integration :
- “Struggles with the selected materials are a step of artistic activities for young generations.”
- “One opens up the real world on the basis of his categorical views and experiences obtained by himself.” (W. Klafki)
In the process of research for the realization of Kunstpädagogik, Otto tried to integrate these two fundamental points of view into one >kunstpädagogische Theorie< on the basis of the heritages of modern didactic theories which were available in the 1950s. One of these was the theory of >kategoriale Bildung< by Klafki, and another was the didactic theory of structural analysis by P. Heimann who asserted that “the process of teaching should be structured as a whole [in order to get a free analytical point of view for education (teaching act)].”