The purpose of this study was to analyze various problems of the definition concerned with the aesthetic development, of the methodology, and of the developmental stage model. The method of the consideration was the critical examination of the pertinent literature on the development of aesthetic sensitivity. The focal point of this study was the developmental issue of aesthetic sensitivity as a fundamental ability in the aesthetic development. With the methodology on the developmental study of aesthetic sensitivity, this study examined some problems of the methodology of Parsons. With the developmental stage model, two hypotheses of Parsons (1987) and Housen (1983) were compared. This study directed its attention to the interactive relationship between cognitive aspect and emotional aspect in the development of aesthetic sensitivity, and the sequence and the developmental factor in the developmental stage. Particularly, as for the developmental factor, recent investigations have suggested the viewpoint related to the inborn character, and the learned character. In the light of recent empirical researches, the influence of the inborn character appears remarkably until adolescence, and there is a high correlation between developmental stage and age. After then, the influence of the environment appears strongly, and it should be noted that culture, training, and learning promote the development of aesthetic sensitivity remarkably. From now on, how we evaluate the environmental factor in art education is thought the subject that should be discussed concerning the hypotheses of the development of aesthetic sensitivity.

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This paper primarily focuses on the significance of MI theory (Theory of Multiple Intelligences) and the concept of Artistic Intelligences in art education. The first section of this article emphasizes the problems concerning the current notion of human intelligence and IQ tests. The second section provides a general introduction to Gardner's MI theory. In Frames of Mild (1983), Gardner claims that the traditional psychological view of intelligence as a single capacity was limited. Gardner defined intelligence as the capacity to solve problems or to fashion products that are valued in one or more cultural settings. These intelligences are: linguistic, logical-mathematical, musical, spatial, bodily-kinesthetic, interpersonal and intrapersonal. The third section of this paper explains how MI theory identifies these intelligences. Gardner identifies these intelligences by synthesizing findings from disparate sources including studies of the breakdown of cognitive abilities in stroke patients and other brain-damaged individuals; work with prodigies, idiot savants, autistic children, and other special cases. Section Four of this paper focuses on the concept of Artistic Intelligences. The final section discusses the practical applications of MI theory and also analyzes how MI theory has been actually applied to Arts Propel, Key School and Project Spectrum.

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Over the past few years a considerable number of studies have been made on Education of Art-College in early Meiji Era. But little attention has been given to the sculpture education in late Edo Meij Era. The purpose of this paper is to consider on the relationship between master and pupil; teacher and student of sculpture education in Modern Japan. Illustration from thought of master and pupil in "Kouun Kaikodan" may be informative. The relationship of master and pupil in "Toteisei" since Kamakura was existenced with "Economical contract". The relationship of teacher and student in "Shiteidou" in Edo was existenced with "Moral promise". But two thoughts of education in Edo united into one thoughts of sculpture education in Meiji. Because traditional master and teacher taught in Modern Art College. It is concluded the sense of values of sculpture education in Edo continued to Meiji.

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In this paper, I have described the current problems of universities of arts in Japan, and discuss what would be like. Universities of arts in Japan had been mostly aimed to appear in great numbers of artists, but not teachers of art. And also, it had not changed its educational policy for a long time, therefore, there is a little gap between the school and public tendency of art. The problems are: 1) the educational art curricula. 2) the educational policy which is out-of-date. 3) the entrance examinations in the universities of arts. The second purpose of this paper is to analyzes art education curricula in universities of arts in Japan. The curricula in Japan and England are compared the theory of Elliot W. Eisner for developing the continuity and sequence of the structure of. The curricula in universities of arts, should emphasis on high academic achievement through personalized learning, value-centered education, and contribution to create a vibrant learning.

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In Japan, "MITATE" effects have been popular in art education as the term of interpretation of children's formative art. The concept of "MITATE" effects, however, remains largery unexamined. This pager is situated as one of a series of studies to reference to the significance and availability of "MITATE" effects in art education. The aim of this paper is to inspect by means of a structure of the viewpoint to develop "MITATE" formative art as the teaching aids, which is concretely incorporated into the teaching-learning process, and a class practice. It was inspected after I regarded the process of "MITATE" formative art as the correlative combinations with some factors, that is, the structures, and contemplated it. Detailed account of the study is given below. (1) A consideration of the previous studies about "MITATE" formative art. (2) A showing the process of "MITATE" formative art with a model diagram. (3) A structure of the viewpoint and a practice to develop "MITATE" formative art as the teaching aids. On (1), I adopted Masashi Okada's opinion and Kazuhiro Kozaka's one, and interpreted the differences between the two. On (2), I showed the process of "MITATE" formative art. On (3), I gave the following three examples. 1. Incorporating the sort of action to search and the sort of change to handle in to the teaching-learning process. practice example 1 : 'If you cut the styrofoam board ?' 2. Incorporating the elements of "GOKKO" into the teaching-learning process. practice example 2 : 'Let's go to space.' 3. Incorporating the establishment of a paticular spot into the teaching-learning process. practice example 3 : 'If you swung that?'

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This research examines Shih-t'ao's "Hua-yu-lu" (Treatise on the Philosophy of Painting), particularly his thoughts on what painting is and what it is to be a painter, and questions its significance as an instructional document and what it can contribute to contemporary foundational art education. The treatise is recognized as a reference for artists well advanced in their profession, but also contains a wealth of suggestions applicable to the problems of contemporary art education. Of prime importance is the fact that Shih-t'ao (1642-1707) was himself a painter, and used its lifetime pursuit to also deepen his speculation on how to live. The core of which is the description, be it abstract, of what creation should be. This is symbolized as the 'primordial line' which strongly encourages the continual return to the origin/source and renewal of self-awareness; facing ourselves facing each new creative endeavor. From an educational stand point, the 'origin' is rooted in the fundamentals of art education. Teachers themselves should question the source of their own work while at the same time be aware of the influence and effect it has on their students. Repeatedly mentioned in "Hua-yu-lu" and from a present view the aim of foundational art education, is the ability to trust the hand. To do that the eyes must correspond to the heart, materials and the hand that moves them must be one. Eyes, hands, materials and heart mutually unified is indispensable to feeling and thinking in creative activity. Today, expression tends to highly valued, however on this premise, training the gaze must also never be neglected.

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Abstract painting is generally recognized as "difficult and unreadable art" and the theoretical base of this art form has not been established yet in the field of painting education. So in this paper, the author experimentally categorized it for much clearer recognition in conformity with 13 basic indexes. Making reference to varied types of abstract painting, and based on some art theories which are relevant to the matter, the author set up 13 indexes by some standards like formal distinctive features, the condition of mediums and materials, technical methods, principles and concepts, and so on. By the way, the range of what abstract painting means is actually wide, therefore the author arranged following 7 items as its general definitions. : (a) extracting essential elements, (b) the visualization of something invisible, (c) the creation of unrecognizable figures, (d) simplifying shapes, (e) dismantling and vanishing shapes, (f) organizing space, (9) the emphasis on literally physical surface (transforming into an object). The main issue of this paper is the visual analysis of the formal side of abstract painting which has lots of features. 13 indexes as mentioned above are basically the variations of formal characteristics of abstract painting. The following is the list. :(1) the compositional disposition of formative elements, (2) dividing the space, (3) geometric manner, (4) painterly manner, (5) marking the surface, (6) filling in the space, (7) making textural effects on the surface, (8) collage, (9) the autonomous organization of color, (10) introducing figurative images, (11) presenting simple and minimal shapes, (12) shaped canvas, (13) the emphasis on materiality, action, systemic methodology, working process and its temporal nature. Confused recognition with abstract painting might become clearer by 13 indexes. The application of 13 indexes could bring viewers concise and well-organized understanding on its many peculiar qualities. These indexes are "useful tools" for entering the area of abstract painting, observing necessary parts to see and detailed analysis and examination. The author hopes that 13 indexes would be appropriate viewpoints to help teachers formulate good teaching and learning plans, and also would be proper frames to help students observe well and enjoy interpreting its many specific features. However, the method of categorizing is double-edged. It would present a fine perspective of complicated phenomina such as abstract painting. On the other hand, it would simplify that phenomina too much. So we must be cautious about a worrying situation where the knowledge of 13 categories will cause narrow and limited views and stereotyped ideas. 13 indexes should be wisely used by a teacher under a goal that students and even a teacher him/herself can enjoy both sensuously and intellectually the abstract painting world.

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As the pioneer of British Cultural Studies, Raymond Williams (1921-88) is among the most seminal and gifted critics in Britain since the Second World War. His field of interest is vast, and includes adult education, media studies, politics, cultural and literary criticism, as well as original fiction and drama. In this paper, I concentrate on certain key concepts of Williams: "a whole way of life", "exile", and "structure of feeling". I explore Williams' cultural theory in terms of convergence of art educational concerns, because these concepts provide radical arguments for the rethinking of art education. My conclusion is threefold. First: Culture is "a whole way of life", a matrix consisting of art, education and other practices, interacting with each other. Second: We can rethink "the creative subject" by applying certain themes of British Cultural Studies in the 1950s-70s, especially through Williams' concepts of "exile" and "structure of feeling". Third: The space of art education can be a moment of a general cultural transformation as well as a school cultural one, as an alternative space where "structure of feeling" is elaborated. By drawing on Raymond Williams' cultural theory, I attempt to suggest these points. Through this "Dialogue with Raymond Williams and British Cultural Studies", we will be able to rethink the significance of art education in the second half of the twentieth century.

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The purpose of this paper is to examine that spirit of Romanticism is seen in Steiner's thought on art education. I have studied his educational thoughts on the development of the child's mind. It is clear that his theory of education is useful for today's art education. Romanticism, on which his educational thought is based, must be understood in order to comprehend his thought more thoroughly. By making clear the characteristics of Romantic ism which greatly influenced his thought, Steiner's educational thought will become more easily understandable. Therefore, the first section of this paper considers the meaning of art education of Steiner on the following four points : a) Art Education for Source of Education, b) Education for Man of Liberty, c) Education of Emotion, and d) Education for Self-experience. I would like to clarify the relationship of his ideas to Romanticism. The second section of this paper considers Steiner's thoughts on art education and focuses on 'the fantasy' and 'the symbolic meaning', both of which are essential to Romanticism. As mentioned above, Steiner's thought on art education was based on Romanticism. This paper also proposes the new methodology of art education, which emphasizes 'the fantasy' and 'the symbolic meaning' in teaching art. I believe that it is key to the solution of various problems for today's school children.

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The teaching of art tends to depend on each individual teacher's experience and know-how. However, an objective teaching method, which all teachers can share in general, needs to be established. The purpose of this study is to categorize a teaching art education and to define appropriate teaching method in modeling activity as one way to establish teaching methods in art education. A category system of one subject was targeted to be developed, however, the system can be applied to multiple subjects. By means of categorization which emphasizes function and variety, the standardization of teaching methods on art education is possible to a certain degree. The category, however, is still a basic model; the range and number should be decided by applying them to a variety of subjects. More improvement and standardization by trials will establish a solid, general teaching method. Furthermore, the definition of a teaching method by a categorization form a variety of viewpoints and on several subjects must be considered so that an objective teaching method becomes clear and can be shared with all teachers.

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The purpose of this report is to investigate the traditional art of a specific locality in education forappreciation, and to propose curriculum reform which would clearly incorporate this appreciation into educational significance. I took up fireworks in Fukushima as traditional local art, and investigated the change in appearance of children's appreciation. This study showed that the appreciation deepened children's understanding of the fireworks. For this reason to understand the relations between culture of daily life and art, to expand the contents of appreciation, to activate the education of primary school, to be beginning of the multicultural education, and to deepen the relations between region and character building were shown to be educational significance. Not only to work but also to appreciate the relations between cultur and art in curriculum was shown to be extremely important.

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After the middle of the 1960s in (West) Germany, academic interpretation of Bauhaus has changed from idealistic understanding, depended on the manifest of Bauhaus and W.Gropius, to realistic one. In this paper, two points will be investigated, owing to the R.Wick's works, which offered in 1982 and 1984. The one is, a) how Bauhaus teacher-artists kept having their interests in fine arts, under the overwhelming pressure of scientific and technological age in the 1920s. The other is, b) how they introduce young generation into modern points of view about expression through its Vorlehre (elementary introduction course for artistic expression) in Bauhaus. About point b), the work of Wick and the testimony of A.Ehrhard (Gestaltungslehre. 1932, introduced into the field of Kunstpadagogik by G. Otto at the beginning of the 1960 s) show us next matters 1), 2), 3). 1) The education in Vorlehre in Bauhaus was composed by theories and points of views in which we can't expect complete ones. 2) The view point that expression is constructed by the fundamental ideas for composition grasped by the contact with materials (which means materials itself and subject matters appeared through materials) was one of the most important findings. And 3) in this meaning, the artistic and ≫ kunstpa dagogisch ≪ meaning of this Vorlehre exists in the following conception: When young people find out the fundamental ideas for composition by himself, the act of production-expressions appears naturally constructive in the experimental and researching process based on material-experiences and material-studies. Fundamentally, the act of production-expression was produced not only by the skills, knowledge and theories which were taught or inherited from his master, but also by the discovering-experiences of simple matters like contrast, balance, movement, and emergencies of spaces. The experiences of this discoveries through materials make a young generation realize that the act of production - expression is nothing but the one ≪a composer≫. That is the key point of education which Bauhaus offered to young fresh men in their first years of this school.

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At present, there are numerous students revealing that they "don't know what (they) should express." This condition is very grave. Expression entails pain and effort. Growth a s a human being cannot be expected if students do not deepen what they see, feel and think daily through activities of expression and if they do not discover themselves from within. One approach to solve this pending question might be trying to learn from progressive educational theories on young and teenage children's pictorial expression. The subject established in this research is the examination of what is the desirable form of expression for children and how to foster its development. I would like to elucidate the way in which this subject opened up with time and societal development. I will also examine the theory from the point of view of its validity in modern education. This historical genealogy and its structural characteristics have not been realized theoretically to date. This research, based on actual circumstances, surveys serious problem conditions in fine arts departments as mentioned above, and attempts to open a new phase of fine arts education theory. The extracts of the theoretical results featured in this research were highly valid. In order to increase educational effectiveness, contemporary school education based on tried theories, must work anew towards the structural grasp of establishing subject and theme contents.

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Objectives The purpose of this study was to examine the relationships between national origin (U.S. and Japanese) and spatial similarities and differences found in children's drawings. Method This study examined about 1000 drawings of children 8, 10, and 12 years old, Native Japanese students attended a Japanese school in suburban Chicago, which offers the Japanese national curriculum for Japanese children who temporarily live in U.S. due to their parents employment. U.S. students were drawn from suburban Chicago and Urbana-Champaign, IL. Drawings depicted, "My friends and I playing in the school yard," a theme investigated in earlier studies by Elliot Eisn.er and others. Drawings were classified according to the 13 Eisner categories. Chi-square was used to analyze the spatial similarities and differences found in the drawings. Results There was a significant difference in spatial development for the two populations examined in this study. In the early stages of spatial development, Japanese children showed higher percentage of the advanced category usage than U.S. children. Overall the trends of spatial usage across cultural groups were uneverL from category to category. Furthermore, more advanced drawing techniques were embedded in drawings by Japanese students-techniques that were not possible to classify according to the 13 Eisner categories, suggesting the research needs to be undertaken to expand the pioneering work of Eisner.

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The purpose of this paper is to examine the Richardson Methods, especially regarding to its practical issues by reconsidering the criticism from the then His Majesty's Inspector George Herbert Hooper. The Richardson Methods were developed by Marion Richardson (1892-1946), who pioneered learner centered art education based on the pupils' innerimagery. Hooper wrote to Richardson after the observation of her class, and his criticism in the letter has been a basis of the view that the methods were strongly tied up with Richardson,s personal character so that it is not understandable or transferable to others. I tried to reexamine this view by referring to Richardson's syllabus, lecture notes, her pupils, works etc. The topics including the relation between teacher's leadership and learner centered education, the two principles of Richardson's reaching, the problem of the "resemblance" of works in the class, Richardson's view on the Cizek School's exhibition, and the political purpose and bias of the Inspector's letter were discussed in the paper. In conclusion, it was pointed out that the Inspector's criticism to the leaners' spontaneous expression, to the continuation of it after adolescence, and to the transference of the methods to the others were not necessarily based on a full understanding of her teaching. And we can have a possibility to open up a way to the further development of the methods in our education.

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The present study compared the clay-works made by preschool children and by a chimpanzee. A 17-year-old female chimpanzee made a concar-shaped clay-work by herself in a free play situation. The shape looked like a cup. Then, the following test was done to evaluate the cup-like clay-work made by the chimpanzee. In the first step, preschoolers aged 2 to 6-year-old (N=83) participated in a clay-play task. The subjects were instructed to make a cup from the clay in a task. In the second step, all of the 84 clay-works including the chimpanzee's one were shown to 19 human adults. The asult subjects were asked to choose an appropriate label to each of the clay-works among ten alternatives including a label "cup". The main results of the forced choice test were as follows. As the age of children progressed, there was clear increase in the percentage of the adult's labeling "cup" toward the clay-works. 75.1% of the adult subjects used the label "cup" toward the chimpanzee's concave-shaped clay-work. The percentage corresponded to that of the clay-works made by 5-year-old children. The chimpanzees' ability to make clay-works has been estimated to be less than 3-year-old human children based on the various kinds of cognitive skills like drawing. The present study on the human evaluation toward a chimpanzee's clay-work illuminated the possibility of underestimating the cognitive capability of chimpanzees, our closest relatives.

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I am interested in students' sense of self-decision making and I seek for utilizing this for the new way of presentation for art classes. So in this study, I mention about process how the student decide the ways of the contents to express their real feeling. For this purpose I reconstruct my lessons from the aspect of teaching method respecting the students' views. In other words, I'd like to seek, for art lessons esteeming the students' concept. This is because today is the age to change traditional way of thinking about art teaching. It is important to lead the students with esteeming self-efficiency and individualization to make their power in themselves be up through lessons. I proved how significant to make them feel self-efficiency by giving many opportunities of self-decision making. And I also proved how useful to accept backgrounds of individual experiences to promote flexible art lessons. As these examples, I picked up the lesson "The invisible" and "the Medium lesson" which the students had many selective elements including medias for their works and which assumed individual feeling more than before. They are having probability to change artlessons dynamically.

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Many various exhibitions has been opened in Japan since 1871, when the first exhibition opened. At first most of the exhibitions were held under the auspices of the government. But in the last stage of meiji era, many exhibitions were held under the auspice of the public corporation and civilian corporation. The first children exhibition was opened at Ueno in 1906. This exhibition has been opened many times until 1945. That was opened many different corporations and places since the first children exhibition opened. In the current of that Mitsukoshi was called Mitsukoshi-gofukuten hat that time opened that in standpoint of department store. This study meets in a focus of the Mitsukoshi's children exhibition as civilian corporation. What was children exhibition at Mitsukoshi? And what did that process begin? Iwaya sazanami is prominent as children culture in the Meiji era occurred. I can say the appearance of Mitsukoshi's children exhibition look civilian corporation, but the image of children presented lived up to the expectations of Japanese government.

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What is the method of school art education that match it with today's children and student's consciousness ? In this study, we try to take up their expression in daily life as the theme of school art education. In an information-oriented society, we expect, that when children and students express their environments, their works express today's human figure, inclusive of today's problem of children and students environments. Therefore, in order to search for the theme of expression what they want to express, we take up their expression that we can see in their daily school life. If they want to express their circumstance, we can take it up as the theme of school are education. The theme about their daily life made them make various works. Expression of children and students show us many images from TV programs, goods, and information. We should say, there is the effect of today's social environments. Through the work of taking up today's children and student's consciousness as the theme of school art education, we can say, it will be the method to take up necessity that children and students want to express.

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The word 'musisch (e)' is an adjective derived from the Greek deities 'Muses' who directed the affairs of arts and intellectual pursuits. And the word 'Erziehung', means education. The word 'musisch' in 'Musische Erziehung', however, has a particular implication in this concept of Education in modern Germany. 'Musische Erziehung' was one of the currents of the "new education movement" in Germany, which was conceived first by educators and artists around 1920, and has still remained an important concept since 1945. Admittedly, Expressionism and the Youth Movement in Germany had a great influence on this concept in the 1920's. But 'Musische Erziehung', since the end of the 1950's, was severely criticized by several education researchers, for example, Gunter Otto, Heino Moller, and by the social philosopher Theodor W. Adorno, because they found in this concept the irrationality, the fascist features and the ideological tendency peculiar to the German bourgeois. But their criticisms are not applicable to all the individual positions on 'Musische Erziehung' - for example, that of Franz Werfel (1980-1945) who was born Jew in Prague and became a great expressionist writer who equaled Franz Kafka in fame, because Werfel's assertion, though it is subjective, is founded on his accurate criticism of the - aesthetic manipulations of the human consciousness by the mass media - cultural and social situation of the times which is very similar to the present situation with regard to the mass media. In this treatise I attempt to defend Werfel's assertion against criticism by Adorno and Moller by presenting my questions on their criticisms. Since Werfel's position was so important that his way of defending 'das Musische' (the Musical) became a model for most of the arguments by others, my attempt, as a matter of course, will include in the future a comprehensive reconsideration of the whole concept of 'Musische Erziehung'. A representative essay (the manuscript for the lecture) of Werfel is his Realism and Inwardness (1931), in which he, first opposesthe "radical realism" thinking which governs modern times ideologically, second asserts the necessity of a "revolution of spirit and soul, and therefore advocates the "development, and elevation of inward life". Werfel says,"Only the 'musische' man is able to build up again the "inwardness', which was destroyed by materialistic belief." The 'musische' man means "man full of imagination", "man open to the world", and "in the widest sense musical man".

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In this study, the questionnaire survey was carried out for elementary school teachers in Matsuyama, Ehime, Japan to reveal possible anxiety on introducing computers to arts and crafts education and its present circumstances. The subjects discussed in this paper were as follows: the kinds of personal computer (PC) individually used by the teachers, their wishes for participating in lecture courses on PC, the difficulties of introducing the interne t as a teaching subject, the utilization of PC for the study courses other than arts and crafts education, the existing status of computer-aided arts and crafts education, and the anxiety on introducing computer-aided arts and crafts education. In consequence, computer-aided arts and crafts education is rather less introduced actually at the present status, and the conventionally used teaching materials are thought to be of importance. In addition, there still remain many problems such as high cost, deficiency of supervisors, insufficiency in technological expertise. Up to ca. 80 % of teachers wish to participate in lecture courses on computer. The items of teaching subject are possibly classified into four categories, comprising (I) "anxious and worth", (II) "not anxious and worth", (III) "not anxious and not worth", and (IV) "anxious and not worth". The teachers feel anxious greatly on using computers by themselves, while they feel less anxious on pupils' possibility to operate them. In addition, teachers feel "anxious and not worth" for the items such as "technical handling of computers", tending to be negative for introducing computers. In conclusion, it is utterly required for teachers to deepen the comprehension on the effectiveness of computer-aided education and its basic technical knowledge, and to mitigate their potential anxiety.

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From the standpoint of the creative art processes, how should the use of computers be valued as a tool of expression for elementary school students? This research work explores how computers should be utilized in classrooms, looking at the possibilities and the problems. We are proposing to put this program into use in the classrooms after thoroughly examining and posing solutions to incomplete issues raised in preceding studies. From observing the current elementary school students, we can point out as a serious educational problem that these children have content area/textbook knowledge but not direct experience. It is considered a necessary condition for lower grade elementary school children to have an accumulation of direct experience. Therefore, the author has been proposing introduction to computer education on two important bases: 1) seeking computer use possibilities and 2) using direct experience as an important learning factor. This writing is based on two years of research focusing on the function of the computer in creative art education and creative expression, especially on the role of the multi-facet ability of graphics. This hase been studied through the observation of the processes of children's creative expression. The following results were obtained from questionnaire data on the use of graphic software, listed here in the order of the most popular uses: 1) Undo function, 2) Paint function, 3) Stamp function, 4) Effect function, 5) Multi-media function, and 6) Animation function. In summery, some of the computer functions were effective in expanding the possibility of children's creative expression. We can draw the conclution that the uses of the computer as a tool, like pencils and brushes, is effective and should be utilized in creative art education. Another consideration is that the use of computers in the classroom can be helpful in the children's realization of the importance of human expression through the hands. A most positive use of computers should be promoted as an important part of creative art education.

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In this study I frame the following hypothesis. The teaching-learning proceses in arts and crafts consist of practical and collaborative accomplishment of the interactions between the pupils and the teacher. Therefore, the pupils make their intentions, meanings and styles of formative activities through these interactions. The method is following. 1 st. recording one unit of teaching in arts and crafts at one classroom by participant observation. 2 nd. picking up four pupils of the different learning processes, and making the transcriptions of the interactions between the pupils and the teacher by following three points conversations, gaze, and the other interactions (pointing, giving, etc.). 3 ed. analyzing the relationships between the mutual gaze and the contexts of the conversations or the other interactions, I judge the points that the teacher and the pupils have the meanings, the intentions and the styles of the formative activities in common. Then analyzed the role of interaction between the pupils and the teacher and get following results. (1) Taking the initiative of the interaction and hearing what pupils says have "teaching-learning" function. (2) The case of the interaction among teacher and two pupils, they use the same gaze in "face-to-face" relationship. The each pupil want to have their meanings, intentions and styles of formative activities in common to the teacher. The subject of this case restored himself its controlling authority in this interaction. They use the dynamics of desire for the other when they make formative art.

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This is a practical study of a lesson on art appreciation. The lesson was given to 38 six-grade pupils at elementary school. A hypothetical situation was created in which the pupils were all connoisseurs of fine arts, and they looked nine works of art painted by three painters; three works by Paul Signac, three by VincentVan Gogh, and three by Paul Klee. The information of these works, for example, the names of the paintings, the names of painters, and so on, were withheld at first. Pupils compaired these works of art with one another and divided them into three groups based on their own critiques. Then they discussed their impressions of the individual pictures and the characteristics of the three groups, and appreciated them. After this practice, the activity was examined from the following viewpoints: 1. creating a hypothetical situation in which the pupils were all connoisseurs of fine arts 2. instructing the pupils in a method of comparing works of art 3. using prints of works of art 4. selections of works of arts 5. pupils' words of expression on art appreciation

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The production of various technologies today seems to expand the possibilities of human beings who use them, and to make the relation between the humans and the outer world closer, reducing both time and space. However, weather this is certain or not should always be questioned. In this report I have tried to interpret the feature of humans today and to show the possibilities of the activity of expression in Art Education. In the modern society, in other words "the society of visual and electronic media", the theme of Art Education should be the recovery of children's humanity (the biological nature of human), and is mentioned as the necessity of direct experiences using hands and bodies, including the recovery of the sense of touch against the precedence of the sense of sight. I have searched for the possibilities of the activity of expression which creates the encountering with materials, and of the spontaneous expression in the "encounter" with material motifs beyond the measure of descriptive techniques. These come from the sense of materials and Arts which you can see in Japanese traditional architecture, that is "The Art is not what humans compose from materials but what they make the material itself open and form into". And I've interpret modern techniques from the viewpoints of encountering and touching materials, and the recovery of the human's physical nature. In modern times which have created the loss of opportunities of direct experiences, and the progress of visual media, the activity of expression making full of use of five senses to interpret the relation between the humans and the things around them, and which produces the chances to enable us to face objects, should be meaningful.

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This paper traces back through the changes of handicraft, education at Junior High School Attached to Hiroshima Higher Normal School (Hiroshima Koto Shihan Gakko) in the Meiji Era and studies how handicraft education set up its foundation. The study of the foundation is based on teachers in charge, the handicraft room, the syllabus and the purpose of the subject. This paper is framed as follows 1. The general view of handicraft education before 1905 (38th year of the Meiji era) in Japan. 2. The start of handicraft education at Junior High School Attached to Hiroshima Higher Normal School. 3. The establishment of handicraft education 4. The aims of handicraft education 5. Conclusion As the conclusion this paper discusses the points as follows. 1. Junior High School Attached to Hiroshima Higher Normal School did not only lay emphasis on teaching knowledge. It found educational value in the ways of the expression in handicraft education and sought it in the process of production. 2. The school evaluated handicraft as a subject which would encourage various human abilities to develop and improve the students' creative ability and established the subject in the 44th year of the Meiji era (1911). 3. Genji Kurihara, an associate professor at Junior High School Attached to Hiroshima Higher Normal School, started to teach the subject in the handicraft room of Junior High School Attached to Hiroshima Higher Normal School. The matters below are left unexamined. 1. The concrete teaching contents in the field of handicraft in subject, drawing, when the school opened. 2. The syllabus of the subject, handicraft and drawing, from the 44th year of Meiji era (1911) to the second year of Taisho era (1913).

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How has the human body been perceived in Art. Today this involves such issues as what constituts aesthetic objects, external perception such as vision and touch, emotion and consciousness, and psychological processes activated by physical experiences. In view of this circumstance the author, from the standpoint of a creater, has investigated into the problem of body perception that arises in thematizing the human body. This study provides a comparative re-analysis of body perception, with a particular emphasis on its relevance to Lacan's "mirror image", based on children's art, modern art, an atomic descriptions, and human body specimens in medical education. This interpretation, synthesizing individual growth, historical development of art, and natural sciences such as medicine and anatomy, raises questions not only for visual problems in art but also for our body perception and linguistic conception. Lacan points out that it is not that man is the center of the linguistic universe, but that man is created through language. What is important is not acquisition of pre-existing language and skills, but personal interpretation of external objects in relation to one's self. Therefore, this work, whose name might otherwise make one think of a guidebook for desertion of human bodies, intednds, in fact, to offer a new interpretation of one's body, and eventually, to reconstruct the subject of art as a whole.

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