In the study of child's thinking in a “20 Questions” game, Mosher and Hornsby found out two typical strategies, constraint seeking (CS) and hypothetical scanning (HS). They attributed these strategic variations to representative ability differences, and assumed that CS required symbolic representation.
On the other hand, this CS type strategy was the process of sequential classification, so that it could be considered to correspond to Piaget's additive classificatory operation. On this framework the socalled concrete period children must have a repertory of such a strategy, but there had been no evidence of that correspondence in the studies on the “20 Questions”.
The present study was aimed at examining the problem of such correspondence by two cross-sectional studies.
In Experiment 1, the usual “20 Questions” task was used with modified stimulus and procedure. The results showed that most of the 2nd or 3rd-grade children could exhibit CS (2nd graders=80%, 3rd graders=90%) as well as some of the 1st-grade or pre-school children (1st graders=45%, pre-school= 30%).
This developmental tendency was similarly observed in Experiment 2 in which Ss were assigned “20 Questions” listening task.
These findings show that the so-called concrete period children could employ CS type problem solving and such CS type strategy corresponded more to classificatory operation than to representative ability. Further, the developmental process of classificatory operation was discussed at length.

抄録全体を表示

本研究は，大分県の全国的にも特異な地形・地質の特色を生かした教科融合型の探究的な学びを幼稚園年長から小学校において実践し，その学習過程や記録を基に子どもの学びの質的評価を研究するものである。本プロジェクトは，平成28年から31年にかけて大分大学と大分県立美術館，大分県教育委員会等が連携して取り組むものである。研究目的は，美術館が研究実践校の小学校等で「地域の色を発見する美術体験プログラム」を実施し，大学がそれをきっかけにした色をテーマとした探究型学習を提案して，子どもの学びのプロセスを検証する。本論では，美術館が行った「地域の動物・植物・鉱物から色をつくり，見て，感じるいのちの色」の2つのワークショップ型授業事例について，文部科学省が示す「育成すべき資質・能力の三つの柱」に沿った学びの質的な分析の試みを示す。

抄録全体を表示

本研究では，藤田嗣治の《アッツ島玉砕の図》と，靉光の《風景［眼のある風景］》，長野県に所在する‘無言館’に展示されている没画学生の作品との比較鑑賞授業を行い，授業後の生徒の感想から，「戦争画」鑑賞授業の意義や効果を考察するものである。鑑賞にあたっては3つの視点（①作者の視点，②鑑賞者の視点，③現代の視点）を設定した。特に②の鑑賞者の視点であるが，《アッツ島玉砕の図》と，靉光の《風景［眼のある風景］》は当時のメディアや軍部の視点を，‘無言館’に展示されている没画学生の作品ついては，当時の身近な人たちがどのように感じたのか，一画学生が無名であったからこそ家族や友人の思いも含み，「戦争画」を多角的に捉える授業展開を行った。この授業を通して，戦時中に立ち位置の違う画家たちの思いを汲み取り，現代に生きる自分たちの課題に気づき，自分の未来像についても考えようとする様子が確認できた。

抄録全体を表示

Dans l’immédiate après-guerre à Paris, Jean Dubuffet a expérimenté plusieurs matières picturales et ainsi réalisé des tableaux dont l’épaisseur de l’huile et des grattages rendent leur sujet peu transparent. Les oeuvres de la période la plus féconde de ce peintre sont marquées par la matérialité de la peinture. Quel rôle jouait la matière dans sa pratique artistique ? Alors qu’il est sûrement l’un des artistes les plus controversés du XXe siècle, ces premières années ne sont pas complètement dévoilées. Afin d’apporter un éclairage nouveau sur ses pensées sur l’art et ses oeuvres, l’objectif de cet article est d’examiner la matérialité chez Dubuffet en se référant aux circonstances artistiques, scientifiques et littéraires des années 1920 aux années 1940. En effet, durant ces années, plusieurs artistes et intellectuels se sont intéressé à la dimension matérielle de l’art, avec un focus particulier sur la notion de l’art. En outre des publications, des correspondances de l’époque permettront de montrer que pareil regard était au fond étroitement lié au souci de la société contemporaine, alors bouleversée. En mettant le pivot de l’analyse sur Dubuffet, cet article veut à la fois reconsidérer la matérialité de l’art et des discours artistiques du XXe siècle.

抄録全体を表示

  100 years have passed since the appearance of modern photography. During this period, two basic elements of photography, the camera and film have been highly developed. However, as to the photographic technology which should combine these two elements, it is hard to find the degree of progress found in other devices.

  Photographic technology should have developed as a system that enables various delicate expressions. Indeed, we find a quite complicated situation in the prevailing method of negative printing, that is, even with the most advanced fine-tuning camera and with proper photographing techniques, you cannot gain the exact result that you expected. Why has such a difficulty come about? It is because today's photographic system does not have a clear printing criteria so as to reproduce correct colors. The current printing system has not caught up with the advanced high-tuning camers.

  The advent of the disposable camera is a symbolic phenomenon that suggests the above-mentioned situation. In general, disposable cameras don't have accurate exposure controls. You can get a acceptable quality print with such cameras, but it is meaningless to balance light and adjust exposure strictly. It means that, as for fine-tuning cameras, today's printing system has a "misplaced automatism" from the beginning.

  In this paper, the author tried to point out various problems in modern photographic technology, i. e. state-of-the-art printing systems, exposure mechanisms, maintenance of the flatness-retaining performance, resources and environmental effects concerning service-print, etc…The author also presents a new system of photography that respects the human mind and environment with his unique know-how to improve this field of art. The author also adds soms consideration to factors which disturbed such improvements.

抄録全体を表示