The chapter also discusses the process of developing experiences with an intention to help teachers enhance both their content knowledge and their ability to engage their middle and high school students by offering opportunities for creative expression that fosters voice and a sense of agency. I specifically address the use of ekphrastic poetry in a graduate English class taken by first and second year middle and high school English teachers in a graduate program in English education, and include examples of students’ poems and their reflections on their processes and implications for their own teaching practices. Romanell has decided, however, that there must be some inconsistency in my so doing. Romanell finds that in my Art as Experience I speak of two forms or sorts of aesthetic experience.' I certainly do Dr. Both Greene and Rosenblatt take up this concept-Greene through art-making as a kind of apprenticeship that opens up learners’ imaginations and allows them to understand the process artists undergo in bringing ideas into the world of concrete reality and Rosenblatt, through her discussion of the transactional nature of reading literature (which can be extrapolated to other art forms). AN ARTISTIC DEVELOPMENT JOHN DEWEY In a recent number of this Journal, Dr. This aesthetic experience (explained in detail below) is present in every part of human life. Romanell finds that in my Art as Experience I speak of two forms or sorts of aesthetic experience. His analysis of aesthetic form is an attempt to capture these conditions. AN ARTISTIC DEVELOPMENT JOHN DEWEY In a recent number of this Journal, Dr. As Dewey speaks of the nature of perception in the context of having an aesthetic experience, he addresses the need for active engagement in response to works of art. This article defends the view that the conception of aesthetic experience developed by John Dewey offers a much more promising foundation for a theory on. For the John Dewey theory, the basis of art is the aesthetic experience that is not confined within the museum. Dewey states that aesthetic experience has objective conditions (AE: 68): not all objects and environments inspire the kind of interaction that he thinks constitutes an aesthetic experience. This chapter examines the influence of Dewey’s Art as Experience on 21 st century urban teacher education by tracing its themes related to the importance of engagement with works of art in educational contexts through the work of Maxine Greene and Louise Rosenblatt and applying the teachings of these three philosophers in English education teaching methods courses.
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