서문 ··························································································3 Ⅰ 사회 변화와 미술교육 이론의 전개 1. 문화와 미술교육(박정애) ·······························································15 서론 ························································································15 계몽주의에서의 문화의 정의 ······························································17 제국주의의 팽창과 많은 문화들(Cultures)의 발견 ······································19 많은 “문화들”이 전제가 된 미술교육 연구 ··············································22 리좀으로서의 문화 ·········································································25 리좀의 6가지 특성 ········································································27 리좀의 문화/인지에 입각한 미술교육 연구 ··············································34 결론 ························································································35 2. 해석학과 미술교육(정옥희) ····························································45 서론 ························································································45 정체성을 탐구하는 현대미술의 양상 ······················································48 시각적 재현과 주체의 관계에 대한 해석학적 탐구 ······································52 후기구조주의 해석학 ······································································56 미술교육적 함의 ···········································································65 결론 ························································································70 3. 다문화주의와 미술교육(김형숙ㆍ남기현) ············································77 서론 ························································································77 다문화사회의 디아스포라의 문화정체성 ··················································79 문화정체성 함양을 위한 다문화미술교육 실행 ···········································85 연구 결과 ··················································································89 결론 ························································································96 4. 시각문화시대의 미술교육(이지연) ··················································105 미술교육의 새로운 패러다임의 등장: 시각문화 미술교육 ······························105 포스트모더니즘과 시각문화 미술교육의 이해 ···········································107 시각문화 미술교육에 대한 비판의 수용과 실천적 목표 탐색 ··························115 시각문화 미술교육 적용 프로젝트 사례 ·················································126 결론 ·······················································································129 5. 기술혁신과 포스트휴머니즘(안인기) ···············································135 서론 ·······················································································135 포스트휴머니즘 담론 구분 ·······························································138 휴머니즘의 인간중심성에 대한 의심 ····················································142 인공지능을 활용한 작품 사례들 ·························································152 인간/기계/동물의 경계를 허무는 작품 사례들 ·········································155 교육의 문제, 아름다움의 문제 ···························································157 Ⅱ 현대미술교육의 쟁점들 1. 구성주의와 미술교육(이재영) ························································165 서론 ·······················································································165 구성주의와 지식의 본질 ·································································166 지식의 본질에 대한 듀이의 철학적 논의 ···············································175 교육철학으로서 듀이의 탐구이론 ························································183 결론 ·······················································································186 2. 미술교육과 지속가능성(정연희) ·····················································193 서론 ·······················································································193 지속가능발전교육(ESD)의 의의 ··························································195 ESD를 위한 우리나라의 대응 실태 ·····················································200 예술교육 발전목표와 ESD ·······························································203 지속가능성 사고 확장을 위한 예술교육 실천 ··········································208 결론 ·······················································································213 3. 창의성과 미술교육(이민정) ···························································221 서론 ·······················································································221 시대적 패러다임의 변화와 인간의 창의적 사고 ········································224 집단지성과 창의성 ········································································226 리좀, 사유(생각), 예술의 기호와 창의성 ················································228 창의성에 대한 미술 교육적 함의와 과제 ···············································231 결론 ·······················································································232 4. 미술교육과 통합(손지현) ·····························································237 서론 ·······················································································237 구성주의 ··················································································238 통합학문 ··················································································244 구성주의와 통합학문에 기초한 미술 교육과정 ·········································246 결론 ·······················································································253 5. 미술관교육의 변화(정혜연) ···························································259 서론 ·······················································································259 지식 생성이란 무엇인가 ·································································262 연구 사례 및 방법 ·······································································268 지식 생산 공간으로서 박물관/미술관 교육 ·············································268 왜 지식창조의 공간인가 ·································································277 결론 ·······················································································281 6. 미술교육과 생태(고홍규) ·····························································287 서론 ·······················································································287 세계관으로서의 생태 담론과 한국 미술교육에서의 생태론 ····························289 세계관으로서의 생태관에 기반한 미술교육 프로그램의 사례 ··························294 세계관으로서의 생태관에 기반한 미술교육 프로그램 사례의 시사점 ·················306 결론 ·······················································································309 7. 들뢰즈로 읽는 미술교육(맹혜영) ···················································315 서론 ·······················································································315 들뢰즈의 존재의 일의성 ·································································317 존재의 일의성과 포스트모던 미술교육 ··················································324 포용적 미술교육 ··········································································327 결론 ·······················································································339 8. 아동미술과 발달(김미남) ·····························································345 서론 ·······················································································345 사회문화적 관점 ··········································································348 연구 방법 ·················································································349 연구 결과 ·················································································351 수지 그림에 사용된 시각적 표현전략의 선택 이유와 기능 ····························372 결론 ·······················································································374 9. 미술교육 연구방법론(서제희) ························································381 서론 ·······················································································381 융합적 연구로서 예술기반 탐구 ·························································385 미술 중심의 융합적 탐구 실행의 과정 ··················································387 결론 ·······················································································396 찾아보기 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