| The purpose of this philosophical study was to clarify and synthesize a variety of theories and approaches in cognitive developmental psychology, curriculum theory and development, aesthetics, as they relate to visual art education. Four conceptual frameworks for teaching aesthetics as a component of a discipline-based art education program were proposed. These conceptual frameworks for aesthetics were developed from varying philosophical, psychological, and sociological theories as found in the writings of Monroe Beardsley, Harold Osborne, Morris Weitz, George Dickie, Melvin Rader, Joseph Margolis, and Richard Kostelanetz.;A conceptual approach to aesthetics as a subject of study for children was placed within a curriculum continuum ranging from traditional academic rationalistic and cognitive-empirical orientations, to more radical personal relevancy and social reconstructionistic orientations. Elliot Eisner's and Elizabeth Vallance's curriculum frameworks and Henry Giroux's, Anthony Penna's, and William Pinar's curriculum ranges were examined, and compared, and brought together to provide a comprehensive overview of curriculum theory options. Glenys and Adolph Unruh's background research into curriculum theory and practice was also reviewed to identify influences on educational policy making.;Cognitive developmental theories proposed by Jean Piaget, Jerome Bruner, and David Feldman were examined and compared to clarify the basis for organizing content and instructional sequencing, with regard to learning theory, student readiness, and levels of understanding as proposed in a discipline-based art education orientation.;The works of art educators and educational theorists interested in the area of aesthetics reviewed in this study included Tom Anderson, David Ecker, Gilbert Clark, Enid Zimmerman, Michael Parsons, Arthur Efland, Vincent Lanier, John Jagodzinski, Dwaine Greer, Margaret DiBlasio, Karen Hamblen, Merle Flannery, Betty Redfern, and Ralph Smith. Their varying approaches were compared and contrasted.;As philosophical inquiry, this study clarified and brought together varying views on the nature of teaching and learning in art. The particular focus of this study on the discipline of aesthetic inquiry and the manner in which young children could reasonably approach the subject resulted in a broadly based synthesis of divergent approaches to aesthetics. |
