(2)大正期の公教育と芸術教育の思想 : 片上伸の「文芸教育論」を中心に
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概要
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The Public Education System of Japan was set up at the opportunity of the Imperial Restoration, and was established definitely in the middle of the Meiji era. But the national education was regarded as the means of training the nation into Shinmin who were to meet the needs of the State, Therefore there was no expecting the human values of the modern men to be built up. In the Taisho era, there happened to be a new movement The portrait of Shinmin represented by the Imperial Rescript en Education, which was the moral back-born of the education, was criticized from the standpoint of imperialistic demands of the bourgeoisie, and also from the standpoint of artists who set great values on creativity and freedom of men. This new movement was carried under the complete control of the ruling class, and is regarded as a conversion of Shinmin to citizen (=Staatburger). In this thesis I try to graap of the meaning of what part the criticism of the artists played in the historical movement of the education. The movement of art education in the Taisho era was supported by the artists or literary men. It was so prevailing as to criticize the formalism and the emptiness of the public education, especially of art education in those days. By that time the artists had been, so to speak, outsiders of education. They published the magazine "Geijutsu-Jiyu-Kyoiku" (Art, Freedom, Education) in 1921. They not only criticized the public education, but intended to recover creativity of mcdern art and human freedom by means of education. Noboru Katagami, a chief member of this movement, triec to grasp the benefit of education from his humanistic standpoint. He thought that creativity and freedom of humanity would be recovered if artistic spirit prevailed over all the parts of education. He also nad an idea of regaining the subjective ego which Taisho Democracy failed bo grasp. Surely he pointed out distortion of the public education, but had no concrete measures to solve them. Kanae Yamamoto and Hakushu Kitahara, who were also the members of this movement, were surprized at children's abundant possibilities and splendid powers of expression. So they reconsidered children. They as well as Katagami criticized formalism of the public education. Therefore we can see a central point of the public education and art in this movement.
- 教育史学会の論文
- 1967-09-30