Course
Profile Philosophy:
The Big Questions, Grade 11, Open, Catholic
Unit 2: Art and Aesthetics – What is Beauty?
Time: 25 hours
Activity 1 | Activity 2
| Activity 3 | Activity 4
| Activity 5
This
unit begins with an exploration of the senses. Students discuss what
experiences they consider “pleasing” and “repellent” as they pertain to the
five senses. They also discuss the distinction between “sense”, which refers to
immediate sensory experience (body), and “sense”, which refers to meaning or
intelligibility (mind). This distinction becomes evident through an analysis of
their likes and dislikes concerning sense experience.
Next,
students begin to investigate the belief that the self or person they are is in
some sense their own creation, that human beings are their own artwork. This
lays the foundation for an examination of aesthetic experiences and provides an
entry-point from which to ask the philosophical question, “What is art?”
Related questions include: What is the artist? What does the artist do? Is it
the artist or society that determines the value and function of art? Is
artistic appreciation and judgement entirely a matter of taste (i.e., beauty is
in the eye of the beholder) or are there standards by which to judge the
artwork’s merit? Students identify their own criteria for what they like in the
arts and the role the arts play in providing venues for personal expression.
This
is followed by a study of several different philosophical theories (e.g.,
classical, romantic, post-modern) and thinkers (e.g., Plato, Aristotle,
Tolstoy, Wilde, Marcuse) as to the purpose of art and the role art criticism
can play in defining whether or not an artwork represents beauty. But how does
one really “know” beauty in art and is one interpretation really better or
truer than another? Students then look at art from the viewpoint of the
audience. This raises questions, such as: What are the criteria by which an
artwork can be judged? How is the truth of an artwork to be interpreted? Why do
people around the planet attend artistic productions of various kinds?
Students
explore the implications of these questions by developing an argument in
support of their favourite artworks from everyday life, especially artworks
that involve technology and the environment (e.g., architecture, sculpture, music,
film/video, graphic design, advertising).
The unit
concludes with an analysis of the relationship between art, religion, and
culture/group presentations that address the controversies that can arise when
using artistic forms (e.g., music, dance, Church architecture, religious
literature, paintings, nature) to express contemporary religious belief. This
last activity raises questions about art and politics; censorship; and art and
morality. Discussion of moral issues in art serves as a bridge to the next
unit.
|
Activity |
Time |
Expectations |
Assessment |
Tasks |
|
1:
Exploring the Senses |
2.5 hours |
ELV.01,
ISV.03, IS3.01 CGE2C,
5e |
Communication |
One-page
summary paper/journal writing |
|
2:
Thinking About Art |
3.75 hours |
PTV.02,
ISV.02, PT1.01 |
Thinking/Inquiry |
Group
analysis presentation |
|
3: A
Search for Values in Art |
7.5 hours |
PTV.01,
IS2.01. IS2.02 |
Knowledge/ |
Class
test |
|
4: Art
in Everyday Life |
7.5 hours |
ELV.02,
OSV.01, ISV.04, PQ1.05, OS1.01, OS1.02 |
Application |
Group
presentation |
|
5: Art,
Religion, and Contemporary Culture |
3.75 hours |
ISV.05,
IS3.02 CGE1i,
3e, 5a |
Application Communication |
Continuation
of group presentation |
Time: 150 minutes
Students
explore the experiences of the “pleasing” and the “repellent” as they pertain
to the five senses. They are led to the distinction between “sense” which
refers to immediate sensory experience (body) and “sense” which refers to
meaning or intelligibility (mind). This distinction becomes evident through an
analysis of the judgements that they make about sensory experience. This lays a
foundation for an examination of aesthetic experiences.
Strand: Philosophy and Everyday Life
ELV.01 -
relate the big questions of philosophy to their own experience, reports in the
news media, and their society;
ISV.03 -
formulate and defend a response of their own to one or more of the big
questions of philosophy.
Strand: Research and Inquiry Skills
IS3.01 -
discuss their own views in philosophical exchanges in class with others.
Ontario
Catholic School Graduate Expectations
CGE2c -
presents information and ideas clearly and honestly and with sensitivity to
others;
CGE5e -
respects the rights, responsibilities, and contributions of self and others.
In Unit 1
(Human Nature), students were introduced to the mind/body distinction and began
to develop critical-thinking skills.
Prepare a
sample list of what you as a teacher find “pleasing” and “repellent” to your
senses. Be prepared to share the sample list with students through the use of
an overhead.
1. Students form five groups and are assigned
one of the five senses (sight, taste, touch, smell, and hearing). They generate
two lists of “objects” that pertain to their assigned sense. One list should be
of objects considered pleasing and the other of objects considered repellent. A
sample list shown on the overhead provides a visual example of the assignment.
2. Each group appoints a recorder and a
presenter. When called upon, each group defends and explains why they formed
their lists as they did. Lists are then posted at the front of the class.
3. A general discussion ensues as to commonality
and differences in the list. Discussion should give rise to the recognition
that people generally make judgements (positive or negative) about sensory
experiences. Follow-up questions for class discussion should include: Are these
judgements natural or culturally conditioned? Are they completely subjective or
can they be objectively defended?
4. Assign for homework a one-page summary of
students’ own views on the two questions in
Strategy 3.
·
Informal
assessment of individual participation in preparing list and subsequent group
discussion
·
Written
summary assessed by teacher for clarity of argument and expression
(teacher-developed rubric may be used)
·
The
length of the summary can be altered for students with weaker writing skills.
They may also need teacher assistance to help formulate a written response.
·
Some
students may need assistance in identifying various experiences for each sense.
Consequently, peer assistance within the group may be required.
·
A
one-page summary may not be appropriate for all students. This assignment can
be changed to allow students to tape-record their views on the questions,
especially if the student’s IEP identifies the need for accommodations of this
nature.
Diane
Ackerman. A Natural History of the Senses.
Time: 225 minutes
Students
examine a number of examples of “art” gathered in various categories. In
groups, they discuss these works/objects and answer a series of questions
pertaining to them. Questions include:
·
Do
you like it (particular piece)? Why? Why not?
·
Why
might someone else like or dislike it?
·
Is
it “good”? How do you determine this?
·
How
would you persuade someone that it is “good”?
·
Is
it beautiful? What does this mean?
·
If
there is a strong emotional reaction to the work, why is this so?
·
If
there is a strong emotional reaction to the discussion of the work, why is this
so?
·
Is
“art” important to you? Why?
·
What
purpose, if any, does art serve?
Students
present their works, summarize arguments for and against the purpose of art,
and develop arguments for further discussion. Analyses are critiqued for proper
use of philosophical argument and reasoning skills.
Strand: Philosophical Questions
PQ1.03 -
summarize some arguments for and against answers to three (or more) of the big
questions of philosophy.
Strand: Philosophy and Everyday Life
EL1.01 -
describe what difference the answers people accept to three (or more) of the
big questions of philosophy should make to their values, behaviours, and life
plans.
Strand: Research and Inquiry Skills
IS1.01 -
correctly use the terminology of philosophical argumentation (e.g., logical
validity, begging the question, vagueness, argument from authority);
IS1.04 -
illustrate common fallacies in reasoning (e.g., using ambiguous language to
reach a conclusion, dismissing an argument because of who advanced it instead
of evaluating its intrinsic merits).
Ontario
Catholic School Graduate Expectations
CGE3c -
think reflectively and creatively to evaluate situations and solve problems;
CGE5e - respect
the rights, responsibilities, and contributions of self and others.
Students
need to review the correct terminology of philosophical argumentation
introduced in Unit 1. They also need to be able to identify common fallacies in
reasoning.
The
teacher provides students with samples of “art” or students are instructed to
bring in examples of artwork from various categories as described in Strategy
1.
1. Students are divided into five or six groups.
Each group is assigned a category of “art” works. Categories may include the
following:
· slides of paintings of various styles;
· musical pieces of various genre;
· samples of poetry;
· videos of dance;
· photographs of faces;
· comics;
· sculptures;
· clothes;
· graffiti.
2. Each group member selects one piece of art
and answers the questions listed in the activity Description. Once completed,
the group listens to the various responses of its members. After each member
has reported his/her responses, the members of the group can question and
critique the answers they have heard.
3. Each group is then given the following
information/instructions related to a possible scenario:
· The Canadian Gallery for the Arts is looking for works of art to be added to its collection.
· Your group must select one piece of art from your collection and prepare a presentation as to why you think it should be selected for display. Groups should record reasons for and against the selection of each piece.
· To help with the decision, there also needs to be a panel of judges. Your group must select one member from your group to serve on the Canadian Gallery for the Arts panel. The task of the panel is to establish the criteria it will use to judge works of art worthy of display. Only two of the entries will be selected.
4. Groups discuss which art piece they want to
support and begin to prepare their presentation to the panel.
5. Panel members discuss among themselves the
criteria they will use to evaluate the submissions.
·
Informal
observation by teacher of student contributions to group activity (e.g.,
clarity of presentation, correct use of philosophical argumentation)
·
Self-assessment
of group participation
·
Evaluation
of conference notes by teacher re: criteria for selection of the group’s art
piece
·
Evaluation
by teacher of criteria selected by panel members
Students who have difficulties with abstract
concepts may need extra help from the teacher or a peer tutor concerning criteria
for selection.
Websites
http://www.art.unt.edu/ntieva/artcurr/aes/aes0.htm
http://www.bu.edu/wcp/MainAest.htm
http://aesthetics-online.org/
http://www.film-philosophy.com/
Time: 450 minutes
Students
now turn their attention to various philosophical theories that address the
question “what is art?” The activity begins with an overview of various
theories that are concerned not only with the nature of art, but also its
value. These include a) imitation theories, b) formalism, c) Romanticism or
emotionalist theories, and d) the theory of aesthetic fineness. As well,
students read and discuss philosophical theories about art (e.g., Plato,
Aristotle, Tolstoy, Wilde, and Marcuse) as found in the Western tradition and
also several theories of non-Western thinkers. Through their discussions and
research, students are able to identify and apply various philosophical
positions that affirm or critique their own views about art, how art is created,
and what spectators look for in art.
Strand: Philosophical Theories
PTV.01 -
summarize the ideas of some famous philosophers with respect to one or more of
the big questions of philosophy;
PTV.02 -
describe the strengths and weaknesses of the responses to some of the big
questions of philosophy defended by some major philosophers or schools of
philosophy;
PT1.01 -
compare answers to some of the big questions by different philosophers (e.g.,
Mill and Kant about good and evil, Descartes and de Beauvoir about human
nature).
Strand: Research and Inquiry Skills
ISV.01 -
apply research and inquiry skills related to philosophy appropriately and
effectively;
ISV.02 -
evaluate some main philosophical arguments.
Ontario
Catholic School Graduate Expectations
CGE2b -
reads, understands and uses written materials effectively;
CGE5b -
thinks critically about the meaning and purpose of life.
Students
need to know how to read for comprehension and how to compile notes on the
various philosophical positions.
·
Materials
for this activity can be presented in several ways. If using a textbook that
has a chapter on the philosophy of art (e.g., About Philosophy by Robert Paul Wolff), students can be assigned
readings as a basis for discussion and whole-class learning. If no textbook is
available, students can be assigned a philosopher and asked to research, using
the Internet, what that philosopher thought about art. A third approach is for
the teacher to provide the material through classroom presentation (e.g., board
outlines, overhead presentations, electronic slide presentation).
·
A
good place to begin this activity is with some common reference points about
the nature of art. For example, the term art is itself ambiguous. It can refer
to a certain kind of activity and also to a certain kind of object. Thus, to
study art usually means to learn how to carry out a skilled activity whereas a
museum of art refers to the objects that are found there. Most philosophical
discussions about art address the creative activity of art and its social
value.
·
Art
as a creative activity excludes those activities which are instinctive or
reflex, habitual, or random. Rather, art as an activity requires skill, raw
material, and a deliberate manipulation on the part of the artist to achieve
some purpose.
·
Students
may require a working definition of art as a basis for discussion (e.g., “Art
happens when anyone in the world takes any kind of material and fashions it
into a deliberate statement”, from Thomas Hoving, Art for Dummies).
·
Art,
in its broadest generic sense, then, includes such things as “industrial arts”
and the “art of cooking.” Often, though, discussions of art have more to do
with what is called ‘fine’ art. Theories that provide an answer to the
question, “What is fine art?”, include: imitation theories, formalism,
emotionalist theory, and the theory of aesthetic fineness.
· Imitation theories interpret art as either a literal mirror of “life” or else it draws upon and tries to clarify “life”. There is a close relationship between art and human experience outside of art. In defining fine art:
1. the theory of simple imitation argues that fine art is a faithful, literal duplication of the objects or events of ordinary experience;
2. it looks like and reminds us of what we know in reality apart from art (e.g., simple imitation);
3. the value of the art-object depends upon the degree or its resemblance to the model – it is true to life;
4. the “model” must be organized and made significant, and there must be some enhancement of its interest, if the created object is to be one of “fine art”;
5. the theory of the imitation of essences argues that artists do not simply “copy’ life but select from the raw material of real life and use their art to express its universal significance or its universal essence;
6. fine art captures a characteristic or property shared by all members of a certain class, by virtue of which they are members of that class;
7. the theory of imitation of the moral ideal argues that art ought to capture or depict events that are praiseworthy, that the value of art lies in its ability to imitate the ideal and communicate a moral message that brings about beneficial consequences (i.e., art of Greco-Roman antiquity).
· The Formalist theory of art holds that true art is a world of its own, with no responsibility to copy or borrow from life. In defining fine art, this theory argues that:
1. its purpose and values are uniquely its own;
2. the subject matter is of relatively slight
importance in relation to what is intrinsic and peculiar to painting (i.e.,
line, mass, plane, colour, lighting) which is often abstract;
3. the elements distinctive of the media are
organized into a formal pattern which is aesthetically valuable;
4. these
elements of design display a certain interplay or tension which arouses an
aesthetic emotion in the spectator.
· The Emotionalist Theory, the basis of Romanticism in art, argues that:
1. art
is a record of human emotion and a vehicle for communicating it to others;
2. artists
should be under the influence of emotion and reveal the sincerity and
individuality of the artist;
3. art
should be spontaneous, vital, and an expression of the artist’s personality;
4. art does not have to “picture” beautiful
things but can work with diverse subjects such as the exotic, macabre, or
repulsive;
5. spectators
who contemplate the work of art share in the emotion of the artist (i.e., the
spectator experiences the emotional force of the artist and says things like
“this is what I felt”, “this art moves me”).
· The theory of Aesthetic “Fineness” argues fine art:
1. emphasizes
its value for aesthetic perception as something splendid to perceive (i.e.,
attracts us aesthetically which can even include things in nature);
2. should
be judged solely on its intrinsic ability to produce aesthetic interest and
perceptual appeal;
3. does
not necessarily depend on the artist’s purpose to produce such appeal;
4. can
be greatly appreciated even when it is not beautiful but bitter, gloomy, and
heart-rending;
5. is
catholic in its appreciation of the richness and complexity of all art forms.
·
Students
now have four distinct theories of art that can be used as a foundation for the
study of philosophical theories concerning the value and purpose of art. They
vary from theories that stress the importance of subject matter and the
artist’s personality to those that favour the work of art itself and the
aesthetic appeal it carries. The effort to answer the question, “What is art?”,
seems to suggest that there are many answers, that art is perennially changing
and growing and that the challenge of trying to bring some clarity and
agreement to the field is just as challenging today as it was for the philosophers
who are referenced in this activity.
1. The teacher begins by providing an overview
of various theories that attempt to answer the question “what is art?” (See
Planning Notes.)
2. Students are then assigned readings/excerpts
from various Western philosophers (e.g., Plato, Aristotle, Tolstoy, Wilde,
Dewey) together with several non-Western philosophers (e.g., Innocent C.
Onyewuenyi) and assigned the following questions:
· What is art according to this philosopher?
· What value does art have as a human creation for this philosopher?
· What role does art play in society for this philosopher?
3. If assigned readings are not available in
textbook form, students are directed to complete the assignment by using the
Internet when possible or accessing such sources as encyclopedias and articles.
4. Once research is completed, the teacher
directs a classroom discussion about each philosopher. Students are directed to
add new information or ideas to their summary notes on each philosopher when
appropriate.
5. At the end of the teacher-led discussion,
students reassemble into their groups. They discuss the various philosophical
theories just studied and determine which philosophical position best fits their
earlier discussions concerning their choice of artwork for the Canadian Gallery
for the Arts.
6. The group continues to prepare for its
presentation to the panel of judges by choosing quotations and references from
the appropriate philosopher that they feel will strengthen their argument/case.
·
Formative
assessment by the teacher of student notes on the various philosophers
·
Formal
test (multiple-choice/short-essay answers) of the various philosophers’ viewpoints
about art and its role in society
·
Students
who experience reading difficulties require appropriate summaries of the
readings prepared by the teacher.
·
Students
who experience difficulties in note taking require more time to complete their
assignments and may need the assistance of a peer tutor to help organize their
notes.
·
The
teacher may prepare a handout of board notes to assist students who have
difficulty copying from the board.
·
Students
may also use technology in organizing and presenting their information,
especially if the exceptional student’s IEP calls for this kind of assistance.
Aristotle.
Poetics.
Horner,
Chris and Emrys Westacott. Thinking
through Philosophy—An Introduction.
Inannone,
A. Pablo. Through Time and Culture:
Introductory Readings in Philosophy.
Kant,
Immanuel. Critique of Judgement.
Sheppard,
Anne. Aesthetics: An introduction to the
philosophy of art.
Wolff,
Robert Paul. About Philosophy .
Time: 450 minutes
This
activity invites students to integrate their philosophical study of the ideas
of some famous philosophers concerning the value of art with their culminating
task for the unit, the group presentation to the panel of judges from the
Canadian Gallery for the Arts. Through their presentations, students describe
their own philosophical stance towards art and aesthetics by organizing their
presentation around the following three components:
·
Basic
Information – a description of the art work;
·
Interpretation
– an argument that identifies why the group believes this artwork is important
and why it has value;
·
Evaluation
– a critical appraisal of how the inclusion of this artwork benefits Canadians
in their everyday life.
Strand: Philosophy and Everyday Life
ELV.02 -
describe the difference the answers people accept to three (or more) of the big
questions should make to their values, behaviour, and life plans;
EL1.02 -
describe the strengths and weaknesses of alternative responses to questions of
applied philosophy (e.g., What decisions, if any, should medical practitioners
make for patients without the patient’s consent? What obligations, if any, do
humans living in the present have to future generations and to the natural
environment? What obligations, if any, do humans living in the present have to
redress racial and gender inequalities inherited from the past?).
Strand: Applications of Philosophy to Other Subjects
OSV.01 -
identify philosophical theories and presuppositions in natural science,
history, art, social science and humanities, and other subjects;
OSV.02 -
demonstrate how philosophical skills that are used to address the big questions
of philosophy can be used effectively in other subjects;
OS1.01 - identify philosophical positions
presupposed in some other disciplines (e.g., theories of knowledge in natural
science, theories of the person in social science);
OS1.02 -
contrast alternative philosophical viewpoints in controversies discussed in
other subjects (e.g., over what is just in politics or society, what is a
meaningful life in works of literature, what is beautiful in fashion or art).
Ontario
Catholic School Graduate Expectations
CGE4g -
examines and reflects on one’s personal values, abilities, and aspirations influencing
life’s choices and opportunities.
·
Students
need to be reminded of the features of an effective group presentation (e.g.,
style, organization, clarity, effective use of group members, creativity, use
of resources).
·
If
students plan to use technology for their presentation (e.g., presentation
software, overheads, video), they must be familiar with its technical
operation.
·
Students
should be provided with a schedule as to when the group presentation is to
occur.
·
Students
should be provided in advance with the assessment rubric used for evaluation of
the group presentation. If possible, students should be involved in the
development of the rubric.
·
Panel
members must submit their criteria for judging the various artworks prior to
the start of the presentations.
·
Each
group should be given 30-45 minutes for its presentation.
·
Panel
members must be prepared to provide a rationale/critical appraisal of the
presentations.
1. Students are given classroom time to finalize
their group presentations. They are informed by their teacher that their
presentation must include: i) basic information about the work of art, ii) why
the group selected this piece to present to the panel as their selection, and
iii) why the inclusion of this artwork to the Canadian Gallery for the Arts
will be of benefit to the everyday life of Canadian citizens.
2. Groups sign up for a presentation time. They
are provided with the assessment rubric, which is used by the teacher and by
their peers to evaluate the presentations.
3. Members of the panel provide the teacher with
an outline of the criteria they will be using to judge the various submissions.
The criteria must illustrate a thoughtful and well-reasoned philosophy of art
appreciation (i.e., it cannot be based on subjective attitudes alone).
4. Each
group is given 30-45 minutes for its presentation.
5. When all the groups have finished, the panel announces
its decision and provides a rationale for their selection. Students can ask
questions or critique the panel’s decision, but must provide reasons for their
challenge of the decision based on a philosophical stance.
6. The teacher thanks the groups for their work
and announces that due to the quality of their efforts, the Vatican museum
would also like to consider new artworks for inclusion in their collection.
7. Groups meet for a final time to discuss
whether their selection for the Canadian Gallery for the Arts would be suitable
for inclusion at the Vatican or whether they need to select a new submission,
one more conducive to religious sensibilities.
·
Evaluation
of group presentations by teacher based on assessment rubric
·
Peer
assessment of group presentations based on assessment rubric
·
Teacher
assessment of submission by panel as to correlation between judgement criteria
and rationale for final selection of the two art pieces
·
The
teacher conferences with groups that have students with special needs to ensure
that everyone has a meaningful part in the presentation.
·
The
length of presentation for special needs students can be altered.
Selected
art slides to be used in presentations
Excerpts
from videos that portray the group’s submission (e.g., video of dance routine)
Time: 225 minutes
This
activity is designed to engage students in an exploration of the relationship
between art, religion, and contemporary culture. Students review their
philosophical positions concerning art and aesthetics in relation to the
religious significance of artistic expression. To that end, students discuss
such topics as the nature of religious art, the criteria for aesthetic
appreciation within religious and secular institutions, censorship, and the
Church’s role in developing a “catechesis through art.”
Strand: Research and Inquiry Skills
ISV.05 -
effectively communicate the results of their inquiries;
IS3.02 -
clearly explain their views and display their use of philosophical reasoning
skills in short written papers, using accepted forms of documentation as
required.
Ontario
Catholic School Graduate Expectations
CGE1i -
integrates faith with life;
CGE3e -
adopts a holistic approach to life by integrating learning from various subject
areas and experiences;
CGE5b -
thinks critically about the meaning and purpose of life.
·
Students
are familiar with the information and skills addressed in Activities 1, 2, 3,
and 4.
·
Students
are familiar with various forms of religious expression found in churches and
Catholic schools (e.g., stained glass windows, music, liturgical dance, icons).
·
Students
are familiar with the term “censorship”.
·
This
activity lends itself to three distinct yet interrelated content topics for
presentation and discussion. They include i) an explanation and presentation of
the topic of “sacramental imagination” in Roman Catholic thinking, ii) a
presentation on the Church’s historical relationship with the arts as a venue
for religious expression, and iii) controversies that can arise when using
artistic forms (e.g., music, dance, Church architecture, religious literature,
paintings) to express contemporary religious belief.
·
Sacramental
imagination or consciousness refers to the belief that the world is gracious,
meaningful, and worthwhile. This principle reflects the deep conviction in
Catholicism that all reality is imbued with the hidden presence of God, that we
encounter and respond to God’s grace and desire for us through the ordinary of
life. The use of water, oil, bread, wine, incense, and ashes are but a few
examples of how the raw materials of life can convey religious meaning when
used in religious ways. For a fuller treatment of this topic see Andrew
Greeley’s book, The Catholic Imagination.
·
Throughout
history, the Church has been both a home for the arts and a sponsor of the
arts. This is especially true of the role that music and visual arts have
played in the Church’s liturgical and architectural past. Many examples of
religious art and music exist, both Western and non-Western, that demonstrate
this close connection. More recently, drama and dance have also found their way
into the Church’s repertoire of artistic venues for religious worship and
celebration.
·
This
close connection between the arts and religious expression, however, has not
developed without controversies. It is important to point out the Church’s
relationship with such controversies both in historical and contemporary times
(e.g., iconoclasm and the rejection of certain contemporary art forms such as
“gangsta rap” for its dehumanizing message or when it is offensive).
1. Students return to their groups to discuss
whether the Vatican Museum would accept their artwork submission or whether
they need to pick something else that is more suitable to a “religious”
context.
2. Each group shares, with the whole class,
their decision and the reasons they would give to support their argument.
3. The teacher presents information on the
Church’s relationship with the arts as illustrated through its principle of
sacramental imagination, its history, and the efforts by the Church to both
accept contemporary art forms while maintaining certain standards of
suitability. Presentations might include:
· notes on the meaning of the term “Catholic imagination” and “sacramental imagination”;
· slides or video presentations of the use of the arts for religious expression (e.g., excerpts from Pope John-Paul II’s Letter to Artists, April 4, 1999; excerpts from the pastoral letter called Toward a Pastoral Approach to Culture, 1999, published by the Pontifical Council for Culture).
4. The teacher leads a discussion with the class
to determine whether the criteria for aesthetic judgement applied to the Church
should be different from that of Canada’s National Gallery.
5. Students are assigned the task of writing a
letter to the Pontifical Council of Culture. The purpose of the letter is to
demonstrate their use of philosophical reasoning skills, using accepted forms
of documentation as required, to convince the council to accept the artwork of
the group for submission to the Vatican Museum.
·
Informal
assessment by the teacher of classroom participation and group discussion.
·
Evaluation
by the teacher of the letter.
Students
who have learning disabilities in the area of writing may need assistance in
the writing process or may choose alternatives to writing to complete the
project (e.g., a collage that illustrates a similar message).
Greeley,
Andrew. The Catholic Imagination.
Groome,
Thomas. Educating For Life.
Pontifical
Council for Culture. Toward a Pastoral Approach to Culture.