Suchergebnisse

In the contemporary society, creativity is one of the most desirable abilities which an individual can possess in all the fields of human activity. On the other hand, educational policy and national curriculums marginalize the importance of art subjects in most countries in the world, while the advantage is given to STEM disciplines (science, technology, engineering, mathematics). Although creativity, according to many educational standards, is one of the key abilities, in teaching practice routine activities are still valued more than creative ones. However, it is the art subjects which develop creativity (constructive) potential within an individual, although this also heavily depends on a teacher/professor, on his/her methodological approach and abilities within the scope of professional activity. Therefore, we conducted empirical research in Visual Arts Teaching Methodology training and non-training primary schools. We expected that we would foster students' development of creativity through regular collaboration with university, problem-based learning of art and artistic language, inventiveness in creating art assignments and through increasing public awareness of harmfulness of stereotypical artistic expression. Among a large number of verified tests of creativity, Urban-Jellen test "The Test for Creative Thinking - Drawing Production (TCT-DP)", which is based on the activity of drawing, was selected and used in this study. We wanted to know whether there was a statistically significant difference between training and non-training schools in students' performance on the test used to examine the level of creativity. The level of statistically significant difference between the control group and the experimental group was determined by a chi-squared test. The research has been carried out in elementary schools in the area of the city of Zagreb, on the sample that included the students of fourth and eighth grade. The results of the research indicate that there is a possible influence of collaboration between the mentors and university professors and students of teacher-training college within the scope of Visual Arts Teaching Methodology course on students' creativity. ; U suvremenom je društvu kreativnost jedna od najpoželjnijih sposobnosti koju pojedinac posjeduje u svim područjima ljudskog djelovanja. S druge strane, obrazovna politika i nacionalni kurikuli u većini zemalja svijeta umjetničke predmete marginaliziraju po važnosti, a prednost se daje STEM (engl. science, technology, engineering, mathematics) disciplinama. Iako je, prema mnogim obrazovnim standardima, kreativnost jedna od ključnih kompetencija u nastavničkoj praksi, i dalje se vrednuju rutinske više nego kreativne aktivnosti. Upravo umjetnički predmeti u obrazovanju razvijaju u pojedincu kreativni (stvaralački) potencijal, ali to uvelike ovisi i o učitelju/nastavniku, o njegovu metodičkom pristupu i kompetencijama u okviru profesionalnog djelovanja. Stoga smo proveli empirijsko istraživanje u mentorskim (za Metodiku likovne kulture) i nementorskim osnovnim školama. Očekivalo se da će se redovitom suradnjom s fakultetom, putem likovnojezične problemske nastav, inventivnosti u osmišljavanju likovnih zadataka i osvještavanjem problematike štetnosti stereotipnog likovnog izražavanja utjecati na razvoj kreativnosti kod učenika. Između većeg broja provjerenih testova kreativnosti, upotrijebljen je Urban - Jellen "The Test for Creative Thinking - Drawing Production (TCT-DP)", koji se temelji na crtačkoj aktivnosti. Zanimalo nas je postoji li statistički značajna razlika između mentorskih i nementorskih škola u rješavanju testa kojim se ispituje stupanj kreativnosti. Stupanj značajnosti razlike između kontrolne i eksperimentalne skupine statistički je utvrđen hi-kvadrat testom. Istraživanje je provedeno u osnovnim školama na području Grada Zagreba, na uzorku koji je obuhvaćao učenike četvrtih i osmih razreda. Rezultati istraživanja ukazuju na moguć utjecaj suradnje učitelja mentora sa sveučilišnim nastavnicima i studentima učiteljskih studija u okviru Metodike likovne kulture na kreativnost učenika.

Tema studije je likovna predstava Sveti Sava miri braću koja se javlja u sakralnom slikarstvu XIX veka na teritoriji Kneževine/Kraljevine Srbije i Karlovačke mitropolije. Cilj studije je predočavanje mogućih razloga koji su uslovili odabir i njeno prikazivanje u srpskom crkvenom slikarstvu XlX veka, prikaz ikonografskog razvoja, razumevanje njenog značenja i funkcije koju je imala u pravoslavnim hramovima XlX veka, što je sve sagledavano kroz nacionalno-propagandni rad Srpske pravoslavne crkve, jačanje kulta Svetog Save u XIX veku i percepciju ovog događaja iz srpske nacionalne prošlosti u propovedima XIX veka. U studiji se daje okvir za dalja istraživanja i kontekstualna tumačenja predstave Sveti Sava miri braću. ; As one of important national institutions, the church found in the medieval past elements to confirm their continuity, the grounds of legitimacy and the arguments of their activities with reference to the figure of the first Serbian archbishop, St. Sava. Although St. Sava was respected in earlier times his cult rose in the 19th century when he was seen not only as saint but also as national hero. The national cult of St. Sava enabled an appropriate production of visual arts and the formulation of relevant subjects, one of the most important being a scene St. Sava reconciles his brothers Stefan and Vukan. Literary sources important for the iconography development of this scene were the medieval lives of St. Sava (by Theodosius, Domentian, Stephan the Firstcrowned), theological literature (especially 19th century sermons) and 19th century histories. By depicting this scene in the temples on the territory of Vojvodina and the Kingdom of Serbia, numerous painters such as Arsenije Teodorović, Pavle Simić, Stevan Todorović, Milija Marković, Pasko Vučetić and Paja Jovanović gave their own contribution to its iconography and pictorial poetics. As icons from the Bishop's thrones and iconostases, or as frescoes from the walls of numerous churches, depictions of St. Sava reconciles his brothers Stefan and Vukan had a special relation to the believers. It was a positive example from the national past which the church used as a visual form for sending a moral-didactic message about the importance of brotherly love and unity for the progress of the Serbian nation and state. On the other hand, the depictions of St. Sava reconciles his brothers Stefan and Vukan functioned as an example of Christian virtues such as love of one's neighbor, respect for authority and forgiveness that were presented visually through the personas of St. Sava, Stefan and Vukan. In both cases, the church used this event from the national medieval past to shape the reality of the nation and thus ensure its future life, which was all in accordance with its national propaganda work in the 19th century. The depictions of St. Sava reconciles his brothers Stefan and Vukan was used by the high church hierarchy to highlight the importance of bishops in the life of the Serbian people, but this scene was also an historical foundation for political action of Serbian bishops in the 19th century.