La enseñanza de la historia del arte en educación secundaria: problemas y reflexiones en torno a su dimensión lingüística
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2020
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Uno Editorial
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Sánchez Rivera, J. Á. (2020). La enseñanza de la Historia del Arte en Educación Secundaria. Problemas y reflexiones en torno a su dimensión lingüística. En J. Prats, I. Sáez-Rosenkranz y E. Barriga-Ubed (eds.). Historia, patrimonio, arte y ciudadanía. Aportaciones desde la educación (pp. 575-594). Albacete: Uno Editorial.
Abstract
La extraordinaria densificación icónica es uno de los rasgos distintivos de la cultura visual contemporánea. Al mismo tiempo, la superficialidad, la banalización de los discursos, tantos escritos como orales, en torno al Arte ha permeado profundamente en el público, al tiempo que se democratizaba el acceso a este campo de la actividad humana. Con este trabajo se pretende analizar y comentar diversos modos de leer, escribir y hablar sobre las obras artísticas (arquitectura, escultura y pintura, fundamentalmente), desgranando la problemática que subyace en la interpretación, enseñanza y aprendizaje de dichas realizaciones a través de una triádica relación: los críticos e historiadores del arte, los docentes y los alumnos. Los principales problemas analizados se relacionan con aspectos cognitivos, la subjetividad interpretativa, la saturación icónica, la brecha cultural, la obsesión taxonómica o la obsesión descriptiva, que aparecen imbricados con otros de índole puramente lingüística, curricular, etc. Aunque algunos de ellos se pueden detectar, de un modo u otro, en diversas etapas y ámbitos educativos, centraremos nuestra atención en la Educación Secundaria (ESO y Bachillerato), momento clave para la formación en la Historia del Arte. Se ofrecen diversas reflexiones a propósito de esta problemática, con el ánimo de establecer una comunicación abierta y flexible entre la especulación epistemológica de la referida disciplina –en especial, a la relación existente entre palabra e imagen- y el campo de su praxis educativa.
The extraordinary iconic densification is one of the distinctive features of contemporary visual culture. At the same time, the superficiality, the banalization of speeches, both written and oral, around Art has permeated deeply in the public, while the access to this field of human activity was democratized. This communication offers an approximation to the different ways of reading, writing and speaking about artistic works (Architecture, Sculpture and Painting, fundamentally), explaining the problem that underlies the interpretation, teaching and learning of these accomplishments through a triadic relationship: art theorists and historians, teachers and students. The main problems analyzed are related to cognitive aspects, interpretative subjectivity, iconic saturation, cultural gap, taxonomic obsession or descriptive vagueness, which appear overlapped with others of a purely linguistic, curricular nature, etc. Although some of them can be detected, in one way or another, in various stages and educational fields, we will focus our attention on Secondary Education (ESO and Baccalaureate), key moment for training in Art History. Various reflections are offered on the subject of this problem, with the aim of establishing an open and flexible communication between the epistemological speculation of the aforementioned discipline –in particular, the relationship between word and image- and the field of its educational praxis.
The extraordinary iconic densification is one of the distinctive features of contemporary visual culture. At the same time, the superficiality, the banalization of speeches, both written and oral, around Art has permeated deeply in the public, while the access to this field of human activity was democratized. This communication offers an approximation to the different ways of reading, writing and speaking about artistic works (Architecture, Sculpture and Painting, fundamentally), explaining the problem that underlies the interpretation, teaching and learning of these accomplishments through a triadic relationship: art theorists and historians, teachers and students. The main problems analyzed are related to cognitive aspects, interpretative subjectivity, iconic saturation, cultural gap, taxonomic obsession or descriptive vagueness, which appear overlapped with others of a purely linguistic, curricular nature, etc. Although some of them can be detected, in one way or another, in various stages and educational fields, we will focus our attention on Secondary Education (ESO and Baccalaureate), key moment for training in Art History. Various reflections are offered on the subject of this problem, with the aim of establishing an open and flexible communication between the epistemological speculation of the aforementioned discipline –in particular, the relationship between word and image- and the field of its educational praxis.