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ÀÌ ÀÌ·ç¾îÁö°í ÀÖ´Ù. Æ÷½ºÆ®¸ð´õ´ÏÁòÀº 20¼¼±â ÈĹÝÀ» Áö¹èÇÏ´Â Çö»óÀ» ÁöĪÇÏ´Â °¡Àå ÇÙ½ÉÀûÀÌ°í °¡Àå ÀϹÝÀûÀÎ ¿ë¾îÀÏ °ÍÀÌ´Ù. Æ÷½ºÆ®¸ð´õ´ÏÁòÀº ¹®Çко߻Ӹ¸ ¾Æ´Ï¶ó °ÇÃàÀ̳ª Á¶°¢°ú °°Àº Á¶Çü¿¹¼ú, À½¾Ç°ú °°Àº ½Ã°£¿¹¼ú, ¿¬±ØÀ̳ª ¿µÈ­, ºñµð¿À ¾ÆÆ® µî ´Ù¾çÇÑ ºÐ¾ß¿¡¼­ ³ªÅ¸³ª°í ÀÖ´Ù.
Æ÷½ºÆ®¸ð´ø À̷а¡µéÀº Æ÷½ºÆ®¸ð´õ´ÏÁòÀÌ ¸ð´ø ½Ã´ë µ¿¾È
¿¡ »ý¼ºµÈ ½Å³äµéÀÇ ºØ±«¸¦ ³ªÅ¸³½´Ù°í ÁÖÀåÇÑ´Ù. 20¼¼±â µ¿¾ÈÀÇ Á¤Ä¡ÀûÀÎ ¾î·Á¿ò°ú ¾ß¸¸ÇàÀ§, Áï Á¦±¹ÁÖÀÇ, ÀÎÁ¾ Çлì, ÇÙÆø¹ß °¡´É¼º µîÀ¸·Î ÀÎÇÏ¿© Àΰ£ÀÇ ¿ÏÀü¼º¿¡ ´ëÇÑ ½Å³äÀ» »ó½ÇÇÏ¿´´Ù. º¸ÆíÀû Á¤ÀÇ¿Í Æòµî¿¡ ´ëÇÑ ±»Àº ½Å³äÀº ÇöÀçÀÇ »çȸÀû ±¸Á¶¿Í ÇÏ·ùÃþÀÇ ¿µ±¸ÀûÀÎ Á¸¼ÓÀ¸·Î ÀÎÇØ µµÀü ¹Þ°í ÀÖ´Ù. ÀÚ¿¬¿¡ ´ëÇÏ¿© °á°ú¿Í °ü°è¾øÀÌ ±â¼úÀÌ Áö¹èÇÒ ¼ö ÀÖ´Ù´Â »ý°¢Àº ȯ°æ¿À¿°°ú ±×·Î ÀÎÇÑ Áúº´¿¡ ÀÇÇؼ­ Èçµé¸®°í ÀÖ´Ù. Æ÷½ºÆ®¸ð´øÀÇ »ç°í´Â ¼­±¸ Áß½ÉÀÇ ¸ÞŸ´ã·ÐÀ» Æı«ÇÏ°í º¸ÆíÀû À̼ºÀÇ ´Ü¼±ÀûÀÎ Áøº¸¸¦ ¹Ï´Â À¯·´ÀÎÀÇ ¿ª»ç¿¡ ´ëÇÑ °üÁ¡¿¡ ¼û°ÜÁø Àڱ⠹ÎÁ· Áß½ÉÁÖÀÇÀÇ ºØ±«¸¦ ¸ñÇ¥·Î ÇÏ°í ÀÖ´Â °æ¿ì°¡ ¸¹´Ù(Hurwitz & Day, 2001: 34). »çȸÀÇ ºÒ¾È°ú ºÒÈ®½Ç, È¥¶õ°ú ȸÀÇ ¼Ó¿¡¼­ Áø¸®ÀÇ Á¤´çÈ­¿¡ ´ëÇÑ ºÎÁ¤°ú ÀüÅëÀû °è±ÞÀÇ ºØ±«, »õ·Î¿î °è±ÞÀÇ ÃâÇö µî Á¤Ä¡Àû, ¹®È­Àû È¥¶õÀº »õ·Î¿î ½Ã´ë Á¤½ÅÀ¸·Î¼­ÀÇ Æ÷½ºÆ®¸ð´õ´ÏÁòÀ» ¹ßÀü½ÃÄ×´Ù. ±×¸®°í ÀÌ°ÍÀº ¼­±¸ Èı⠻ê¾÷»çȸÀÇ »çȸ¹®È­ ³í¸®·Î¼­ Á¦2Â÷ ¼¼°è´ëÀü ÀÌÈÄ ¼¼°è·Î È®»êµÇ¾ú°í ¿©·¯ ºÐ¾ß¿¡¼­ ±âº»ÀûÀÎ ÀνÄü°è¿Í ½Ã°¢ÀÇ º¯È­¸¦ °¡Á®¿À°Ô µÇ¾ú´Ù(¹Ú¼Ò¿µ, 2001: 49).

The purpose of this study is
to criticize the discussion on postmodern art education. Although it is generally recognized that we live in an era characterized as postmodern, the term itself has defied definition. Postmodernism is not a coherent philosophical movement but rather a collective name for a multiplicity of philosophical stances and theories. Postmodern theorists maintain that postmodernism marks a breakdown in the beliefs developed during the modern era. Much postmodernist thought was aimed at deconstructing Western metanarratives and the \"ethnocentrism implicit in the European view of history as the unilinear progress of universal reason.
There is much in postmoderni
sm that is both attractive and disturbing to art educators. Educators generally welcome the broadening of the art world to multiculturalism, exposure of bias in educational materials, placement of greater value on students\' interpretations, and connections students have with art they make. We learn from postmodernism a measure of modesty about our claims and a sense of the historical character of our understanding of art.
The discussion on postmodern
art education should be careful about the following.
First, postmodernism doesn\'
t mean only the oppositive concept of modern.
Second, postmodernism art ed
ucation should encourage a multicultural approach in which we understand the identity of our own culture and the various forms of the cultures in the world.
Third, postmodernism art edu
cation doesn\'t develope linearly.
Forth, art education has ori
ginality in itself. The art education as subject-matter education doesn¡®t refer to separate \'art\' and \'education\'. The art education as subject-matter education stand for itself as a whole.
Fifth, postmodernism doesn\'
t mean only the oppositive concept of DBAE.
The problem for most of us i
s not whether to accept modernism or postmodernism, but how to strike the right balance between those approaches and to take from them what is most valuable to us. Teaching has always been the attempt to pass on our best understanding of the present so that our students will make sense of the future. Postmodernism shows us how important and difficult that task has become.   (ÀÌÇÏ »ý·«)

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