2022 개정 미술과 교육과정 핵심 가이드 > 교육학

본서는 학교 교육으로서의 미술교육의 본질을 ‘교육과정’을 중심으로 현재 시점에서 구체화하는 2022 개정 미술과 교육과정에 대한 일종의 해설서이다. 미술과 교육과정에 직·간접적으로 관여하거나 전문적으로 연구해 온 연구자들을 중심으로 교육과정의 현재, 그리고 과제와 방향성을 모색한다. 과거와 현재, 미래라는 역사성과 지금 이곳이라는 현장성의 관점에서 우리나라 국가 교육과정으로서의 미술교육을 이론과 실제, 역사성과 현장성을 바탕으로 점검하고 재검토한 본격적이며 종합적인 연구서이자 핵심적인 안내서이다.

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서 문············································································································································4

Ⅰ. 미술과 교육과정의 역량 ········································································································9

1. 심미적 감성 역량 ··················································································································11

2. 시각적 소통 역량 ··················································································································25

3. 창의ㆍ융합 역량 ···················································································································39

4. 정체성 역량 ··························································································································52

5. 공동체 역량 ··························································································································69

Ⅱ. 미술과 교육과정의 영역 ·········································································································79

6. 미적 체험 ······························································································································81

7. 표현 ······································································································································98

8. 감상 ····································································································································111

Ⅲ. 미술과 교육과정의 범주 ····································································································125

9. 지식ㆍ이해 ·························································································································127

10. 과정ㆍ기능 ·······················································································································137

11. 가치ㆍ태도 ·······················································································································150

Ⅳ. 미술과 교육과정에서 미술의 정의와 역할 ··········································································165

12. 언어로서의 미술 ················································································································167

13. 미술에서의 상상력 ············································································································178

14. 미술교육에서의 포용성 ·····································································································190

15. 미술교육에서 포용성 재개념화: 타자 개념을 중심으로 ······················································205

16. 미술교육에서의 주도성 ·····································································································219

17. 생태전환적 가치와 미술교육 ·····························································································232

18. 미술과 교육과정 재구성의 의미와 쟁점 ·············································································247

Ⅴ. 미술과 교육과정의 내용 ····································································································259

19. 미술교육과 감각, 지각, 인식 ·····························································································261

20. 시각적 문해력 교육 ··········································································································277

21. 시각문화와 미술교육 ········································································································292

22. 시각문화 미술교육과 소통 ································································································301

23. 수준에 따른 재료와 기법, 지도 방법 ·················································································312

24. 미술 표현 과정의 기록과 관리 ··························································································325

25. 표현 결과의 공유와 소통 방법 ··························································································335

26. 미술 감상과 질문 ··············································································································347

Ⅵ. 미술과 교육과정에서의 학습자 ··························································································359

27. 미술과 교육과정과 민주시민교육 ······················································································361

28. 맞춤형 교수ㆍ학습과 미술교육 ·························································································372

29. 미술교육에서의 맞춤형 교수ㆍ학습 ··················································································385

30. 학습자의 자기이해 경험을 통한 맞춤형 미술교육의 의미와 가능성 ···································398

31. 공감기반 맞춤형 미술 수업설계 방안 ················································································409

Ⅶ. 미술과 교육과정에서의 교수ㆍ학습 ··················································································421

32. 미술교육에서의 온ㆍ오프라인 연계학습 ···········································································423

33. 미술교육과 디지털 ···········································································································437

34. 미술과 진로 연계 교육 ·····································································································446

35. 미술과 토의ㆍ토론 ···········································································································458

36. 미술교육에서의 협동학습 ·································································································473

37. 미술교육에서의 피드백 발화 ····························································································484

Ⅷ. 미술과 교육과정에서의 평가 ·····························································································495

38. 평가에서의 디지털 도구 활용 ···························································································497

39. 미술교육에서의 과정 중심 평가 ························································································509

40. 미술교육에서의 학생 참여 중심 평가 ················································································522

41. 미술교육에서의 서술형 및 논술형 평가 ·············································································534

42. 미술교육에서의 성취기준 재구조화 및 최소 성취수준 ·······················································543

참고문헌 ·································································································································552

찾아보기 ·································································································································587

저자소개

집필진

류지영(춘천교육대학교)

김효정(이화여자대학교)

안지연(아주대학교)

이주연(경인교육대학교)

김향미(숙명여자대학교)

강윤정(플로리다주립대 박사)

강은영(심석중학교)

고황경(부천동여자중학교)

공완욱(춘천교육대학교)

김상미(성균관대학교)

김선아(한양대학교)

김수진(서울교육대학교)

김정현(한양대학교)

김지혜(광문고등학교)

김해경(경인교육대학교)

김효희(대안여자중학교)

남영림(서울교육대학교)

박상돈(한국교육과정평가원)

박소영(서울교육대학교)

박진희(한양대학교)

백애정(대진고등학교)

성묘진(서울미래초등학교)

송명길(한국교육과정평가원)

심영옥(경희대학교)

안혜리(국민대학교)

이미희(운중초등학교)

이선혜(한양대학교)

이윤희(서울영등포초등학교)

이하림(인천갈월초등학교)

장유정(청주여자상업고등학교)

장현주(덕천초등학교)

정옥희(전주교육대학교)

조성인(경기도교육청)

조원상(서울금양초등학교)

하영유(경상국립대학교)

현은령(한양대학교)

황연주(청주교육대학교)

한국조형교육학회(韓國造形敎育學會, Society for Art Education of Korea)는 1984년 4월 1일 창립(초대회장 김정 교수)되어 국내 조형교육 및 미술교육 분야에서 가장 오랜 역사를 지닌 학술 단체이다. 유아, 초·중등, 대학 및 평생 교육에 이르기까지 미술의 다양한 분야의 전문가와 실천가가 모인 학술 공동체로서 40주년을 향해 나아가는 긴 시간 동안 미술교육의 기틀을 마련하고 미술교육 연구의 발전을 도모하여 왔다. 2004년부터 한국연구재단 등재 학술지를 유지하고 있는 『造形敎育』을 연 4회 발간하고 있으며 세계미술교육학회(InSEA), 일본 미술과교육학회 등 국제 학술단체와 적극적으로 교류하고 있다. 

본 학회에서는 자생적이고 토착화된 미술교육 이론의 정립과 발전에 기여하고자 한국 미술교육 연구를 중심으로 한 단행본 발간 사업을 지속해오고 있다. 현대 미술교육의 동향을 제시하는 주요 연구들로 이루어진 『꼭 읽어야 할 한국미술교육 40선』(2014), 미술교육을 조망하며 미술교육의 틀과 구성을 학문적으로 체계화하여 집대성한 『미술교육의 기초』(2016)에 이어, 미술교육을 통한 사회와 삶의 연결을 거시적 관점에서 시도한 『미술교육으로 삶·사회 가로지르기』(2019), 그리고 창의·융합교육으로서 미술교육의 본연 및 방향성을 제시한 『창의·융합 미술교육』을 발행하였다. 이번 저서에서는 최근 발표된 2022 개정 미술과 교육과정을 둘러싸고 내·외적으로 이루어지고 있는 여러 논의들을 통해 현재 진행되고 있는 우리나라 미술교육 공동의 관심과 고민, 그리고 그 결과로서의 실천들을 다루고 있다. 이는, 지금까지의 저서들과 마찬가지로, 다원화되는 사회 속에서 현재 우리나라 미술교육이 자리하고자 하는 학문적 범위를 가늠해 보는 것과 동시에 앞으로 도전하고 넘어서야 할 경계를 탐색하고자 하는 노력이라 할 수 있다. 또한 집단 지성을 활용하여 미술교육의 의미와 내용이 보다 역동적으로 생산, 공유될 수 있는 장을 마련하고자 한 것이다. 

다양한 현장에서 이루어지는 미술교육에 관한 각양각색의 경험과 목소리를 한 권의 책으로 엮어내는 일은 복잡하고 어려운 과정을 수반한다. 또한 한 사람만의 힘으로는 불가능한 과제라 할 수 있다. 이러한 측면에서 우리나라 미술교육의 현재를 종합적으로 보여주는 미술교육 저서의 연이은 기획, 출간은, 선도적인 학술단체로서 한국조형교육학회가 해야 할 본연의 역할을 수행한다는 뜻깊은 의미를 가지고 있다. 이러한 저서 출판을 계기로 미술교육의 지평을 확장하는 데에 국내외 미술교육 연구자들의 협력적 노력이 지속되기를 기대한다. 

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