[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-599677-105":59,"doc-detail-599677-en":130},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":123,"head_meta":125,"extra_data":127,"updated_unix":129},105,"en","aesthetic-education-and-masked-emotions-a-model-for-emancipatory-teacher-preparation","Aesthetic Education and Masked Emotions: A Model for Emancipatory Teacher Preparation","","A paper argues that aesthetic education can function as an intentional, emancipatory approach to teacher preparation by nurturing reflective and participatory engagement with the arts. Through an aesthetic entry point—Graydon Parrish’s 9/11 mural, The Cycle of Terror and Tragedy—pre-service teachers use visual thinking and psychosocial theory (Erikson) to shape a developing sense of self. The museum setting supports community reflection, empathic listening, critical dialogue, and imaginative cognition, linking arts experience to cultural and critical growth.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/aesthetic-education-and-masked-emotions-a-model-for-emancipatory-teacher-preparation/599677/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/aesthetic-education-and-masked-emotions-a-model-for-emancipatory-teacher-preparation/599677.png","ImageObject",300,407,{"name":92,"@type":93},"jayni","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-29","2026-10-15",true,{"@type":102,"interactionType":103,"userInteractionCount":24},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"How does the paper define aesthetic education’s role in developing teachers?","Question",{"text":112,"@type":113},"It presents aesthetic education as an intentional undertaking that nurtures appreciative, reflective, cultural, and participatory engagements with the arts, supporting learners’ imagination and meaning-making.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"Why is the 9/11 mural used as an aesthetic entry point?",{"text":117,"@type":113},"The pre-service teachers explore identity development and psychosocial ideas through visual engagement with Graydon Parrish’s mural, while the museum context encourages critical, shared reflection.",{"name":119,"@type":110,"acceptedAnswer":120},"What does the paper say about the museum as a learning community?",{"text":121,"@type":113},"It argues that the museum functions as community by enabling meaningful connections to art through dialogue and discourse, supporting diverse perspectives, empathic listening, and critical learning.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},599677,1792162271,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":24,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},3985747859343,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","Aesthetic Education and Masked Emotions: A Model for Emancipatory Teacher Preparation  \nBarbara A. Clark, Central Connecticut State University  \nIntroduction  \nAccording to Maxine Greene (1988), aesthetic education is “integral to the development of persons-to their cognitive, perceptual, emotional, and imaginative development”(p. 7) . Gardner (1973) like Greene presents the arts as a cognitive tool necessary to fuel the human developmental systems including how we see, feel and make new ideas within our imaginative core. When confronted with a painting, or piece of music we open “ourselves as perceivers to the work, entering into it kinaesthetically, we free ourselves to grasp it in its vital fullness and complexity”(Greene, 1988, p. 13) . Greene (1988) asserts that aesthetic experiences provide us with a window to encounter the arts conscious that “we are in the present as living, perceiving beings becoming aware that there is always, always more”(p. 16). Eisner (2002) views the arts as transformative and a necessary process for critical cognition and cultural growth. Aesthetic education may be utilized as a primary method for teacher education programs that view the development of the teacher’s imagination as a primary aim. According to Greene (2001):  \nAesthetic education, then, is an intentional undertaking designed to nurture appreciative, reflective, cultural, participatory engagements with the arts by enabling learners to notice what there is to be noticed, and to lend works of art their lives in such a way as they can achieve them as variously meaningful. When this happens, new connections are made in experience, new patterns are formed, new vistas are opened. (Greene, 2001, p. 6)  \nThe purpose of this paper is to present the developing sense of self that pre-service teachers experienced through an aesthetic entry point, the 9/11 mural by Graydon Parrish entitled, The Cycle of Terror and Tragedy (see Figure 1) . Pre-service teachers explored the psychosocial theories that Erikson (1963) outlined in the course text by Woolfolk (2008) while viewing the 9/11 mural. Greene’s (2001) research on aesthetic education and Perkins ’ (1994) research on visual thinking structured and supported the aesthetic experience, thereby providing a foundation to begin thinking deeply about the psychosocial theory of Erikson when facing the expansive allegorical mural by Parrish. The museum arena in which the mural was displayed provided a community space for pre-service teachers to think critically with one another. According to Jeffers (2003) the  \nmuseum as community, then, conceives of knowing and learning as a process of human relationship. This process also implements the museum’s mission, which is to empower students and teachers to make meaningful connections to art and eachother through dialogue and discourse. (p. 117)  \nThis kind of structured aesthetic experience can be key to an emancipatory form of teacher preparation.  \nAesthetic Education in Teacher Preparation  \nThe Psychology of Visual Thinking and Community Reflection  \nAesthetic education utilizes powerful works of art in which to exercise visual perception or visual thinking. The visual thinking process unites the viewer’s intellect and intuition while meaning is made (Arnheim, 1969, Gardner, 1973, Perkins, 1994) .“Visual thinking is the ability of the mind to unite observing and reasoning in every field of learning”(Arnheim, 1996, p. 119) . Nikitina (2003) directs our attention to “the integrative aspect of art” thereby “connecting the self with the social world, and providing a space to reflect on the meaning of other experiences”(p. 56) . According to Eisner (2002), viewing a work of art  \nprovides students with the challenge of talking about what they have seen, gives them opportunities, permission, and encouragement to use language in a way free from the strictures of literal description. This freedom is a way to liberate their emotions and their imagination. (p. 89","cbCaikHbQw2KRbyy","https://ap.wps.com/l/cbCaikHbQw2KRbyy","pdf",413111,11,"English","# Introduction\n## Aesthetic Education in Teacher Preparation\n### The Psychology of Visual Thinking and Community Reflection\n### Aesthetic Process","[{\"question\":\"How does the paper define aesthetic education’s role in developing teachers?\",\"answer\":\"It presents aesthetic education as an intentional undertaking that nurtures appreciative, reflective, cultural, and participatory engagements with the arts, supporting learners’ imagination and meaning-making.\"},{\"question\":\"Why is the 9/11 mural used as an aesthetic entry point?\",\"answer\":\"The pre-service teachers explore identity development and psychosocial ideas through visual engagement with Graydon Parrish’s mural, while the museum context encourages critical, shared reflection.\"},{\"question\":\"What does the paper say about the museum as a learning community?\",\"answer\":\"It argues that the museum functions as community by enabling meaningful connections to art through dialogue and discourse, supporting diverse perspectives, empathic listening, and critical learning.\"}]","Aesthetic Education and Masked Emotions: A Model for Emancipatory Teacher Preparation | PDF",1792089233,28]