Yoko AritaAssociate Professor

■Researcher basic information

Organization

  • College of Education Training Course for School Teachers Program for Subject Education　／　Major in Art Education
  • Graduate School of Education（Course for Professional degree ） Division of Professional Teacher Education Professional Course in School Subjects
  • Faculty of Education Domain of Arts and Life Sciences

Research Areas

  • Humanities & social sciences, Primary/secondary education and curricula, 美術教育学

Research Keyword

  • 美術教育学
  • 美術教育史
  • 美術教育理論
  • 日本美術
  • 鑑賞教育
  • 表現教育
  • 教員養成
  • 師範学校

Educational Background

  • Apr. 2015 - Mar. 2018, University of Tsukuba, 大学院博士後期課程人間総合科学研究科芸術専攻
  • Apr. 2006 - Mar. 2007, 茨城大学, 大学院教育学研究科（研究生）
  • Apr. 2004 - Mar. 2006, Naruto University of Education, Graduate School of Education, 教科･領域教育専攻芸術系（美術）
  • Apr. 2000 - Mar. 2004, Ibaraki University, 教育学部, 学校教育教員養成課程美術選修

Career

  • Apr. 2019 - Present, 島根大学, 学術研究院教育学系, 准教授
  • Apr. 2015 - Mar. 2019, Shimane University, Faculty of Education, 准教授
  • Oct. 2010 - Mar. 2015, Shimane University, 教育学部, 講師

Member History

  • 2019 - 2025, 学会誌査読委員, 美術科教育学会
  • 2018 - 2025, 学会誌査読委員, 大学美術教育学会
  • 2025, 学会誌査読委員, 日本美術教育学会
  • Apr. 2013 - Mar. 2023, 島根県立美術館協議会委員
  • Apr. 2018 - Mar. 2022, 学会誌委員会委員, 大学美術教育学会
  • 2011 - 2012, 学会誌査読委員, 美術科教育学会

■Research activity information

Award

  • Mar. 2020, 第17回『美術教育学』賞, 「戦後日本の教員養成大学・学部における美術教育学の人的制度基盤の成立」『美術教育学』第40号、2019年, 美術科教育学会
    有田洋子
    Official journal
  • Sep. 2019, 島根大学女性研究者表彰, 「教員養成大学･学部美術講座の発足に関する資料的研究―国立公文書館所蔵 『新制国立大学設置認可申請書』の調査を通して―」に関する研究業績, 島根大学
    有田洋子
  • Oct. 2016, 島根大学若手研究者表彰, 「教員養成大学・学部の美術教育学の制度基盤の成立過程」に関する研究業績, 島根大学
    有田洋子
  • Mar. 2008, 第5回『美術教育学』賞奨励賞, 「光琳『紅白梅図屏風』の流水のずれの解釈を軸とする鑑賞教材化」『美術教育学』 第28号、2007年, 美術科教育学会
    有田洋子

Paper

  • The Japanese reception of the picture book Swimmy: Towards an art appreciation education that dialectically overcomes the gaps between viewer, artist, and work　　　　　　　　　　　　　　　
    The Japanese reception of the picture book Swimmy:Towards an art appreciation education that dialectically overcomes the gaps between viewer,artist, and work
    The Journal for Japanese Association of Art Education, Mar. 2026, [Reviewed]
  • A Historical Review of Establishment of the Art Pedagogy in Osaka Kyoiku University
    ARITA Yoko, This paper elucidates the establishment of art education at the Osaka Kyoiku University. Art teachers employed at four normal schools move to the university, and they insisted on art education based on practical art skills. Like many universities, there were no specialists in art pedagogy. And five basic art-related subjects, offered in teacher training colleges and faculties in February 1964. In April of the same year, Keitoku Minoru joined as an art teacher at the University and was advised to accumulate practical art skills by elder teachers. In 1968, the Osaka Kyoiku University establish a graduate school of education. Due to dissension with the academicisation of art by practical art teachers, the establishment of an art education major was delayed. However, through Keitokuʼs efforts, that major established. Its own art education research centered on contemporary art theory, rather than practical art skills, and produced many art education researchers., Japanese Association of Art Education
    The Journal for Japanese Association of Art Education, Mar. 2025, [Reviewed]
  • 美術教育学の制度的基盤の成立過程―富山大学―
    有田洋子
    美術教育学：美術科教育学会誌, Mar. 2024, [Reviewed]
  • A Historical Review of Establishment of the Art Pedagogy in Chiba University
    ARITA Yoko, We clarified the three stages of the institutional establishment process of art education at Chiba University of Education. In the first stage, almost all fine arts teachers shifted from normal schools to universities except teacherʼs certification examination passers. Every teacher had common lessons in fine arts instruction. In the second stage, when the subject allotment ordinance was promulgateded in February 1964, there were five art-related subjects at the university: painting, sculpture, composition, art theory, and art history and education. Each subject was quickly staffed, starting with the appointment of Keiichi Mori. In the third stage, with the imminent establishment of the graduate school, Takeo Toda and Mitsuo Chonan moved to the subject of art education. The Graduate School of Education and the Major in Art Education were established in April 1982, which established the institutional foundation of art education at Chiba University of Education., The Association of Art Education
    美術教育学：美術科教育学会誌, Mar. 2023, [Reviewed]
  • 絵本の美術的本質と美術教育的意義としての場面転換
    有田 洋子; 金子 一夫, Lead
    美術教育学研究 : 大学美術教育学会誌, Mar. 2022, [Reviewed]
  • 美術教育学の制度的基盤の成立過程―奈良教育大学―
    有田 洋子
    美術教育学 : 美術科教育学会誌, Mar. 2022, [Reviewed]
  • 美術教育学の制度的基盤の成立過程―岐阜大学―
    有田洋子
    美術教育学：美術科教育学会誌, Mar. 2021, [Reviewed]
  • A Historical Review of Establishment of the Art Pedagogy in Wakayama University
    有田 洋子, 美術科教育学会
    美術教育学：美術科教育学会誌, Mar. 2020, [Reviewed]
  • History of the Formation of an Institutional Foundation of Art Pedagogy in Teacher's Colleges in Post World War II Japan:Three Stages that Led to the Institutional Recognition of Art Education Studies
    ARITA Yoko, After World War II, teacher education policy in Japan shifted their emphasis of specialized education courses from liberal arts towards teacher education departments, in the process establishing a human institutional foundation of art pedagogy. Despite the change from normal teacher's schools to teacher's colleges, specialties in art education were not recognized. The designation of art education within the teacher training system from 1964 to 1978 brought only an appearance of specialization in art education. This condition allowed for delays to teacher placements and a lack of coordination with research in art education. However, a decision by a committee in the Ministry of Education saw it officially recognized in examinations of teaching studies careers of those entering graduate schools in art education from 1968 to 1999. A human institutional foundation of art pedagogy was established as a result despite differences among university staff regarding the need for graduate schools., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2019, [Reviewed]
  • Raising the Aesthetic Sense through Art Education Practice : Support for Teachers and Pupils, and a Consideration on Educational Content
    小口 あや; 中川 知子; 有田 洋子; 金子 一夫, 茨城大学全学教職センター
    茨城大学教育実践研究, Nov. 2018
  • Art Appreciation Education through Verbalization of Styles in Japanese Art Part 4:Using Catch-Phrases in Appreciation of Japanese Paintings
    ARITA Yoko, This paper discusses the effectiveness of catch- phrases using a program for Japanese painting in art appreciation lessons. 1. The author chose the styles of four painters in the Edo period: Korin, Okyo, Buson, Jakuchu. 2. The author made a catch-phrase for each painter, referring to their description in art history: "Korin the fashionable", "Okyo the earnest", "Buson the relaxed", "Jakuchu the eccentric". 3. The author and collaborators practiced the lesson in 3 steps, and confirmed its effectiveness with regard to understanding and enjoyment. They also analyzed difficult styles or paintings to distinguish, and called attention to the occasional confusion of styles and painters' personalities., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2017, [Reviewed]
  • On the Subject in which the College Students Knew the Historical Works of Japanese Fine Art in the Former School Days:—They Knew More in the Social Studies Subject than in the Fine Arts One—
    Arita Yoko, Major works of Japanese fine arts have been known to the students of the college by learning at the other subject than the fine arts subject in the elementary, junior-high and high school days. This paper reveals the students knew 25 of 70 major works, and knew 79% of them in the social studies subject in schools. In the course of the study of the social studies subjects Japanese culture and tradition are emphasized. The text book of social studies subjects major works were almost treated rather as historical figure than the fine art itself with the exception of a small number. Art historical literacy should be learned in the fine art subject., University Art Education Society of Japan
    美術教育学研究：大学美術教育学会誌, Mar. 2016, [Reviewed]
  • Appreciation Education through Verbalization of Styles in Japanese Art Part 3:SD-Method Research on Changes in Elementary School Students' Feelings on Buddhist Sculpture Styles
    ARITA Yoko, This paper clarified the changes in feelings on Buddhist sculpture styles in elementary school students through SD-Method research. 1. Their feelings become clearer as they move into higher grades. 2. A clear difference is seen in fourth graders. 3. Between the first grade and the third, feelings on all Buddhist sculptures appear to be similar. 4. From fourth grade through sixth grade, students show different feelings on each of the Buddhist sculpture styles., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2016, [Reviewed]
  • Self-Image Expression through the Dialectical Theme of Negative Self-Image and Positive View of Self by Others
    NAKAGAWA Tomoko; ARITA Yoko; KANEKO Kazuo, Works of students on self-image referencing views from others as well as views of self produce better results than the latter only. This paper aims to analyze the reasons for this fact and the significance of views from others today. The authors came to two conclusions. The first is that expression themes referring to views from others as well as views of self are clearer and more multidimensional, as they are composed dialectically of the two. The second is that self-portraits in art education are not preferred by students, having a poor image as a closed cycle of self-reference. Naturalistic and surrealistic self-portrait styles in the past also came from the same closed cycle. Modern youth should have a new theme composed dialectically of negative self-image and positive views from others. It can be generalized that external reference is required in art education today., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2015, [Reviewed]
  • The Opening Lesson of the Fine Arts in a School Year
    有田 洋子, 大学美術教育学会
    美術教育学研究 : 大学美術教育学会誌, Mar. 2015, [Reviewed]
  • A Historical Research on Establishment of the Staff of Art Education in the College : The Case of the Faculty of Education of Tottori University
    Arita Yoko, 鳥取大学における美術教育学の制度的基盤の成立過程（人的制度の成立と人的配置）を次のように明らかにした。1. 鳥取師範学校から鳥取大学学芸学部への移行：図画工作担当教官はほぼ大学に移行したが，美術科教育を専門とする教官はいなかった。しかし美術科教育関係授業を担当する教官は明確にいた。ただ制度的に美術教育の専門性は未だ保証されておらず，「美術教育学」も認識されていなかった。2. 学科目の設置と具体的人員の配置：昭和48年4月より美術科教育の学科目に人員が置かれ実質化し，制度的に美術科教育の専門性が保証された。3. 教科教育専攻大学院の設置と展開：美術科教育を専門とする二教官が揃い，平成8年4月に大学院教育学研究科美術教育専修が設置された。これにより，鳥取大学における美術教育学の制度的基盤が成立した。, Shimane University
    Memoirs, Faculty of Education, Shimane University, Dec. 2014
  • Art Appreciation Education through Verbalization of Styles in Japanese Art Part2 : SD-Method Research on Reactions of Students of All Ages to Buddhist Sculpture Styles
    ARITA Yoko, The author investigates by Semantic Differential Method the reactions of persons from elementary school children to adults to seven styles of Buddhist sculpture. Results were that fourth graders through adults have similar reaction profiles for each of the seven styles. However, while first through third graders' profiles showed similar tendencies, they were different. The author considered the characteristics of the profiles for each style, and found that these can be classified by three types. Finally the author clarified that, in the respoective situations ofappreciation education of Buddhist sculptures in general and observation of styles through catchphrases, consideration of these profiles is very significant for art appreciation education., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2014, [Reviewed]
  • A Historical Research on Establishment of the Staff of Art Education in the College : The Case of the Faculty of Education of Yamaguchi University
    Arita Yoko, 山口大学における美術教育学の制度的基盤の成立過程（人的制度の成立と人的配置）を次のように明らかにした。１.山口師範学校から山口大学教育学部への移行：図画工作担当教官はほぼ大学に移行したが，美術科教育を専門とする教官はいなかった。当然ながら，制度的に美術科教育の専門性は保証されておらず，｢美術教育学｣も認識されていなかった。２. 学科目の設置と具体的人員の配置：昭和45年より美術科教育の学科目に人員が置かれ実質化し，制度的に美術科教育の専門性が保証された。３. 教科教育専攻大学院の設置と展開：美術科教育を専門とする二教官が揃い，平成３年４月に教科教育大学院が設置された。これにより，山口大学における美術教育学の制度的基盤が成立した。, Shimane University
    Memoirs, Faculty of Education, Shimane University, Dec. 2013
  • Art Appreciation Lessons through Verbalization of Styles in Japanese Fine Arts : Using Catch-Phrases in Appreciation of Buddhist Sculptures
    ARITA Yoko, This paper clarified the effectiveness of using catch-phrases for styles of artworks in art appreciation lessons looking at Buddhist sculptures. Firstly, the author points out that art appreciation lessons aim at attaining an understanding and reception of style, and that catch-phrases used to express style consists of words for feeling and words for images. A Semantic Differential Method investigation was carried out and showed that people, from schoolchild to art specialist, have similar feelings regarding seven styles of Buddhist sculpture. The increasing use of the feeling words in art history books was also pointed out. The elementary and junior high school lessons which the author designed and implemented showed that catch-phrases were effective both to express understanding and pleasure. As students grow in the upper grade, they are inclined to use more external forms of sculptures as a standard to discriminate styles, but they shall integrate the external forms and aesthetic judgment of styles. The use of external forms as a standard to discriminate styles seemed to increase with school grade, but students were seen to integrate external forms and aesthetic judgment of styles. This study also suggests the need for a thesaurus for art appreciation because student's lack of vocabulary is a problem when making catch-phrases for art style., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2013, [Reviewed]
  • A Historical Research on Graduate Course of Art Education in the Tokyo National University of Fine Arts and Music
    金子 一夫; 有田 洋子, 茨城大学教育学部
    茨城大学教育学部紀要. 教育科学, 2013
  • A Historical Research on Establishment of the Staff of Art Education in the College : The Case of the Faculty of Education of Okayama University
    有田 洋子, 岡山大学の場合の美術教育学の制度的基盤の成立過程（人的制度の成立と人的配置）を次のように明らかにした。1.岡山師範学校から岡山大学教育学部への移行：図画工作担当教官はほぼ大学に移行したが，美術科教育を専門とする教官はいなかった。当然ながら，制度的に美術科教育の専門性は保証されておらず，「美術教育学」も認識されていなかった。2.学科目の設置と具体的人員の配置：昭和39年の学科目制度発足以前に，美術科教育を専門に担当する教官がいた。制度的に美術科教育の専門性が保証される以前に，美術科教育の専門性が実質化されていた。3.教科教育専攻大学院の設置と展開：美術科教育を専門とする教官が揃い，昭和55年4月に教科教育大学院が設置された。これにより，岡山大学における美術教育学の制度的な基盤が成立したと言える。以上のように岡山大学は，全国の中でも先がけて美術教育学の制度的基盤が成立したことが特徴である。, 島根大学教育学部
    島根大学教育学部紀要, 25 Dec. 2012
  • Elaborating on theVerbal Method for Art Education : Verbalization of Expression and Theme
    金子 一夫; 中川 知子; 有田 洋子, 茨城大学教育学部附属教育実践総合センター
    茨城大学教育実践研究 茨城大学教育学部附属教育実践総合センター 編, Nov. 2012
  • Art Appreciation through Discussion on the Configuration of Okyo's Sliding Door Paintings in Kotohiragu Shrine
    ARITA Yoko, This paper descrives the effectiveness of an art appreciation lesson which allows students to discuss the configuration of Okyo's sliding door paintings in Kotohiragu Shrine. The author suggests "non-completion" as a unique aspect of Japanese art, and describes the layout of rooms and space as an example. Kotohiragu Shrine comprises a huge space composed of elements, from Okyo's sliding door paintings to the outside landscape. The author designed and implemented a high school lesson focusing on the space of Kotohiragu Shrine. From this lesson, students were found to not only comprehend and show interested in the configuration of the rooms, but they also expressed a desire to carry out appreciation of other sliding door paintings and Japanese art. The students were seen to interpret the configuration of the rooms in various ways. The author pointed out that the interpretation stage matched the students' developmental stage, and that a suitable amount of information was provided for the students' discussion., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2012, [Reviewed]
  • Historical Considerations on the Subject of the Arts in Schools : Changes from Clay Work to Sculpture
    Arita Yoko, 美術関係教科における彫刻が現在のような芸術表現としての位置づけとなった歴史的経緯を, 明治初期から平成初期までの学習指導要領等の法令の検討から, 次のように明らかにした｡(１) 粘土細工としての位置づけの時期：明治期から昭和21年頃までは, 手工・工作に規定された粘土細工であった｡(２) 粘土細工から彫刻への過渡期：昭和22年から昭和30年頃までは工芸的な彫刻と芸術表現としての彫塑表現が共存した過渡期であった｡また, 従来は工作の一分野でしかなかった彫刻が, 教科内容として単独で高等学校の図画と工作の両方に規定され, 図画においては絵画の次に表記された｡(３) 芸術表現としての彫刻が位置づけられた時期：昭和31年版高等学校要領で, 彫刻は芸術科美術の内容に規定され, 芸術科工芸からは完全になくなった｡(４) 彫刻から彫塑への名称移行期(安定期) ：昭和33年版小中学校要領においても彫刻が規定された｡これによって小中高等学校全段階で, 芸術表現としての彫刻が規定された｡芸術表現としての彫刻の位置づけが安定していった｡ただ名称は｢彫塑｣が用いられた場合があった｡(５) その後―再び彫刻へ, そして立体へ：平成元年から中高等学校では｢彫刻｣へ再び名称が改められた｡また昭和52年から絵画や彫刻といった枠にとらわれず, 表現としての性格をより強めるため, 小学校では｢立体｣という概念及び名称へ転換していった｡さらに徐々に絵画と彫刻をひとまとめにして内容が規定されだした｡, Shimane University
    Memoirs, Faculty of Education, Shimane University, Feb. 2012
  • A Historical Research on Establishment of the Staff of Art Education in the College : The Case of the Faculty of Education of Shimane University
    Arita Yoko, Shimane University
    Memoirs, Faculty of Education, Shimane University, Dec. 2011
  • The Synthetic Painting Method : Composition of Verbally Analyzed Elements of Art Works
    ARITA Yoko, This paper proves the effectiveness of "The Synthetic Painting Method," developed by the author. In this method, three elements of an art work-the content, the form and the theme of expression-are verbally analyzed. Using this method, students can gain new concepts of a work by choosing and compiling a set of three elements from the elements of the three works of art that they choose. The method was seen to have five effects. 1. Students can understand their theme of expression clearly. 2. Students' courses of expression become clear and stable. 3. Teachers' guidance becomes clearer because teachers can understand students' themes of expression more accurately. 4. Students can get images easily and be more creative. 5. Mastering the method, students can use it in other works. In this paper, the author describes the lessons designed for high school classes and how they were put into practice, and proved the effectiveness of the method., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2011, [Reviewed]
  • Art Teaching with Verbalization of Theme of Expression
    ARITA Yoko, This paper proves the effectiveness of art teaching which teaches students to verbalize their theme of expression in, the high school lessons. The theme orientates the content of the expression and integrates. However, at first the theme in a student's mind is an unclear image. If we help students have a clear images by verbalizing their theme of expression, we can practice art education more methodically. The author supposes the verbalization of theme of expression as having the fullowing three functions. 1. Students can understand their theme of expression clearly. 2. It makes student's expression course clear and stable. 3. It makes the teacher's guidance clear too, by catching correctly students' theme of expression. The author designed high school lessons which in structed students to verbalize their theme of expression for the following three subjects. 1. A self-portrait by watercolor. 2. A portrait sketch. 3. A composition of colors. These lessons were put into practice by the author, and proved their effectiveness., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2010, [Reviewed]
  • An Art Appreciation Lesson to Compare the Aesthetic Concepts of Shunso Hishida's : "A Black Cat" and "A Black Cat by the Persimmon Tree"
    ARITA Yoko, This paper proves the effectiveness of the art appreciation lesson, which let students compare the two works and extract the aesthetic concepts of the two. Verbalizing intuitive aesthetic concepts makes one's vague impression on the works clear, and deepens one's understanding of the works. By comparing the same artist's works with similar motives, we can examine the aesthetic concept of each work more purely, without reducing the origin of work to the circumstances of the times or the artist. The author designed the high school lesson which makes students compare the contrasting aesthetic concepts of the two Shunso Hishida's works with the similar black cat motive: "Hinkaku (nobleness)" in his "A Black Cat" and "Kawaii (loveliness)" in his "A Black Cat by the Persimmon Tree." This lesson was put into practice by the author, and it proved the effectiveness of the author's demonstration., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2009, [Reviewed]
  • A Lesson to Let Students Appreciate Korin's "Red and White Plum Blossoms" Screen Through Discussion on the Strange Discontinuity of the Stream Between the Two Halves
    ARITA Yoko, Korin's "Red and White Plum Blossoms" screen has a strange discontinuity of the stream between the right and left pieces. The author hypothesizes that Korin intently made it so for people to imagine an invisible stream between the two halves which stand separately, and the author indicates almost all the figures in textbooks were indifferent to this discontinuity of the stream. According to the analysis of the screen with this hypothesis, the author demonstrates three problematic stages for lessons as follows : 1. How this screen ought to be folded. 2. How far apart the two pieces ought to be separated when they are set up. 3. How students imagine the line of the stream between the two halves. Two lessons were put into practice by the author, and they proved the effectiveness of the author's demonstration., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2007, [Reviewed]
  • The Education of Art Appreciation through Discussion Which the Best or Better Interpretation is in a Work of the Fine Arts: Part II
    ARITA Yoko, This paper aims at showing the effectiveness of students' discussion on different interpretations of a work in art appreciation lessons. The author shows the whole image of existing modes of relations between different interpretations by making a table of them, and makes a process model of discussion on different interpretations in lessons by referring to Yoshikawa and Kaneko. Three interpretations on composition of Hokusai's "Sunshu-Ejiri in Thirtysix views of Mt. Fuji", an ukiyo-e print are examined. Two lessons on them show us the effectiveness of students' discussion on different interpretations of a work of art., The Association of Art Education
    The Journal for the Association of Art Education, Mar. 2006, [Reviewed]
  • The Education of Art Appreciation through Discussion Which the Best or Better Interpretation is in a Work of the Fine Arts
    ARITA Yoko, This paper aims to clarify that students' discussion, about which of several interpretations of a work is the best or the better one, is effective in art appreciation lessons. The author examined four problems and reaches the following conclusions. 1. One interpretation assumes the other interpretations. What matters in the interpretation of a work of art is not correctness but its validity. These attributes are suitable for art appreciation lessons, for the important thing in the lessons is not the result but the process. 2. While Yasuhiro Iwamoto's class practice has a methodological problem, Yoichi Mukouyama's one is applicable to art appreciation lessons. 3. A significance of art appreciation education is the development of one's ability of visual interpretation. 4. Examining various interpretations of "Mimi wo sobadatete" ("Girl Closing Her Ears to Thunder", The Minneapolis Institute of Arts), an ukiyo-e print by Harunobu Suzuki, the author indicates that the current interpretations are impossible. The author introduced this examination process into a class practice program as an example of art appreciation education through discussion on interpretations. By putting it into practice, the author is certain of the effectiveness of discussion in art appreciation lessons., Japanese Association of Art Education
    The Journal for Japanese Association of Art Education, Mar. 2005, [Reviewed]

MISC

  • 【記録集】美術科教育学会2025年度リサーチフォーラムin 大阪 戦後美術教育の歴史的検討―戦後美術教育は何であったのか―　　　　　　　　　　　　　　　
    編集; 有田洋子; 執筆; 有田洋子; 金子一夫; 新井哲夫; 長瀬達也
    Nov. 2025
  • Report from Social Activities Department for the Fiscal Year 2025　　　　　　　　　　　　　　　
    有田洋子; 金子一夫
    美術科教育学会『美術科教育学会通信』, Oct. 2025
  • 2024年度 研究部会活動報告 美術教育史研究部会
    金子一夫; 有田洋子
    美術科教育学会『美術科教育学会通信』, Jun. 2025
  • 2023年度 研究部会活動報告 美術教育史研究部会
    有田洋子; 金子一夫
    美術科教育学会『美術科教育学会通信』, Jun. 2024
  • 令和2年度 研究部会活動報告 美術教育史研究部会
    有田洋子
    美術科教育学会 『美術科教育学会通信』, Jun. 2021
  • 研究紹介「教員養成大学・学部美術講座の発足に関する資料的研究―国立公文書館所蔵『新制国立大学設置認可申請書』の調査を通して―」
    有田洋子
    『島根大学お宝研究（特色ある島根大学の研究紹介）』, Jul. 2020
  • 図画工作・美術科における学び続ける子どもと教師　　　　　　　　　　　　　　　
    有田洋子
    島根大学教育学部附属学校園研究紀要（平成28年度）, Nov. 2017
  • 研究紹介「教員養成大学・学部の美術教育学の制度的基盤の成立過程」
    有田洋子
    『島根大学お宝研究（特色ある島根大学の研究紹介）』, Mar. 2017
  • 図画工作・美術科における学び続ける子ども　　　　　　　　　　　　　　　
    有田洋子
    島根大学教育学部附属学校園研究紀要（平成26年度）, Nov. 2015
  • 研究ノート ｢美術教育史研究部会から-3-戦後の教員養大学･学部における美術教育学の制度的基盤の成立過程」　　　　　　　　　　　　　　　
    有田洋子
    美術科教育学会通信, Feb. 2014
  • 図画工作・美術科における思考力・判断力・表現力　　　　　　　　　　　　　　　
    有田洋子
    島根大学教育学部附属学校園研究紀要（平成25年度）, Jun. 2013
  • 「1.美術教育史研究部会テーマ：美術教育史の境界領域―底辺と外縁」「3.美術教育学の成立過程―東京芸術大学の場合」　　　　　　　　　　　　　　　
    有田洋子
    美術科教育学会美術教育史研究部会通信, May 2013
  • 書評 『魯迅に贈った和光小学生の版画』（学校法人和光学園、2011年）　　　　　　　　　　　　　　　
    有田洋子
    美術科教育学会通信, Oct. 2011
  • 「1.美術教育史研究部会：美術教育学の制度的基盤の成立過程」 「 1.(3) 茨城大学・島根大学の場合」「2.余録」「2.(1)富山大学の場合の紹介」「2.(2)経緯」　　　　　　　　　　　　　　　
    有田洋子
    美術科教育学会美術教育史研究部会通信, May 2011
  • 書評 岩本康裕『「分析批評」による名画鑑賞の授業』（明治図書、1990年）　　　　　　　　　　　　　　　
    有田洋子
    福本謹一(編)ウェブサイト“Web AE”（Web Journal of Art and Education）、 http://www/art.hyogo-u.ac.jp/fukumo/WebJournal/Shohyo/Shohyo.html, May 2004

Books and other publications

  • アート学習ハンドブック
    編著者; 茂木一司; 郡司明子; 手塚千尋; 池田吏志; 笠原広一; 西村德行; 執筆者; 穴澤秀隆; 有田洋子; 市川寛也; 家﨑萌; 井上昌樹ほか, Others
    学術研究出版, 01 Oct. 2025
    4911449322
  • 戦後日本の美術教育学の制度基盤の成立―教員養成大学・学部における成立過程―
    有田洋子, Single work
    風間書房, 30 Jun. 2025
    4759925414
  • 美術教育学叢書２ 美術教育学の歴史から
    責任編集:金子一夫 編者:美術科教育学会美術教育学叢書企画委員会 金子一夫、永守基樹、水島尚喜、相田隆司、直江俊雄、山木朝彦 編集協力・補助:新井哲夫、宇田秀士、岡崎昭夫、有田洋子、牧野由理 著者:金子一夫、赤木里香子、長瀬達也、牧野由理、山田一美、有田洋子、三澤一実、新関伸也、和田学、大泉義一、立原慶一、石﨑和宏、王文純、上山浩、栗山裕至、福田隆眞、福本謹一(A5判・233頁), Contributor
    美術科教育学会,学術研究出版/ブックウェイ, Mar. 2019
    9784865843958
  • 初等図画工作科教育
    監修者:吉田武男 編著者:石﨑和宏、直江俊雄 共著者:内田裕子、有田洋子、栗山裕至、箕輪佳奈恵、光山明、丁子かおる、山田芳明、西尾正寛、渡邉美香、池田吏志、佐藤真帆、中村和世、髙橋文子、市川寛也、森芸恵(B5判・全189頁), Contributor
    ミネルヴァ書房, Nov. 2018
    9784623084173
  • 図画工作･美術科理論と実践 ―新しい表現と鑑賞の授業づくりのために―
    編著者; 池永真義; 共著者; 齋藤亜矢; 藤原梨恵; 辻泰秀; 清田哲男; 渡邉美香; 有田洋子; 石川秀也; 平野智紀; 北野涼; 森田真里亜; 西村德行; 河合俊典; 須増啓之; 朝田章子; 向山和子; 渡辺一洋; 有賀三夏; 飯村浩晃; 西井惠美子; 桐田敬介; 瀧井夏; 花里裕子; 小林大志; 柴田美帆子(A5判・全298頁), Contributor
    あいり出版, Jun. 2016
    9784865550290
  • 図画工作・基礎造形―美術教育の内容―
    編著者:辻泰秀 共著者:有田洋子、池永真義、井坂健一郎、磯部錦司、江村和彦、大泉義一、緒方信行、加藤克俊、栗原慶、小島雅生、齋藤亜矢、佐々木雅浩、佐善圭、佐原理、渋谷寿、白井嘉尚、永江智尚、名達英詔、西岡仁也、勅使河原君江、花輪大輔、葉山亮三、樋口一成、日野陽子、藤原逸樹、堀祥子、水谷誠孝、矢野真、山田芳明、山本政幸(B5判・全209頁), Contributor
    建帛社, Apr. 2016
    9784767950433
  • 造形教育の教材と授業づくり
    監修; 辻泰秀; 編著者; 芳賀正之; 髙橋智子; 藤田雅也; 共著者; 有田洋子; 磯部錦司; 江村和彦; 小江和樹; 桂川成美; 加藤克俊; 加藤可奈衛; 栗山裕至; 小林修; 西村志磨; 濱口由美; 早矢仕晶子; 樋口一成; 山本政幸; 渡邉美香; 高林未央(B5判・全231頁), Contributor
    日本文教出版, Nov. 2012
    9784536600569

Lectures, oral presentations, etc.

Courses

  • Apr. 2022 - Present
    島根大学大学院教育学研究科教育実践開発専攻（専門職学位課程）（教職大学院）)
  • Apr. 2022 - Present
    島根大学大学院教育学研究科教育実践開発専攻（専門職学位課程）（教職大学院）)
  • Oct. 2013 - Present
    島根大学
  • Oct. 2010 - Present
    島根大学
  • Oct. 2010 - Present
    島根大学
  • Oct. 2010 - Present
    島根大学
  • Oct. 2010 - Present
    島根大学
  • Oct. 2010 - Present
    島根大学
  • Oct. 2010 - Present
    島根大学
  • Oct. 2010 - Present
    島根大学
  • Apr. 2016 - Mar. 2022
    島根大学大学院教育学研究科教育実践開発専攻（専門職学位課程）（教職大学院）)
  • Apr. 2016 - Mar. 2022
    島根大学大学院教育学研究科教育実践開発専攻（専門職学位課程）（教職大学院）
  • Oct. 2010 - Mar. 2017
    島根大学大学院教育学研究科（修士課程）
  • Oct. 2010 - Mar. 2017
    島根大学大学院教育学研究科（修士課程）

Affiliated academic society

  • May 2022 - Present, 絵本学会
  • Apr. 2022 - Present, 日本美術教育連合
  • Jul. 2021 - Present, 明治美術学会
  • Apr. 2020 - Present, 芸術学研究会
  • Apr. 2011 - Present, 大学美術教育学会
  • Apr. 2010 - Present, 日本美術教育学会
  • Apr. 2004 - Present, 美術科教育学会

Research Themes

Social Contribution Activities

Academic Contribution Activities