Teaching art

Wolfgang Klafki (left) and Hans Christoph Berg (center) at the teaching piece Pascal's barometer , presented by the later Bernese professor Ueli Aeschlimann (half left) during a Marburg semester on his second dissertation; December 1997

Teaching art or didactics of teaching art is a didactic macro method developed by the Marburg educationalist Hans Christoph Berg and further developed by the Bielefeld pedagogue Theodor Schulze , which stages human issues (“great moments of humanity”) in a culturally authentic manner as a teaching unit . It is based on the teachings of the mathematics and physics didactic Martin Wagenschein ; From the mid-1990s, the Marburg educational didactic specialist Wolfgang Klafki also became a co-developer, whose teachings on categorical education became a supporting pillar.

Conceptual history of the art of teaching

"Lehrkunst" is an old German word for the skill and expertise in the field of teaching and teaching. It is a translation of the Greek word 'διδακτικη τεχνη'. In the 17th century, following Wolfgang Ratke , the term teaching art was more and more replaced by that of didactics . Comenius wrote in his main work Didactica magna in 1638 :

“Dear readers, greetings! Didactics means the art of teaching. "

- Comenius

In 1864 Adolph Diesterweg wrote of a “mastery in the art of teaching”, Otto Willmann wrote an article in 1887 for Rein's encyclopedia “The art of teaching”. Until the development of the teaching arts didactics by name from around 1980, however, the term was largely forgotten.

History of the didactic art didactics

The beginnings of the didactics of the art of teaching are undeclared to be found in Martin Wagenschein's class at the Odenwald School . Wagenschein's approaches are good in the title of his work Teaching Understanding. Genetic - Socratic - exemplarily summarized from 1968. The learner should genetically , i. H. learn on the paths that the discovering researcher also took in his learning process. The teacher uses the Socratic Conversation to stimulate the learner's preconceptions, cognitive dissonances, his (self) critical thinking and, ultimately, his own initiative for practical experiments. This also includes the experience of wrong ways and their detection. After all, the lessons should be exemplary , which means that the "individual, in which one immerses oneself, [...] is a mirror of the whole".

The learner should

"(...) recognize a stranger (...) as an old acquaintance in disguise."

- Martin Wagenschein :

Wagenschein did not postulate that all lessons should strictly follow these principles, but demanded a quota of 10%.

The "prehistory" of didactics of teaching art

Martin Wagenschein, after having been employed in the state school service since 1923, in particular at the Odenwald School, was given a teaching position in 1949 for "Scientific Knowledge Psychology" at the Pedagogical Institute in Jugenheim / Bergstrasse , which lasted until 1972 (from 1963 in Frankfurt) . In the same year (1949) he was invited by the former founder of the Odenwald School, Paul Geheeb, who had emigrated to Switzerland, to attend a guest course at his Ecole d'Humanité in Goldern (now part of Hasliberg ), Canton Bern. Wagenschein gives a lecture on Euclid's proof of prime numbers and documents it in the form of a ten-page lesson report, which was later to be used for the submission of all teaching reports. Berg is said to later describe this report as the “great moment of didactics”, which he perceived as a challenge to the birth of didactic didactics . In 1952 Wagenschein was given a teaching position at the Technical University of Darmstadt , which was to last until 1987.

In 1953, Wagenschein published nature from a physical point of view with the example of the moon and its movement , which was included in Wolfgang Klafki's essay on the educational theory interpretation of modern didactics. from 1959, which follows on from his epochal dissertation from 1957 , is supposed to play the role of a central educational model . At the same time, neither Wagenschein nor Klafki proclaimed a “primacy of the example”, as it should one day become a supporting pillar for teaching. For them, these templates are initially not “directly practicable teaching templates with broad implementation potential”, but only “subordinate examples for higher-level methods and theories”.

From 1956 Wagenschein also worked as an honorary professor at the Eberhard Karls University in Tübingen (until 1978), where he met Hans Christoph Berg for the first time in 1961 as a student teacher. In 1968 Wagenschein's book Understanding was published. Genetic - Socratic - Exemplary , which already has its triad in the title. The term “genetic” now has a meaning that had previously been a partial meaning of “exemplary” for Wagenschein.

In 1970 Hartmut von Hentig invited Wagenschein to the university school of Bielefeld University , where he was supposed to present his teaching method. Wagenschein demonstrates Euclid's hexagonal proof - just not as the assembled teachers would have expected. He remains taciturn and above all doubts the most confident answers. The teachers talk primarily with each other for two hours , while Wagenschein mainly follows , demonstrating what the core process of understanding looks like.

In 1976, Berg followed a call to the Philipps University of Marburg , and soon afterwards began a long-term cooperation with the now emeritus Wagenschein, in which Berg especially studied, analyzed and anticipated Wagenschein and its methods . We didn't learn much after his book . Portrait of a School with a View to Education and Democracy (1976), an opinion for the German-Swedish School Democracy Commission that was not very flattering for the German school system, he recognizes in Wagenschein's methods a possible way out of the educational misery.

The collaboration culminates in the publication of the Wagenschein anthology See and Understand Natural Phenomena. Genetic courses in 1980 by Berg. Wagenschein feels very well understood by Berg, who has taken on the role of "director" for this volume:

"When I walk through the mountain book and overlook it, it seems to me like the highly musical passage of a cloudy and sunny weather, from the bundle of rays, now this, now that place in my landscape into light."

- Martin Wagenschein

Wagenschein's classics in a new light

1983 car license at the legendary demonstration

In 1983, Christoph Berg was very familiar with Wagenschein's methods. Wagenschein's examples are also well known to him - albeit as examples in the sense of examples that underpin one theory and could be replaced by others almost at will. Only after a conference in Darmstadt with the presence and participation of Otto Herz and Horst Rumpf as well as the teachers of two alternative schools , the Glockseeschule and the Freie Schule Frankfurt , where Wagenschein staged an early version of Pascal's barometer , does the focus suddenly change from the method to the example itself .

Wagenschein does not begin with a definition of what pressure is, but with an upturned beer glass, from which the water does not run out when you pull it out of the basin. And at the end of a process drawn from intrinsic questions, there is not primarily a calculation based on formal laws, but a. Evangelista Torricelli's experience that we are moving on the bottom of a “sea of ​​air”.

Immediately after this demonstration, Berg becomes clear:
It is the didactic pieces that lead to knowledge. And they are not accidental and ephemeral, but exemplary in the sense of what has been carefully chosen as best possible . It is precisely these that need to be staged again and again, composing them out and creating a foundation, allowing them to mature into series of lessons that would be suitable for becoming part of curricula.

From this moment a very productive phase begins, in which the existing examples of Wagenschein are staged, supplemented, modified, optimized and composed over and over again. The phase of the first re-enactment of the Wagenschein classics, open to improvisation, which led directly to a modified image of the learning process for the teacher, is what Berg will later refer to as the “Eureka” of teaching art didactics .

Wagenschein had already developed some "teaching examples" in the area of ​​his competence, i.e. physics, mathematics and geography, as templates for teaching pieces, which are exemplarily and genetically based on the path of knowledge of great researchers:

• Euclid's prime number proof (1949; after Euclid )
• The Law of Fall in the Well Beam (1953; after Galileo Galilei )
• The moon and its movement (1953; after Isaak Newton )
• “Flame in the water”. (On dispersion) (1953; after Johann Wolfgang von Goethe )
• The Earth Under the Stars (1955), The Experience of the Globe (1967); Basis for Eratosthenes' celestial clock (after Eratosthenes and Aratos )
• Euclid's Pythagorean Proof (1960); Basis for Pythagoras' triangular squares
• 1st example: Geological history in On the Problem of Genetic Teaching (1965); Basis for weather stones ( geomorphology according to Charles Lyell and Georges Cuvier )
• Discovery of Axiomatics (1968/70/74); Euclid's hexagonal proof
• Pascal's barometer (1978; after Blaise Pascal )

By 2004 alone, around 50 documented productions of Wagenschein's six didactic pieces on the law of fall, barometer, prime numbers, Pythagoras, celestial science and geomorphology are to follow; in May 2005 there will be a total of 66.

"New" classics

Lithograph by Alexander Blaikley (1816–1903) showing Michael Faraday on December 27, 1855 at one of his Christmas lectures, which Prince Albert and Prince Alfred also attended.

Martin Wagenschein himself had already pointed out much earlier that the contents of the Christmas Lecture Lectures on the Chemical History of a Candle ( The Chemical History of a Candle ) Michael Faraday was to find from 1860 in an acceptable format input into the physics and chemistry lessons:

“In Michael Faraday's natural history of a candle, the physical (and chemical) experiences radiate from a single thing. In addition, this thing is a candle:
it attracts the eyes, it rounds the eyes and gathers the heads around it, it arouses reflection in them in a peculiarly gentle way and gives us connections to the whole of physics (of the foreground). Every teacher should know Faraday's candle! "

- Martin Wagenschein (1962)

Wagenschein's remarks are largely limited to physics - which does not seem necessary for a teaching piece. On the other hand, Faraday's frontal lecture, overloaded with experiments, is only genetic to a limited extent . For the lesson, the content must be turned upside down. In the didactic piece Faraday's Candle , several so-called organizational suction questions arise for this act , the third of which could also be understood as the overall suction question of the piece:

• "What actually burns with a candle - the wax or the wick?" (Physical candle)
• "What makes the candle shine?" (Chemical candle)
• "Where does the candle come from, where does it go?" (Biological candle)

There were soon other classics, such as Aesop's fables with a resurrected Aesop , inspired by Gotthold Ephraim Lessing's treatises on the fable , or Linné's meadow flowers based on the young Carl von Linné and freely based on Jean-Jacques Rousseau , which was composed as a didactic piece and be varied.

The art of teaching is "ready for series production"

"Kulturturm" der Lehrkunst, drawing by Theodor Schulze from 1999.
In the foreground, next to Wagenschein and Hausmann (left and right on the ramp) in the first row of seats, you can see Comenius, Rousseau, Gaston Bachelard and Maria Montessori.

In 1995 Berg and Schulze published the book Lehrkunst. Didactic textbook. that could be described as the first “major work” in teaching art didactics. It focuses on the eleven examples , which, according to an introduction by the editors, fill 267 of the 444 pages. Then the concept of teaching art workshops, which has been tried and tested since 1985, is briefly presented and experiences with these are presented. After Berg also gave a brief explanation of the genetic method , Schulze's much-noticed section, over 60 pages long, didactic dramaturgy .

In addition to classics such as Johann Amos Comenius , Adolph Diesterweg and Jean-Jacques Rousseau , Otto Willmann and Gottfried Hausmann also come into focus. Schulze is based on Hausmann's concept of dramaturgy and makes it an essential part of teaching art didactics.

“We know that teaching in the strict sense is not an artistic activity. But we think that it is much closer to the artistic activity than the technological or the organizational and administrative. "

- Theodor Schulze (1995)

Wagenschein's triad Genetic - Socratic - Exemplary becomes the so-called "Method triad " Exemplary - Genetic - Dramaturgical .

So the exemplary moves forward. Berg later formulates it as follows , based on Stefan Zweig's " Great moments of mankind ":

"The teacher would like to try to light up a" great moment of mankind "that is particularly important - for themselves and for others - and to let it shine through and shine through ."

- Hans Christoph Berg (2003)

Genetic still ranks high, with the focus clearly on organic-genetic in the sense of Otto Willmann:

“Not genetically-organic, not from egg to hen, from beech to beech, but the other way around, 'backwards': organic-genetic: from hen to egg, from beech to beech. As far as possible, however, he teaches in the arc of suspense, in the arc of development in between with a constant and double view of both the future form of maturity and the future form of the germ. "

- Hans Christoph Berg (1995)

The Socratic, on the other hand, gives way to the dramaturgical or is generalized to it. Schulze explains:

“(...) Socratic teaching requires great skill, if it is not to fail to lead to a suggestive or nagging challenge. We believe that this is only one possibility of directing by the teacher, and that it is much more important and at the same time easier to involve the students in some kind of action and in this way stimulate them to express themselves and thus a possibility of Review and self-correction. "

- Theodor Schulze (1995)

The Socratic conversation remains an important but not necessary component of teaching arts didactics.

This is followed by a series called Lehrkunstwerkstatt published by Berg and Schulze , the first two editions of which only present three didactic pieces from different subject areas, which are all the more detailed.

The discourse with Klafki

Another, albeit a little younger and for Berg mainly local “classic”, namely Wolfgang Klafki , retired in 1992. Klafki's dissertation from 1957 could well be described as his central “main work”, on which more or less almost all of his much-cited publications are rooted. It sums up categorical education in the study that appeared shortly afterwards . For the educational theory interpretation of modern didactics. together:

"We call education that phenomenon in which we - in our own experience or in the understanding of other people - become immediately aware of the unity of an objective (material) and a subjective (formal) moment."

- Wolfgang Klafki : Categorical Education. For the educational theory interpretation of modern didactics. (1959)

Schulze already picked it up in the Lehrkunst book. In the years that followed, a critical, but very constructive and productive discourse developed between Berg and Schulze on the one hand and Klafki on the other. For the teaching arts workshop I from 1997 he can be won for an introduction.

Ultimately, Klafki - after all, one of the greatest educationalists of the 20th century - has to acknowledge:

“Under the title 'Lehrkunst', Hans Christoph Berg has partly rediscovered and partly interpreted a theoretical and practical context of tradition in German-speaking didactics, which, to name only his previous highlights, from Comenius to Diesterweg and Otto Willmann to Martin Wagenschein and Gottfried Hausmann leads. This tradition is being productively continued by Berg and his cooperation partners, in the interplay of conceptual drafts and testing in school practice by teachers in different, reform-oriented schools. There are m. There is no other direction in German didactics that has achieved the so often demanded cooperation between teaching theory and teaching practice to the same extent, with comparable staying power and with a similar breadth of practitioner groups from different types of schools; This applies above all to the intensity of the detailed planning, repeated several times, the 'dramaturgical' implementation and the varied 'replay' of exemplary teaching units (...) "

- Wolfgang Klafki : Example of highly qualified teaching culture in Lehrkunstwerkstatt I (1997)

Berg could only understand this as an ennoblement.

From 1999 Klafki became co-editor of the Lehrkunstwerkstatt series, and categorical education also became an essential guiding principle in didactics of teaching arts. Klafki becomes the second reviewer of a total of six doctoral theses that followed from the end of the 1990s, see u. One of the first of these is already his second for Ueli Aeschlimann, who will retire in 2017 as a professor at the University of Education in Bern and subsequently an important exponent of the art of teaching. Klafki also accompanies the five-year Marburg doctoral seminar (2001-2006), which is also supervised by Klafki's former student Heinz Stübig .

At the 2003 Lucerne Congress on Teaching Development, Klafki and Berg gave a joint lecture entitled “Education and Teaching Art” , which can be described as “historical” for didactics.

After retiring from research and teaching for a number of years, Wolfgang Klafki died in 2016. His contributions to teaching art didactics, which spanned over a decade, should be among his last major ones.

Expansion of the teaching art treasure

After Wolfgang Klafki (* 1927) finished his last second supervisor for a dissertation in 2007, he largely withdrew from teaching art didactics. Theodor Schulze (* 1926), who was also around 80 at the time, was also quiet, while Hans Christoph Berg (* 1936) remained very active even in retirement and became the sole central exponent of didactics. After a short break in this regard, around one dissertation per year is still accepted.

Berg's goal is to build up as wide a range of teaching arts as possible, encompassing as many subjects as possible , and at the same time to expand his training concept for collegial teaching arts workshops . The teaching art treasure had grown to over 50 teaching pieces by 2017. The chemist and chemistry didactic Günter Baars , professor at the University of Education as well as honorary professor at the University of Bern and since 1995 also the second main author of the standard works by Hans Rudolf Christen, who died in 2011, on general and inorganic chemistry, developed the highly demanding lesson quantum chemistry of colored substances up to 2011 with Heisenberg and Einstein .

Overall, the concept of didactics of the art of teaching has steadily and gradually consolidated into a far-reaching foundation since 1983 and at the same time condensed its principles. Today, the didactic pieces are explicitly interpreted as didactic “works”, and their entirety needs to be expanded into an “opus list” that covers every aspect of learner development. This expansion is well advanced in 2017 - the goal remains to anchor the art of teaching as a didactic method and the didactic pieces as parts of the school curriculum more widely in the school system. The inner core of the didactics of the art of teaching seeks to promote this more and more in alignment with the educational standards set by the ministries of culture, particularly clearly evident in Eyer (2013).

On March 6, 2012, the Lehrkunst.ch association with its headquarters in Trogen was founded; The president is the rector of the Trogen Cantonal School , Willi Eugster , who is now retired and whose school has its own teaching arts workshop, which has written down its many years of work in a book published in 2010. In addition to Berg and Baars, the board also includes the didactic professors Susanne Wildhirt (Lucerne) and Marc Eyer (Bern).

Didactic pieces

The teaching art treasure now consists of over 50 teaching pieces, which, however, are differently developed and also correspond to different degrees to the ideal ideas of teaching art didactics.

In the main work Lehrkunst (Berg / Schulze 1995) 11 didactic pieces were presented and analyzed:

• Eratosthenes 'sky clock (astronomy / physics) -  Eratosthenes ' teachings; according to Aratos and Wagenschein (Daniel Ahrens)
• Poseidon from Cape Artemision ((art) history) - based on the bronze figure of the same name , freely based on Walter-Herwig Schuchhardt (Peter Guttenhöfer)
• Platonic Solids (Geometry / Mathematics) -  Platonic Solids with reference to Plato and Johannes Kepler ; after Arnold Wyss (Beate E. Nölle)
• Aristotle's causes (philosophy) -  Aristotle 's metaphysics ; after Otto Willmann (Klaus Schmitz)
• Euclid's prime number proof (mathematics) - after Euclid and Wagenschein (Wilhelm Werner)
• Local cathedral (religion - architecture - (art) history) - variable (Walter Dörfler)
• The law of fall in the well beam (physics) - after Galileo Galilei and Wagenschein (Hartmut Klein)
• Linnaeus meadow flowers (biology) - systematics Carl von Linnés ; freely based on Jean-Jacques Rousseau (Susanne Wildhirt)
• Aesops Fables (German) -  Fables including Aesops and Gotthold Ephraim Lessing (Katrin Kesten)
• Faraday's Candle (Physics - Chemistry - Biology) - in reference to Michael Faraday 's The Chemical History of a Candle (Eberhard Theophel)
• The village pond as a community (ecology / biology) -  ecology according to Friedrich Junge (Ortwin Johannsen)

Furthermore, based directly on more prominent examples from Wagenschein:

• The moon and its movement (physics) -  Isaac Newton's law of gravitation according to Wagenschein (first staged by Daniel Ahrens)
• Pythagoras' triangular squares (geometry / mathematics) -  Theorem of Pythagoras after Euclid and Wagenschein (first staged by Beate E. Nölle)
• Weather stones (geography) - variable; Geomorphology after Charles Lyell , Georges Cuvier and Wagenschein (first staged by Peter Ungar)
• The discovery of axiomatics on the six-star (geometry / mathematics) - after Euclid and Wagenschein (first staged by Simon Friedrich-Raabe)
• Pascals Barometer (Physics) - after Blaise Pascal (first staged by Ueli Aeschlimann)

Students from Kreuzlingen generating the "daughter flame" in "Faradays candle"

The teaching pieces Heimatlicher Dom and Wettersteine are each adapted to the surroundings of the students. The didactic piece on the cathedral is also based on a work on the Elisabeth Church in Marburg , but deals with the Nuremberg Lorenz Church and has already been applied to village churches in East Westphalia-Lippe . And in the lesson on the weather stones, the Amöneburg plays a leading role in the submontane Marburg area , while this is reserved for the Alpstein in more alpine Switzerland .

The didactic play about the moon movement is currently (March 2017) not listed on lehrkunst.ch, but has been used as an example in physics lessons for decades and is also regularly staged as a didactic play by Daniel Ahrens. The most frequently staged didactic piece is still likely to be the candle, followed by the cathedral.

• See also: List of pieces of teaching art didactics

Guiding principles, methods and components

The teaching art logo of the Hölstein artist and Liestal lecturer Ruedi Pfirter

The logo of the teaching art developed by the Swiss artist Ruedi Pfirter shows two trees between which an enlarged (wal) nut is drawn. This stands for the guiding principle of compressing the “tree” of a “great moment of mankind” into a nut and then unfolding this nut, which stands for the formal teaching piece, into a tree again in the art class.

In addition to the method triad, since Wolfgang Klafki's participation, categorical education has always been included in the analysis of the teaching pieces in the teaching arts workshops. Since May 2003, Berg's teaching art workshops and doctoral seminars have always been examining the educational content in tables and by component for their potential educational content.

In the spring of 2004, Hans Christoph Berg developed a concept with seven composition figures that seemed to stand out in the classics of teaching art didactics. This concept was further developed by Susanne Wildhirt up to 2007, which led to the eight so-called teaching piece components , which in 2017 still belong to the salient features of typical teaching pieces on the one hand and to the common analysis instruments for potential or new teaching pieces on the other.

Method triad

The "method triad" Exemplary - Genetic - Dramaturgical , which is based on Martin Wagenschein's triad Genetic - Socratic - Exemplary , forms the basic foundation of the didactics of teaching art.

Exemplary

As early as 1952, a lecture by Martin Wagenschein was entitled "The 'exemplary teaching' as a way to renew the higher school" , and later works also bear the exemplary in the title. He once wrote:

“The deeper you immerse yourself in a subject, the more necessary the walls of the subject dissolve by themselves and you reach the communicating, humanizing depth in which we as whole people are rooted, and thus are touched, shaken, transformed and thus formed . "

- Martin Wagenschein

The principle of exemplary teaching , primarily means that not every conceivable material is treated, but a well-chosen , the intensively treated and thus a higher digestion of whole classes of knowledge content makes possible. Anyone who has struggled to climb a single mountain peak has learned to climb to a certain extent.

For the art of teaching, it is very important that the examples that have to be penetrated in depth are not just any old ones , but the best possible - for which Hans Christoph Berg's formula from 2003, a “great moment of mankind, shines again in class, illuminates and continues to shine to let ” pleaded emphatically.

It is in the nature of things that the didactic pieces, as further developments and deepening of the examples in Wagenschein's sense , always take up a certain number of lessons from this point of view, usually ten to over twenty.

Genetically

The principle of genetic learning means first and foremost to let knowledge arise in the learner in a manner similar to that which mankind and the first discoverer of this knowledge did.

“The genetic belongs to the basic mood of the pedagogical in general. Pedagogy has to do with what is becoming: with the human being and - in lessons, as didactics - with the development of knowledge in him. "

- Martin Wagenschein

Didactic pieces of teaching art, classified in the spheres of clarity (Marc Eyer 2013; from inside to outside):
1.) Sphere of directly observable phenomena
2.) Sphere of indirectly observable phenomena
3.) Sphere of conceivable models
4.) Sphere of unthinkable Models

Jean Piaget's developmental psychology is also a genetic psychology. Because what it tries to grasp is becoming and process and are not the “mechanical” components and their sum.

An important test question for the genetic is:
"Are the learner's own forces stifled in their growth or are they encouraged in their growth?"

The genetic is understood by Christoph Berg above all in the sense of Otto Willmann , so to speak organic-genetic . The whole is the starting point from which one starts looking for the parts in order to one day arrive at the whole again. This roughly corresponds to the metaphysical point of view that it was hardly the beech nuts "invented" the beech, but rather the other way around.

Genetic learning has no “hourly goals”, but calculates in time spans that enable the learner to grasp what is to be learned. In addition, it is difficult to determine in a standardized form how the process of access should look inside the individual learner. Nevertheless, the individual genesis of the subsequent discoverer will always be more similar to the genesis of the first discoverer and mankind in itself than it induces a hierarchical-systematic structuring.

In your dissertation from 2013, Marc Eyer points out that science teaching in secondary school is mainly dominated by the “conceivable models” , while the learner has often not even penetrated the “directly observable phenomena” and those in between “indirectly observable phenomena "were often not even controlled. And that, although in the individual genesis of knowledge the researchers who opened up the respective field have almost always moved continuously between these spheres. The figure on the right shows an example (and of course only indicated schematically) for teaching pieces in didactics of teaching the typically continuous spectrum for them .

Dramaturgically

Theodor Schulze's greatest merit for teaching art didactics is probably to have brought in the spirit of Gottfried Hausmann . His section Lehrstückdramaturgie in Berg / Schulze (1995), which lasts more than 60 pages , is still up to date after more than 20 years and has remained a much-cited one over the years. But let's start at Hausmann:

“Something that makes me up is a dramatic process; this is not an analogy, but rather educational experiences are, structurally speaking, dramatic. "

- Gottfried Hausmann

Hausmann's sentence seems to literally need the insert “that is not an analogy” in order to be understood in its depth and intention at all. Because “the drama” is only at first glance an “invention” of human beings in order to entertain, touch or manipulate their peers. Rather, it is drama that drives the living being from the very first moment .

A dramaturgically successful teaching piece only has to “force” the learner into a Socratic conversation in individual cases . Because often the dramaturgy already lets the learner ask the questions that lead him closer to understanding. Schulze points out:

“Socratic teaching requires great skill if it is not to turn into a suggestive or shameful questioning. We believe that this is only one possibility for the direction of the teacher and that it is much more important and at the same time also easier to involve the students in some kind of action and in this way stimulate them to express themselves and thus a possibility of Review and self-correction to open up. In this sense, the teaching method is more dramatic than Socratic. "

- Theodor Schulze (1995)

Even before Hausmann, Otto Willmann had described the process-oriented teaching method as a "staging of searching and finding" .

Since a teaching piece is a “work” and the learners should also empathize with historical elements, the learning environment, taking into account the available space, plays a decisive role. Original documents and the appearance of historical characters sometimes lend a very special authenticity, but on the other hand must be used and staged with care.

Where and with which quotes does Faraday appear in the candle lesson? The pure instructions in the original translations of the original natural history of a candle differ from those of the teacher only in their somewhat antiquated language. The few lyrical and pathetic lines of the original, however, are suitable for pausing again after the phase of experimentation and searching and thus ending an act and creating the situation in which the next one can flourish on good ground:

“(...) The flame illuminates the darkness - but the light of the diamond is nothing, it is only there when the ray of a flame falls on it. The candle alone shines for itself and by itself, for those who have arranged their components with one another! "

- Michael Faraday : Natural History of a Candle (1860)

And who better to close the biological candle than the "master" himself with the following words:

“And so we see everything moving towards the one great work, to make the two living kingdoms of creation subservient to one another. All trees, shrubs and herbs on earth take up carbon; they take it out of the air through the leaves into which we and all animals have sent it in the form of coal air, and they grow and thrive in it. Give them completely pure air, as it is most useful to us - they will wither and wither; give them coal air and they will grow and be well. All coal in wood and in plants comes from the atmosphere, which absorbs the coal air, which is harmful to us but useful to others - what would bring death to one, it brings life to another. And so we humans see ourselves not only dependent on our fellow human beings, but dependent on all fellow creatures, we see ourselves connected to the universe of creation to a great whole through the laws according to which each member lives, weaves and creates for the benefit of the other. "

- Michael Faraday : Natural History of a Candle (1860)

As a rule, however, it can only be “played” by the same teacher, who otherwise leads through the piece cautiously and with more caution. As an optical prop, the quickly attached bow tie has proven to be completely sufficient; It is much more important to find the right style and to take breaks. Which is also part of the "art" in teaching .

The more important and situation-appropriate the dramatic elements are used, the more questions arise for the learner himself. The well-thought-out teaching piece is the necessary basis, but since the roles of the students will vary from staging to staging, each “performance” is unique and requires a constantly present “director” in the form of the teacher.

Categorical education

Wolfgang Klafki's epoch-making dissertation from 1957 had taken its course in the aftermath of the Tübingen conversation of 1951, in which Martin Wagenschein was also involved, in an attempt to point out ways out of the educational misery in schools in the post-war years. The Tübingen resolution states:

“ Achievement is not possible without thoroughness, and thoroughness not without self-restraint. Being able to work is more than just knowing too much. Original phenomena of the spiritual world can be made visible using the example of a single object actually grasped by the student, but they are concealed by an accumulation of mere material that is not actually understood and is therefore soon forgotten again. (...)

The penetration of the essentials of the subject matter has absolute priority over any expansion of the material area. "

- Hannes Bohnenkamp , Celle; Wilhelm Flitner , Hamburg; Erwin de Haar , Kleve; Eduard Spranger , Tübingen; Carl Friedrich von Weizsäcker , Göttingen. : Tübingen resolution of October 1, 1951

Classification of the "old" educational theories

When Klafki was writing his dissertation at the end of the 1950s, the pedagogical discussion concentrated “more and more on the problem of the choice of educational content for the various school types and levels” . At that time, the camps of supporters of two educational theories were irreconcilably opposed, each of which could be split up again:

1. Material educational theories
   1. Scientific education ( educational theory objectivism ; based on cultural assets such as moral values, aesthetic content or scientific knowledge)
   2. Classical education (based on "classical" ideals, models and values ​​of the respective people or culture)
2. Formal educational theories
   1. Functional education (based on the formation, development and maturation of the physical, mental and spiritual forces inherent in the human being)
   2. Methodical education (in the acquisition and mastery of various methods to develop the wealth of content)

The material educational theories have in common that they put the object , i.e. the learning content, in the foreground, while the formal educational theories are based on the subject , i.e. the learner.

Klafki discovered and demonstrated that only the dialectical synthesis of both or all four of the four thrusts leads to a real, “categorical” formation and that none of the currents alone can lead to the goal. Educational theory objectivism does not have any pedagogical selection criteria and the learner is "defenselessly exposed" to the cultural content - while classical educational theory has defined criteria, but is not open to new problems, as these often lack the "classic" background. However, the formal education theory neglects the effect of educational content itself and put also a presence of such "internal forces" ahead ; Finally, methodical educational theory relies on the appropriation of value standards, emotional categories and ways of thinking that could not exist without content.

The most important finding of Klafki is that education (in his sense) cannot take place without the learner constantly changing the role between subject and object in a "mutual development".

In his dissertation, Klafki had also compared the four conventional theories of education based on Wagenschein's example The moon and its movement and brought them to a dialectical synthesis, but in later works he placed other criteria in the foreground. Nevertheless, in the teaching arts workshops according to Hans Christoph Berg, the teaching pieces are still dissected in the direction of the four educational theories.

The fundamental, the elementary and the exemplary

According to Klafki, in the categorical formation process “a material and spiritual reality is opened up for a person” and on the other hand “a person is opened up for his reality” . Decisive, however, is to what extent an educational content actually educational content in itself contributes. In his dissertation from 1957, the terms "fundamental" , "elementary" and "exemplary" are in the center, whereby the exemplary in Klafki is not congruent with what Wagenschein or Berg understand by it. Fundamental are fundamental experiences and insights and are closely tied to the subject . In contrast, fundamental facts that point beyond themselves and are able to uncover something general are elementary , which is why they include both the subject and the object side. Exemplary in the Klafkiian sense of 1957 are precisely the content, i.e. objects that are able to uncover the fundamental and elementary.

Test criteria for categorical formation

Klafki's test criteria for the categorical have been modified by him again and again. The main thing is that they typically look something like this:

• Representation for basic issues
• Present and future significance
• Past meaning
• Relation to reality
• Penetrability to the fundamental

In later publications, Klafki paid much more attention to emancipatory aspects.

Sense dimensions of categorical education

At the Lucerne Congress in 2003, Klafki listed five meaning dimensions of general education, which he expanded to six by 2007:

1. Pragmatic dimension
2. Key problems of the modern world
3. Aesthetic dimension (aesthetic perception and design ability)
4. Understanding human issues across epochs
5. Ethical education
6. Movement skills

It cannot be overlooked that the fourth point in particular refers very clearly to didactics of the art of teaching, after Klafki had focused on the key problems in earlier publications. However, depending on the topic, the didactic pieces also serve the other dimensions of meaning to different degrees.

Teaching components

The Lehrstück components are basic features of Lehrstück; Depending on the context, they all appear equally or with different weightings.

A delightful phenomenon

The delightful phenomenon is the starting point of every teaching piece. It corresponds to the principle of the exemplary that, from all the objects that can be examined, precisely those objects are selected that already occupy the learner from within and ask him questions. For example the well-known, on the other hand, enigmatic candle.

Phenomenon-based lessons do not focus on scientific end products such as basic concepts, axioms or theories, but on what the learner perceives in his or her environment from the start .

Organizing pull question

The organizational pull question is a question that the delightful phenomenon seems to pose on its own and that leads through the entire didactic play or at least one act of it:

Where does the bulk of the candle go, where does it come from? ( Faraday's candle , especially act 3)

And what is burning there anyway? (Act 1) What is happening in the flame? (Act 2)

Why doesn't the water run out of the beer glass? ( Pascal's barometer )

Why doesn't the moon fall, why do we only half see it? ( The moon and its movement )

Why did the people dedicate such a magnificent house of God to the humble saints? ( Our home cathedral )

Where does our city mountain get its shape from? ( Weather stones )

Genetic learning is based on a “pull” in the direction of questions that guide knowledge.

I-we balance

It is in the nature of genetic learning that the pull questions and leitmotifs arise and emerge from within the learner , where they must also have space to follow an individual path of discovery. On the other hand, such a process will be sluggish if it is not repeatedly taken in new directions through the Socratic Discussion moderated by the teacher and the reflection by other learners. It is an art to find a meaningful balance between the Socratically leading impulses from the teacher, the impulses of classmates that cannot be calculated in advance and the free inner generation of knowledge. This more or less expresses the somewhat constructed word creation I-We-Balance .

Since the art of teaching does not want to set a fixed path, it is inevitable that completely different solution-finding processes will result within a learning group. On the one hand, these should not be slowed down prematurely by the output of other learners; on the other hand, it can be particularly valuable to compare them with those of other learners after individually comprehended partial solutions.

Wildhirt (2007) gives an example of a final discussion in an 8th class from Nölle (2007), whose students had just followed very different methods of proving the Pythagorean theorem in Pythagoras' triangular squares and who were asked what their “favorite proof” was - what in that early grade is actually remarkable in itself. Such an exchange is ultimately a confirmative to modifying reflection for the ego and creates a new, expanded we , which can be used in immediately following units.

Action developed dynamically from a primal scene

The art of teaching pursues the noble goal of turning a large number of lessons into a dramaturgical unit in which each step grows out of the previous one and in the end the phenomenon that was the starting point of the didactic piece shines in a new light. After a long journey you come back to the place of origin, which is still recognized as this place, but has taken on a lot in shape.

If such a return does not take place, much of what has just been found threatens to be lost again. On the other hand, the start and destination must be sufficiently concise. And the journey must not be a train ride that is safely controlled by a knowledgeable person and in which the traveler can decide for himself what he perceives from the path. Rather, it is a group of gold seekers walking together. And the path taken so far decides which path to follow.

The choice of the primal scene plays an important role in the possibility of the dynamically developing action. Ideally, it triggers an intrinsic search . When, for example, the great Isaac Newton looks at the sickle of the moon and ponders ( The moon and its movement ) or the young Carl von Linné looks at the abundance of flowers and seeks order in this seemingly inexhaustible sub-universe ( Linnaeus' meadow flowers ), students have one graphic expression present, are drawn along and follow their questions from within.

The law of fall in the fountain beam is even named after its primal scene, which is recorded on a drawing by Wagenschein; In Pascal's barometer , the primal scene - the beer glass pulled out of the basin, which here also stands for the delightful phenomenon - runs in variations through the entire didactic piece and is re-enacted in the finale, following the knowledge gained, under changed conditions (resulting vacuum) .

A primal scene that is as authentic as possible favors rediscovering , which limits the explicit learning aid required by the teacher to a minimum.

Original template

The art of teaching wants to light up the “great moments of mankind” again. They are almost always associated with names, often with well-known quotes and anecdotes. It is not for nothing in physics that most units of measurement have the names of the researchers without whom they would not have been named, since without them their effects would not have been known or investigated. The Mendelian genetics in biology bear, similar to Newton's in physics, a researcher name and psychoanalysis is inseparable from Sigmund Freud connected.

The primacy of the original template is all the more justified in the art of teaching that the individual genetic make learning opportunity real to revive moments that truly epochal and categorically have changed their time the world. With Leonardo da Vinci one could say:

"If you can go to the source, you don't go to the water pot."

- Leonardo da Vinci

Of course, complete sources are only open in luck. Sometimes there are only isolated reports and letters, in other cases only source texts whose proximity to the author is documented. If in doubt, these can also be used. The art of teaching does not primarily pursue the goal of reproducing great personalities exactly biographically, but rather to follow the genetic finding process of a culture, an era or a great person.

In Faraday's Candle , Michael Faraday , who was rediscovering himself here , but who in turn pioneered other areas (electrostatics), replaces the Egyptians (physical candle), Robert Boyles and Antoine Laurent de Lavoisiers (chemical candle) and Joseph Priestley (chemical and above all biological candle).

Categorical information

The categorical disclosure is closely linked to the categorical formation and is characterized by the depth of the disclosure. The genesis of education on the basis of the example ideally opens up meaning and knowledge that go far beyond the example. The teaching arts didactics in particular, which claims only a fraction of the total teaching time available over the year, has particularly high demands in this regard.

The candle lesson, which is almost predestined for an analysis in this regard, not only reveals easily observable, but never previously observed phenomena, but also chemical and biological material conversions as such, as well as the existence and functioning of cycles; In the cognitive mechanisms there are sometimes even fundamental ways to get from the phenomenon to the explanation , as is typical for genetic learning. In times around 1860 and earlier, the learner relocates himself to a world that is partly different from ours, acquires practical skills that he can henceforth constantly use on his own initiative and even sensitizes himself to current, on the other hand timeless problems that are highly relevant to humanity such as those of ecology, in order to be aware at the end of the process, in retrospect, that the learning content has also gained in aesthetic terms and that the path of discovery also considerably expands the possibilities of (future) opening up other objects.

Creative activity

A learning process is particularly reminiscent grateful when an object out of it (factory) arises, which the learner himself created has been and remains with him. Anyone who, after having discovered what pressure actually is in Pascal's barometer - or better, how it shapes his environment and world of experience and can also be used constructively, while on the other hand has a restrictive effect - will, through the barometer he built himself at the time, which symbolically carries its own history of origin in itself, again and again, consciously and unconsciously, aware of its gain in knowledge.

The student's own, individually portable "work" is desirable and grateful, but not a mandatory component.

Basic thinking

Thinking about Faraday's candle (Susanne Wildhirt)

It is not far from at the end of a series of lessons to let what has been learned pass the mind's eye again - and of course to bring this into dialogue from the individual to the group. So what speaks against creating a collective work of it by writing and drawing ?

A mother of all mental images , at least those from the didactic arts circles, is likely to have been a poster in DIN A0 that Kirchhainer's pupil of the biology and chemistry teacher Andreas Trepte once created at the end of a staging of Linnaeus' meadow flowers . The school caretaker is said to have been so impressed that he built a frame overnight and hung the poster in the school cafeteria. The students at the teaching arts seminar of Hans Christoph Berg, which was also supervised by Trepte at the time, were also very impressed - but above all the latter applied to Berg himself . What led to the idea of possible all to give didactic plays a thinking pictorial form.

Martin Wagenschein wrote the example of The Law of Fall in the Fountain Beam in his typical, lyrical way:

“ If we now look again at the fountain beam, as it calmly and glitteringly takes its way, we can still see its beauty. But we also see a fine web: fine lines, routes of our thinking, surround and penetrate it and the field of the silently arguing, silently unifying powers around it and in it: the uniformly thrown through space and the square accelerated fall. This takes nothing away from the grace of this ray. It is given to us only once again: we not only look at it, we also think it. "

- Martin Wagenschein (1953)

If such a picture is not painted in words by the master , but put in pictures and collages by the apprentices , the following applies in particular:

• The thought picture helps to summarize the subject matter.
• It stimulates learning reflections and meta-conversations that go beyond the classroom.
• It is designed in such a way that it shows and only what you have dealt with.
• It offers a basic orientation about the range of a topic (according to a thematic map), into which later findings can be fitted.
• It is perceived by the students as meaningful and effective in identifying, especially if its design is integrated into the teaching process. (There may be overlaps with the work-creating activity here.)
• It is suitable for public display and thus makes a contribution to school culture.

Research and Teaching

In the town center, outside the school, the boarding school of the Trogen Cantonal School , in which a teaching arts workshop is also operated

So far, sixteen dissertations on the art of teaching have been written since 1996, thirteen of them at the Philipps University of Marburg alone (see section Dissertations ). In addition to Hans Christoph Berg , who is still active in old age , the art of teaching in Marburg is also taught by the very popular astronomy didacticist Daniel Ahrens, who received his doctorate from Berg in 2005 and is also a co-author of Berg / Schulze (1995). After Wolfgang Klafkis (* 1927, † 2016) and Heinz Stübig (* 1938) who withdrew from teaching, Berg (* 1936) is currently the last teacher in Marburg with venia legendi for dissertations who is involved in the field of teaching art; should he one day retire from teaching for reasons of age, it would be fairly open whether there would be any more Marburg work on the subject. The second reviewer of the ongoing doctoral theses at Berg is the former Klafki and Berg student Susanne Lin-Klitzing , who had temporarily supervised the doctoral seminar and who also promised a deficiency guarantee.

While Berg holds his seminars on teaching art in the form of so-called teaching art workshops , within which every two weeks the students meet in three and a half hour sessions with changing, external and experienced teaching arts didacticians who present new elaborations of proven teaching pieces, Ahrens organizes block seminars in which groups of students independently classics have to prepare and perform under the didactic pieces; In addition, he holds various other seminars on the didactics of Wagenschein.

At the University of Education in Bern , teaching art didactics is represented in particular by the physics didactician and Wagenschein Prize winner (1994) Ueli Aeschlimann (2nd doctorate 1999) and the institute director (secondary level II) Marc Eyer (2nd doctorate 2013). Susanne Wildhirt teaches at the Lucerne University of Education (PhD 2007). Overall, didactics of the art of teaching are much more widespread in Switzerland than in Germany, which also has to do with the special recognition of Wagenschein there.

Andreas Petrik at the University of Halle-Wittenberg and his former teacher Tilman Grammes at Hamburg also teach the art of teaching, limited to the didactics of social science subjects .

Outside of Marburg, too, in various teaching art workshops, mostly coordinated with Berg, the teaching piece lessons are thought through, tested and varied in a collegial manner and often over a longer period of time. Teaching arts workshops exist or have existed on Swiss soil at the Leonhard grammar school in Basel , in Bern , in Liestal / Basel-Land, at the Alpenquai canton school in Lucerne , at the elementary school in Sulgen / Thurgau , at the Trogen canton school in Trogen / Appenzell Ausserrhoden , in Winterthur and in Zurich . In Germany there is a workshop at the Bethel grammar school in Bielefeld-Bethel and one at the very small Raiffeisen school in Wetzlar ; Historically, there was also a teaching arts workshop at the Wilhelm Löhe School in Nuremberg and Herborn , where the Herborn Teaching Art Days took place annually with the participation of the St. Johann Abbey School in Amöneburg .

Some schools also work autonomously with the art of teaching beyond the "orthodox" teaching. In the Steinmühle school home in the south of Marburg, for example, an interdisciplinary consensus was developed among the teachers that certain teaching pieces must be performed on regular project days.

reception

Reviews

In 1995, Ewald Terhart dealt with the books Searchlinien (Berg 1993) and Lehrkunst (Berg / Schulze 1995) in the quarterly magazine Die deutsche Schule ( The German School) of the Education and Science Union . Berg and the teaching art concept sees his review in the tradition of German reform pedagogy following Wagenschein and Hausmann and praises the “content”, in particular the fact that the teaching examples take up the most space. However, he sees a problem for the nationwide feasibility:

“What if someone wants to become a teaching artist - but cannot become one due to individual and / or structural barriers? To rely on artistic ingenuity and at the same time to know that the teaching profession is in fact not an artist's profession in terms of its objective, administrative conditions: this is a certain paradox, which one is faced with, especially when one is convinced of the educational value of artistic teaching. may not close his eyes. "

- Ewald Terhart : The German School , Issue 4/1995

Terhart also criticizes the in his view inaccurate subtitle "Textbook of Didactics" of the second book, but recognizes what the book is in his eyes: a successful plea for an artistic understanding of didactic action.

Gerd Heursen published a seven-part series of articles under the title Unusual Didactics in the journal Pädagogik in 1996, which he then published in book form the following year under the same name. The third of these magazine articles deals intensively with the didactics of teaching art. Heursen classifies the art of teaching as a teacher-oriented didactic. Since it focuses its attention on the ability of the teacher and thus the art of teaching, it is to a certain extent a “master teaching”, but it is above all content-oriented .

“It is not about the completeness of the content - that would correspond more to the traditional understanding of school curricula - but rather about exemplarity . Not about topicality, but about genetic knowledge going to the bottom . Not about the reception of what has been presented, but about self-thinking, self-finding in the Socratic sense. "

- Gerd Heursen : Unusual didactics (3'1996)

On the other hand, Heursen perceives the “human issues” as “a little too far removed and probably too beautiful to be able to bring about a sustainable improvement in current teaching practice” . Finally he demands:

"In any case, the bridge to art teaching, to the development of didactic rules and the development of pedagogical skills must be built as part of being a teacher."

- Gerd Heursen : Unusual didactics (3'1996)

Wilhelm H. Peterßen expressed himself somewhat contradicting himself in 1996 in his textbook general didactics , where the art of teaching is included in an initial overview of the changes in didactics in the 1990s. First of all, it says in particular:

“Undoubtedly, such an understanding of educationally effective teaching is based on the conviction that education is unavailable, but at the same time also on the hope that exemplary ones are better suited than mere singular encounters to trigger the necessary 'double-sided development' that KLAFKI spoke of, and thus to establish education . "

- Wilhelm H. Peterßen : textbook general didactics (1996)

On the other hand, he regrets not having found "any convincing examples of his own for appropriately arranged lessons" , but only "numerous examples of lessons known from educational literature" . In her dissertation from 2007, Beate E. Nölle found that he had "made a mistake" :

“Because the example he cited ' prime numbers from Wagenschein' is actually 'prime numbers, according to Wagenschein' and is therefore not a mere reprise of Wagenschein's example. There is even no model at all for a didactic piece on the Platonic solids , it is a completely new creation. "

- Beate E. Nölle : Car license and teaching skills in mathematical examples (2007)

Curiously, the art of teaching is no longer mentioned in the 6th edition (2001) of Peterßen's book.

In 2001, the Mainz pedagogue Heiner Ullrich dealt with the teaching arts workshops I – III in the renowned journal for pedagogy (Berg / Schulze 1997 and 1998, Berg / Klafki / Schulze 2000). Ultimately he finds:

"Overall, the first three volumes of the 'Lehrkunstwerkstatt' produce an impressive balance sheet and arouse curiosity about the continuation of the company."

- Heiner Ullrich : Journal for Pedagogy, Issue 4 2001

At the same time he warns:

“A prerequisite for a broader educational reception of the teaching art approach and for its further development in the sense of the experimental claim of a critical-constructive didactics is a more objectified and methodically reflected form of the documentation of the teaching pieces (e.g. through transcripts of teaching scenes, teaching and learning diaries, etc.) ). "

- Heiner Ullrich : Journal for Pedagogy, Issue 4 2001

The school pedagogues Meinert A. and Hilbert Meyer - the latter at that time one of the most cited representatives of his guild in the entire German-speaking area - also talked about didactics of the art of teaching in a late discussion of Klafki's work in 2007:

“We assume that the» didactics of the art of teaching «, as it was developed by Hans Christoph Berg and others in cooperation with Wolfgang Klafki and is being promoted, can open up perspectives here (cf. Berg 2003). In his contribution to this volume, Wolfgang Klafki develops the concept of identifying »dimensions of meaning« and shows how far the work on teaching pieces has progressed (pp. 11–28). "

- Meinert A. Meyer, Hilbert Meyer : Wolfgang Klafki. Didactics for the 21st century? (2007)

Representation in standard works and dictionaries

As early as 1999, the didactic Jürgen Wiechmann included teaching as one of 12 teaching methods in his book of the same name, leaving the illustration to the teaching artists Berg, Aeschlimann and Eichenberger. The Lucerne pedagogue and teaching artist Susanne Wildhirt has been co-editor of the book since the 6th edition (2016).

The art of teaching can also be found in other reference and standard works on didactics; so in Rudolf W. Keck's dictionary school pedagogy (depiction by Berg and Schulze) and in Werner Janks and Hilbert Meyer's Didactic Models , which lists the art of teaching as one of eleven general didactic models . The authors see the art of teaching in the tradition of reform pedagogy of the early 20th century. Theodor Schulze's didactic dramaturgy from Berg / Schulze (1995) is discussed in more detail below; elsewhere the authors cite an aphorism from his pen:

"Actually, teaching is nothing more than turning something learned back into learning."

- Theodor Schulze : quoted in Didaktische Modelle , Jank / Meyer (2002), quoted from Schulzes The extraordinary fact of learning (2001)

Herbert Gudjons included the art of teaching in his standard work Pedagogical Basic Knowledge as early as 1995 ; In the current edition (12th edition 2016) it says:

"The Marburg didactic Hans Christoph Berg (Berg / Schulze 1993, 2003) has rediscovered the tradition of the " teaching art " since Comenius (1638), which recultivated many masterpieces from teaching examples and tested them in cooperation with numerous teacher groups and initiatives. He showed that "art" and "science" are not mutually exclusive in didactics. "

- Herbert Gudjons : Basic Pedagogical Knowledge (2016)

Laudation for Schulze

Theodor Schulze (1996), photo by Hilbert Meyer

A rather implicit appreciation of the didactics of the art of teaching comes about when Theodor Schulze receives the Ernst Christian Trapp Prize in 2006, after Klafki in 2002 . Laudator Margret Kraul writes in particular :

“But just“ getting on the track ”is not enough: Theodor Schulze not only tries to capture those invisible learning processes; it also helps bring about learning through art: "teaching art". For him as an educationalist who reads visual impressions, smells and noises from the pictures in Benjamin's “ Berlin Childhood ”, who interprets autobiographies masterfully with all senses and who often complements his explanations visually - for example in funny but apt drawings on the relationship between general didactics and teaching practice - who writes his work in literary language; For him, art - in the broader sense - and didactics are closely related. Just as Wagenschein was once referred to by Nohl as a poet, one must also refer to Theodor Schulze as an artist, who practices "teaching art" in the tradition of Martin Wagenschein and collects appropriate examples: teaching as an activity based on experience , Intuition needed. The confidence that teaching could successfully induce learning and identify learning events is based not least on “remembered learning” of the individual. The way to the autobiographies is obvious.

(...)

When the German Society for Educational Science awards this prize to Theodor Schulze this year, it is referring to (...) his endeavors to combine theory and practice and to implement this connection: in words and works, as in the “Lehrkunst ", (...) and thus honors Theodor Schulze as an outstanding educational scientist and educator who understands education as an art."

- Margret Kraul : Laudation for the 2006 Ernst Christian Trapp Prize winner Theodor Schulze

outlook

In a quarter of a century of development history, didactics of the art of teaching have created a considerable number of teaching pieces, some of which have been tried and tested in detail, have developed a very coherent concept for further training in the teaching arts workshops and are by no means poorly recognized in the professional world. Nevertheless, by 2017 she had not yet succeeded in penetrating the classrooms across the board or even widespread. Critics praise their high artistic and didactic demands, but doubt the large-scale implementation by the "ordinary" teaching staff and consider them almost too beautiful.

The greatest obstacle to further dissemination could be that the art of teaching has developed into a very " orthodox " teaching, which applies fixed and strict standards to itself and thus to all interested parties. While Martin Wagenschein published his examples very freely and in a wide variety of ways and left it in the hands of the teachers what they allowed to flow into their lessons, there are strict criteria for didactic pieces and they are associated with fixed "stage directions". It is only a small group that sets the standards and also decides whether they can be considered fulfilled. A piece developed by two Cologne teachers would initially not be a -  good , optimizable or half-baked  - teaching piece, but none at all . And a short lesson that could be staged in just five lesson hours would, as things stand at the moment, have no chance of ever becoming part of the “teaching art treasure”. A teacher or headmaster, on the other hand, who is interested in the art of teaching, would quickly find that he was implicitly prescribed how the didactic plays were to be staged (and how not ) and in what exact form the internal coordination of the teachers had to look like (and even more so to the outside, to the “pure” teaching of the art of teaching). The art of teaching thus loses much of the option of being an offer .

The art of teaching would certainly be of help if, for example, its teaching pieces were to be disseminated in an (initially) somewhat less exemplary-genetic-dramaturgical variant and the individual teacher even once autonomously used the teaching pieces - or even only parts of them. Whereby the size of the teaching art treasure could even represent an obstacle to dissemination. More than 50 sophisticated and well-declined teaching pieces are supposedly “equally” next to each other, although they are practicable in very different ways. Some can be seamlessly integrated into the compulsory subject and their exemplar only “costs” a few additional lessons, while others deal with optional additional material that requires a two-digit additional number of hours that may not even exist.

Another, not unimportant question, the art of teaching has hardly answered so far:
What actually happens between the teaching pieces?

Even a teacher who wants to incorporate the art of teaching very intensively into their lessons will still have to commit the majority of all lessons rather “conventionally”. What do you fall back on after one lesson and what must be worked out before the other meets the sensible and necessary requirements? What happens in developmental psychology, what is observable and empirically verifiable? After such investigations, are there any reasons to modify the existing concepts?

It is possible that some particularly practicable teaching pieces will be very widespread as "classics" in just a few years if communicated appropriately. Perhaps the art of teaching will remain an island-like art, even according to the preferences of the teachers (the astronomy-loving physics teacher makes the celestial clock, the ecologist among the biology teachers the village pond), but which triggers processes in the students who are allowed to experience them, their profit never gets lost.

It will remain important that the art of teaching succeeds better and better in letting the spirit of Wagenschein and the range of exemplary-genetic-dramaturgical teaching and learning penetrate as far as possible into the classroom. She has already laid a lot of groundwork for this. Perhaps the rest consists in no small part of communication .

literature

classic

• Otto Willmann : Didactics as educational theory according to its relationship to social research and to the history of education. With an introduction by Franz Xaver Eggersdorfer into Otto Willmann's life and work. 1839-1920. Herder, Freiburg i. Br./Basel/Wien 1967.
• Gottfried Hausmann : Didactics as the dramaturgy of teaching. Quelle & Meyer, Heidelberg 1959, DNB 451872959
• Gottfried Hausmann: The dramatic structure of the educational process in school lessons. In: Kurt Strunz : Pedagogical-psychological practice in higher schools. Reinhardt, Munich / Basel 1963, pp. 150-163; DNB 453837271
• Wolfgang Klafki : The pedagogical problem of the elementary and the theory of categorical education (= Göttingen studies on pedagogy . NF booklet 6). Beltz, Weinheim / Berlin 1957, DNB 480765197 (Dissertation University of Göttingen, Philosophical Faculty).
• Wolfgang Klafki: Studies on educational theory and didactics . Beltz, Weinheim / Bergstr. 1963, DNB 452428467 ; in this:
  • First study: education and upbringing in the field of tension between the past, present and future. In: Die Sammlung , 13th year 1958, pp. 448–462.
  • Second study: categorical formation. For the educational theory interpretation of modern didactics. In: Zeitschrift für Pädagogik , 5th year 1959, pp. 386–412.
  • Third study: engagement and reflection in the educational process. In: Zeitschrift für Pädagogik , February 7, 1962, no. 4, pp. 345–374.
  • Fourth study: the problem of didactics. Extended version from: Hans-Hermann Groothoff, Martin Stallmann: Pedagogical Lexicon. Kreuz-Verlag, Stuttgart 1961, DNB 453034608
  • Fifth study: Didactic analysis as the core of lesson preparation. In: The German School. H. 10, 1958, pp. 450-471.
• Wolfgang Klafki: New Studies on Educational Theory and Didactics. Contributions to critical-constructive didactics. Beltz, Weinheim / Basel 1985 (ext. 1991), ISBN 978-3-407-54148-2 .
• Wolfgang Klafki: Education - Humanity - Democracy. Educational science and schools at the turn of the 21st century. Nine lectures . [1993 slightly linguistically corrected typescript of the text version created in 1991 with a few comments added to individual contributions, which - expanded by an introduction by the editor - was published in Japanese translation as: Wolfgang Klafki: Erziehungs - Humanität - Demokratie. Educational science and schools at the turn of the 21st century. Nine lectures. Single and ed. by Michio Ogasawara. Tokyo 1992]. Marburg 1998 (online)
• Renate Riemeck : Classics of education from Comenius to Reichwein. Marburg summer lectures 1981/1982/1983 with source texts. Edited by Christoph Berg, Bodo Hildebrand, Frauke Stübig and Heinz Stübig . Tectum Verlag, Marburg 2014, ISBN 978-3-8288-3431-6 .
• Martin Wagenschein : Physical education and intellectualism . Journal for mathematical and scientific teaching of all school types, (1935) 1, pp. 15–27 ( online reprint PDF; 270 kB).
• Martin Wagenschein: A class discussion on Euclid's theorem about not breaking off the series of prime numbers. Paul Geheeb dedicated. Teaching report from the Ecole d'Humanité 1949; in Wagenschein (1980): pp. 77–83 ( online reprint PDF; 100 kB).
• Martin Wagenschein: The Tübingen Conversation . In: The Pedagogical Province 5 (1951) 12; Pp. 623–628 ( online reprint PDF; 90 kB).
• Martin Wagenschein: The "exemplary teaching" as a way to renew the higher school (with special attention to physics). Lecture at the Institute for Teacher Training in Hamburg on Nov. 26, 1952; extended version Hamburg 1954, DNB 455336245 ; in Wagenschein (1980): pp. 170-194.
• Martin Wagenschein: From a physical point of view, nature. A handout on physical science for teachers of all types of schools. Diesterweg, Frankfurt / Berlin / Bonn 1953, DNB 455336288 , therein
  • The law of fall in the well jet (PDF; 660 kB).
  • The moon and its movement (PDF; 760 kB).
  • “Flame in the water” (PDF; 100 kB).
• Martin Wagenschein: The earth under the stars. A path to the stars for each of us. Oldenbourg, Munich 1955, DNB 455336210 ( online reprint PDF; 530 kB).
• Martin Wagenschein: On the concept of exemplary teaching. Lecture at the conference of the University for International Educational Research in Frankfurt a. M. on “The importance and yield of experimental school work for the German school”, March 15, 1956. In: Zeitschrift für Pädagogik. 1956; exp. Beltz, Weinheim / Berlin 1959, DNB 455336156 ( online reprint PDF; 300 kB).
• Martin Wagenschein: "Exemplary teaching" as a principle that connects subjects: The Pythagorean theorem. Lecture at the conference on "Scientific and humanities cooperation" at the Coburg Academy, March 24, 1960; in Wagenschein (1980): pp. 251-267.
• Martin Wagenschein: Mathematics from the earth (geometry). German Sch., 53 (1961) 1, pp. 5-8.
• Martin Wagenschein: The Pedagogical Dimension of Physics. Westermann, Braunschweig 1962, DNB 455336199 ; individual sections also in Wagenschein (1980).
• Martin Wagenschein: Blackout Knowledge? Science and general education today. Lecture at the Hessischer Rundfunk, July 9, 1965 ( online reprint PDF; 180 kB).
• Martin Wagenschein: On the problem of genetic teaching. Lecture in the seminar for didactics of mathematics at the University of Münster, December 7, 1965 ( online reprint PDF; 330 kB).
• Martin Wagenschein: The Experience of the Globe. Klett, Stuttgart 1967, DNB 740557777 ( online reprint PDF; 400 kB).
• Martin Wagenschein: Teaching people to understand. Genetic - Socratic - Exemplary. Beltz, Weinheim / Berlin 1968, DNB 458561525 , therein
  • Editions from the 4th (1973) contain Wagenschein (1956) and Wagenschein (1965a / b)
  • Editions from the 5th (1975) contain Wagenschein (1974)
• Martin Wagenschein with Agnes Banholzer and Siegfried Thiel: Children on the way to physics. Klett, Stuttgart 1973, ISBN 3-12-928490-7 .
• Martin Wagenschein: Discovery of the Axiomatics. Der Mathematikunterricht, 20 (1974) 1, pp. 52–70 ( online reprint PDF; 480 kB).
• Martin Wagenschein: Save the phenomena! Extended version of a lecture at the "Exempla 75", Congress; “Organism and Technology”, Munich, Easter 1975 ( online reprint PDF; 140 kB).
• Martin Wagenschein: Seeing and understanding natural phenomena. Genetic courses. Published by Hans Christoph Berg. Klett, Stuttgart 1980, ISBN 3-12-928421-4 / hep (Volume 4), Bern 2009, ISBN 978-3-03905-511-1 .
• Martin Wagenschein: Memories for tomorrow. An educational autobiography. Beltz, Weinheim / Basel 1983, ISBN 3-407-83075-0 .

Some of the dissertations (see below) also offer good summaries of the classics. Nölle (2007; pp. 16–105) deals intensively with the development of Wagenschein and Gerwig (2014; pp. 46–71) offers a good short summary of the “basic pillars” Wagenschein, Klafki and Hausmann.

Major works, textbooks

The standard work on the art of teaching is certainly Berg / Schulze (1995); First publications of later additions and refinements of the teaching art principle can be found not only in this subsection, but also in some of the dissertations. The listing is in chronological order.

• Hans Christoph Berg , Heidi Gidion , Horst Rumpf (eds.): Thanks to Wagenschein. Martin Wagenschein on his 90th birthday. Focus issue of the New Collection 4/1986.
• Hans Christoph Berg: Car license reading for the art of teaching (lecture). Kassel 1987; DNB 880797150
• Hans Christoph Berg: School diversity, triple course unit . Study letter from the Distance University / Comprehensive University Hagen 1989; DNB 891466355
• Hans Christoph Berg (with the assistance of Gerold Becker and Georg Pflüger): Lehrkunst . Focus issue of the New Collection 1/1990.
• Hans Christoph Berg, Günther Gerth , Karl Heinz Potthast (eds.): Teaching renewal with Wagenschein and Comenius. Trials of Protestant Schools 1985-1989. Comenius Institute, Münster 1990, ISBN 978-3-924804-41-1 .
• Hans Christoph Berg: Search lines (teaching art and school diversity, volume 1). Luchterhand, Neuwied 1993, ISBN 978-3-472-01519-2 .
• Hans Christoph Berg, Theodor Schulze : teaching art. Textbook of Didactics (Teaching Art and School Diversity, Volume 2). Luchterhand, Neuwied 1995, ISBN 3-472-01520-9 ; most of the course reports can be downloaded from lehrkunst.ch.
• Hans Christoph Berg, Martin Huber: Exemplary teaching. Contributions to university didactics. vdf Hochschulverlag AG at the ETH Zurich (V / D / F), Zurich 1996, ISBN 978-3-7281-2412-8 .
• Wolfgang Klafki : An example of a highly qualified teaching culture. In: Hans Christoph Berg, Theodor Schulze (Hrsg.): Lehrkunstwerkstatt I. Didactics in teaching examples. Luchterhand, Neuwied / Kriftel / Berlin 1997, pp. 13–35, ISBN 978-3-472-03010-2 .
• Hans Christoph Berg: Didactics means the art of teaching, new approaches to teaching (11th Swabian Teachers' Day, October 17, 1998, Ottobeuren school center). BLLV, Thannhausen 1998, DNB 956343449
• Hans Christoph Berg, Theodor Schulze: teaching art. A plea for concrete content didactics. In: New ways in didactics? Analyzes and concepts for the development of teaching and learning , ed. by Heinz Günter Holtappels and Marianne Horstkemper . 5. Supplement 1999 from Die Deutsche Schule. Juventa, Weinheim 1999, ISBN 3-7799-0934-0 , pp. 102-122.
• Hans Christoph Berg: Education and the art of teaching in teaching development. On the didactic dimension of school development. School management manual 106. Oldenbourg, Munich 2003, ISBN 3-486-91203-8 .
• Wolfgang Klafki, Hans Christoph Berg: Education and the art of teaching. Joint lecture at the Lucerne Congress 2003 on teaching development, pp. 64-102 ( reprint in the brochure teaching development - on the status of the discussion PDF; 1.6 MB).
  • Wolfgang Klafki: General education today. Sense dimensions of a present- and future-oriented educational concept. 4. Lecture, pp. 64-78.
  • Hans Christoph Berg: The art of teaching and teaching development. Through collegial teaching arts workshops to the school’s own teaching repertoire. 5th Lecture, pp. 79-102.
• Hans Christoph Berg: Lehrkunstdidaktik - draft and example of a concrete content didactics . Journal of Social Science Education (JSSE) 2004.
• Hans Christoph Berg, Susanne Wildhirt: Thurgauer Lehrstückernte 2004. Collegial teaching arts workshop in the elementary school: A Thurgau pilot model ( teaching arts workshop, Vol. VI ). Heer, Sulgen / CH 2004 ( zip download PDFs, a total of 20 MB).
• Wolfgang Klafki, Karl-Heinz Braun : Ways of educational thinking. An autobiographical and educational dialogue. Reinhardt, Munich / Basel 2007, ISBN 978-3-497-01946-5 .
• Hans Christoph Berg among others: The work dimension in the educational process. The concept of teaching arts didactics. hep (Volume 1), Bern 2009, ISBN 978-3-03905-509-8 ; some of them in the column The mountain calls! Educational examples published in the journal schulmanagement , which can be downloaded from lehrkunst.ch.
• Willi Eugster , Hans Christoph Berg (Ed.): Collegial teaching art workshop. Great moments of mankind in lessons at the Trogen Cantonal School . hep (Volume 3), Bern 2010, ISBN 978-3-03905-510-4 , pp. 115–196 ( Lehrstückführer für Trogen = Eugster / Berg (2010 *); PDF; 3.3 MB).
• Mario Gerwig, Susanne Wildhirt (ed.): The school system should and also wants to be an educational system. Art of teaching didactics in dialogue. Schneider Verlag Hohengehren, Baltmannsweiler 2016, ISBN 978-3-8340-1618-8 .

Dissertations

The following list of dissertations, most of which are available online, is sorted chronologically , reprints are shown indented. Of the total of 16 papers, 13 were presented in Marburg (11 of which are available online) and one each in Hamburg, Berlin and Giessen. Three of the Marburg doctoral students, Aeschlimann ( Bern ), Wildhirt ( Lucerne ) and Eyer (Bern), are now professors at universities of teacher education in Switzerland. Wildhirt's dissertation can also, at least in part, be understood as a textbook from 2007: After lengthy introductory presentations of the teaching art principle (here explicitly supplemented ), “classic” teaching pieces from three different subject areas, one of which she originally staged herself, are composed. Relatively typical are dissertations that contain three (in individual cases five) teaching pieces from a subject area (Aeschlimann, Eyer: Physics; Brüngger, Nölle, Gerwig: Mathematics) or two more or less related (Jänichen: Geography / Physics; Harder: History / German) are introduced, one of which is usually new. The work of the astronomy didactician Daniel Ahrens, who teaches special tasks in Marburg as a teacher , differs significantly from this . This uses the art of teaching to allow the disciplines of astronomy / physics and religion to enter into a didactic dialogue with one another. Andreas Petrik, who received his doctorate from Tilman Grammes in Hamburg, is now a university professor for social studies didactics at the Martin Luther University in Halle-Wittenberg .

• Walter Dörfler: Gothic cathedral and teaching art. The St. Lorenz Church in Nuremberg in exemplary genetic lessons at the Protestant Wilhelm Löhe School in Nuremberg. Marburg 1996 DNB 953820270 ( download of the original dissertation ).
• Heinrich Schirmer: The art of teaching in Goethe's Italian journey. A teaching unit at the Free Waldorf School Uhlandshöhe in Stuttgart as a test. Marburg 1998, DNB 956012248 ( download of the original dissertation )
  • Our Italian trip. Classical staging of Goethe's classic didactic play. In (or =): Hans Christoph Berg, Wolfgang Klafki, Theodor Schulze (eds.): Lehrkunstwerkstatt III. Luchterhand, Neuwied / Kriftel 2000, ISBN 978-3-472-03989-1 .
• Ueli Aeschlimann: With a car license to the art of teaching. Design, testing and interpretation of three teaching examples on physics, chemistry and astronomy using the genetic-dramaturgical method. Marburg 1999, DNB 969920059 ( download of the original dissertation ).
• Dirk Rohde: What does “lively” teaching mean? Faraday's candle and Goethe's plant metamorphosis in a free Waldorf school (= Berg / Klafki / Schulze (Hrsg.): Lehrkunstwerkstatt V ). Tectum, Marburg 2003, ISBN 978-3-8288-8508-0 .
• Hans Brüngger: From Pythagoras to Pascal. Five mathematics lesson pieces as an educational pillar in high school. Marburg 2004, DNB 972483527 ( download of the original dissertation )
  • From Pythagoras to Pascal. Five mathematics teaching pieces as a bridge pillar in the grammar school (Bern teaching pieces 3). Schulverlag, Bern 2005, ISBN 978-3-292-00392-8 .
• Daniel Ahrens: "It is only half visible and yet it is round and beautiful" - investigation into the religious dimension of physics lessons using the example of elementary celestial science. Marburg 2005, DNB 978914600 ( download of the original dissertation ), therein (pp. 278–293):
  • Lippstadt and Cape Town reach for the stars - determination of the size of the earth and the distance to the moon with simple means. Spectrum of Science, Heidelberg 2008 ( download ).
• Andreas Petrik: About the difficulties of becoming a political person. Foundation and testing of genetic political didactics using the example of the didactic piece “Founding a village”. Hamburg 2006
  • The difficulties of becoming a political person. Concept and practice of genetic policy didactics. Budrich, Opladen / Farmington Hills 2007, ISBN 978-3-86649-085-7 .
• Horst Leps: teaching art and politics lessons. Marburg 2006, DNB 979656885 ( download of the original dissertation ).
• Beate E. Nölle: Car license and teaching skills in mathematical examples. Development, testing and analysis of three teaching pieces for geometry lessons. Marburg 2007, DNB 986142735
• Susanne Wildhirt: Designing teaching pieces. Linnaeus meadow flowers, Aesop's fables, Faraday's candle. Exemplary studies on didactic composition theory. Marburg 2007, DNB 989814939 ( download of the original dissertation )
  • Design piece lessons. “You should be able to look into the flame.” Hep (Volume 2), Bern 2008, ISBN 978-3-03905-496-1 .
• Michael Jänichen: Dramaturgy in the teaching piece: celestial clock and terrestrial globe - Howard's clouds - earth exploration with Sven Hedin. A contribution to the theory, practice and poiesis of teaching arts didactics. Marburg 2010, DNB 1010690728 ( download of the original dissertation ).
• Ulrike Harder: didactics of teaching art and Klafki's early educational didactics. Teaching trials in three didactic pieces: Goethe's “Italian Journey” - Athens in the era of Pericles - The Bassermanns. Citizenship in Germany through nine generations. Marburg 2012, DNB 1035627701 ( download of the original dissertation ).
• Marc Eyer: Lehrstück lesson in the horizon of cultural genesis. Didactic didactic composition and staging of Galileo's law of the fall - Pascal's barometer - Fermat's mirror optics. Marburg 2013, DNB 1049818873 ( download of the original dissertation )
  • Didactic teaching in the horizon of cultural genesis. A model for didactic teaching in the natural sciences. Springer, Wiesbaden 2015, ISBN 978-3-658-10997-4 .
• Lawrence Lang: Emotions and Teaching Art. An analysis from a psychological-pedagogical point of view. Berlin 2013, DNB 107069021X
• Jan Veldman: The aesthetic in the teaching art concept. On the importance of dramaturgy and play in art classes. Giessen 2013, DNB 1071606611
  • The aesthetic in the teaching art concept. On the importance of dramaturgy and play in art classes. Athena, Oberhausen 2015, ISBN 978-3-89896-576-7 .
• Mario Gerwig: Understanding evidence. Education through teaching art in mathematics class. Composition, staging and interpretation of three didactic pieces based on Wagenschein's Euclidean examples: discovery of the axiomatics on the sixth star, Pythagorean theorem, non-abortion of the prime number sequence. A contribution to general didactics from a didactic perspective. Marburg 2014, DNB 105837611X ( download of the original dissertation )
  • Understanding proof in mathematics lessons: axiomatics, Pythagoras and prime numbers as examples of didactics of teaching art. Springer, Wiesbaden 2015, ISBN 978-3-658-10187-9 .

Further individual publications

Similar to most dissertations, the following books each contain elaborate presentations of one to three teaching pieces:

• Thomas Haller, Martin Huber: World maps (PDF; 7 MB). TWI Zurich (1996).
• Hans Christoph Berg, Theodor Schulze (Ed.): Lehrkunstwerkstatt I, didactics in teaching examples, with an introduction by Wolfgang Klafki . Luchterhand, Neuwied 1997, ISBN 978-3-472-03010-2
  • Beate E. Nölle: Pythagoras
  • Ueli Aeschlimann: Barometer
  • Peter Ungar: Geomorphology ; P. 133–167 (PDF; 1.9 MB) and P. 168–205 (PDF; 3.6 MB)
• Hans Christoph Berg, Theodor Schulze (Hrsg.): Lehrkunstwerkstatt II: Bernese teaching pieces in the didactic discourse. Luchterhand, Neuwied 1998, ISBN 978-3-472-03621-0
  • Hans Küng: Chemical equilibrium
  • Hans Brüngger: From the cube to the sphere
  • Jörg Peter: Cannon arts
• Hans Christoph Berg, Wolfgang Klafki, Theodor Schulze (eds.); Walter Dörfler et al .: teaching arts workshop IV. Lesson variations: human house - house of God. Luchterhand, Neuwied / Kriftel 2001, ISBN 978-3-472-04728-5
  • Walter Dörfler: Nuremberg Lorenz Church
  • Rolf Pfeiffer: Marburg Elisabeth Church
  • Jan Veldman: St. Janskirche zu Gouda
  • Heinz Hubacher, Hermann Wartenweiler: Bern Minster
  • Jürg Wagenmann: Basel Minster
  • Gunter Ebert, Gerhard Hielscher: Limburg Cathedral
• Draft from 2001 - (DOC; 13 MB)
  • Urs Zurschmiede: Weather stones . Elementary geomorphology according to Wagenschein and Ungar. Pp. 19–28 (PDF; 460 kB).
  • Karl Klenk: Brown times brown gives blue - is that possible? Genetics from Mendel to Morgan to Dolly. Pp. 29-41.
• Thomas Gehring: Production report on the didactic play "Fables according to Lessing". Bern 2003, (PDF; 680 kB).
• Simon Friedrich-Raabe: Wagenschein's six-star. Testing of Wagenschein's genetic-Socratic-exemplary approach in grade 7. Educational examination in mathematics, Marburg 2004.
• Andreas Hohn, Regula Radvila-Hottiger: Dostojewskij: The Grand Inquisitor (Berner Lehrstücke 1). Schulverlag, Bern 2004, ISBN 978-3-292-00356-0 .
• Stephan Schmidlin: Lessing's Nathan the Wise (Berner Lehrstücke 2). Schulverlag, Bern 2004, ISBN 978-3-292-00357-7 .
• Bertrand Knobel, Peter Vogel: Zytglogge - the clockwork (Berner Lehrstücke 4). Schulverlag, Bern 2005, ISBN 978-3-292-00358-4 .
• Hans Brüngger (et al.): Probability calculation with Pascal. hep (Volume 5). Bern 2008, ISBN 978-3-03905-501-2 .
• Mario Gerwig: The "discovery of axiomatics" on the hexagon according to Martin Wagenschein in a seventh grade of high school. Written homework as part of the second state examination for teaching at grammar schools. Study seminar Oldenburg 2011.
• Günter Baars : Quantum chemistry of colored substances with Heisenberg and Einstein. hep (Volume 6). Bern 2011, ISBN 978-3-03905-758-0 .
• Stephan Schmidlin (et al): UAZ - Our evening newspaper. hep (Volume 7). Bern 2012, ISBN 978-3-03905-824-2 .
• Marc Eyer, Ueli Aeschlimann (et al.): Pascals Barometer. hep (Volume 8). Bern 2013, ISBN 978-3-0355-0008-0 .
• Ann-Kathrin Hesse: Presentation, interpretation and didactic development of the didactic piece “The pond as a community”, also with a view to developing skills. Scientific term paper, Marburg 2013 (PDF; 3.1 MB).
• Horst Leps: Lessons in politics lessons. But what is the best constitution? Newsreel, Schwalbach / Ts. 2013, ISBN 978-3-89974815-4 .
• Mario Gerwig, Susanne Wildhirt: Lehrkunstdidaktik . Magazine Der Mathematikunterricht , No. 6/2013, therein:
  • Bernhard Griesser, Hans Brüngger, Mario Gerwig: Zenon's Paradox and the Discovery of Infinity (PDF; 900 kB).

Reviews and summaries

• Herbert Gudjons , Silke Traub: Basic pedagogical knowledge: overview - compendium - study book. 12th, updated edition. Julius Klinkhardt Publishing House, Bad Heilbrunn 2016, ISBN 978-3-8252-4691-4 .
• Gerd Heursen : Unusual didactics. In: Pedagogy , 48th year 1996, issues 1–7 / 8, therein:
  • Didacticus doctus. Teacher-oriented didactics. Book 3, Lehrkunst on pp. 42–45.
• Gerd Heursen: Unusual didactics. Bergmann and Helbig, Hamburg 1997, ISBN 978-3-925836-34-3 .
• Werner Jank , Hilbert Meyer : Didactic models. 5., completely redesigned. Edition. Cornelsen scriptor, Berlin 2002, ISBN 978-3-589-21566-9 .
• Rudolf W. Keck , Uwe Sandfuchs , Bernd Feige (Hrsg.): Dictionary school pedagogy. A reference work for studies and school practice. 2nd Edition. Klinkhardt, Bad Heilbrunn / Obb. 2004, ISBN 978-3-7815-1172-9 ; in this:
  • Hans Christoph Berg, Theodor Schulze: teaching art.
• Meinert A. Meyer , Hilbert Meyer : Wolfgang Klafki. Didactics for the 21st century? Beltz, Weinheim / Basel 2007, ISBN 978-3-407-25461-0 .
• Margret Kraul : Laudation for the 2006 Ernst Christian Trapp Prize winner Theodor Schulze. In: Erziehungswissenschaft , 17th year, issue 33 (2006) (PDF; 33 MB), pp. 95–99; German Society for Educational Science .
• Wilhelm H. Peterßen : Textbook general didactics. 5th, revised. and exp. Ed., Ehrenwirth, Munich 1996, ISBN 978-3-431-02561-3 .
• Ewald Terhart : Review of Suchlinien (Berg 1993) and Lehrkunst (Berg / Schulze 1995). In: Die deutsche Schule , Volume 27, Issue 4 1995, pp. 519–521.
• Heiner Ullrich : Lehrkunstwerkstätten I – III (Berg / Schulze 1997 and 1998, Berg / Klafki / Schulze 2000). In: Journal for Pedagogy , Issue 4 (2001) ( PDF ; 1.0 MB), pp. 609–618.
• Jürgen Wiechmann (Ed.): Twelve teaching methods. Diversity for practice. Beltz, Weinheim / Basel 1999, ISBN 978-3-407-25222-7 ; in this:
  • Hans Christoph Berg, Ueli Aeschlimann, Astrid Eichenberger: Lehrstück lesson. Exemplary - genetic - dramaturgical.
• Jürgen Wiechmann, Susanne Wildhirt (Ed.): 12 teaching methods. 6th edition. Beltz, Weinheim / Basel 2016, ISBN 978-3-407-25741-3 ; in this:
  • Susanne Wildhirt, Michael Jänichen, Hans Christoph Berg: Lehrstück lesson ; Pp. 110-128.

Web links

• lehrkunst.ch , website of the association
• Interview with Hans Christoph Berg (April 2015; Georg Pflüger, Raiffeisen School Wetzlar) →  Video

Footnotes

1. ↑ cf. Berg / Schulze in Keck / Sandfuchs / Feige (2004)
2. ↑ see Wagenschein (1968)
3. ^ Wagenschein (1966): On the concept of exemplary teaching
4. ↑ see Wagenschein (1980), p. 141
5. ↑ cf. Gerwig (2014), p. 74
6. ↑ cf. Eugster / Berg (2010), p. 320, and Gerwig (2014), p. 74
7. ↑ cf. Car license (1953)
8. ↑ s. Klafki (1959)
9. ↑ Berg in 2013, cited in Gerwig (2014), p. 74
10. ↑ cf. Nölle (2007), p. 30 ff
11. ↑ cf. Gerwig (2014), p. 75, referring to von Hentig's biography from 2009
12. ↑ cf. Berg (1976) in the article on Hans Christoph Berg
13. ↑ cf. Gerwig (2014), p. 75
14. ↑ cf. Wildhirt (2007), p. 7
15. ↑ ^{a b} Euclid's proof of prime numbers on lehrkunst.ch; Wagenschein (1949) (PDF; 100 kB); Werner in Berg / Schulze (1995), pp. 154–179 (PDF; 180 kB); Brüngger (2004) , pp. 75-112; Gerwig (2014) , pp. 208-270
16. ↑ ^{a b} The law of fall in the fountain beam on lehrkunst.ch; Wagenschein (1953) (PDF; 660 kB); Klein in Berg / Schulze (1995), pp. 211–232 (PDF; 260 kB); Eyer (2013) , pp. 146-222
17. ↑ ^{a b} Wagenschein: The moon and its movement (1953) (PDF; 760 kB); discussion of educational theory in Klafki (1959) = second study in Klafki (1963); the lesson based on it is not listed on lehrkunst.ch, but is part of Daniel Ahrens' regular repertoire; there is also a design by Marc Eyer; Distance to the moon in Ahrens (2006/2008)
18. ↑ Wagenschein: "In the water flame" (1953) (PDF; 100 kB)
19. ↑ ^{a b} celestial clock and terrestrial globe on lehrkunst.ch; Wagenschein: The Earth under the Stars (1955) (PDF, 530 kB); Wagenschein: Mathematics from the earth (geometry). (1961) ; Wagenschein: The Experience of the Globe (1967) (PDF, 400 kB); Ahrens in Berg / Schulze (1995), pp. 65-90 ; Aeschlimann (1999) , pp. 121-193; Aeschlimann / Bühler / Schaufelberger in Berg / Wildhirt (2004), pp. 121–156 (PDF, 1.9 MB); Ahrens (2005) , pp. 13-72 and pp. 185-255; Berg column (2008) (PDF; 240 kB); Jänichen / H. Aeschlimann / Meier in Eugster / Berg (2010 *) (PDF, 3.3 MB), pp. 43–44; Jänichen (2010) , pp. 101-184
20. ↑ ^{a b c} Pythagoras' triangular squares on lehrkunst.ch; Wagenschein (1960); Nölle in Berg / Schulze / Klafki (1997); Brüngger (2004) , pp. 25-74; Hensinger et al. in Berg / Wildhirt (2004), pp. 83-94 (PDF; 1.0 MB); Nölle (2007), pp. 154-217; Gerwig (2014) , pp. 154–207
21. ↑ ^{a b} Geomorphology according to Wagenschein on lehrkunst.ch; Wagenschein (1965) (PDF; 330 kB), pp. 4–9; Ungar in Berg / Schulze (1997), pp. 133–167 (PDF; 1.9 MB) and pp. 168–205 (PDF; 3.6 MB); Zurschmiede (2001) - draft, pp. 19–28; (DOC; 13 MB); H. Aeschlimann / Meier in Eugster / Berg (2010 *) (PDF, 3.3 MB), pp. 4–5.
22. ↑ ^{a b} Evidence with Euclid on lehrkunst.ch; Wagenschein: Discovery of Axiomatics (1974) (PDF; 480 kB); Friedrich-Raabe (2004); Gerwig (2011); Gerwig (2014) , pp. 97–153
23. ↑ ^{a b} Pascal's barometer on lehrkunst.ch; Aeschlimann in Berg / Schulze (1997); Aeschlimann (1999) , pp. 15-61; Eyer (2013) , pp. 79-145; Eyer / Aeschlimann (2013)
24. ↑ cf. Wildhirt (2007), p. 7 and p. 23
25. ↑ See Wagenschein (1962), p. 203 of the 4th edition.
26. ↑ ^{a b} Faraday's candle on lehrkunst.ch; see also Theophel in Berg / Schulze (1995), pp. 283–304 (PDF; 340 kB); Aeschlimann (1999) , pp. 62-120; Wild herdsman v. a, in Berg / Wildhirt (2004), pp. 37–82 (PDF; 3.2 MB); Wildhirt (2007) , pp. 220-299; Berg column (2007) (70 kB); Trepte et al. in Eugster / Berg (2010 *) (PDF, 3.3 MB), pp. 12–13.
27. ↑ ^{a b} Aesop's fables on lehrkunst.ch; Kesten in Berg / Schulze (1995), pp. 263–281 (PDF; 330 kB); Gehring (2003) (PDF; 680 kB); Wildhirt / Wohlfender / Schaufelberger / von Erlach in Berg / Wildhirt (2004), pp. 157–190 (PDF; 2.9 MB); Wildhirt (2007) , pp. 151-219; Schläpfer / Gehring in Eugster / Berg (2010 *) (PDF, 3.3 MB), pp. 28–30.
28. ↑ ^{a b} Linné's meadow flowers on lehrkunst.ch; Wildhirt in Berg / Schulze (1995), pp. 233-261; Schaufelberger / Hensinger / Suhner in Berg / Wildhirt (2004), pp. 62–120 (PDF; 3.3 MB); Wildhirt (2007) , pp. 69-150; Trepte / Spannring in Eugster / Berg (2010 *) (PDF, 3.3 MB), pp. 6–8.
29. ↑ cf. Berg / Schulze (1999), p. 104
30. ↑ cf. Berg / Schulze (1995)
31. ↑ cf. Berg / Schulze (1995), p. 53
32. ↑ cf. Mountain (2003)
33. ↑ see Berg / Schulze (1995), p. 357
34. ↑ cf. Berg / Schulze (1990), p. 381
35. ↑ cf. Aeschlimann (1999)
36. ↑ cf. Klafki (1959) in Klafki (1963), p. 43
37. ↑ cf. Klafki (1997)
38. ↑ cf. Klafki / Berg (2003)
39. ↑ cf. Baars (2011)
40. ↑ cf. Berg et al. (2009) or, in short, Eyer (2013), p. 10
41. ↑ cf. Eyer (2013), pp. 24–34 as well as sample evaluations there
42. ↑ cf. Eugster / Berg (2010)
43. ↑ see Berg / Schulze (1995)
44. ↑ The local cathedral on lehrkunst.ch; Dörfler in Berg / Schulze (1995), pp. 182–209 (PDF; 190 kB); Dörfler 1996 ; div. in Berg / Klafki / Schulze (2001)
45. ↑ For the original see literature in the article on Friedrich Junge - it was published as early as 1885; The village pond as a community on lehrkunst.ch; Johannsen in Berg / Schulze (1995), pp. 305–327 (PDF; 400 kB); Schaufelberger in Berg / Wildhirt (2004), pp. 225–242 (PDF; 1.5 MB); Hesse (2013) (PDF; 3.1 MB)
46. ↑ According to a table drawn up by Berg in May 2005, at that point in time there were already 37 productions documented by 12 different teachers about the candle and 26 by 6 teachers about the cathedral, cf. Wildhirt (2007), p. 23.
47. ↑ Biography of Ruedi Pfirters on artworks-readsal-ch
48. ↑ cf. Wild Shepherd (2007)
49. ↑ cf. Wildhirt (2007); P. 36
50. ↑ cf. Vehicle license (1952/1954)
51. ↑ about Wagenschein (1956/1959)
52. ↑ cited in Jänichen (2011), p. 21
53. ↑ cf. Berg (2003), p. 35
54. ↑ cited in Jänichen (2011), p. 23
55. ↑ see Eyer (2013), p, 46
56. ^ Berg in Berg / Schulze (1995), p. 359
57. ↑ cited in Jänichen (2011), p. 25
58. ↑ see, Berg / Schulze (1995), p. 381
59. ↑ cf. Willmann (1967), p. 505
60. ↑ cf. Car license (1951)
61. ↑ cf. Klafki (1959) in Klafki (1963), p. 25
62. ↑ for details see Klafki (1959) in Klafki (1963), pp. 39-41 or, shorter, Wildhirt (2013), p. 19
63. ↑ cf. Klafki (1959) in Klafki (1963), p. 43; very similar formulations can also be found in Klafki's later books
64. ↑ Wildhirt (2007) uses precisely these criteria in the analysis of her staging of the didactic play Faradays Kerze in relation to the categorical information, cf. P. 282
65. ↑ see Klafki / Berg (2003) and Klafki / Braun (2007); the fifth dimension is not mentioned in 2003, the sixth is only mentioned in passing.
66. ↑ Please note that Klafki's and Berg's lecture in Lucerne was also to be seen as an advertising event for the art of teaching!
67. ↑ see Nölle (2007), pp. 201–203
68. ↑ That applies at least to the reworking by Marc Eyer, see Eyer (2013).
69. ↑ Wildhirt (2007) points out that Wagenschein himself used a modification of this quote
70. ↑ cf. Wildhirt (2007), p. 35 and Trepte / Spannring in Eugster / Berg (2010 *), ill. P. 7 below
71. ↑ cf. Wagenschein (1953), The Law of Fall in the Well Beam
72. ↑ As an exception, the following points have been taken over verbatim from Wildhirt (2007), p. 46
73. ↑ ^{a b} Daniel Ahrens , own website about his teaching at the University of Marburg
74. ^ Susanne Lin-Klitzing at the University of Marburg
75. ↑ cf. Gerwig 2015, p. 355 ( Google Books search )
76. ↑ Invitation to the exam and doctoral colloquium Teaching Art and Education in the Stream of Tradition - and Today 2015 (PDF; 150 kB)
77. ↑ ^{a b} Ueli Aeschlimann at the PH Bern, Memento from February 2017
78. ↑ ^{a b} Marc Eyer ( Memento of the original from February 13, 2017 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. at the PH Bern 
79. ↑ ^{a b} Susanne Wildhirt at the PH Lucerne
80. ↑ ^{a b} Andreas Petrik at the University of Halle-Wittenberg
81. ^ Tilman Grammes at the University of Hamburg
82. ↑ see Berg / Schulze (1998)
83. ↑ see Berg / Schulze (1995), pp. 329–346
84. ^ Mathematics teaching pieces at the Alpenquai Cantonal School in Lucerne
85. ↑ see Berg / Wildhirt (2004)
86. ↑ see Eugster / Berg (2010)
87. ^ Bielefeld teaching arts workshop at the Bethel grammar school
88. ^ "Teaching Art Treasure" of the Raiffeisen School in Wetzlar
89. ↑ see Berg (Schulze, 1995), pp. 329–346
90. ^ The subject of project teaching in secondary level I in the Steinmühle school home
91. ↑ see Terhart (1995), p. 521, and Nölle (2007), p. 147/148
92. ↑ cf. Heursen (1996), p. 43, and Nölle (2007), p. 149
93. ↑ cf. Heursen (1996), p. 45, and Nölle (2007), p. 150
94. ↑ cf. Peterßen (1996), p. 84, and Nölle (2007), p. 152
95. ↑ still Peterßen (1996), p. 84, and Nölle (2007), p. 152
96. ↑ cf. Nölle (2007), p. 152
97. ↑ cf. Nölle (2007), p. 151 (at the footnotes)
98. ↑ cf. Ullrich (2001), p. 617, and Nölle (2007), p. 150
99. ↑ cf. Ullrich (2001), p. 617/618, and Nölle (2007), p. 150
100. ↑ cf. Meyer / Meyer (2007), p. 151
101. ↑ cf. Keck / Sandfuchs / Feige (2004)
102. ↑ see Jank / Meyer (2002), p. 37.
103. ↑ cf. Jank / Meyer (2002), p. 311
104. ↑ in Berg / Schulze (1995) pp. 361-420
105. ↑ p. 111
106. ↑ p. 42
107. ↑ p. 37
108. ↑ cf. Nölle (2007), p. 152
109. ↑ Gudjons means here 1995 , since he explicitly cites “Textbook of Didactics” as a subtitle in the bibliography; however, puzzlingly, he dated “Vol. 2 "to the year 2003.
110. ↑ cf. Gudjons / Traub (2016, p. 253
111. ↑ Note: The quote below only lists one , the fourth, of five main points of appreciation. The other four are not related to teaching.
112. ↑ cf. Kraul (2006, pp. 97–98 and p. 99
113. ↑ List of dissertations on lehrkunst.ch
114. ↑ Dissertation list for "Hans Christoph Berg" at the University of Marburg - but just as little contains the dissertations where the name of the doctoral supervisor is not tagged (Dörfler, Aeschlimann) as the non-archived (Rohde, Nölle).
115. ↑ In the 6th edition of 2001, teaching is no longer mentioned.