Art in Education: Identity and PracticeSpringer Science & Business Media, 2005 M12 28 - 206 páginas MEMORY SEED My introduction to teaching art began in September 1971 when I took up a post as art teacher in a secondary school in the West Riding of Yorkshire. Apart from my desire to survive and establish myself amongst students and staff I remember holding firm ideas about what I should be teaching. In relation to drawing and painting I had clear expectations concerning practice and representation. Students’ art work which did not correspond to these I rather naively) considered as weak and in need of correction. I assumed wrongly that when students were making paintings and drawings from observation of objects, people or landscape, they should be aiming to develop specific representational skills associated with the idea of ‘rendering’ a reasonable likeness. I was reasonably familiar with the development of Western art and different forms of visual representation and expression and I knew, for example, that the projection system perspective is only one and not the correct rep- sentational system for mapping objects and their spatial relations as viewed from a particular point into corresponding relations in a painting or drawing. Nevertheless I still employed this mode of projection as an expectation or a criterion of judgement when teaching my students. |
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... whilst Piaget (1950, 1956) on the other hand stressed the internal evolving cognitive processes that facilitate learning. Thus whilst Vygotsky's work provides a socio-cultural model of learning and development, Piaget proposes a ...
... whilst Piaget (1950, 1956) on the other hand stressed the internal evolving cognitive processes that facilitate learning. Thus whilst Vygotsky's work provides a socio-cultural model of learning and development, Piaget proposes a ...
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... whilst the former pays little attention to social processes the latter questions the idea of individual agency. The position I wish to adopt is one in which whilst it is difficult to deny that reality and our understanding of it is a ...
... whilst the former pays little attention to social processes the latter questions the idea of individual agency. The position I wish to adopt is one in which whilst it is difficult to deny that reality and our understanding of it is a ...
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... , only provide information of two-dimensional shapes, whilst others such as isometric projections or linear perspective, depict information about three-dimensional form. The way in which I am using the term signification 17 CHAPTER ONE.
... , only provide information of two-dimensional shapes, whilst others such as isometric projections or linear perspective, depict information about three-dimensional form. The way in which I am using the term signification 17 CHAPTER ONE.
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... Whilst it is possible to argue that when used for specific purposes certain projection systems in drawing convey information more effectively than others, for example, an engineering drawing contains information for a specific purpose ...
... Whilst it is possible to argue that when used for specific purposes certain projection systems in drawing convey information more effectively than others, for example, an engineering drawing contains information for a specific purpose ...
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Contenido
1 | |
42 | 42 |
SEMIOTICS HERMENEUTICS | 47 |
THE SEMIOTICS OF CHILDRENS DRAWING | 57 |
EXPERIENCE AND THE HERMENEUTICS | 79 |
IDENTITY AND PRACTICE | 93 |
IDENTITY AND PSYCHOANALYSIS | 113 |
THE FIELD OF ART IN EDUCATION | 137 |
DIFFERENCE AND PRACTICE | 159 |
THEORISING | 185 |
REFERENCES | 197 |
iii | 200 |
SUBJECT INDEX | 203 |
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Términos y frases comunes
according argue art and design art education art in education assessment discourse Chapter child children and students conception concerned consider constitute constructed contrast Curriculum for Art depicted Derrida’s described discourses and practices discursive practices discussed drawing and painting drawing in Figure drawing system drinking straw employed epigenetic landscape epistemology essentialist example experience explore field of art forms of practice Foucault frameworks GCSE glass hermeneutic strategies idea identification ideological individual interpretation invoke Lacan language learners linear perspective meaning metonymic narrative National Curriculum normalising notion objects objet petit oblique projection observational drawing ontological pedagogic pedagogised identities perception perspective points de capiton positions possible post-structural power-knowledge produced projection reality recognise refer semiosis semiotic practice semiotic strategies shape signifier social and cultural socio-cultural student’s art practices student’s drawing symbolic capital symbolic order teaching and learning theory tion traditional understanding visual representation visual semiotic Warlpiri whilst