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Titel och upphov Art in education : identity and practice
Utgivning, distribution etc. Kluwer Academic Publishers , Dordrecht ; Boston ; 2002 : 2002
Utgivningsår
SAB klassifikationskod
Fysisk beskrivning
Serietitel - biuppslagsform
Nummer i serie
Anmärkning: Bibliografi etc. Includes bibliographical references and indexes.
Term
ISBN 1-4020-1084-2 1-4020-1084-2
Antal i kö:
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*035 $a(Ko)33958
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*1001 $aAtkinson, Dennis,$d1947-
*24510$aArt in education :$bidentity and practice /$cby Dennis Atkinson
*260 $aDordrecht ;$aBoston ;$a2002 :$bKluwer Academic Publishers ,$c2002
*300 $a[2], ix, 206 s. :$bill.
*440 $aLandscapes ;$vv. 1
*504 $aIncludes bibliographical references and indexes.
*650 4$aArt
*650 4$aStudy and teaching (Elementary)
*650 4$aArt
*650 4$aStudy and teaching (Secondary)
*650 4$aArt in education.
*650 4$aArt students
*650 4$aPsychology.
*650 4$aSemiotics.
*650 4$aPedagogisk metodik
*650 4$aTeaching - Methodology
*697 $cPedagogisk metodik
*8520 $hEabi
*950 $aEntreprenöriellt lärande
*950 $aPedagogisk metodik
*950 $aFlexibelt lärande
*950 $aPedagogisk metodik
*950 $aIndividualiserad undervisning
*950 $aPedagogisk metodik
*950 $aObservation (pedagogik)
*950 $aPedagogisk metodik
*950 $aSokratiska samtal
*950 $aPedagogisk metodik
*950 $aTvåspråkig undervisning
*950 $aPedagogisk metodik
*950 $aDidaktik
*950 $aPedagogisk metodik
*950 $aUndervisningsmetodik
*950 $aPedagogisk metodik
*950 $aMetodik
*950 $aPedagogisk metodik$xpedagogik
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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.
Acknowledgements p. vii About the Author p. ix Introduction p. 1 Memory Seed p. 1 Theories of Learning p. 5 Learning Theory in Art Education p. 6 Representation and Signification p. 8 Identity and Difference p. 9 The Idea of Experience p. 10 Outline of the Book p. 12 Interpretation and Practice p. 15 Semiotics and Hermeneutics p. 17 Introduction p. 17 Semiotics p. 18 The Saussurian legacy p. 19 The Peircian legacy p. 21 Metonymy and metaphor in drawing practices p. 26 Hermeneutics and the Problem of Interpretation p. 28 Phenomenology and hermeneutics p. 29 Hermeneutic circle p. 30 Hermeneutic Strategies p. 32 Hermeneutics of reproduction p. 33 Hermeneutics of dialogue and tradition p. 35 Phenomenological hermeneutics: narrative and textuality p. 36 Hermeneutics of emancipation p. 38 Gadamer, Habermas and Ricoeur: a summary of implications for art in Education p. 40 Post-Structural Hermeneutics p. 42 Surveillance, regulation and power p. 42 Dissemination, deconstruction and differance p. 44 Summary p. 45 Semiotics, Hermeneutics and Observational Drawings p. 47 The Semiotics of Children's Drawing Practices p. 57 Language Games, Drawing Games p. 62 Drawings from Australia p. 66 Children Drawing Objects p. 67 Mystery p. 76 Summary p. 77 Experience and the Hermeneutics and Semiotics of Visuality p. 79 Perspective and Visual Representation p. 84 Visualities of Difference p. 86 Identity and Practice p. 93 Constructions of Identity p. 95 The Truman Show p. 95 Changing the Subject p. 96 Althusser p. 98 Foucault p. 98 Normalisation p. 99 Discourse p. 100 Discourses of Normalisation and Identification in Art Education p. 102 Power-Knowledge p. 104 Video Sequence p. 109 Identity and Psychoanalysis p. 113 Lacan: The Imaginary, the Symbolic and the Real p. 114 The imaginary p. 114 The symbolic p. 116 The Other is always lacking p. 117 The Other and marginalized identifications p. 118 The subject of discourse and the subject of desire: a rapprochement p. 119 The Ambassadors p. 121 Assessment and the pedagogised other p. 121 Pedagogised identities: inclusion and exclusion p. 124 Identity and objet petit a p. 125 Point de capiton p. 126 Fetishism, assessment and identity p. 129 Identity and the Real p. 131 Summary p. 134 The Field of Art in Education p. 137 Recent Pedagogies for Art Education in England p. 138 The National Curriculum for Art in England p. 140 Bourdieu's Notions of Field and Habitus p. 145 Change in the Field p. 147 Chreods and Epigenetic Landscapes p. 148 Teacher and Learner Identities in the Field of Art Education p. 151 Narrative 1 p. 151 Narrative 2 p. 153 Narrative 3 p. 155 Narrative 4 p. 156 Difference and Practice p. 159 Experience, Difference and Practice p. 163 Forms of Life p. 163 Two Narratives p. 164 Practice and Change p. 167 Experience and Experiencing p. 169 Difference p. 172 Students' Work p. 173 Experience and Practice: Theorising New Identifications p. 185 Consequences of the Critique of Experience for Art in Education p. 188 End Piece p. 194 References p. 197 Subject Index p. 203 Name Index p. 205