Art in education : identity and practice / by Dennis Atkinson.

Enhanced descriptions from Syndetics:

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.

Table of contents provided by Syndetics

• 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)
• Part 1 Interpretation and Practice (p. 15)
• Chapter 1. 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)
• Chapter 2. Semiotics, Hermeneutics and Observational Drawings (p. 47)
• Chapter 3. 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)
• Chapter 4. Experience and the Hermeneutics and Semiotics of Visuality (p. 79)
• Perspective and Visual Representation (p. 84)
• Visualities of Difference (p. 86)
• Part 2 Identity and Practice (p. 93)
• Chapter 5. 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)
• Chapter 6. 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)
• Chapter 7. 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 (p. 151)
• Narrative 2 (p. 153)
• Narrative 3 (p. 155)
• Narrative 4 (p. 156)
• Part 3 Difference and Practice (p. 159)
• Chapter 8. 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)
• Chapter 9. Experience and Practice: Theorising New Identifications (p. 185)
• Consequences of the Critique of Experience of Art in Education (p. 188)
• End Piece (p. 194)
• References (p. 197)
• Subject Index (p. 203)
• Name Index (p. 205)