- NSS learning and teaching strategies in Visual Arts Critical dialogue and critical writing (I) All rights reserved
(2006-2007)
(modernism)
强 强
/ Contextualism Freudianism and Psychoanalysis (Formalism)
Phenomenology Marxism Feminism
Semiotics sign signifier signified Structuralism Deconstruction
Brillo, 1964 AndyWarhol, 1928-1987 Plywood boxes with serigraph and acrylic Boxes: 43.2 x 43.2 x 35.6 cm each National Gallery of Canada Woman Holding a Balance Vermeer, 1632-1675 c.1664 Oil on canvas 40 x 36 cm National Gallery of Art, Washington, DC
Osborne (1955, 1970) Weitz (1972)
Broudy (1972) 啓 (enlightened cherishing) ( aesthetic communication) (Broudy, 1951, 198) (Broudy, 1951, 198)
Barkan(1962, 1966) & Munro(1956) Alloway(1975) Coleman (1979, 202)
Feldman(1973, 50) (informed talk about art) Feldman (1994)
-- (Wolff & Geahigan, 1997) (Wolff & Geahigan 1998 194-195)
(comprehensive)
(art-based) (responding to art) (visual literacy) (Childers, et al., 1998; Tucker, 2002) -- -- -- -- -- -- (Feldman, 1994) (Wolf & Geahigan, 1994)
Danto (1981, 1982, 1992); Jeffers (2003) -- (intertextuality) -- (collaborative interpretation) -- (2004 63)
(2004 67)
( ) -- -- -- -- -- -- -- -- -- --
( ) -- -- -- -- -- -- -- -- -- --
(Hirst, 1997)
(Feldman, 1994) (Tucker, 2002) (technical language) (Barnet, 2000) (plausible) (coherent) ( rhetorically effective) Barnet(2000, 24)
(description) -- -- (a data-gathering process) (Barrett, 1994, 22) -- -- (subject matter and content)
-- (internal information) 1) (subject matter) (the persons, objects, places, and events in a work of art) (Barrett, 1994, 23) 2) (medium) 3) (form) (Barrett, 1994, 22) -- (external information)/ (contextual information)
(visual elements) (design principles) (intelligent seeing) Tucker(2002, 25) (vocabulary) (Tucker, 2002)
Barrett(2003) 麽 Danto(1981) Sullivan, (2005, 18)
1950 18
Barrett(1994, 71-78) 19 (principles of interpretation) (aboutness) ( )
= + + + Barrett(2003, 198)
(visual text) (intertextuality) (the death of the author) (Barthes, 1977) (who is an author) (Foucault, 1984) (reception theory) (Elkins, 1996)
1) ( ) 2) 3) ( 4) ( ) 5) ( ) 6) ( ) 7) 8) ( 9) Feldman(1994, 35)
(criteria) (Barrett, 1994)
( ) 1) ( ) 2) ( ) 3) / ( ) 4) / ( Feldman(1994)
(interdisciplinary)
(art-based) (in art) (about art) (discourse)
Hirst(1997, 10) Tucker(2002, 118-129)
Tucker(2002, 118-129)
1) (well-structured) -- 2) (semi-structured) -- 3) (ill-structured) --
(essential questions) -- (in art) -- (about art) / (subsidiary/secondary questions) --
(guiding questions) -- --
Hirst(1997, 70-76) (comparative analysis or comparison questions) (argument or pro-con debate or argumentative questions) (organization around key ideas or key ideas on a key issue questions) (first-hand experience)
Hirst, (1997, 78)
Hirst (1997, 84-85) (focus) (integrate) (develop) (be specific) (address) (have a particular point of view)
Hirst(1997, 96) 1) 2) 3)
-- -- 覧 -- -- -- --
/ (Guernica )
1) 2) 3) 4) 5) 6) 7) 7) 8) 9)
10) 11) 12) 13) 14) 15) 16)
1. Barnet, S. (2000). A short guide to writing about art (6th ed.). New York: Longman. 2. Barrett, T. (1994). Criticizing art: Understanding the contemporary. Mountain View, CA: Mayfield Publishing. 3. Barrett, T. (1997). Talking about student art. Worcester, MA: Davis Publishing. 4. Barrett, T. (2003). Interpreting art: Reflecting, wondering, and responding. New York: McGraw- Hill. 5. Butler, C. (2002). Postmodernism: A very short introduction. Oxford: Oxford University Press.
6. Feldman, E. (1994). Practical art criticism. Upper Saddle River, NJ: Prentice Hall. 7. Hirst, E. P. (1997). Writing about art. South Melbourne: Addison Wesley Longman. 8. Tucker, A. (2002). Visual literacy: Writing about art. New York: McGraw-Hill. 9. Wolff, T. E., & Geahigan, G. (1997). Art criticism and education. Urbana, Ill:University of Illinois Press. 10.Wolff, T. E., & Geahigan, G. (1998)
11. (2001) 敎 12. (2000) 11-28 13. (2004) 敎 敎 ( ) 14. (2001),
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