Handbook of Research on Teaching Literacy Through the Communicative and Visual Arts

Flood, James F.; Lapp, Diane; Heath, Shirley Brice

doi:10.4324/9781410611161

Cited by 27 publications

(26 citation statements)

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“…Hillis Miller's book Illustration remains a seminal example of literary theory applied to illustration. A preponderance of material on children's picture-books and literacy (Cary 2004;Flood et al 2007) or cultural representation makes me grateful for work on other illustrated texts. But here it seems there is a fondness for works of high literature such as that of Henry James.…”

Section: The Scholarship-of Domainmentioning

confidence: 98%

Netting jellyfish: A point of view on illustration research from the United States and Canada

Grove

2012

Journal of Writing in Creative Practice

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As researchers in illustration continue to develop what some call 'illustration theory', the need for a meta-perspective grows. What is illustration research? Who is doing it? Why are we doing it, and how? What opportunities, needs and pitfalls exist? Focussing on activity in The United States and Canada, this article offers a conceptual model of 'illustration research' in which three domains of current activity are surveyed: that of practitioners, that of connoisseurs and that of scholars. Strengths and weaknesses of each area are discussed, and suggestions regarding purpose and needs are made. A reference list representing work from the three domains follows. 'Illustration research' as a discipline is completely new in the United States and Canada, although the compiling of knowledge about illustration in its modern form has been going on since Victorian times. Keywords illustration research theory United States Canada conceptualization field history scholarship Jaleen Grove 288As an illustration historian, I see illustration research's promise is to focus and galvanize disparate activities by illustrators, collectors, historians, scholars and other stakeholders in a manner that will define and give purpose to the profession of illustration in a way not seen since the Golden Age, when William Morris redefined design and Howard Pyle unified and dignified illustration. But times have changed: Pyle and Morris never had to contend with marketers and scientists waving fMRI data, for instance. 'Unity' and 'dignity' will not manifest as they did back then, any more than we shall see heroic figures like Pyle or Morris able to change the entire field singlehandedly. Plurality will prevail, and illustration research, as an emerging discipline, can allow multiple points of view to mingle, to sort out just what is happening in the manufacture and consumption of images past and present.Mind you, input from those who know nothing of the creative practice of illustration but who write on it anyways will disrupt our artistic self-conceptions and egos, as they did in the past. It will be one of our chief challenges as creative practitioners to welcome conversations between disciplines, rather than to wall ourselves into our studios, sullenly commiserating with each other about how ridiculous the art world has become. That is approximately what happened around 1950, when TV and better reproductive techniques for photography came along, coupled with a swing in fashion towards abstract art and critical media theory. When illustrators left the conversations with gallery-art people about what constituted 'art', and when they failed to defend themselves against academics' attacks that equated commercial art solely with mass manipulation and corporate exploitation, illustrators effectively silenced themselves and laid the profession open to ravage. Morris and Pyle would have been so disappointed in their heirs, but it is not all illustrators' fault: academics and fine artists had retracted the ivory tower drawbridge and were not liste...

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Section: The Scholarship-of Domainmentioning

confidence: 98%

Netting jellyfish: A point of view on illustration research from the United States and Canada

Grove

2012

Journal of Writing in Creative Practice

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“…Quality community building is predicated on this shared knowledge, that students understand classroom expectations, assignments, and deadlines are critical to ensure a smooth running, and wellmanaged classroom environment. Students are part of the in-group of people (Flood, Heath, & Lapp, 2005) and can understand their community culture because of their 'emic,' or insider point of view.…”

Section: Classroom As Community or Culturementioning

confidence: 99%

Ethnography of Communication in Praxis in the Literature Classroom

Hepburn¹

2016

JIR

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Ethnography of Communication (EOC) is a communication approach that stresses the need for understanding speech codes in order to create shared understanding and meaning within a cultural community. Speech codes are "a historically enacted socially constructed system of terms, meanings, premises and rules, pertaining to communicative conduct" (Gudykunst & Mody, 2002, p. 56). Communicative conduct refers to a communal conversation that is culturally distinctive and uses language heuristically (p. 59). EOC, when used alongside mediated communication such as audio, video, and web-based tools can enhance the student learning experience and provide learners with the opportunity to deepen their understanding of the -diated contexts provide more than an add-on tool to help learners appreciate other cultures when situated within communication. Mediated communication can develop cultural sensitivity and even allow students the opportunity to experience an insider's view of the cultural heritage, the language differences, as well as the patterns of speech often found in ethnically diverse literature. This article suggests that an applied communication approach using Dell Hymes' framework, Ethnography of Communication, could serve as an intervention strategy to promote a greater sense of shared community by increasing member-shared knowledge based on speech codes, speech acts, and speech events within the college literature curriculum.The structure of this article includes three parts. First, I will introduce ethnography as a historical qualitative research method and demonstrate the validity of the method in deepening appreciation for the cultural environment. Second, I will present the applied communication framework of Ethnography of Communication and describe how this framework functions to enfold and empower speech acts, speech events, and speech situations within select speech communities. Third, I will use an inventive case study to demonstrate how applied communication in the literature curriculum could serve to increase student interaction, understanding, and speech codes.

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“…Visual literacy is multifaceted, and our visual sense is a strong component of how we as humans learn and remember (Flood, Heath, and Lapp 1997;Vallance 1999). Many types of visuals can be used to further learning.…”

mentioning

confidence: 99%

“…Students today go beyond this basic ability and demonstrate the acquirement and understanding of new knowledge when they interpret and comprehend visual information from television and computer screens (Flood, Heath, and Lapp 1997). Classroom teachers do not always incorporate visual literacy into their classroom practice, however.…”

mentioning

confidence: 99%

Another Way of Knowing: Visualizing the Ancient Silk Routes

Bisland

2010

The Social Studies

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Handbook of Research on Teaching Literacy Through the Communicative and Visual Arts

Cited by 27 publications

References 0 publications

Netting jellyfish: A point of view on illustration research from the United States and Canada

Netting jellyfish: A point of view on illustration research from the United States and Canada

Ethnography of Communication in Praxis in the Literature Classroom

Another Way of Knowing: Visualizing the Ancient Silk Routes

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