Abstract:The National Curriculum is bringing a systematic attention to the place of language in the teaching and learning of Art, but may be suppressing some of the liveliness of language in art. Art teaches a specialist vocabulary with benefits beyond the art lesson, but there are dangers (and opportunities) in the use of words in art which have different meanings elsewhere. Art rooms have traditionally promoted a rich variety of language uses, but new pressures could lead to formulaic didactic lessons with too little… Show more
“…The answer perhaps has to do with language: societal metaphors are pop ularised for a period, until another expression replaces them. 7 However, words are prisons, as well as searchlights and pigeonholes, for what we see (Stibbs, 1998). Metaphors and linguistic 'accidents' have a historical habit of referring to something objectively real when it is not (Smith and O'Keefe, 1996).…”
Section: Disaster Resilience: a Paradigm Or Expression?mentioning
The intimate connections between disaster recovery by and the resilience of affected communities have become common features of disaster risk reduction programmes since the adoption of The Hyogo Framework for Action 2005-2015. Increasing attention is now paid to the capacity of disaster-affected communities to 'bounce back' or to recover with little or no external assistance following a disaster. This highlights the need for a change in the disaster risk reduction work culture, with stronger emphasis being put on resilience rather than just need or vulnerability. However, varied conceptualisations of resilience pose new philosophical challenges. Yet achieving a consensus on the concept remains a test for disaster research and scholarship. This paper reviews the concept in terms of definitional issues, the role of vulnerability in resilience discourse and its meaning, and the differences between vulnerability and resilience. It concludes with some of the more immediately apparent implications of resilience thinking for the way we view and prepare for disasters.
“…The answer perhaps has to do with language: societal metaphors are pop ularised for a period, until another expression replaces them. 7 However, words are prisons, as well as searchlights and pigeonholes, for what we see (Stibbs, 1998). Metaphors and linguistic 'accidents' have a historical habit of referring to something objectively real when it is not (Smith and O'Keefe, 1996).…”
Section: Disaster Resilience: a Paradigm Or Expression?mentioning
The intimate connections between disaster recovery by and the resilience of affected communities have become common features of disaster risk reduction programmes since the adoption of The Hyogo Framework for Action 2005-2015. Increasing attention is now paid to the capacity of disaster-affected communities to 'bounce back' or to recover with little or no external assistance following a disaster. This highlights the need for a change in the disaster risk reduction work culture, with stronger emphasis being put on resilience rather than just need or vulnerability. However, varied conceptualisations of resilience pose new philosophical challenges. Yet achieving a consensus on the concept remains a test for disaster research and scholarship. This paper reviews the concept in terms of definitional issues, the role of vulnerability in resilience discourse and its meaning, and the differences between vulnerability and resilience. It concludes with some of the more immediately apparent implications of resilience thinking for the way we view and prepare for disasters.
“…He notes: Turning art experience into language also carries its danger… So a vocabulary which is provided by a teacher rather than invented or adapted by a pupil may constrain and regiment our seeing and interpreting . (Stibbs , 203)…”
Section: Reasoning and Arguments On The Practice Of Teaching And Assementioning
confidence: 99%
“…There has been some discussion of possible disadvantages to using language to teach art interpretation. In the UK, Stibbs () discussed some possible dangers of turning art experience into language, although he agreed that words could help reveal the qualities of an artwork. His concern was that teachers might teach students particular vocabulary in art interpretation and so might limit their ideas.…”
Section: Reasoning and Arguments On The Practice Of Teaching And Assementioning
Art education in Hong Kong has undergone various changes in response to educational reform. In art assessment, a major change in the Hong Kong New Senior Secondary (NSS) Curriculum is the inclusion of art criticism as a compulsory component of the new public examination. Assessing students’ abilities to interpret art in an art criticism public examination context is a critical issue in Hong Kong because the new senior secondary curriculum and assessment has brought attention to the role of written language in the art examination paper. This means the examination assesses not only students’ abilities to interpret art, but also their language abilities required to respond to art in written form. Since this new mode of assessment of art criticism has been published a number of issues have appeared. Recent studies show that teachers and students perceive this development negatively and they believe that the written format will assess students’ written language abilities rather than their critical abilities. These findings challenge the justification of the new art assessment policy and raise questions about the role of written language in responding to art. This article aims to raise the issue of the marriage between language and art criticism in the Hong Kong public examination context. It argues and examines the relationship of language to art interpretation, reasoning in the assessment, and issues in the public art criticism examination context. The issues addressed in this article provide opportunities for researchers and policy makers to reconsider and refine the new form of examination.
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