... Carlos in Barnes's The Bewitched, Perowne in Williams's AC/DC and Badger
in Bite or Suck. His critical writings include Howard Barker: Politics and Desire (
1989), David Rudkin: Sacred Disobedience (1997), English Drama Since 1940 (
2003), Theatre of Catastrophe (as co-editor, with Karoline Gritzner, 2006) and
Howard Barker: Ecstasy and Death (forthcoming for Palgrave Press, 2008/9).
LURKING TRUTH/GWIR SY'N LLECHU THEATRE COMPANY Artistic policy: - To
About the ...
This book reviews past practice and theory in critical studies and discusses various trends; some papers keenly advocate a re-conceptualisation of the whole subject area, while others describe aspects of current and past practice which exemplify the "symbiotic" relationship between practical studio work and critical engagement with visual form. Rod Taylor, who has done much to promote and develop critical studies in the UK, provides us with examples of classroom practice and gives us his more recent thoughts on fundamental issues – "universal themes" in art – and gives examples of how both primary and secondary schools might develop their teaching of art through attending to themes such as "identity," "myth," and "environments" to help "re-animate the practical curriculum." Although some of the discussion in this book centres on or arises from the English National curriculum, the issues are more global, and relevant to anyone involved in developing or delivering art curricula in schools. An American perspective is given in papers by George Geahigan and Paul Duncum. Geahigan outlines an approach to teaching about visual form which begins with students' personal responses and is developed through structured instruction. In Duncum’s vision of ‘visual culture art education’ sites such as theme parks and shopping malls are the focus of students' critical attention in schools; Nick Stanley gives a lucid account of just such an enterprise, giving practical examples of ways to engage students with this particular form of visual pleasure. This publication serves to highlight some of the more pressing issues of concern to art and design teachers in two aspects. Firstly it seeks to contextualise the development of critical studies, discussing its place in the general curriculum – possibly as a discrete subject – and secondly it examines different approaches to its teaching.
Richard Hickman Debate within art and design education over the past 50 years
has followed broadly the debates within education in general. Of particular
significance has been that concerning apparently opposing educational
philosophies based on subject- centred approaches and student-centred
approaches. These differing, sometimes polarised views are at the heart of any
discussion about the function of visual art in education and are two approaches
which determine the ...
This Collection of fourteen essays by eleven different authors demonstrates the increasing breadth of enquiry that has taken place in art and design education history over the past two decades, and the expanding range of research models applied to the subject. The essays are grouped into six sections that propose the emergence of genres of research in the field - Drawing from examples, Motives and rationales for public art and design education in Britain, Features of institutional art and design education, Towards art and design education as a profession, Pivotal figures in the history of art and design education, and British/European influence in art and design education abroad. The rich diversity of subject matter covered by the essays is contained broadly within the period 1800 to the middle decades of the twentieth century. The book sets out to fill a gap in the current international literature on the subject by bringing together recent research on predominantly British art and design education and its influence abroad. It will be of specific interest to all those involved in art, design, and art and design education, but will equally find an audience in the wider field of social history. Contents include: • Drawing from examples • Motives and rationales for public art and design education in Britain • Features of institutional art and design education • Towards art education as a profession • Pivotal figures in the history of art and design education • British/European influence in art and design education abroad
Chapter 4: Social Class and the Origin of Public Art and Design Education in
Britain: In Search of a Target Group Mervyn Romans Introduction The first school
of design had opened in London in 1837. Between then and 1852, when Henry
Cole and Richard Redgrave took charge of the system, a further 21 had opened
around the country. But who were these schools of design for? Who was to
benefit from an art and/or design education in post 1837 Britain? If an answer to
this question ...
"Although educators are increasingly interested in art education research, there are few anthologies tackling the subject. Research in Art & Design Education answers this call, summarizing important issues in the field such as non-text based approaches and interdisciplinary work. Contributions from internationally renowned researchers explore a broad range of topics in art education, highlighting particular problems and strengths in the literature. The collection features examples of research projects previously published in the International Journal of Art & Design Education. An indispensable and engaging resource, this volume provides a long-awaited aid for students and teachers alike."--PUBLISHER'S WEBSITE.
This collection of papers attempts to give an overview of the current state of
research in art and design education, as indicated by their publication in the
International Journal of Art & Design Education (iJADE). All phases of art &
design education are addressed – from pre-school to higher education. In
addition to those originally published in iJADE, several chapters have been
commissioned especially for this book, notably those by Kristen Ali Eglinton,
Anne Bamford and Rachel ...
Brian De Palma is perhaps best known as the director behind the gangster classic Scarface. Yet as ingrained as Scarface is in American popular culture, it is but one of a sizeable number of controversial films--many of which are consistently misread or ignored--directed by De Palma over his more than four-decade career. In Un-American Psycho, Chris Dumas places De Palma's body of work in dialogue with the works of other provocative filmmakers, including Alfred Hitchcock, Jean-Luc Godard, and Francis Ford Coppola with the aim of providing a broader understanding of the narrative, stylistic, and political gestures that characterize De Palma's filmmaking. De Palma's films engage with a wide range of issues surrounding American political and social culture, and this volume offers a rethinking of the received wisdom on his work.
The effect is not quite parodic: the film is filled with gags, all of them deadpan and
each operating at a different register (visual, aural, narrative/structural, linguistic,
even the strictly generic), but it is clear that the mobilization of the central ...
