By Evelyn Arizpe, Morag Styles
This publication describes the interesting result of a 12 months research of kid's responses to modern picturebooks. youngsters of fundamental college age, from a variety of backgrounds, learn and mentioned books by way of the award-winning artists, Anthony Browne and Satoshi Kitamura. They then made their very own drawings based on the books.The authors stumbled on that kids are subtle readers of visible texts, and may be able to make experience of advanced pictures on literal, visible and metaphorical degrees. they may be able to comprehend varied viewpoints, examine moods, messages and feelings, and articulate own responses to picturebooks - even if they fight with the written word.With color illustrations, and interviews with the 2 authors whose books have been incorporated within the research, this booklet demonstrates how vital visible literacy is to kid's figuring out and improvement. basic and Early Years academics, literacy co-ordinators and all these drawn to kid's literature will locate this an enthralling learn.
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Additional resources for Children Reading Pictures: Interpreting Visual Texts
1989: 28) Langer had already discussed the power of the image and how it works on the human psyche back in the 1940s in her important work, Philosophy in a New Key. In a later book she elaborates: ‘The exhilaration of a direct aesthetic experience indicates the depth of human mentality to which that experience goes. What it does to us is to formulate our conceptions of feeling and our conceptions of visual, factual and audible reality together. It gives us forms of imagination and forms of intuition itself.
There are very complex questions which should prompt educational theorists to take a closer look at the pedagogical process of talking about pictures as a The theory of visual literacy 43 translational problem. … A primary feature of looking and seeing is silence. ’ Benson goes on to suggest that the arts would not exist if all meanings could be adequately expressed by words. ’ After analysing the metapictorial beliefs of young children, Benson wonders whether the ‘ambiguity and multiple references’ produced by art objects can result in ‘the sort of intellectual tension that leads to a growth in understanding’ (1986: 134–8).
He goes on to say that the most successful picturebooks seem to be those in which ‘unity on a higher level’ emerges from pictures and written texts which are noticeably fragmentary and whose differences from each other are a significant part of the effect and meaning of the whole (1988: 199–200). It is the differences between words and pictures that make us reinterpret each in the light of the other; this led Nodelman to theorise that their relationship is mainly ironical. However, as KümmerlingMeibauer points out in her detailed exploration of irony in picturebooks, the picture–text relationship is not always ironical, it only applies to some instances of the genre.