Art is in museums, well protected by walls of critics, ready to rebuke any curious
uninformed person about art. Awe and respect are the attitudes required to look at a piece
of art; to appreciate its value, one may need knowledge related to history and aesthetics.
The cult of the sacred has for long dominated artistic thought to the extent that when
people now hear the word ‘art’, they are afraid to advance any argument in fear to
displease the initiated. With such received ideas, art has become more distant to people.
The idea that Tolstoy aimed to disseminate about art as constituting the bridge between
people’s feelings sounds unfeasible at present. The universality that art could demonstrate
lingered in museums visited by people from here and there. Such ideas hampered
students from getting in touch with works that could offer them other ways of looking
and construing the world around them. Alexandre Blok (1906), a Russian painter once
said that “painting teaches one how to look and how to see” (p. 24).
Indeed, to look, to see, to perceive, and to observe are different ways of appreciating
any work of art. Looking at a picture and pondering about its meaning is observing its
traits and perceiving its artistry. Verbs related to sight often entail examination,
inspection, scrutiny, study, and appraise. Whether the viewer is initiated to visual literacy
or not, the picture grabs his or her attention and impels understanding. No matter how
simple or sophisticated the result is, the act is nonetheless productive. Pictures provoke
thoughts as words do. Their judicious use in literature teaching may enhance the
interpretive abilities of students.
This thesis postulates that the use of visual art in the literature class can enhance
students’ understanding of literary works and movements. It can also trigger imagery and
therefore generate interpretations. However, it is important to underline the word ‘use’ in
contrast with the word ‘study’. This thesis is mainly concerned with the use of images in
literature teaching and learning, but not with the study of images as the latter is often
subsumed under an art syllabus. This study analyzes images against works of literature
with the purpose of facilitating understanding, spurring imagery, and therefore generating
interpretations. Therefore literature is the main focus of study but not art.[...]
Inhaltsverzeichnis (Table of Contents)
- Introduction
- Chapter One: Background to the Study
- a- A Brief Review of Literature
- b- Defining Terminology
- c- The Rationale of the Study
- Chapter Two: Visual Art and Literature
- a- Theoretical Basis
- b- Painting and Literature
- c- Photography and Literature
- Chapter Three: Case Studies
- a- When We Dead Wake vs “The sick child”
- b- A Walk in the Night vs “Apartheid”
- c- “The open boat” vs “Brig upon water”
- d- “The hollow men” vs “The portrait of Ambroise Vollard”
- Implications for Teaching Literature
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This thesis aims to demonstrate the effectiveness of using visual art in literature classes to enhance student understanding and interpretation. It posits that the judicious use of images can trigger imagery and generate interpretations, thus improving comprehension of literary works and movements. The study focuses on the *use* of images in teaching and learning, not their academic study as a separate art form.
- The relationship between images, imagery, and imagination in literary interpretation.
- Parallel analyses of literary and visual art movements (Classicism, Romanticism, Modernism).
- Case studies exploring the interplay between specific images and literary works.
- The role of visual thinking and visual styles in literary comprehension.
- Pedagogical implications of integrating visual art into literature teaching.
Zusammenfassung der Kapitel (Chapter Summaries)
Chapter One: Background to the Study: This chapter lays the groundwork for the thesis. It begins with a review of existing literature on media-based techniques in literature teaching, examining the use of film and static images. It then clarifies key terminology, differentiating between "picture," "image," "painting," and "photograph," and further distinguishing between literal, perceptual, and conceptual images. Finally, it introduces the core theoretical framework of the thesis, outlining the circular relationship between image, imagery, and imagination as a generator of interpretations. This relationship is explored through the lens of visual thinking and the historical connection between images and words as forms of expression.
Chapter Two: Visual Art and Literature: This chapter explores the parallels between literature and visual art, specifically painting and photography. It examines the "ut pictura poesis" theory, arguing that painting and poetry are analogous forms of expression, and delves into the tradition of emblems, where images and epigrams work together. The chapter then analyzes the similarities between literary and artistic movements, including Classicism (emphasizing unity, balance, and harmony), Romanticism (focusing on emotion, subjectivity, and nature), and Modernism (characterized by compactness, complexity, and experimentation). The chapter details how each movement manifested in both visual art and literature, highlighting key examples and stylistic features.
Chapter Three: Case Studies: This chapter presents four in-depth case studies that analyze specific pairings of images and literary works. These analyses illustrate the practical application of the thesis's theoretical framework. Each case study explores the interaction between the visual and literary elements, revealing how images can enhance understanding and interpretation of the literary text. While the individual case studies are not summarized here to avoid spoilers, the chapter as a whole demonstrates the diverse ways images can illuminate and enrich literary analysis.
Schlüsselwörter (Keywords)
Visual art, literature, image, imagery, imagination, interpretation, classicism, romanticism, modernism, pictorialism, photography, painting, case studies, teaching literature, visual thinking, cognitive psychology, "ut pictura poesis," emblems, objective correlative, realism, new objectivity, apartheid, The Hollow Men, When We Dead Wake, A Walk in the Night, The Open Boat.
Frequently Asked Questions: A Comprehensive Language Preview
What is the main focus of this thesis?
This thesis investigates the effectiveness of using visual art in literature classes to improve student comprehension and interpretation. It focuses on how images can stimulate imagery and generate interpretations, thereby enhancing understanding of literary works and movements. The emphasis is on the pedagogical application of images, not on the academic study of visual art itself.
What are the key themes explored in the thesis?
The key themes include the relationship between images, imagery, and imagination in literary interpretation; parallel analyses of literary and visual art movements (Classicism, Romanticism, Modernism); case studies exploring the interplay between specific images and literary works; the role of visual thinking and visual styles in literary comprehension; and the pedagogical implications of integrating visual art into literature teaching.
What is the structure of the thesis?
The thesis is structured into three main chapters, preceded by an introduction and followed by a conclusion on implications for teaching. Chapter One provides background information, including a literature review, definition of key terms, and the rationale of the study. Chapter Two explores the parallels between visual art (painting and photography) and literature across different artistic movements. Chapter Three presents four detailed case studies analyzing specific pairings of images and literary works to demonstrate the practical application of the theoretical framework.
What are some of the key terms defined and used in the thesis?
Key terms include: visual art, literature, image, imagery, imagination, interpretation, classicism, romanticism, modernism, pictorialism, photography, painting, case studies, teaching literature, visual thinking, cognitive psychology, "ut pictura poesis," emblems, objective correlative, realism, new objectivity, and specific literary works such as When We Dead Wake, A Walk in the Night, The Open Boat, and The Hollow Men.
What theoretical framework underpins the thesis?
The thesis explores the circular relationship between image, imagery, and imagination as a generator of interpretations. This is examined through the lens of visual thinking and the historical connection between images and words as forms of expression. The "ut pictura poesis" theory, which posits an analogy between painting and poetry, is also a central concept.
What types of visual art are considered in the thesis?
The thesis primarily focuses on painting and photography as parallel forms of expression to literature, examining how their stylistic features and movements relate to those in literature.
What case studies are included in the thesis?
The thesis includes four case studies exploring the interplay between specific images and literary works. These pairings are: When We Dead Wake vs. "The sick child," A Walk in the Night vs. "Apartheid," "The open boat" vs. "Brig upon water," and "The hollow men" vs. "The portrait of Ambroise Vollard." The specific analyses of these pairings are not summarized here.
What are the implications for teaching literature?
The thesis concludes by discussing the pedagogical implications of integrating visual art into literature teaching, highlighting the potential for enhancing student understanding and interpretation through the use of images.
- Arbeit zitieren
- Mehdi El Mouden (Autor:in), 2008, The Uses of Images in the Study and Teaching of Literature, München, GRIN Verlag, https://www.grin.com/document/181933
