Imagination is indispensable for knowing the world. However, visual and musical imagery are ignored in education. Adult literacy education can be enhanced by the process of reading the world through print, pictures, and music. (SK)

Examines the key role that memory plays in the meaning-making process that children enact as they read and view images in a classroom that respects and encourages their own views and reflections. Discusses the six major categories of children's visual responses, and presents representative examples of children's illustrations. (TB)

Considers the importance of teachers learning about an artistic discipline in much the same way that language arts teachers are encouraged to write. Discusses knowing what materials can do, making materials mean something, and children's artistic intentions. Visits two second-grade classrooms in which working with clay invites students to think…

Presents speculations on broadening the concept of literacy and using pictures to teach. Discusses the importance and value of training students to "read" a painting and, by extension, a visual image and how this fits into promoting a culture of literacy. Considers the application of reader-response theory to pictures as text. (SG)

Demonstrates how a final year student teacher takes up a two-stage methodology for reflective practice generated from the principles of traditional literary theory and cultural studies, particularly poststructuralism. He produced a personal reading of his field experience documented as a picture book, and then a critically alternative (re)reading.…

Swedish nursing students (n=72) conducted group dialogues about empathy using Munch's painting "The Sick Girl"; a control group of 72 students discussed empathy. The visual art group were more emotionally engaged in learning about empathy and their learning was more structured. (Contains 18 references.) (SK)

Explores three broad areas of inquiry: what significance visual images have for rhetorical analysis; how a study of nonverbal material might be conducted; and whether visual explanations depend on the image or the viewer. Argues that viewers understand Joseph Wright's painting "The Air Pump" in terms of its subject, its exhibition space, the…

Considers that in order to be successful offering visual art lessons in the classroom, pre- and inservice teachers must develop a deeper more conceptual understanding of the power of art to communicate meanings, beliefs, ideologies, and experiences. Suggests teacher enroll in a high-quality arts course, create some authentic works of art, use…

The article describes a program at a special school for retarded and otherwise handicapped children in Japan which stresses development of artistic talents. The children's work has been the subject of an exhibition in Paris. (Author/DB)

In 2 experiments, 168 undergraduates tested a newly devised mnemonic strategy to help recall various paintings' themes and contents. The effectiveness of cuing the artist's name with a prominent feature of the painting was demonstrated. A mnemonic variation that incorporated a verbally described mnemonic interaction into the painting was most…

Describes how a teacher integrates art and literature in teaching English and world literature, by using slide presentations of modern art to graphically demonstrate the characteristics of modernism--fragmentation, alienation, heightened subjectivity, narrative distancing, and discontinuity in time. Describes and relates specific works of Dali,…

Asserts that teachers of contemporary literature should enjoy the advantages of poetry written in response to, or interpreting, paintings or other works of art. Illustrates the advantages of such poetry with two examples. (PRA)

Reviews two exhibits of visual art at the Philadelphia (Pennsylvania) Art Museum, "Works by African-Americans," which showcases the contributions of nineteenth- and twentieth-century African-American artists; and "Pertaining to Philadelphia," acquisitions from the collection of Julius Bloch, an artist and mentor to many African…

Investigates the way that young children make aesthetic judgments about art works made by peers. Indicates that there are three phases in response formation: an initial response, a judgment based on more formal criteria, and an emotional response. Notes that children often needed prompting questions to reach the latter phases. (DSK)

Investigates the effect of orientation of depth cues on the magnitude of perceived depth in pictures. Finds that, for each test drawing, the orientation with the far point above the near point provided greater depth perception than any other orientation. Discusses possible contributions of observer experience and height of visual field. (DSK)