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Additional resources for Art in Education: Identity and Practice (Landscapes: the Arts, Aesthetics, and Education, Vol. 1)

Sample text

The relation between sign and interpretant is important in that it designates the phenomenological dimension of interpretation, that is to say, it concerns how the sign-object relation is interpreted (through the interpretant) in consciousness. ’ It is Peirce’s concern with the phenomenological grounding of semiosis, the semiotic process, that I find helpful for approaching the semiotics of children’s and student’s drawings. A key term in this process is ground, that is to say, that respect or capacity in which a sign stands for something to somebody.

The source of meaning in a painting is therefore the artists intentions, the painting is a trace of such intentions and the experience which prompted them. It is the spectator’s task to make a close and careful reading in order to extract the meaning of the painting put there by the artist. In her analysis of Wollheim’s views on artistic intention and meaning, Pollock (1995) states: What is seen when looking at a painting is, then, the trace which takes us back to that definable and cogent subjectivity for which the painting’s visual form is only a sign (p.

The idea of polysemy has important implications for the interpretation of children’s and student’s art practices and also for teaching critical studies in art education. The concept of appropriation is used by Ricoeur (1981, pp. 182–193) to elaborate his point that interpretation is not concerned with revealing the SEMIOTICS AND HERMENEUTICS 37 original meaning of a text placed there by the author, but, on the contrary with the reader’s production of meaning within the intersection of the text and the life-world of the reader.

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