Children Reading Pictures: Interpreting Visual Texts by Evelyn Arizpe, Morag Styles

By Evelyn Arizpe, Morag Styles

This e-book describes the attention-grabbing result of a 12 months learn of kid's responses to modern picturebooks. kids of basic institution age, from a variety of backgrounds, learn and mentioned books by means of the award-winning artists, Anthony Browne and Satoshi Kitamura. They then made their very own drawings in line with the books.The authors came across that kids are refined readers of visible texts, and may be able to make feel of advanced photos on literal, visible and metaphorical degrees. they may be able to comprehend diverse 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 publication demonstrates how very important visible literacy is to kid's realizing and improvement. basic and Early Years academics, literacy co-ordinators and all these drawn to kid's literature will locate this a charming learn.

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With some notable exceptions, we are referring to picturebooks published within the last twenty years or so where a quiet revolution has been taking place within children’s literature. These picturebooks (along with other branches of children’s literature) diverge from any concept of children’s books as ‘simple’, if by simple we are referring to such aspects as clear-cut narrative structures, a chronological order of events, an unambiguous narrative voice and, not least, clearly delineated and fixed borders between fantasy and reality.

Like Dondis, he is keen to develop ‘an established theoretical framework within which visual forms of representation can be discussed’ (Kress and van Leeuwen 1996: 20) and his work has reclaimed the language of syntax and applied it to visual texts. He argues persuasively that images can be the central medium of communication in any text and reminds us that ideology is always present. Kress points out that ‘visual communication is always coded – it seems transparent only because we know the code already’ (Kress and van Leeuwen 1996: 32).

In Iconology: Image, Text, Ideology, Mitchell asserts: ‘More clearly than any other use of the eyes, the wrestling with a work of visual art reveals how active a task of shapebuilding is involved in what goes by the simple names of ‘seeing’ or ‘looking’ (1986: 36). In a similar vein, writing in the foreword to Arnheim’s Thoughts on Art Education, Eisner points out: The eye, as Arnheim tells us, is a part of the mind. For the mind to flourish, it needs context to reflect upon. The senses, as part of an inseparable cognitive whole, provide that context … The optimal development of mind requires attention not only to intellectual processes but to intuitive ones as well.

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