Remember Me
Or use your Academic/Social account:


Or use your Academic/Social account:


You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.


Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message


Verify Password:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
McTaggart, Andrew Brown
Languages: English
Types: Doctoral thesis
The aim of this thesis is to examine the status and nature of photography in relation to two basic approaches: one derived from theories of perception and the other from analogies with verbal language. The implications and conclusions drawn from this critical survey are assessed in terms of their relevance and value for education in photography and as the basis for a possible curriculum in image education.\ud The fact that the position of photography is not firmly established in school highlights the need for a fundamental re-appraisal of the medium and the part that it can play in education. Section One deals with the two main justifications for photography in education, following categories derived from Eisner: the contextualist and the essentialist. While the former provides a very strong case, the latter is also regarded as critical and concerns the value of photography as a medium in its own right. Issues regarding the criteria for photography, particularly as an art form, are then raised, and lead to basic questions about the nature of the medium itself.\ud In Section Two, perceptual theory is examined by comparing \ud two positions: Gibson's "registration" theory and the "constructive" tradition, with some consideration of the Gestalt view. The photograph's link with the real world is maintained in the comprehensive psychological theory of Neisser and the passage from nature to convention is accounted for here, as well as in Peirce's theory of signs. In photographic theory proper, the "trace of the real" is regarded as of seminal importance.\ud "Language analogies are then considered in Section Three. \ud Basic differences between word and image are clarified, and it is contended that while "language" metaphors can be used with some profit, too close a model borrowing from structural \ud linguistics is fraught with difficulties. Sebeok's semiotic \ud framework of communication and signification is introduced and regarded as useful in uniting natural and nonverbal phenomena to photographic concerns.. However, the project of "translinguistics", initiated by Barthes, but not ultimately pursued by him, is shown to have dangerous formalist and determinist leanings especially in conjunction with Marxist-L├Ącanian concepts. Partisan political concerns in "ideological" image analysis have become over-dominant in some instances for a wide understanding of issues.\ud Finally, in Section Four, suggestions for new priorities in image education through photography are advanced and compared to present practice. Examples of work are given in the Appendices.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • International, July/August 1975, pp. 39-51.
    • "Art, Common Sense and Photography. " Camerawork, No. 3 (July 1976), pp. 1-2 ---------- "Looking for a Logic of Culture. " In The Tell-Tale Sign: A Survey of Semiotics. Ed.
    • Thomas A. Sebeok. Lisse, The Netherlands: The Peter de Ridder Press, 1975.
    • ---------- A Theory of Semiotics. Bloomington: Indiana University Press, 1976.
    • Eibl-Eibesfeldt, I. "Similarities and Differences Cultures in Expressive Movements. " In Nonverbal Communication. Ed. R. A. Hinde. Cambridge: Cambridge University Press, 1972.
    • Rev. ed. New York: Abrams, 1969, p. 385.
    • Eisner, Elliot W. Educating Artistic Vision. New York: Macmillan, 1972.
    • - Exhibition Catalogue. Canterbury: Study of Cartoons and Caricature, 1975, p. 38.
    • Evans, Harold. Pictures on a Page. London: Heinemann, ---------- "On Newspapers -III: The still has an affinity with the-way we remember. " The Listener, 5 Feb. 1981, pp. 170-171. "On Newspapers - IV: The combination of a genuine news moment with a visual moment. " The Listener, 12 Feb. 1981, pp. 204-205.
    • Gernsheim, Helmut. Creative Photography; Aesthetic Trends 1839-1960. New York: Bonanza-Crown, Gibson, James J. The Perception of the Visual Boston, Mass: Houghton Mifflin, 1950.
    • ---------- "A Theory of Pictorial Perception. " Audio-Visual Communication Review, 2 (1954), ---------- "Pictures, Perspective and Perception.
    • Daedalus, 89 (1960), pp. 216-227.
    • ---------- The Senses Considered as Perceptual London: Allen and Unwin, 1968 . Originally in America, 1966.
    • ---------- "New Reasons for Realism. " Synthese, (1967), pp. 162-172.
    • Leonardo. 4 (1971), pp . 27-35.
    • Gillespie, Colin. Local Page Green Centre, Goffman, Erving. Gender Macmillan, 1979.
    • Golden, Robert. Letter. Camerawork, No. 7 (July Goldstein, E. Bruce. "The Ecology of J. J. Gibson's Leonardo, 14 (1981), pp. 191-195.
    • Hilliard, John. "Sixty Seconds of Light, " 1970. In The New Art - Hayward Gallery Exhibition Catalogue.
    • London: Arts Council of Great Britain, 1972, p. 12.
    • Ed. Jonathan Benthall and Ted Polhemus. London: Allen Lane-Penguin, 1975.
    • Rev. ed. Trans. Francis J. Whitfield. Madison: University of Wisconsin, 1961. Originally translated from the Danish, 1943.
    • Hochberg, Julian E. Perception. 1st ed.
    • Hall, 1964. Perception. 2nd ed.
    • N. J.: Prentice-Hall, 1978.
    • ---------- and V. Brooks. "Pictorial Recognition as an Unlearned Ability. " American Journal of Psychology, 75 (1962), pp. 624-628.
    • Hoggart, Richard. The Uses of Literacy: Aspects of Working-class Life with Special Reference to Diihlinatinns and Entertainments. London: Chatto and Windus, 1957.
    • _________ Foreword. Bad News. Vol. 1. By Glasgow University Media Group. London: Routledge, 1976.
    • Hopkinson, Tom, ed. Picture Post 1938-50. Harmondsworth, Middx: Penguin, 1970.
    • Hudson, W. "Pictorial Depth Perception in Sub-Cultural Groups in Africa. " Journal of Social Psychology, 52 (1960), PP-183-208.
    • The Seventy-third Yearbook of the National Society for the Study of Education. Chicago: NSSE, 1974.
    • ---------- "A Commentary on Rudolf Arnheim's Approach Art and Visual Perception. " Leonardo, 13 (1980), pp. 117-122.
    • Kennedy, Keith. Film in Teaching. London: Batsford, Knight, Roy, ed. Film in English Teaching. London: Hutchinson, 1972.
    • Knight, Thomas S. Charles Peirce. New York: Washington Square Press, 1965.
    • Anchor-Doubleday, 1967.
    • Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. New York: Galaxy-Oxford University Press, 1965. Alternative title: Nature of Film.
    • London: Dobson, 1960.
    • New York: Delta-Dell, 1968. Originally published French, 1956.
    • ---------- "The Mirror-phase of the I. " New Left pp. 71-77.
  • No related research data.
  • No similar publications.

Share - Bookmark

Cite this article