By Professor & Chair William F. Garrett-Petts, Donald Lawrence, W.F. Garrett-Petts
Literacy is largely understood to consult the power to learn and write. however the time period is seriously value-laden and is frequently used to raise print on the cost of different different types of communique. In PhotoGraphic Encounters, the authors problem this reductive concept of literacy and suggest as an alternative an built-in span of literacies: achieving throughout disciplinary barriers to find a textual content that pulls upon either the visible and the verbal. PhotoGraphic Encounters discusses Canadian writers like Margaret Atwood, George Bowering, Robert Kroetsch, and Daphne Marlatt, and Canadian artists like Fred Douglas, Ernie Kroeger, Brenda Pelkey, and Michael Snow, then seems to be on the cross-fertilization of visible and verbal procedures of their works. The authors current a brand new narrative perform, one who absolutely engages lived adventure. The vernacular, they argue, is essential to our participation as readers and audience of excessive paintings. Making the relationship among the vernacular and excessive tradition creates an permitting second in inventive creation and reception and in educating, studying, and conversing approximately artwork and literature. PhotoGraphic Encounters bargains a compelling viewpoint on questions of literacy in a postmodern tradition. Artists, writers, students, and critics alike will wish this quantity of their libraries. contains greater than one hundred twenty B&W photos, 20 color plates, index, bibliography.
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Extra resources for PhotoGraphic Encounters: The Edges and Edginess of Reading Prose Pictures and Visual Fictions
Example text
Coming to terms with that third text is what this book is all about. We hope that, for the most part, these chapters can speak for themselves, but we would be remiss in not saying a word about the strong pedagogical theme that informs both our general interest in image/text composition and our specific interest in the "PhotoGraphic" as literacy narrative. Our joint fascination with this topic began in the classroom, and the disciplinary discourses that shape what can and cannot be said about such topics have their greatest impact on academic readers and in school and university classrooms.
Still, the nature of that divide, that Third Space, deserves more attention than it has received. Traditionally, English departments have had a difficult time relating the teaching of literature and critical practice to the more pragmatic concerns of literacy instruction. Where the discipline has treated literacy, it has done so to emphasize reading rather than writing. " Our stories of reading, especially discipline-based literacy narratives, repeatedly cast word and world as protagonist and antagonist—despite the general recognition that either/or positions seldom offer more than reductive assertions.
It also encourages us to consider visual culture and visual modes of representation as something other than a pale or secondary version of print-literacy. To assert a new humanism of rhetorical presence, one need not abandon the post-structuralist insight that subjectivity is multiple and constructed (like, say, English departments) within a polylogue of competing discourses. Rather, the challenge for postmodern authors, artists, and theorists becomes one of articulating the Third Space or cultural contact zone which mediates between the individual and the social, between image and text, between image/text and world.