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Artist writing as discoursal gesture.

Boyer, Frank Van Skiver.

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Artist writing as discoursal gesture.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Artist writing as discoursal gesture./
作者:	Boyer, Frank Van Skiver.
面頁冊數:	427 p.
附註:	Director: Patricia A. Rowe.
Contained By:	Dissertation Abstracts International61-07A.
標題:	Education, Art. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9981420
ISBN:	0599878665

Artist writing as discoursal gesture.
Boyer, Frank Van Skiver.

Artist writing as discoursal gesture. - 427 p.

Director: Patricia A. Rowe.

Thesis (D.A.)--New York University, 2000.

The author assesses the impact of this inquiry upon his own artistic project and outlines possible educational and research applications of the methods and results of this inquiry.

ISBN: 0599878665Subjects--Topical Terms:

1018432
Education, Art.

Artist writing as discoursal gesture.
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100 1 $a Boyer, Frank Van Skiver. $3 1254019
245 1 0 $a Artist writing as discoursal gesture.
300 $a 427 p.
500 $a Director: Patricia A. Rowe.
500 $a Source: Dissertation Abstracts International, Volume: 61-07, Section: A, page: 2557.
502 $a Thesis (D.A.)--New York University, 2000.
520 $a The author assesses the impact of this inquiry upon his own artistic project and outlines possible educational and research applications of the methods and results of this inquiry.
520 $a The semantic, syntactic, and pragmatic aspects of writing by artists are described in terms of discoursal contexts of creation, presentation, and reception of the arts.
520 $a The inquirer uses as data three sample texts, all self-written. Text 1 is an artist manifesto written during the process of creating “Dark Passages,” an original multi-media work of computer art (also presented). Text 2 describes the intrinsic and formal aspects of Text 1 from a “distant,” analytical perspective. Text 3 describes the influence of manifestos by Jack Kerouac and Tadeusz Kantor upon Text 1.
520 $a Adopting a socio-semiotic stance derived primarily from Bakhtin, the author reflects upon and describes Texts 1, 2, and 3 as discoursal gestures. The concepts of inner speech as social (Vygotsky, Bakhtin) and of metatextual “framing” of communications (Goffman) allow coherent description of the three sample texts in terms of the contexts both into which <italic> and from which</italic> they emerged. Processes of creation, the syntactic structure, and the generic nature of the three texts appear in these descriptions, which locate each text discoursally in terms of Goffman's “dramatistic metaphor.” The key issue is the treatment in each text of implied addressor and addressee.
520 $a Using the above descriptions, the author focuses on the broader context of the arts, describing the function in the discourses of the arts of writing stemming from the unique ends-in-view pertaining to the artist role. He argues that such writing has not been accurately described as a separate speech genre, nor in terms of its discoursal function. Therefore the potential for use of such writing in the arts and arts education remains unrealized. The author specifically argues that exposure to exemplary texts drawn from artist writing (informed by experience of processes of artistic creation), and practice in writing such texts, when interpreted as knowledge (Cassirer), should be an integral part of education in the arts, and is necessary to a dialogic relationship between workers in the arts and the humanities.
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791 $a D.A.
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