magistrsko delo
Saša Bitenc (Avtor), Jurij Selan (Mentor), Uršula Podobnik (Komentor)

Povzetek

Perspektiva običajno velja za mehanizem za gradnjo iluzije prostora, t. i. prostorski ključ. Na ta način se ga tudi poučuje. Vendar pa nam struktura likovnega jezika razkriva, da ima likovna sintaksa, v katero sodi tudi perspektiva, dve ravni, to je sintakso likovnega prostora in sintakso likovne kompozicije. Ti dve ravni sta med seboj v likovnih delih vselej prepleteni. Namreč, ko likovni ustvarjalec ureja likovni prostor, ga hkrati prilagaja likovni kompoziciji, in obratno. Zato »napake« v perspektivi v likovnih delih v resnici pogosto niso napake, pač pa posledica odločitev o kršenju perspektive zaradi kompozicije. V magistrskem delu me torej zanima perspektiva, hkrati kot prostorski ključ in kot kompozicijski pojav, torej ne le kot mehanizem (pogosto šablonski) za gradnjo iluzije prostora, pač pa kot celovit likovno-sintaktični pojav. Raziskava je bila izvedena teoretično in empirično. V teoretičnem delu sem perspektivo reflektirala v odnosu do strukture likovnega jezika in v odnosu do dvojne narave likovne sintakse. To sem likovno analizirala na različnih primerih iz zgodovine slikarstva. V empiričnem delu raziskave sem v akcijski raziskavi ugotavljala, ali in kako učenci 9. razreda, ki se perspektive naučijo kot prostorskega ključa, razumejo perspektivo v tej dvojni likovno-sintaktični vlogi. Najprej sem na primerih njihovih izdelkov, ki so nastali pri učnih urah, ko so se učili o perspektivi in s pomočjo vprašanj, ugotavljala njihovo predznanje (kaj so se učili, na kakšen način in kaj o perspektivi že vedo). Nato pa sem z učenci izvedla učno enoto, v kateri sem jih perspektivo poučevala kot celovit likovno-sintaktični pojav. Na osnovi likovnih izdelkov, ki so jih naredili in na osnovi ponovno zastavljenih vprašanj, sem ugotavljala, kako se je njihove razumevanje perspektive spremenilo. Usmerila sem jih, da bodo razumevanje in znanje, ki so ga o perspektivi predhodno pridobili, vključili v širše razumevanje likovne sintakse.

Ključne besede

likovni jezik;likovna sintaksa;likovna kompozicija;likovni prostor;prostorski ključi;

Podatki

Jezik: Slovenski jezik
Leto izida:
Tipologija: 2.09 - Magistrsko delo
Organizacija: UL PEF - Pedagoška fakulteta
Založnik: [S. Bitenc]
UDK: 73:373.3(043.2)
COBISS: 12022345 Povezava se bo odprla v novem oknu
Št. ogledov: 842
Št. prenosov: 137
Ocena: 0 (0 glasov)
Metapodatki: JSON JSON-RDF JSON-LD TURTLE N-TRIPLES XML RDFA MICRODATA DC-XML DC-RDF RDF

Ostali podatki

Sekundarni jezik: Angleški jezik
Sekundarni naslov: Understanding perspective as a visual syntax phenomenon amongst year nine students
Sekundarni povzetek: Perspective is usually considered as a mechanism for building the illusion of space, there for it is a spatial key. It is also thought as the latter. However, the structure of the visual language reveals that the artistic syntax, which also includes perspective, has two levels, that is, the syntax of art space and the syntax of the artistic composition. These two levels are always intertwined in any artwork. When an artist creates an art space, he simultaneously adapts it to the visual composition and vice versa. Therefore, "mistakes" in the perspective of fine arts are in fact often not errors, but are the result of decisions about the violation of perspectives of the composition. In my master's thesis, I am interested in the perspective as a spatial key and at the same time as a compositional phenomenon, and therefore not only as a mechanism (often template) for the construction of the illusion of space, but as a comprehensive art-syntactic phenomenon. My research was carried out theoretically and empirically. In the theoretical part, I reflected upon the phenomenon of perspective in relation to the structure of the visual language and in relation to the double nature of the artistic syntax. I analysed this by using various cases from art history. In the empirical part of the research, I examined whether and how 9th grade students, who learn perspectives as a spatial key, understand perspective in this dual art-syntactic role. Firstly, I determined the knowledge of the students (what they were learning, in what way and what they knew about perspective) on the basis of examples of their products, which were created during the lessons when they learned about the perspective and with the help of a series of questions. Then I conducted a lesson with the students in which I taught the perspective as a comprehensive art-syntactic phenomenon. On the basis of art products, made during this lesson and on the basis of a new series of asked questions, I determined how their understanding of the perspective has changed. I directed them to integrate their understanding and knowledge, which they had previously acquired about the perspective, into a broader understanding of art syntax.
Sekundarne ključne besede: primary education;art education;osnovnošolski pouk;likovna vzgoja;
Vrsta datoteke: application/pdf
Vrsta dela (COBISS): Magistrsko delo/naloga
Komentar na gradivo: Univ. v Ljubljani, Pedagoška fak., Likovna pedagogika
Strani: 64 f., [14] f. pril.
ID: 10944799