Rather than focusing on German philosophy or the French avant-gardes, as many books on the history of aesthetics do, Teukolsky takes up British responses to modern art controversies, thus providing a unique view on the development of artistic forms and art history. She considers the canonical writing of authors like John Ruskin, Walter Pater, and Oscar Wilde alongside texts belonging to the rich field of Victorian print culture--gallery reviews, scientific treatises, satirical cartoons, advertisements, and early photography monographs among them. Spanning the years 1840 to 1910, her argument also adds substance to our understanding of the transition from Victorianism to modernism, a period of especially lively exchange between artists and intellectuals, here narrated with careful attention given to the historical particularities and real events that stamped their imprint on such interactions.

Reading is a process through which learners construct meaning and gain critical knowledge necessary to participate in our global society. Children become literate beings and productive participants in their social worlds when they read critically. In this edited book, we bring together researchers, internationally and transnationally, to share Eye Movement Miscue Analysis (EMMA) research that deepens and expands understandings of the reading process and addresses ways to support the literacy development of diverse populations. EMMA is an innovative method of study that combines research on eye movement and miscue analysis to examine how reading works. This book expands on and frames how EMMA can best be utilized to its potential to explore multiple aspects of literacies, such as reading multimodally, identifying literacy achievement, examining young children's or college readers' strategies when reading various texts, or applying EMMA in understanding readers who speak a variety of languages. It is practical, research-based, and theoretically driven to help its audience like those in various academic field understand and explore multiple dimensions of literacy through eye movement miscue analysis in an expanding global world. It is a groundbreaking contribution explaining literacy from a comprehensive and practical lens. Most of all, this book provides socially and culturally diverse K- adult learning and teaching contexts applicable for learners, educators and researchers to meet the needs of 21st century global world. This book can be used in foundations of literacy courses, methods and assessment courses, as well as research design and application in education and other fields.

People today are constantly bombarded with a wide variety of visual images. How do we interpret them? What causes us to respond to them emotionally? And how does this response differ for visual devices such as close-ups, camera angles and flashbacks? The book addresses these and other questions.

What counts as literacy has been redefined in today's classrooms. Teachers must address what it means to read and live in a multi-literate world that includes both print text and image text. Focused specifically on young adult graphic novels in the four primary content areas--math, language arts, social studies, and science--Using Content-Area Graphic Texts for Learning: A Guide for Middle-Level Educators by Dr. Meryl Jaffe and Dr. Katie Monnin empowers twenty-first-century, middle-school educators to not only better understand content-area graphic novels, but also teach them. Like their print counterparts, graphic texts reinforce traditional content-area thinking skills like memory, attention, cognition, language learning, and sequencing. Unlike print texts, however, comics and graphic novels reach out to diverse types of literacy learners and their particular reading strengths, making them the perfect, high-quality, literary-level texts for core content-area classrooms. Using Content-Area Graphic Texts for Learning begins with the building blocks of graphic novel terminology 101, moves into a detailed look at how graphic texts specifically help and empower different types of learners, and then branches off into specific chapters for each of four content areas: math, language arts, social studies, and science. Each of these content-area chapters includes: an overview of how graphic novels help students tackle, integrate, and enhance content-area material; two content-area lesson plans, each utilizing graphic novels in different ways; a demonstration of what that lesson plan is asking students to do, focusing on five learning skills--attention, memory, language, sequencing, and cognition--and how the lesson aligns with the appropriate content area's Common Core Standards; a discussion on how graphic novels help different types of learners succeed in the content-area classrooms; and a list of suggested graphic novels for each content-area classroom. Jaffe and Monnin more than make the case for using graphic novels as valid young adult literary texts that engage students and meet Common Core State Standards within the content-area classroom.

Can you imagine not being able to speak or communicate? The silence, the loneliness, the pain. But, inside you disappear to magical places, and even meet your best friend there. However, most of the time you remain imprisoned within the isolation. Waiting, longing, hoping. Until someone realises your potential and discovers your key, so your unlocking can begin. Now you are free, flying like a wild bird in the open sky. A voice for the voiceless. Jonathan Bryan has severe cerebral palsy, a condition that makes him incapable of voluntary movement or speech. He was locked inside his own mind, aware of the outside world but unable to fully communicate with it until he found a way by using his eyes to laboriously choose individual letters, and through this make his thoughts known. In Eye can Write, we read of his intense passion for life, his mischievous sense of fun, his hopes, his fears and what it's like to be him. This is a powerful book from an incredible young writer whose writing ability defies age or physical disability - a truly inspirational figure. Foreword by Sir Michael Morpurgo A portion of the proceeds from the sale of this book will be donated to Jonathan Bryan's charity, Teach Us Too. http://www.teachustoo.org.uk/

Explores the ways in which new forms of visual culture, such as such as the illustrated newspaper, the cheap caricature cartoon, the affordable illustrated book, the portrait photograph, and the advertising poster, worked to shape key Victorian aesthetic concepts.

Stereotypes often cast communism as a defunct, bankrupt ideology and a relic of the distant past. However, recent political movements like Europe's anti-austerity protests, the Arab Spring, and Occupy Wall Street suggest that communism is still very much relevant and may even hold the key to a new, idealized future. In The Oxford Handbook of Communist Visual Cultures, contributors trace the legacies of communist ideology in visual culture, from buildings and monuments, murals and sculpture, to recycling campaigns and wall newspapers, all of which work to make communism's ideas and values material. Contributors work to resist the widespread demonization of communism, demystifying its ideals and suggesting that it has visually shaped the modern world in undeniable and complex ways. Together, contributors answer curcial questions like: What can be salvaged and reused from past communist experiments? How has communism impacted the cultures of late capitalism? And how have histories of communism left behind visual traces of potential utopias? An interdisciplinary look at the cultural currency of communism today, The Oxford Handbook of Communist Visual Cultures demonstrates the value of revisiting the practices of the past to form a better vision of the future.

2014 Outstanding Academic Title, Choice "What’s going on in this picture?" With this one question and a carefully chosen work of art, teachers can start their students down a path toward deeper learning and other skills now encouraged by the Common Core State Standards. The Visual Thinking Strategies (VTS) teaching method has been successfully implemented in schools, districts, and cultural institutions nationwide, including bilingual schools in California, West Orange Public Schools in New Jersey, and the San Francisco Museum of Modern Art. It provides for open-ended yet highly structured discussions of visual art, and significantly increases students’ critical thinking, language, and literacy skills along the way. Philip Yenawine, former education director of New York’s Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art—as well as poems, primary documents, and other visual artifacts—to increase a variety of skills, including writing, listening, and speaking, across a range of subjects. The book shows how VTS can be easily and effectively integrated into elementary classroom lessons in just ten hours of a school year to create learner-centered environments where students at all levels are involved in rich, absorbing discussions.

Early modern printmakers trained observers to scan the heavens above as well as faces in their midst. Peter Apian printed the Cosmographicus Liber (1524) to teach lay astronomers their place in the cosmos, while also printing practical manuals that translated principles of spherical astronomy into useful data for weather watchers, farmers, and astrologers. Physiognomy, a genre related to cosmography, taught observers how to scrutinize profiles in order to sum up peoples' characters. Neither Albrecht Dürer nor Leonardo escaped the tenacious grasp of such widely circulating manuals called practica. Few have heard of these genres today, but the kinship of their pictorial programs suggests that printers shaped these texts for readers who privileged knowledge retrieval. Cultivated by images to become visual learners, these readers were then taught to hone their skills as observers. This book unpacks these and other visual strategies that aimed to develop both the literate eye of the reader and the sovereignty of images in the early modern world.