DrawBridge

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Autor/in	Flowers, Ebony Victoria
Titel	DrawBridge
Quelle	(2017), (384 Seiten) PDF als Volltext Verfügbarkeit Ph.D. Dissertation, The University of Wisconsin - Madison
Sprache	englisch
Dokumenttyp	gedruckt; online; Monographie
ISBN	978-1-3697-5757-6
Schlagwörter	Hochschulschrift; Dissertation; Visual Aids; Graduate Students; Preschool Children; Preschool Education; Inquiry; Freehand Drawing; Story Telling; Ethnography; Creative Activities; Cartoons; Interviews; Power Structure; Interpersonal Relationship; Individual Power + Suchen Sie Ihr Suchwort? Thesis; Dissertations; Academic thesis; Anschauungsmaterial; Graduate Study; Student; Students; Aufbaustudium; Graduiertenstudium; Hauptstudium; Studentin; Pre-school age; Preschool age; Child; Children; Pre-school education; Preschool education; Vorschulalter; Kind; Kinder; Vorschulkind; Vorschulkinder; Vorschulerziehung; Vorschule; Drawing; Zeichnen; Ethnografie; Zeichentrickfilm; Interviewing; Interviewtechnik; Interpersonal relation; Interpersonal relations; Interpersonelle Beziehung; Zwischenmenschliche Beziehung; Eigeninitiative
Abstract	Context: Visualization as a multi-modal process is widely explored in curriculum studies. I examined a facet of how people learn to participate in visualization practices that remains under-studied in preschool and post-secondary settings: moment-to-moment agency while in unfamiliar socio-cultural realms. I conducted a thirteen-month ethnography of a research university's Image Lab (IL) and studied how people critically appropriated ways of seeing and making images so as to manipulate perceived subject positions and become agents in the IL's visualization practices. My fieldwork focused on DrawBridge, a graduate course hosted by the IL and instructed by the lab's director. For two semesters, graduate students split their time between the IL and a preschool classroom in one of three university early childhood centers to explore shared inquiry through pre-planned, improvised, and spontaneous drawing and storytelling activities. In DrawBridge, preschoolers were positioned as a certain kind of image-maker who expertly modeled drawing practices the instructor taught in the course. They were natural story-tellers who drew without aloofness and in ways that mimicked how they play and pretend. Theory: My research draws upon Holland and colleagues' (1998) notion of figured worlds, or the socially and culturally constructed realm of interpretation whereby a person's sense of themselves as an agent emerges in particular events. Both the IL and childhood are multi-sensory and enacted cultural spaces with specific rules and rituals about ways of seeing and making images. My ethnography focused on two aspects of figured worlds: 1) cultural artifacts, or verbal, gestural, and material productions (p. 17); and 2) improvisation, or deliberate acts that manipulate perceived positions in social interactions that might be unfamiliar or undesirable (pp. 15-18). Research Question and Methods: I broadly examined the question: "How do graduate students, preschoolers, the instructor and I become agents in DrawBridge's visualization practices?" My ethnographic methods featured comics making processes to generate, analyze, and represent data. Comics making is a way to navigate in-print constraints of sharing work with academic audiences. Integrated knowledge of multi-sensory experience was a significant part of my fieldwork experience. I made comics to translate my multimodal and multi-sensory data using a process that complements yet, remains distinct from text-based approaches to qualitative research. Data collection also featured the production of cultural artifacts (such as graduate students and preschoolers' hand-made pictures), participant interviews with graduate students, co-drawing activities with preschoolers and graduate students, and fieldnotes. I analyzed data using a comics-informed inductive coding process whereby emergent themes were expounded upon via drawing, writing, and making comics. Findings: Research participants became agents of the visualization practices in DrawBridge by critically appropriating cultural artifacts and improvising their perceived subject positions. Cultural artifacts, such as graduate students' and preschoolers' hand-made pictures, mediated access to children's ways of seeing and making images. Drawing a picture in the IL calibrated to a cartoonist's--namely the instructor--ways of seeing and making images. DrawBridge students and the instructor reimagined visualization practices learned in the IL to access children's ways of seeing and making images. Graduate students, the instructor, preschoolers, and I improvised hierarchical notions of power associated with age. Improvisation allowed us, in varying degrees, to experiment with hybrid subject positions whereby spontaneous drawing emerged in play, pretend, and conversation. Spontaneous drawing animated and masked taboo imagery, such as dying and death, bodily excretions, sexuality, and violence, when outsiders asked questions, gave suggestions, or provided directives. Shared visualization practices entangled drawing, play, pretend, notions of power, physicality, and affect into a seamless event. Significance: A focus on moment-to-moment agency in learning to participate in unfamiliar visualization practices gives valuable insight on how: 1) "people reimagine valuable visualization practices through social interaction"; 2) "knowledge about seeing and making images is discerned through practice rather than with preset definitions," and; 3) "visualization practices can help rethink text-based dominance in ethnographic representation and education research." [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://www.proquest.com/en-US/products/dissertations/individuals.shtml.] (As Provided).
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Erfasst von	ERIC (Education Resources Information Center), Washington, DC
Update	2020/1/01