The Language of Displayed Art

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作者：Michael O Toole & 著

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ISBN：9780415595261

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Summary: Publisher Summary 1 The visual arts such as photography and most other systems of signs through which people make meaning can best be understood and interpreted through three distinct but related dimensions, argues O'Toole (emeritus communications studies, Murdoch U., Perth, Australia). They are representational meaning, modal meaning, and compositional meaning--functions he borrowed from the systemic-functional linguistics of M. A. K. Halliday and his colleagues. He writes for people who, like him, have no formal training in the visual arts, but enjoy visiting galleries, and admiring sculptures in parks or squares. Looking first at perceptions then conceptions, he discusses such topics as Sandro Botticeli's 1478 Primavera, a semiotics of architecture, modes of comparison, the social semiotic and the viewing subject, and mono-functional tendencies. Among the features of the accompanying disk is a virtual gallery. The first edition was published in 1994 by Leicester University Press. Annotation 漏2011 Book News, Inc., Portland, OR (booknews.com)

Table Of Contents:

List of plates xi

List of figures xiii
Acknowledgements xv
Introduction 1(6)

Part I Perceptions 7(110)

1 Semiotics at work: Sandro Botticelli, Primavera (1478) 9(23)

Monologues and dialogues 9(1)

A shared language? 10(1)

Engaging the viewer: The Modal function 11(5)

Informing the viewer: The Representational function 16(7)

Magical proportions: The Compositional function 23(6)

A never-ending dialogue? 29(3)

2 Bodily perceptions: a semiotics of sculpture 32(32)

P. Bondarenko's Gagarin Monument (1980) 39(5)

Barbara Hepworth's Winged Figure (1963) 44(6)

Auguste Rodin's The Burghers of Calais (1884--95) 50(9)

Nigel Helyer's Voyages from Eden to Utopia: Hercules (1984) 59(5)

3 A semiotics of architecture 64(35)

Functions as use, as self-expression, as harmony 64(1)

The suburban dream home: The Verdelho (1990), Perth, Western Australia 65(19)

The Enzo-Gutzeit Office Block (1960--2), Helsinki 84(4)

Alvar Aalto

Chapel to Notre-Dame du Haut (1950--5), Ronchamp 88(11)

Le Corbusier

4 Semiotics across the arts: W. H. Auden, `Musee des Beaux Arts' (1939) and Pieter Bruegel the Elder, Landscape with the Fall of Icarus 99(18)

The framing of fragments 99(2)

Isomorphism and semiotics 101(2)

Functional choices in Auden 103(3)

Functional choices in Bruegel 106(5)

Comparative analysis 111(6)

Part II Conceptions 117(78)

5 Why semiotics? The role of semiotics in relation to art history, criticism, and teaching 119(12)

Competition or collaboration? 119(1)

Text or context? 120(2)

Systematicity and replicability 122(4)

Theoretical explicitness 126(2)

Cultural practices 128(3)

6 Modes of comparison 131(19)

The Gatekeeper's Wife (1965) 132(8)

Russell Drysdale

A Russian Suprematist poster: Arrange a `Red Gift Week' Everywhere and All Over (1920--1) 140(4)

Giotto: Noli me tangere (1304--6) 144(6)

7 The social semiotic and the viewing subject 150(15)

Structure and process 150(2)

The social semiotic 152(12)

Dimensions of semiotic space and the negotiation of meaning 164(1)

8 Monofunctional tendencies 165(30)

The Representational function: Canaletto and Andy Warhol 166(8)

The Modal function: J. M. W. Turner and Bridget Riley 174(9)

The Compositional function: Piet Mondrian and Jackson Pollock 183(10)

Postscript: Art and multimodality 193(2)
Appendix: The CD virtual gallery, questions, and model answers 195(25)
Glossary of terms 220(6)
Notes 226(8)
Bibliography 234(5)
Index 239

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