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- Genre: Art--Technique.
- Genre: Fiction--Technique.
- Creators: Arizona State University
Description
This essay is an exploration of Michael Holladay's interests in style and influence related to his writing and overall writing process. I've chosen a selection of books that both reflect my interests as a writer, books that I've loved and have informed me in the past which continue to inform and inspire on each re-read (Battleborn by Claire Vaye Watkins, A Visit from the Goon Squad by Jennifer Egan, for example) and also books I hadn't read and needed to in order to challenge myself with writing I haven't been exposed to yet so I can continue to grow (I hadn't, for instance, read Jesus' Son by Denis Johnson or Reasons to Live by Amy Hempel before preparation for this essay.) The fiction I've chosen to discuss strikes a balance between favorites that have formed me up to this point and new work to "fill in the gaps" of books I needed to read. Additionally, I've chosen a selection of books on craft to provide a lens for thinking about writing. Finally, I've also included work in other genres that inform my fiction (Ryan van Meter's creative nonfiction essays, If You Knew Then What I Know Now and Andrew Haigh's film, Weekend.)
I've intentionally chosen work that is diverse in both form and content. I have more linear fiction represented (William Trevor, for example) matched with work that's fragmentary and language focused (Christine Schutt's Nightwork among others) since I'm interested in how linear form and fragmentation can intersect, and I've been experimenting with both during my time in the program. And in terms of content, the majority of the work speaks to my interest in how region, specifically the South, impresses itself on sexuality and gender, specifically queer or decentered sexuality and gender. So I have books with a heavy focus on region (Daddy's by Lindsay Hunter and Girl Trouble by Holly Goddard Jones) and work that explores the complexities of sexuality and identity (Michael Cunningham, Edmund White, Alexander Chee, and I'll mention Haigh's film Weekend again because it's always worth mentioning again.) These works will help synthesize and bring together my interests in style, language, structure, and form, and in content.
I've intentionally chosen work that is diverse in both form and content. I have more linear fiction represented (William Trevor, for example) matched with work that's fragmentary and language focused (Christine Schutt's Nightwork among others) since I'm interested in how linear form and fragmentation can intersect, and I've been experimenting with both during my time in the program. And in terms of content, the majority of the work speaks to my interest in how region, specifically the South, impresses itself on sexuality and gender, specifically queer or decentered sexuality and gender. So I have books with a heavy focus on region (Daddy's by Lindsay Hunter and Girl Trouble by Holly Goddard Jones) and work that explores the complexities of sexuality and identity (Michael Cunningham, Edmund White, Alexander Chee, and I'll mention Haigh's film Weekend again because it's always worth mentioning again.) These works will help synthesize and bring together my interests in style, language, structure, and form, and in content.
ContributorsHolladay, Michael (Author) / Ison, Tara (Thesis advisor) / Pritchard, Melissa (Committee member) / Bell, Matt (Committee member) / Arizona State University (Publisher)
Created2016
Description
In times of fast paced technology, the ability to differentiate quality differences between a reproduction and an original work of art has new urgency. The use of digital reproductions in the classroom is a useful and convenient teaching tool, but can convey visual distortions specifically in regards to texture, size, and color. Art educators often struggle to achieve a balance between incorporating the use of digital technology and fostering an appreciation for experiences with original artworks. The purpose of this study was to examine the ways in which Dewey's theory of experiential learning explains how thoroughly high school students differentiate between a reproduction and original artwork. This study also explored the influences of painting style (realistic or semi-abstract) and sequence on a student's ability to identify the differences and select a preference between the reproduction and original artwork. To obtain insight into how a student is able to differentiate between a reproduction and an original artwork, this study engaged 27 high school student participants in viewing a digital reproduction and the respective original artwork of one realistic and one semi-abstract painting at the ASU Art Museum. Analysis of qualitative and quantitative data suggests that sequence influences a student's ability to differentiate between a reproduction and original artwork. Students who saw reproductions before viewing the originals, demonstrated a more comprehensive understanding of the differences between the two presentation formats. Implications of this study include the recommendation that art educators address definitional issues surrounding the terms original and reproduction in their teaching, and consider collaborative ways to prepare students for meaningful experiences with original artworks.
ContributorsUscher, Dawn (Author) / Erickson, Mary (Thesis advisor) / Stokrocki, Mary (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2011