Jane K. Marshall
I. Explanation of Methodology (Why—description, deduction, speculation?)
It might prove useful to ask students to analyze a painting prior to learning the method. (What is the theme of this painting?) Students may be able to respond intuitively to the work, yet many important details and ideas will presumably be left out. Important omissions will become evident during the course of the (followup) enactment of the method. Obviously, students should not be made to feel inadequate. Explain that studying art requires time and patience. The human eye/brain cannot instantaneously record everything depicted in a painting. More importantly, the meanings of details are often not readily available to the viewer. Explain that the method enables the viewer to study logically what is before him. Emphasize that the method is not for the novice, but is used by Yale professors, critics, and historians, among others.
Students will be required to slow down and study painstakingly—perhaps for the first time. Such an attitude can be learned, but it will undoubtedly take some time. Therefore it might prove useful to initially “practice” with some works of art familiar to students. Past experience has taught me not to try to teach method and new content simultaneously. Often important content is lost in the first attempt of understanding method, and such content cannot be easily retrieved.
II. The MerryGoRound—Mark Gertler
The basic lesson plan for approaching this work is imbedded in the previous discussion of the painting. Students will work through the description, deduction, and speculation phases of the methodology. The following examples of questions may need to be asked of students to insure that they make the necessary connections in their thinking about the work.
Description
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1.
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How are the people positioned?
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2.
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Describe their expressions, dress.
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3.
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What exists outside of the merrygoround?
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4.
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What shapes are inherent in the painting?
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5.
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What sort of lines exist in the painting?
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6.
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Compare/contrast the people and the horses.
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7.
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Describe the colors used in the painting.
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Deduction
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1.
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Imagine you are a rider on the merrygoround. What would you see and hear?
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2.
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What are the reactions of the riders to the experience of the merrygoround? How do you know?
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3.
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What would it feel like to be a rider? What would it feel like to watch the riders?
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Speculation
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1.
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What sort of experience is depicted?
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2.
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Why are the individuals involved so similar?
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3.
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What does the machine have to do with the riders’ responses?
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4.
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What happens when men are dominated by machines?
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5.
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Is twentieth century society mechanistic?
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III.
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“The RockingHorse Winner”—D.H. Lawrence
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The following outline simply lists major points to be covered in a study of the short story. Students should be encouraged to:
Description
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A.
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Write a plot summary.
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B.
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Find examples of figurative language (simile, personification).
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Deduction
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C.
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Discuss Lawrence’s appeal to the senses (especially hearing).
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D.
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Relate the outcome of the story and reasons for this outcome.
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E.
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Tell of and explain emotional responses to the story.
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Speculation
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F.
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Discuss Lawrence’s main point. (How did Lawrence see his world?)
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IV. Comparison/Contrast—The MerryGoRound/ “The RockingHorse Winner”
Students should be encouraged to articulate similarities and differences between the two works. I believe the thematic similarity—the problem of a mechanistic condition—will be ready apparent to students. Differences will then be noted. For example, students may feel that Lawrence is more particular in his delineation of theme. The story enables us to see the effect of a mechanized existence on one individual, Paul;
The MerryGoRound
, on the other hand, affords the viewer an image of its effect on a microcosm of society. A question should be posed: What did the painting “say” which the story could not, and vice versa?
V. We Are Making A New World/ “Epitaph on an Army of Mercenaries”
It is probably unnecessary at this point to provide specific questions or outlines for studying these works. Again, students should follow the method, and when necessary the teacher should pose questions which will insure the completion of the method.
Following the analyses of the works, students will be asked to look at earlier war poetry which is of a heroic nature. The romantic recruitment posters of the period might be viewed as well. I believe that the obvious contrast between the earlier and later visual and written works will be quickly noted by students; most probably they will react by questioning this abrupt shift in outlook on war. Students will be encouraged to look at historical texts at this point in order to understand the mood of the country prior to the war. (What led Britain to welcome war?) The casualties and conditions of World War I should be assessed as will. We might then understand more fully the radical turnabout of mood evident in British war poetry of the early twentieth century. Such an exercise will also allow students to complete the material culture methodology. We will be noting evidence which will attest to our earlier analyses of
We Are Making A New World
and “Epitaph on an Army of Mercenaries”.
VI. Closing the Unit/Creative Endeavors for Students
I believe that students best understand and remember study experiences which are in some way connected to their own creative impulses. Therefore this unit will conclude with a creative activity for students. They will be asked to depict a particular theme visually and in writing (short story, poem). Such an activity will require time, and thus becomes viewed by students as a major project. Students will be asked to illustrate emotionallycharged words: love, justice, war, etc. Visual expressions would include drawings or collages. (Students will be encouraged to experiment with color, shapes, line, etc.) Writing projects will follow which articulate in words that which was expressed visually.
Works of art and creative writing will eventually be shared in class. We will follow the method in endeavoring to uncover meanings projected in these works. Student artistswriters may be surprised to learn something new about themselves and their expression. They may see for the first time their own unconscious expressions of values. Such values will most probably reflect the culture of which they are a part. I believe that resultant discussions (which will follow our analyses) will prove exciting and enlightening for us all.
