Abstract
Chapter 8 of Communicating Creativity: The Discursive Facilitation of Creative Activity in Arts focuses on the discourse of identity. It investigates how both the written and interactional texts occurring in the studio orient the students towards one of a set of institutionally constrained, though more locally shaped and exploited, art and design disciplinary identities. The chapter shows how students perform their chosen disciplinary identities in the studio setting through certain interactional modes, such as gaze, posture, head movement, and layout.
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Notes
- 1.
Norris (2007, 2011) uses the terminology ‘identity elements’ rather than categories. This is because she correctly views an individual’s personal identity as multiple in nature (i.e. gender, occupational, etc.) and thus finds useful the analogy of chemical elements, which combine in different ways and in different forms (some stable, some less stable) depending on situation. The term categories is preferred in this chapter, firstly because, as seen in the first extract from the data (Extract 8.1), the focus is on the predetermined category titles used by the institution/participants and secondly because the MCA literature involving categorisation and identity (e.g. Antaki and Widdicombe 1998) provides a useful framework from which to launch the analysis.
- 2.
Computers are, of course, also viewed as a taken-for-granted tool of graphic designers, but within the situated context of this study, these resources were not provided by the institution for the studio environment.
- 3.
Though it is not mentioned here, it is also clear that the tutors also draw upon their respective understandings of the history of the visual arts discipline.
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Hocking, D. (2018). Identity. In: Communicating Creativity. Communicating in Professions and Organizations. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-55804-6_8
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