Working Annotated Bibliography: The Bards of Bone Plain
The main focus of my research so far has been the interaction between rural and urban environments in relation to creativity. The story focuses largely on the conflict between music as learned in an informal, rural setting, and music as learned in a "bardic college." The rural learning cannot have the same extensiveness as the college, but the college struggles to connect with the latent magic inherent to the more rural music. I'm really curious about the relationship between this concept and movements such as the pre-raphaelite and romantic movements, which both focused on very simple subjects and attempted to capture their beauty, but often the creators were not necessarily a part of the environment they depicted.
Kaneda, Takuya. “The Concept of Freedom in Art Education in Japan.” Journal of Aesthetic Education, vol. 37, no. 4, 2003, pp. 12–19. JSTOR, www.jstor.org/stable/3527329. Accessed 23 Mar. 2020.
This article discusses the evolution of art education in Japan from a rote, imitation based education system to a more organic system designed to encourage creativity. This will help me discuss the relationships between "internal" creativity and "learned" creativity, and how those two interact.
[Print bibliography- ENG 251 packet]
Eliot, T. S.. "Tradition and the Individual Talent." The Egoist, vol. 6, no. 4, Sept. 1919, pp. 1-6.
Eliot's article, which elaborates on the relationship between tradition and talent, largely focuses on the value of studying, but not necessarily imitating other poets (or artists). I'm really interested in the relationship in The Bards of Bone Plain between art that arises organically (which Eliot disparages) and art that is created after study. Eliot's article will help elaborate on the principles behind the "study" perspective.
[Thesis/Dissertation abstract on BYU library]
Jensen, Jordan, "A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art." Theses and Dissertations, 2861, 2011. https://scholarsarchive.byu.edu/etd/2861. Accessed 23 March 2019.
This dissertation concluded that many teachers, while more than willing to teach elementary-school students art, did not feel like they had the education necessary to teach children art. I think the fact that they can, but don't feel suited to the position was especially interesting and will help me discuss the benefits of encouraging internal creativity.
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Millais, John Everett. Ophelia. 1852, Tate Britain, London.
The artist who does most of the cover art for Patricia McKillip, including that for Bards of Bone Plain, uses a fairly common high-fantasy style for her art, which largely seems to imitate the art in the pre-raphaelite movement in the 1800s. From my understanding of the movement, there is a similar combination of incredibly detailed and intense style, depicting very simplistic subjects.
[research guide- emailed Robert Means]
SZANIAWSKI, KLEMENS. “Creativity and Values.” Dialectics and Humanism, vol. 6, June 1979, pp. 73–76. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=phl&AN=PHL1084966&site=ehost-live&scope=site.
Iili I'm really interested in this article since it attempts to discuss the value of creativity. It could be argued that the protagonist in Bards of Bone Plain is not musical/creative at all, and it is his very non-musicality that ends up "saving the day."
The thesis you found about the teachers not feeling qualified to teach elementary school students art seems quite interesting, and connects with what you found about internal versus learned creativity. How do these two types of creativity surface in regard to the Pre-Raphaelite and Romantic movements? How does being in or outside of the artistic environment influence the art created?
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