It mediates the tourist experience and contributes to closing the gap between the home- and the destination’s culture by making culture-specific knowledge and specialized concepts accessible to non-specialists. The distinctive feature of most instances of tourism discourse is the fact that it draws from a range of specialized domains. Teaching English for Tourism at university involves both developing specialized language skills and forming knowledgeable professionals capable of appropriate intercultural communication. The latter entails an understanding of learning as emerging through social interaction, mediated by cultural tools and artifacts. I bring to this study of museum practice my background as an art historian and a sociocultur-al perspective on learning. This innovation on traditional analyti-cal approaches makes it possible to address the 'gap' between contempo-rary art discourses, on the one hand, and learning concepts that inform art museum education practice, on the other hand. In this chapter, I investigate the rhetoric/epistemological frames in art and learning discourses, theoretically, and the practice of these dis-courses in museums, empirically. This view is associated with contextual approaches in art history and assessment concerns in for-mal education. On the other hand, there is a perspective that meaning in art is produced by art history and its discourses. This view is common in art history, aesthetics, visual cul-ture studies, and social semiotic approaches, whereby learning becomes associated with vague notions of neural patterns, perception, and affec-tive response. On the one hand, although not mutually exclusive, there is a perspective that mean-ing in art is produced in individual perception and experience through exposure to art. In guided tour practice, it is possible to distinguish two familiar narra-tives on how meaning in art is learned and experienced. In this chapter, I explore the guided tour as a semiotic resource, the narratives that characterize this communication mode, and how narra-tives are used to mediate meaning-making activity. A common approach to the design of semiotic resources entails the use of narrative, a primary mode of communication that provides meaning and engages visitors in muse-ums. In art museums, professional interpretations become embedded in a strata of potentially meaningful semiotic resources, which include the museum architecture, labels, exhibition displays, catalogues, guided tours, selection of museum objects, and the objects themselves (O'Toole, 1994 Kress & Leeuwen, 2001 Ravelli, 2003). At the same time, interpre-tations produced by scholars, curators, critics, and artists are deeply root-ed in perspectives on how people experience and learn about art, what Kress and Leeuwen (2001) call 'rhetoric/epistemological frames.' Professional art discourse, implicitly if not explicitly, draws on these frames when interpreting a work's meaning, historical styles and influ-ences, and artists' intentions and productions. Valid MAList objects may contain other optional components, but all probe or array information should be contained in the above components.Contemporary art theory operates with the tenet that artworks are open to multiple interpretations and that different strategies may be employed to draw out and reflect on a work's meaning. Usually includes columns C圓 and Cy5 specifying which RNA was hybridized to each array. May have any number of columns.ĭata.frame containing information on the target RNA samples. List containing other matrices, all of the same dimensions as M.ĭata.frame containing probe information. Numeric matrix of same dimensions as M containing relative spot quality weights. Rows correspond to spots and columns to arrays. Numeric matrix containing the M-values (log-2 expression ratios). Data), but objects should contain the following components: This class contains no slots (other than. Slots/List Components MAList objects can be created by new("MAList",MA) where MA is a list.
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