The Case Study as a Research Design in the Study of Language Impairment In 1874 several young artists gathered in Paris to show some of their work. Unfortunately, the paintings they exhibited did not meet with universal approval. One critic noted that the artists must have painted with the wrong side of the brush. Another reviewer wrote, the paintings were “quite simply ... Article
Article  |   April 01, 1997
The Case Study as a Research Design in the Study of Language Impairment
Author Affiliations & Notes
  • Bonnie Brinton
    Brigham Young University
  • Martin Fujiki
    Brigham Young University
Article Information
Articles
Article   |   April 01, 1997
The Case Study as a Research Design in the Study of Language Impairment
SIG 1 Perspectives on Language Learning and Education, April 1997, Vol. 4, 19-22. doi:10.1044/lle4.1.19-a
SIG 1 Perspectives on Language Learning and Education, April 1997, Vol. 4, 19-22. doi:10.1044/lle4.1.19-a
In 1874 several young artists gathered in Paris to show some of their work. Unfortunately, the paintings they exhibited did not meet with universal approval. One critic noted that the artists must have painted with the wrong side of the brush. Another reviewer wrote, the paintings were “quite simply the negation of the most elemental rules of drawing and painting” (Tucker, 1986, p. 109). As a group, the painters were referred to by various names, ranging from independents to radicals to lunatics (Moffett, 1986) .
Who were these artists singled out for such criticism? None other than the early impressionists— Renior, Cezanne, Monet, Degas, Pissarro, Morisot, and others whose work has long outlasted their detractors. Looking back, we might ask what the critics found so disturbing in their paintings. For one thing, the artists violated a number of the accepted conventions defining “good art.” For example, these painters neglected scenes “worthy” of portrayal to focus on ordinary, everyday events.
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