Sociocultural Studies of Mind

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James V. Wertsch, Pablo del Rio, Amelia Alvarez
Cambridge University Press, Apr 28, 1995 - Psychology - 252 pages
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Sociocultural Studies of Mind addresses the question of how mental functioning is related to the cultural, historical, and institutional settings in which it takes place. There are three unifying ideas that run through the volume: 1) one of the basic ways that sociocultural setting shapes mental functioning is through the cultural tools employed, 2) mediation provides a formulation of how this shaping occurs, and 3) in order to specify how cultural tools exist and have their effects, it is essential to focus on human action as a unit of analysis. This landmark volume defines a general approach to sociocultural psychology--one that the authors hope will be debated and redefined as the field moves forward. Sociocultural Studies of Mind will be crucial for researchers and graduate students in cognitive science, philosophy, and cultural anthropology.
 

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Contents

Culturalhistorical psychology and the psychological theory of activity retrospect and prospect
37
The need for action in sociocultural research
56
Theories of action speech natural language and discourse
75
Mediation in action
93
Writing and the mind
95
An approach to an integrated sensorimotor system in the human central brain and a subconscious computer
124
Sociocultural setting intersubjectivity and the formation of the individual
137
Observing sociocultural activity on three planes participatory appropriation guided participation and apprenticeship
139
The constitution of the subject a persistent question
165
Sociocultural settings design and intervention
185
Socioculturalhistorical psychology some general remarks and a proposal for a new kind of culturalgenetic methodology
187
Tossing praying and thinking the changing architectures of mind and agency
215
Index
249
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Page 14 - Dramatism centers in observations of this sort: for there to be an act, there must be an agent. Similarly, there must be a scene in which the agent acts. To act in a scene, the agent must employ some means, or agency. And it can be called an act in the full sense of the term only if it involves a purpose...
Page 18 - ... a sequence, explicitly. Or, if you will, the stage-set contains the action ambiguously (as regards the norms of action) — and in the course of the play's development this ambiguity is converted into a corresponding articulacy. The proportion would be: scene is to act as implicit is to explicit.
Page 14 - essence" or "meaning" of a sentence is not reducible to its sheer physical existence as sounds in the air or marks on the page, although material motions of some sort are necessary for the production, transmission, and reception of the sentence.

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