A Piaget Primer: How a Child Thinks; Revised Edition by Dorothy G. Singer

By Dorothy G. Singer

Offers a desirable and comprehensible account of early life improvement for anyone—education and psychology scholars, day care middle staff and nursery college lecturers, and parents.

Jean Piaget is arguably crucial determine of the 20th century within the box of kid psychology. Over greater than six many years of learning and dealing with teenagers, he brilliantly and insightfully charted the phases of a kid's highbrow maturation from the 1st years to maturity, and in doing so pioneered a brand new mode of realizing the altering ways that a toddler involves snatch the world.

the aim of A Piaget Primer is to make Piaget's important paintings effectively obtainable to academics, therapists, scholars, and naturally, mom and dad. famous American psychologists distill Piaget's advanced findings into splendidly transparent formulations with no sacrificing both subtlety or importance. to complete this, they hire not just lucid language yet such interesting illuminations of a kid's international and imaginative and prescient as Alice's Adventures in Wonderland and Winnie-the-Pooh, in addition to media manifestations like Barney and Sesame Street. This thoroughly revised variation of this vintage paintings is as stress-free because it is invaluable—an crucial consultant to comprehending and speaking with childrens larger than we ever have prior to.

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Extra info for A Piaget Primer: How a Child Thinks; Revised Edition

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And yet, from the clinical perspective Meneghini inhabits, ‘the face’ exists prior to, and apart from, its evaluation. By this I mean that if Meneghini’s definition of ‘clinical facial analysis’ is examined more closely, his process of evaluation shapes/constructs that which it purports to merely observe, and through which the possibility for objectivity is clearly brought into question. For example: What determines the correct ‘proportions’ for an individual patient? How does one measure facial ‘volume’?

In other words, it was not so much that the face displayed a certain lesion on the skin’s surface as a sign indicative of a particular disease; rather, it was that the face showed features and gestures purportedly relating to a theoretical concept of the disease. For example, in ancient Greek medicine an oval face in which the nose is long and thin, and the eyes large would be classed as a ‘Mercurial face … a Melancholic subtype’ indicating ‘a nervous temperament’. A ‘Choleric face’—belonging to a person with a ‘designated’ volatile temperament—would have a facial complexion which is often ruddy, with a shape that is triangular, having a ‘narrow forehead and a broad, angular jaw’ (Gordon and Neuberger 1949: 522–523).

Sibylle Baumbach explains that [a]ccording to physiognomy, which is concerned with the ‘interpretation’, ‘rule’, or ‘essence’ (gnomon) of ‘nature’ (physis), there is an intrinsic relation between form and content, exterior and interior, physis and psyche. The body is perceived as a legible ‘text’, which openly communicates a person’s character and provides an insight into the disposition of man, provided that all signifiers that become visible on the bodily surface are given careful consideration … Of all bodily parts, the face emerges as the most ‘telling’, yet at the same time most complex physiognomic text.

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