Michael Chapman - Böcker

This book represents an attempt to understand the evolution of Jean Piaget's basic ideas in the context of his own intellectual development. Piaget sought to elucidate human knowledge by studying its origins and development. In this book, Michael Chapman applies the same method to Piaget's own thinking. Dr Chapman shows that some of the Swiss psychologist's essential ideas originated in adolescent philosophical speculations about the relation between science and value. These same ideas were then developed step by step in Piaget's investigations of children's cognitive development. Dr Chapman claims that Piaget's use of developmental psychology as a means for addressing questions about the evolution of knowledge has been misunderstood by psychologists approaching his work exclusively from the perspectives of their own discipline. Reconstructing Piaget's intellectual biography makes possible a better understanding of the questions he originally posed and the answers he subsequently provided. Dr Chapman concludes with an assessment of Piaget's relevance for contemporary psychology and philosophy and suggests ways in which Piagetian theory might be further developed.

This handbook will help veterinary clinicians and their staff to manage cases of poisoning in dogs and cats. It will also help answer enquiries about potential poisonings received from concerned pet owners. The content has been compiled from over 15 000 past cases referred to the Veterinary Poisons Information Service - a 24-hour information service for veterinary surgeons. The VPIS experience is compared and contrasted with case data and reports from the literature to provide a comprehensive overview of both toxicity and management for the agents included. Each agent, or group of agents, has a separate chapter covering its effects in either the cat or the dog. In some cases the species information is combined where the clinical effects and management are identical. The chapters provide all the information necessary for the immediate management of a particular poisoning case. This includes doses at which clinical intervention is advisable and dosing regimens and indications for any drug therapy required. Thus the user will be able to access quickly all the information needed for an emergency situation without having to refer to other sources.

One of developmental psychology's central concerns is the identification of specific "milestones" which indicate what children are typically capable of doing at different ages. Work of this kind has a substantial impact on the way parents, educators, and service-oriented professionals deal with children; and, therefore one might expect that developmentalists would have come to some general agreement in regard to the ways they assess children's abilities. However, as this volume demonstrates, the field appears to suffer from a serious lack of consensus in this area. Based on the premise that identifying relevant issues is a necessary step toward progress, this book addresses a number of vital topics, such as: How could research into fundamental areas (such as the age at which children first acquire a sense of self or learn to reason transitively) repeatedly yield wildly diverse results? Why do experts who hold to radically different views appear to be so unruffled by this same divergence of professional opinion? and, Are there grounds for hope that this divergence of professional opinion is on the wane?

Drum was launched as a popular magazine in the 1950s and quickly came to reflect the image and interests of the urban African. Its reports of the Defiance Campaign, the Congress of the People and the Treason Trial shared column-space with stories of soccer, sex and sin. This combination of yellow-press sensation and social concern gave rise to the short story by black South African writers, and several of Drum's writers established themselves as important figures in South African literature: Es'kia Mphahlele, Can Themba, Richard Rive, James Matthews, Nat Nakasa and Casey Motsisi.This anthology presents a selection of more than 90 stories that appeared in Drum. They depict the danger, the poverty and the spurious glamour of Sophiatown, where the New African - the tsotsi, the jazz musician, the journalist and the writer - affirmed identity and style and refused to submit to the government's determination to 'retribalize'.This second edition (third reprint) contains a new foreword by John Matshikiza in addition to the essay by Michael Chapman, which addresses the significance of the magazine and puts it into historical perspective: 'Most of the writers were concerned with more than just telling a story. They were concerned with what was happening to their people and, in consequence, with moral and social questions.'

This book reflects on the "literary" in literature. Less ideologically construed, more affirmative of literary attachment, the study adopts a style of intimacy – its "tough love" – in a correlation between the creative work and the critical act. Instead of configuring literary works to "state-of-the-nation" issues – the usual approach to literature from South Africa – the chapters keep alive a space for conversation, whether accented inwards to locality or outwards to the Anglophone world: the world to which literature in South Africa continues to belong, albeit as a "problem child".A postcolony that is not quite a postcolony, South Africa is richly but frustratingly textured between Africa and the West, or the South and the North. Its literature – hovering on the cusp of its locality and its global reach – raises peculiar questions of reader reception, epistemological and aesthetic frame, and archival use. Are the Nobel laureates Nadine Gordimer and J.M. Coetzee local writers or global writers? Is the novel or the short story the more appropriate form at the edges of metropolitan cultures? Given language, race, and culture contestation, how do we recover Bushman expression for contemporary use? How to consider the aesthetic appeal of two contemporaneous works, one in English the other in isiXhosa, the one indebted to Bloomsbury modernism the other to African custom? How does Douglas Livingstone attach the Third World to the First World in both science and poetry? What has a "born free" novelist, Kopano Matlwa, got to do with the Bard of Avon? In a time of theorisation, is it permissible for Lewis Nkosi to embody literary criticism in an autobiographical journey? How to read the rupturing event – the statue of Rhodes must fall – through a literary sensibility?Alert to the influence of critique, the study is equally alert to the "limits of critique". Reflecting on several writers, works, and events that do not feature in current publications, On Literary Attachment in South Africa releases literature to speak to us today, within the contours of its originating energy.

This book reflects on the "literary" in literature. Less ideologically construed, more affirmative of literary attachment, the study adopts a style of intimacy – its "tough love" – in a correlation between the creative work and the critical act. Instead of configuring literary works to "state-of-the-nation" issues – the usual approach to literature from South Africa – the chapters keep alive a space for conversation, whether accented inwards to locality or outwards to the Anglophone world: the world to which literature in South Africa continues to belong, albeit as a "problem child".A postcolony that is not quite a postcolony, South Africa is richly but frustratingly textured between Africa and the West, or the South and the North. Its literature – hovering on the cusp of its locality and its global reach – raises peculiar questions of reader reception, epistemological and aesthetic frame, and archival use. Are the Nobel laureates Nadine Gordimer and J.M. Coetzee local writers or global writers? Is the novel or the short story the more appropriate form at the edges of metropolitan cultures? Given language, race, and culture contestation, how do we recover Bushman expression for contemporary use? How to consider the aesthetic appeal of two contemporaneous works, one in English the other in isiXhosa, the one indebted to Bloomsbury modernism the other to African custom? How does Douglas Livingstone attach the Third World to the First World in both science and poetry? What has a "born free" novelist, Kopano Matlwa, got to do with the Bard of Avon? In a time of theorisation, is it permissible for Lewis Nkosi to embody literary criticism in an autobiographical journey? How to read the rupturing event – the statue of Rhodes must fall – through a literary sensibility?Alert to the influence of critique, the study is equally alert to the "limits of critique". Reflecting on several writers, works, and events that do not feature in current publications, On Literary Attachment in South Africa releases literature to speak to us today, within the contours of its originating energy.

One of developmental psychology's central concerns is the identification of specific "milestones" which indicate what children are typically capable of doing at different ages. Work of this kind has a substantial impact on the way parents, educators, and service-oriented professionals deal with children; and, therefore one might expect that developmentalists would have come to some general agreement in regard to the ways they assess children's abilities. However, as this volume demonstrates, the field appears to suffer from a serious lack of consensus in this area. Based on the premise that identifying relevant issues is a necessary step toward progress, this book addresses a number of vital topics, such as: How could research into fundamental areas (such as the age at which children first acquire a sense of self or learn to reason transitively) repeatedly yield wildly diverse results? Why do experts who hold to radically different views appear to be so unruffled by this same divergence of professional opinion? and, Are there grounds for hope that this divergence of professional opinion is on the wane?

The intersection of architecture and the machine has a history that stretches back to the Industrial Revolution, however the machine has recently begun to appear in new ways in speculative architectural drawing and modelling. This issue of AD considers the influence of the machine as an allegorical device for exploring alternative architectural practices, and includes a cross-section of viewpoints from emerging and established international practitioners and academics.Allegory, a technique native to literature, provides a critical method through which machine typologies can contribute to deeper architectural narratives, offering new lenses for challenging or reassembling conventional modes of thought. An allegorical architectural project can unveil a story that enhances our awareness of something important. This AD reveals how engagement with the machine as an allegorical device in architectural discourse provides an avenue for architecture to provoke new ideas in response to current environmental, political, economic, cultural and social issues. At the forefront of this discussion, it extends the criticality of the topic within the broader spectrum of history, theory, philosophy, allegory and new technologies.Contributors: Daniela Atencio and Claudio Rossi, Peter Baldwin, Brian Cantley, Kirill Chelushkin, Giuliano Fiorenzoli, Marissa Lindquist, Bea Martin, Derek Hales, Wes Jones, Brian M Kelly, Tom Kundig, and Caleb WhiteFeatured architects and designers: Jones, Partners: Architecture, Olson Kundig, Adolfo Luis Moure Strangis, and Liam Young.

This book considers what, in South Africa, is being published and how we may value what is being published, now. ‘Now’ is not only post-apartheid, or after the Truth Commission – the familiar signposts – but beyond both Antjie Krog’s Country of my Skull (1998), the TRC marker, and J.M. Coetzee’s Disgrace (1999), a book that for many, including arguably its author, marks a point of no return in its Afro-pessimism. Looking beyond 2000, these surveys of fiction, drama, poetry and autobiographical writing include coverage of poetry in English and Afrikaans, South African Indian writing, Zulu literature, oral performance, ‘queer’ fiction and literature of diasporic and ecological concern. Coverage does not claim to constitute a history of the literature. Rather, the accent is on a younger generation of writers, several of whom, such as Phaswane Mpe, K. Sello Duiker, Brett Bailey, Gabeda Baderoon and Lebo Mashile, have received critical recognition. Recent winners of major literary awards like Anne Landsman, Imraan Coovadia and Sally-Ann Murray feature in commentary of what is different now to then. Many writers then, of course, continue to be writers now, and the book does not ignore the more recent work of, among others, Nadine Gordimer, J.M. Coetzee, Breyten Breytenbach, Antjie Krog, Athol Fugard, Zakes Mda, Njabulo S. Ndebele, Marlene van Niekerk, Zoё Wicomb and Ivan Vladislavić. SA Lit? The contraction points to a provocation: what is South African Literature beyond 2000.

In conversations – serious, humorous, ironic, ribald – internationally acclaimed poet-scientist Douglas Livingstone and leading literary critic Michael Chapman struck up a warm, at times iconoclastic friendship. Over lunch they exchanged opinions, insights and anecdotes, not only on poetry, science and society, but also on personal aspects of modern life: love and loss, sexual and spiritual intimations, and city living; generally, on the value of our ‘uncommon humanity’.Their conversations – recollected in this book – take readers through the black-and-white times of political turbulence in South Africa of the 1970s and 1980s to a climate, after apartheid, more attuned to Livingstone’s abiding concern: how, as both scientist and poet, to heal the Earth, our only home.Along the way, we meet a cast from Jan Smuts, Mohandas Gandhi and Albert Luthuli to Alan Paton, Mazisi Kunene, Breyten Breytenbach and the ‘Soweto’ poets. We shift abruptly from Nobel laureate Wole Soyinka to the TV soap, Dallas.With clarity and wit, Michael Chapman intersperses the conversations with a fresh consideration of a unique achievement: Douglas Livingstone’s journey into the ‘two cultures’ of art and science.

These ‘interventions’ are spurred by what in South Africa today is a buzz-phrase: social cohesion. The term, or concept, is bandied about with little reflection by leaders or spokespeople in politics, business, labour, education, sport, entertainment and the media. Yet, who would not wish to live in a socially cohesive society? How, then, do we apply the ideal in the daily round when diversity of language, religion, culture, race and the economy too often supersedes our commitment to a common citizenry? How do we live together rather than live apart? Such questions provoke the purpose of these interventions.The interventions – essays, which are short, incisive, at times provocative – tackle issues that are pertinent to both living together and living apart: equality/inequality, public pronouncement, xenophobia, safety, chieftaincy in modernity, gender-based abuse, healing, the law, education, identity, sport, new ‘national’ projects, the role of the arts, South Africa in the world. In focusing on such issues, the essays point towards the making of a future, in which a critical citizenry is key to a healthy society.Contributors include leading academics and public figures in South Africa today: Christopher Ballantine, Ahmed Bawa, Michael Chapman, Jacob Dlamini, Jackie Dugard, Kira Erwin, Nicole Fritz, Michael Gardiner, Gerhard Maré, Monique Marks, Rajend Mesthrie, Bonita Meyersfeld, Leigh-Ann Naidoo, Njabulo S. Ndebele, Kathryn Pillay, Faye Reagon, Brenda Schmahmann, Himla Soodyall, David Spurrett and Thuto Thipe.

In the beginning it seemed to us that someone was missing and that something was amiss. He was often mentioned, occasionally discussed, but seldom cited or credited explicitly. And when he was acknowl­ edged, it was sometimes for reasons that seemed anachronistic and misleading. His influence could be felt in a number of areas of our dis­ cipline, but few scholars seemed to know just how, just where, and to what extent. We discovered, almost accidentally, that we shared an in­ terest in his legacy, in unravelling at least some portion of this riddle. Shortly thereafter, we began discussing ways in which, by pooling our resources with those of interested others, we could move closer to a res­ olution. Put simply, the protagonist of this riddle is Ludwig Wittgenstein (1889-1951), the son of a wealthy Viennese industrialist, the influential Cantabrigian philosopher, the rural Austrian schoolteacher. And the subject of our study is his largely unexplored legacy for developmental psychology. Although Wittgenstein's thought seemed to hold special promise for the study of human development, the philosopher and his work could walk virtually unrecognized through the landscape of con­ temporary developmental issues.

This new addition to Luster's successful, practical and attractive Hidden series, covering countries and regions, is the perfect book for those who wish to discover the most beautiful sides of Iceland. Hidden Iceland is an ode to the hidden attractions that are still to be found in Iceland, not just in nature, but in the towns and villages too, presenting them in inspiring lists such as:glittering glacierscosy cottages and guesthousesglorious geothermal poolswild animal encountersgreat rooftop bars in Reykjavíkand many more.302 addresses and facts in total, presented in original lists. Maps and index included.

A representative overview of some of the most pressing concerns in contemporary literary criticism in South Africa, demonstrating literary form's shaping power in the interpretation of politically contentious content.Rather than pressing literature into the service of a political cause or programme, this study's purpose – its politics of interpretation – is to open literature to the potential of human experience in both the personal and the public life. The society of focus – South Africa – is a society of political contestation. Instead of prioritizing the what of contestation, however, Michael Chapman explores contestation through the how of the literary work. In sharp transactions between an intransitivity of form and a compulsion to communicate, the book elucidates an ethics of aesthetics in J. M. Coetzee and Nadine Gordimer, and the best of modernism and the worst of modernism in Roy Campbell’s poetry. It also asks: Can Themba’s ‘style’ of the shebeens in the 1950s be re-visited in a contemporary context of gender-based abuse? Why or how are Ellen Kuzwayo and Mtutuzeli Matshoba, writing in the ‘struggle’ years of the 1970s, simultaneously less than artists and more than artists? Has the interpretative frame of the ‘postcolonial’ best served fiction after apartheid? What language of interpretation best releases the voices of contemporary women’s poetry: a poetry which in its play on identities and identifications looks both inwards to its locality and outwards to the globe?Alert to both South Africa’s colonial past and its assertions of today, Literary Transactions in South Africa pursues the challenge of interpreting a literature of disjuncture between Africa and the West, or the South and the North.