[Xmca-l] Re: Fate of a Man (from Misha)

[mike cole]

I agree that in order for a film to generate The kind of perezhivanie that
Misha experienced, one needs to be re-living the represented experienced.
Mike
On Wed, Jan 18, 2017 at 6:09 PM Andy Blunden <ablunden@mira.net> wrote:

>
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> Misha's own childhood he saw represented in the boy in the movie.
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> A 1958 Soviet audience was still struggling with the experience of
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> the war. For the movie to function as a part of a perezhivanie for
>
> the watcher, it has to be reflecting and repeating something in
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> the watcher's own experience. I think this is a partial answer to
>
> the question you opened in another thread - the use of
>
> story-telling, movies, etc., - "mediational means" - to help
>
> Americans in surviving the coming period of Trump's America. ...
>
> Andy
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>
>
>
>
>
> ------------------------------
>
>
> Andy Blunden
>
>
> http://home.mira.net/~andy
>
>
>
>
> On 19/01/2017 1:02 PM, mike cole wrote:
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> It was
>
> extremely interesting to read Misha's interpretation of Fate
>
> of a Man. It provides evidence against my speculation that it
>
> might have been interpreted as Destiny of Mankind. If I
>
> understand correctly, Misha is saying that the perezhivanie of
>
> entire populations is reflected in the individual
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> consciousness of the character.  And the film, combining
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> multiple media and a strong, patriotic narrative, creates
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> perezhivanie in the viewer.
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> I did not,
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> personally, experience perezhivanie, while watching the film,
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> at least not perezhivanie of the sort that Misha is referring
>
> to. My orientation toward viewing it, and my own
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> cultural-historical background interfered. I was viewing it
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> through the lens of our discussion and my acute awareness of
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> the elisions and misrepresentations of these events in
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> historical time. This lens got in the way.
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>
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>
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>
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> Misha's note
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> is a good reminder of the difficulties of interpretation that
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> we all face in dealing with this topic! At the same time,
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> there was no missing different forms that correspond to
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> different "kinds" or "conceptions of kinds" of perezhivanie in
>
> the film.
>
>
> mike
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> On Wed, Jan 18, 2017 at 3:53 PM, Andy
>
> Blunden <ablunden@mira.net>
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> wrote:
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>
> Misha went
>
> on to criticise my characterisation of the boy's life-world,
>
> and I have to say that I was mistaken about that. The boy's
>
> life world is also "difficult" in Vasilyuk's terms. ... Andy
>
>
>
>
>
> ------------------------------------------------------------
>
>
> Andy Blunden
>
>
> http://home.mira.net/~andy
>
>
> http://www.brill.com/products/book/origins-collective-decision-making
>
>
>
>
>
>
>
>
>
>
> On 18/01/2017 7:50 PM, Andy Blunden wrote:
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>
>
>
> Misha, a Russian psychologist who has assisted Mike
>
> and me in analysing previous movies, offers this
>
> comment on "Fate of a Man."
>
>
>
>
>
> ------------------------------------------------------------
>
>
> I need to re-watch this emotional film. After a while
>
> I can write something regarding your theme. Glad to
>
> hear you. I think we'll have a lot of discussions.
>
> Only one thing I want to say now - This movie is not
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> an /illustration/ of perezhivanie but it /is/ really
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> the perezhivanie.
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>
>
>
>
> I re-watched the movie. Had a wonderful, unforgettable
>
> experience. Andrey, being a simple Soviet carpenter
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> before the War, fell into the millstone of hard,
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> bloody war by fate. He miraculously managed to
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> survive, losing his son on the front, his beloved wife
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> and two daughters in his native village near Voronezh.
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> The war has warped him, forced to endure emotional
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> anguish, physical pain and spiritual suffering. The
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> war has truly wounded his soul, humiliated him as a
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> man, but he remained a man of great kindness, taking
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> care of the orphan boy, treating him like his own son.
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> The film shows massive heroism of the Soviet people.
>
> Reading the story /Destiny of a Man/ by Mikhail
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> Sholokhov and watching the movie of Sergey Bondarchuk
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> with the same name, you can understand what it means
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> to love the Motherland truly. Pain and anxiety for
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> homeland and personal tragedy of the individual and
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> the specific family were organically fused in the fate
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> of Andrei Sokolov.
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>
>
>
>
> Andrey's suffering is simultaneously private and
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> public. But the hero of the film found the strength in
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> himself not to fall down, and continue to work for the
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> use and benefit of the country in the post-war period,
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> and, staying alone, to raise the kid without
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> assistants, the child who had experienced the
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> intensive grief because of losing parents. The
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> peculiarity of perezhivanie in this film is closely
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> interwoven with the social disaster caused by the
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> treachery and cruelty of the Germans in the great
>
> Patriotic war, and personal grief associated with the
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> loss of his beloved family. The score of V. Basner
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> naturally complements and musically ornaments this
>
> movie. It resembles the mood of Shostakovich's
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> symphonies, where you can observe fear, terror and
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> mental confusion, but it remains with kind and
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> optimistic fundamentals. Sincere, not-sugary kindness
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> and human warmth emanates from this strong and
>
> powerful film. The power of the spirit of this man is
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> the good (kind and strong) character of such person,
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> united with the solid beliefs of a healthy moral
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> order.
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>
>
>
>
> The film triggers a strong, intense perezhivanie from
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> the audience, where an experience of art even gives
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> priority way to perezhivanie of life itself, without
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> losing at the same time tonality of high art.
>
>
>
>
>
> ------------------------------------------------------------
>
>
> On 18/01/2017 12:39 PM, Andy Blunden wrote:
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>
>
>
> Thank you Marc! It was the third "plane" which was
>
> my intention in providing "Fate of a Man" for
>
> discussion. You picked out what were for me also the
>
> main (but by no means the only) instances of
>
> perezhivanija in this movie.
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>
>
>
>
> It seems to me that Sokolov (the author) offers one
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> perezhivanie in particular as the main theme of the
>
> movie. At the beginning of the movie, the man and
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> boy walk up the path to the camera and at the end of
>
> the movie they walk off together again. So this is
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> the central theme. As you say, when Sokolov's family
>
> has all been killed, even his talented war-hero son
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> who was going to be a famous mathematician, his life
>
> has become meaningless. I really liked your
>
> reflections of Sokolov's reflections too. He sees
>
> the young orphan boy who, he discovers, has no
>
> family and doesn't even know what town he comes
>
> from, but is aimlessly living on pieces of rubbish.
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> He sees that the two of them are in the same
>
> situation. So after some time mulling this over a
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> they sit together in the truck, he lies to the boy
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> and tells him that he is the boy's father, and they
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> embrace. But the boy questions this and he reasserts
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> his claim and the boy accepts this. The man is able
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> to define a new meaning for his life; he has done
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> this autonomously without the help of a therapist,
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> but he still needs another, the boy, to embody that
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> meaning. But he knows it is his own invention. The
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> boy on the other hand has to be made to believe it
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> is true; he is not sufficiently mature to
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> manufacture this meaning himself, but as a child he
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> can be guided by an adult. As you say, Marc, it is
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> very significant when Sokolov tells us how he is
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> now, again, worried about his own death. What if I
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> died in my sleep? that would be a shock for my son!
>
>
>
>
>
> For me, this reflection causes me to look back on
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> the man's whole struggle during the war: in the
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> first phase he does not differentiate between his
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> life as a father and husband and his life as a
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> Soviet citizen - war is his duty and he is
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> confident, as is everyone else, of victory. His
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> bravery in driving his truck to the front line under
>
> fire reflects the fact that he has never imagined
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> his own death. Then he finds himself prostrate
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> before 2 Nazi soldiers who we assume are going among
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> the wounded shooting anyone who has survived. But
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> surprisingly, he is allowed to live, but is to be
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> used as a slave. Sokolov has been confronted by his
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> own mortality for the first time and he chooses
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> life, but accepts slavery (Sartre and Hegel both
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> thematize this moment in their philosophy). In this
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> second phase of Sokolov's life he is a survivor.
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> Everything hinges on surviving and returning to his
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> wife and family. As you point out, Marc, his later
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> reflections on this are particularly poignant, when
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> he discovers the futility of this hope. Eventually,
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> the life of forced labour becomes unbearable. He
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> cries out: "Why are we forced to dig 3 cubic metres
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> when 1 cubic meter is enough for a grave!" Sokolov
>
> has accepted and embraced death after all.
>
> (Transition to the third phase.) To his German
>
> masters this is an unendurable act of defiance. As
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> David points out, there are flaws in the scene which
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> follows, but ... he confronts his own death
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> defiantly, stares it in the eye, spits on it, and
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> his life again gains meaning as a "brave Soviet
>
> soldier" unafraid of death even in such an
>
> impossible moment. Not only does he survive, but
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> takes the Nazi Colonel prisoner and hands the war
>
> plans over to the Red Army. Now, when he is offered
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> the chance to return to his wife as a war hero he
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> declines and asks to be sent back to the front. His
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> life has adopted this new meaning which casts his
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> life as a father into the shade. He no longer fears
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> death. But he is persuaded to take time off and
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> learns of the death of his family. As Marc relates,
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> the continued survival of his son, who is now also a
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> war hero, provides continued meaning and integrates
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> the two themes in his life. This takes work, as Marc
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> points out, and he has the assistance of an older
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> man, in achieving this redefinition of his life. But
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> tragically, with the death of his son (and NB the
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> end of the war, albeit in victory) his life is again
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> without meaning. Fourth phase. He has survived, but
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> has no purpose. By becoming a father again (Fifth
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> phase), he regains the fear of death and meaning in
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> his life. It is real work, and we witness this
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> psychological turmoil as he copes with the idea that
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> this scruffy orphan boy could be a son to him, and
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> eventually he manages it.
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>
>
>
>
> The transition between each phase is a critical
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> period during which Sokolov's personality is
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> transformed. Note also, that there is a premonition
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> of this perezhivanie in Sokolov's earlier life: his
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> family is wiped out in the Civil War and the famine
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> of 1922, then he meets his wife-to-be, also raised
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> in an orphanage, and they together create a life and
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> have 17 happy years before the Nazi invasion
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> intrudes. So from the beginning of the movie we are
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> introduced to the main theme.
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>
>
>
>
> These are the main moments in the movie, which
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> caused me to select it for discussion rather than
>
> any other movie. Also, there is no doubt that in
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> producing this movie in 1958 the Soviet government
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> was engaged with its people, in a process of
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> collective perezhivanie and by reflecting on the
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> collective perezhivanie during the period of the
>
> war, before and after, they aim to assist the people
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> in collectively assigning meaning to this terrible
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> suffering and like the man and his "son" walking
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> again into the future. As a propaganda movie, of
>
> course, it is open to much criticism, but that is
>
> hardly the point. I appreciate Marc's analysis in
>
> terms of the other concepts he has introduced. I
>
> wouldn't mind a recap on these. In terms of
>
> Vasilyuk's concepts, Sokolov's life-world is *simple
>
> and difficult*. The boy's life world is *simple and
>
> easy*.
>
>
>
>
>
> Can we continue to discuss "Fate of a Man", while I
>
> open another movie for analysis? I think there are
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> at least 10 subscribers to this list who have
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> published in learned journals on the topic of
>
> perezhivanie in childhood. Perhaps one of you would
>
> like to reflect on the boy's perezhivanija?
>
>
>
>
>
> Andy
>
>
>
>
>
> ------------------------------------------------------------
>
>
> Andy Blunden
>
>
> http://home.mira.net/~andy
>
>
> http://www.brill.com/products/book/origins-collective-decision-making
>
>
>
>
> On 18/01/2017 5:14 AM, Marc Clarà wrote:
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>
>
>
> Hi, all,
>
>
>
>
>
> and thank you, Andy, for sharing this amazing
>
> film, which I didn't know. I
>
>
> think it will be very useful to share and discuss
>
> our respective views on
>
>
> perezhivanie.
>
>
>
>
>
> In my view, the film could be analyzed in terms of
>
> perezhivanie in three
>
>
> different planes. First, we could consider the
>
> person who watches the film,
>
>
> and we could study how the meaning she forms for
>
> the film restructures her
>
>
> relationship with aspects of her real life -such
>
> as, for example, her own
>
>
> death or the death of a beloved one, etc. (perhaps
>
> this is a little bit
>
>
> like what Beth and Monica, or Veresov and Fleer,
>
> do with their study of
>
>
> playworlds?). In this plane, which would be
>
> perhaps the most naturalistic
>
>
> one, the film could be studied as an human-made
>
> cultural artifact which
>
>
> restuctures psychological functions; here, the
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> meaning formed for the film
>
>
> by who watches it and uses it as mediator in her
>
> relation to her real life
>
>
> would be an m-perezhivanie.
>
>
>
>
>
> In a second plane, we could proceed as if the film
>
> was real life, and we
>
>
> could consider Sokolov telling his story to the
>
> man he meets by the river
>
>
> (a little bit like Carla telling her story to me).
>
> In this plane, Sokolov's
>
>
> narrative (i.e., what is showed to us as narrated
>
> flashback) could be
>
>
> considered as a cultural artifact that Sokolov
>
> uses to relate to all what
>
>
> happened to him. At this plane, the meaning of
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> this narrative would be the
>
>
> m-perezhivanie that, in that moment, mediates the
>
> relationship between
>
>
> Sokolov and the war events he experienced years
>
> ago (but these events are
>
>
> still very present to him, so although relating to
>
> past events, there is
>
>
> here a Sokolov's activity [towards the past war
>
> events] which is in present
>
>
> -this echoes Christopher when, within our
>
> conversations, said: “Part of
>
>
> this might also be a question of what it means to
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> describe and represent
>
>
> one's own perezhivanie figuratively/narratively
>
> (whether to others, or to
>
>
> oneself), as opposed to living that perezhivanie.
>
> Especially if the attempt
>
>
> to capture/represent one's own perezhivanie is,
>
> perhaps, also central to
>
>
> the living of it?”
>
>
>
>
>
> In a third plane, we could proceed as if Sokolov's
>
> narration was not a
>
>
> retrospective narration, but the on-time sequence
>
> of events with on-time
>
>
> Sokolov's explanation of these events (in the
>
> moments in which the narrator
>
>
> voice is assumed within the flashback). In this
>
> plane, there are several
>
>
> interesting perezhivanie phenomena. Clearly, there
>
> is a Sokolov's activity
>
>
> of experiencing-as-struggle, which initiates when
>
> he realizes that all his
>
>
> family, except one son, had been killed 2 years
>
> ago. At this moment, his
>
>
> life becomes meaningless; the meaning
>
> (m-perezhivanie) he uses to relate to
>
>
> all his life (including the past) at this moment
>
> is expressed in his
>
>
> conversation with his oncle: “it's got to be that
>
> this life of mine is
>
>
> nothing but a nightmare!”. In this moment,
>
> Sokolov's past in the prision
>
>
> camp becomes also meaningless: then, his link to
>
> life (the m-perezhivanie
>
>
> that made being alive meaningful to him) was
>
> meeting his family; but at
>
>
> that time his family was already dead, so when he
>
> discovers it, he realizes
>
>
> that this m-perezhivanie (the idea of meeting his
>
> family) was linking him
>
>
> to death, not to life, so all his efforts to
>
> surviving become meaningless:
>
>
> “Every night, when I was a prisioner, I talked
>
> with them. Now it turns out
>
>
> that for two years I was talking with the dead?”.
>
> In this conversation,
>
>
> however, his oncle offers him an alternative
>
> m-perezhivanie to relate to
>
>
> his life: he still has a son, so the m-perehivanie
>
> of meeting his family
>
>
> can still turns Sokolov's life meaningful: “you've
>
> got to go on living. You
>
>
> have to find Anatoly. When the war is over, your
>
> son will get married, you
>
>
> will live with them. You will take up your
>
> carpentry again, play with your
>
>
> grandkids”. It takes some time to Sokolov to enter
>
> into this
>
>
> m-perezhivanie, but he does it and his life
>
> becomes meaningful again: “and
>
>
> then, unexpectedly, I've got a gleam of sunlight”.
>
> But, then, Anatoly also
>
>
> dies. How to keep living? Here, Sokolov holds the
>
> m-perezhivanie that
>
>
> linked him to life until that moment, and
>
> therefore, he needs a son;
>
>
> pretending being the father of Vanya turns his
>
> life meaningful again.
>
>
>
>
>
> Another interesting thing, still at that level, is
>
> how Sokolov's relation
>
>
> with his own immediate death changes along the
>
> different occasions in which
>
>
> he faces it. I thing here there are examples of
>
>
> experiencing-as-contemplation -in my view, this is
>
> not
>
>
> experiencing-as-struggle because the situation of
>
> impossibility (the
>
>
> immediate death) is removed existentially
>
> (Sokolov's life is given back to
>
>
> him), so that there is not a permanent situation
>
> of impossibility which is
>
>
> initially meaningless and is turned into
>
> meaningful. In each occasion in
>
>
> which Sokolov is faced with his immediate death,
>
> the m-perezhivanie that
>
>
> mediates this relationship is different. When he
>
> is captured, his
>
>
> m-perezhivanie is expressed as: “here's my death
>
> coming after me”. When he
>
>
> is conducted to meet the nazi official, the
>
> m-perezhivanie is expressed as:
>
>
> “the end of your misery”, “to my death and my
>
> release of this torment, I
>
>
> will drink”. In the first, the death is running
>
> after Sokolov; in the
>
>
> second, it is Sokolov happily going to meet death.
>
> Later, at the end of the
>
>
> film, he faces his immediate death again, and the
>
> m-perezhivanie is
>
>
> expressed as: “I'm really worried that I might die
>
> in my sleep, and that
>
>
> would frighten my little son”.
>
>
>
>
>
> Well, just some thoughts after watching this
>
> wonderful film.
>
>
>
>
>
> Best regards,
>
>
>
>
>
> Marc.
>
>
>
>
>
> 2017-01-15 0:06 GMT+01:00 Christopher Schuck < <schuckcschuck@gmail.com>
> schuckcschuck@gmail.com>:
>
>
>
>
>
>
>
> Yes, definitely that article! And specifically,
>
> when I used "pivoting" I
>
>
> couldn't help but think of Beth's earlier
>
> example about how a child will
>
>
> use a stick as a pivot for a horse. Perhaps a
>
> somewhat different
>
>
> application but related, no?
>
>
>
>
>
> On Sat, Jan 14, 2017 at 4:06 PM, Alfredo Jornet
>
> Gil <a.j.gil@iped.uio.no>
>
>
> wrote:
>
>
>
>
>
>
>
> Chris, all,
>
>
>
>
>
> your post is totally relevant to Beth's and
>
> Monica's article in the
>
>
> special issue. They write about film and
>
> perezhivanie (quoting Sobchack)
>
>
> the following:
>
>
>
>
>
> The reason that film allows us to glimpse the
>
> future is that there is a
>
>
> connection between filmic time and ‘real’
>
> time: “The images of a film
>
>
>
>
> exist
>
>
>
>
> in the world as a temporal flow, within
>
> finitude and situation. Indeed,
>
>
>
>
> the
>
>
>
>
> fascination of the film is that it does not
>
> transcend our
>
>
>
>
> lived-experience
>
>
>
>
> of temporality, but rather that it seems to
>
> partake of it, to share it”
>
>
> (1992, p. 60).
>
>
>
>
>
> And later
>
>
>
>
>
> "Specifically, the way that the flow of time
>
> becomes multidirectional is
>
>
> that “rehearsals make it necessary to think of
>
> the future in such a way
>
>
>
>
> as
>
>
>
>
> to create a past” (1985, p. 39). As Schechner
>
> ex-plains: “In a very real
>
>
> way the future – the project coming into
>
> existence through the process of
>
>
> rehearsal – determines the past: what will be
>
> kept from earlier
>
>
>
>
> rehearsals
>
>
>
>
> or from the “source ma-terials” (1985, p.
>
> 39)."
>
>
>
>
>
> Alfredo
>
>
>
>
>
>
>
>
> ________________________________________
>
>
> From: xmca-l-bounces@mailman.ucsd.edu
>
> <xmca-l-bounces@mailman.ucsd.edu>
>
>
> on behalf of Christopher Schuck < <schuckcschuck@gmail.com>
> schuckcschuck@gmail.com>
>
>
> Sent: 14 January 2017 21:43
>
>
> To: eXtended Mind, Culture, Activity
>
>
> Subject: [Xmca-l] Re: Fate of a Man
>
>
>
>
>
> But that's both the limitation and strength of
>
> art or fictional narrative
>
>
> as opposed to real life, isn't it? That art
>
> focuses our attention and
>
>
> highlights certain features in a way that is
>
> idealized and artificially
>
>
> "designed" to convey something more clearly
>
> and purely (but less
>
>
> organically and authentically) than it would
>
> be conveyed in the course of
>
>
> living it, or observing someone else living
>
> it? One way to get around
>
>
>
>
> this
>
>
>
>
> would be, as David says, to analyze the film
>
> in terms of clues as to the
>
>
> stages of emergence. But maybe another way to
>
> use the film would be to
>
>
>
>
> view
>
>
>
>
> it not so much as a complete, self-sufficient
>
> "example" of perezhivanie,
>
>
>
>
> as
>
>
>
>
> a *tool *for pivoting back and forth between
>
> the concept of perezhivanie
>
>
>
>
> as
>
>
>
>
> imaginatively constructed (through fiction),
>
> and the concept of
>
>
> perezhivanie as imaginatively constructed
>
> (through our real living
>
>
> experience and observation of it). So, it
>
> would be the *pivoting* between
>
>
> these two manifestations of the concept
>
> (designed vs. evolved, as David
>
>
>
>
> put
>
>
>
>
> it) that reveals new insights about
>
> perezhivanie, rather than
>
>
>
>
> understanding
>
>
>
>
> the concept from the film per se.
>
>
>
>
>
> On Sat, Jan 14, 2017 at 3:08 PM, David Kellogg
>
> <dkellogg60@gmail.com>
>
>
> wrote:
>
>
>
>
>
>
>
> I think there's a good reason why Andy
>
> started a new thread on this:
>
>
>
>
> he's a
>
>
>
>
> very tidy thinker (quite unlike yours truly)
>
> and he knows that one
>
>
>
>
>
>
> reason
>
>
>
>
>
>
> why xmca threads are seldom cumulative is
>
> that they digress to related
>
>
> problems without solving the immmediate
>
> ones.
>
>
>
>
>
> Yes, of course, a film allows us to consider
>
> an example of
>
>
>
>
> "perezhivanie",
>
>
>
>
> but it is a designed perezhivanie rather
>
> than an evolved one; it
>
>
>
>
>
>
> doesn't
>
>
>
>
>
>
> explicitly display the various stages of
>
> emergence required for a
>
>
>
>
>
>
> genetic
>
>
>
>
>
>
> analysis, unless we analyze it not as a
>
> complete and finished work of
>
>
>
>
>
>
> art
>
>
>
>
>
>
> but instead for clues as to the stages of
>
> its creation (the way that,
>
>
>
>
>
>
> for
>
>
>
>
>
>
> example, "Quietly Flows the Don" was
>
> analyzed to determine its
>
>
> authenticity).
>
>
>
>
>
> I remember that In the original short story,
>
> the schnapps drinking
>
>
> scene seemed like pure sleight of hand: an
>
> artistically gratuitous
>
>
>
>
> example
>
>
>
>
> of what eventually gave Soviet social
>
> realism such a bad name.
>
>
>
>
>
> David Kellogg
>
>
> Macquarie University
>
>
>
>
>
> On Sat, Jan 14, 2017 at 10:04 PM, Carol
>
> Macdonald <
>
>
>
>
>
>
> carolmacdon@gmail.com
>
>
>
>
>
>
> wrote:
>
>
>
>
>
>
>
> Fellow XMCa-ers
>
>
>
>
>
> I have watched it through now, thank you
>
> Andy, but right now only
>
>
>
>
> empirical
>
>
>
>
> psychological categories come to mind.  I
>
> will watch it again and in
>
>
>
>
>
>
> the
>
>
>
>
>
>
> meanwhile let my fellows with more recent
>
> experience of
>
>
>
>
>
>
>
>
> /perezhivanie/
>
>
>
>
>
>
> take
>
>
>
>
> the discussion further.
>
>
>
>
>
> It is a kind of timeless story, and modern
>
> film techniques would
>
>
>
>
>
>
> perhaps
>
>
>
>
> be
>
>
>
>
> more explicit. At the least I would say it
>
> has for me a Russian
>
>
> understanding of suffering, perhaps
>
> because of their unique
>
>
>
>
>
>
>
>
> experience
>
>
>
>
> of
>
>
>
>
>
>
> it. But having said that, WWII must have
>
> generated other similar
>
>
> experiences, apart from the first part
>
> about Andrei's family dying in
>
>
>
>
>
>
> the
>
>
>
>
>
>
> famine.
>
>
>
>
>
> Carol
>
>
>
>
>
> On 14 January 2017 at 02:15, Andy Blunden
>
> <ablunden@mira.net>
>
> wrote:
>
>
>
>
>
>
>
> I watched it in two parts with
>
> subtitles:
>
>
>
>
>
> http://www.dailymotion.com/video/x16w7fg_destiny-of-a-man-
>
>
>
>
> 1959-pt-1_creation
>
>
> http://www.dailymotion.com/video/x16wat4_destiny-of-a-man-
>
>
>
>
> 1959-pt-2_creation
>
>
>
>
>
> Andy
>
>
>
>
>
> ------------------------------------------------------------
>
>
>
>
> Andy Blunden
>
>
> http://home.mira.net/~andy
>
>
> http://www.brill.com/products/book/origins-collective-
>
>
>
>
>
>
>
>
> decision-making
>
>
>
>
>
>
>
>
> On 14/01/2017 2:35 AM, Beth Ferholt
>
> wrote:
>
>
>
>
>
>
>
>
>
>
>
> Thank you for taking us to a
>
> shared example.  I think that
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> having a
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> --
>
>
> Carol A Macdonald Ph.D (Edin)
>
>
> Cultural Historical Activity Theory
>
>
> Honorary Research Fellow: Department of
>
> Linguistics, Unisa
>
>
> alternative email address: <tmacdoca@unisa.ac.za>tmacdoca@unisa.ac.za
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>