В. А. Светлов

Конфликт поколений: эволюционный взгляд
200-летию Чарльза Дарвина посвящается
«Самые сложные органы и инстинкты могли быть усовершенствова-ны не при помощи средств, превосходящих человеческий разум, хотя и аналогичных ему, а путем кумуляции бесчисленных незначительных вариаций, каждая из которых была полезна для ее обладателей».
Дарвин Ч. Происхождение видов путем естественного отбора или сохранения благоприятствуемых пород в борьбе за жизнь

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In the fall 2003, I had the privilege of participating in the U.S. Fulbright Scholar program. My grant took me to Tartu University in Tartu, Estonia. In this article, I wish to describe my experiences and offer my impressions of teaching overseas in the hopes of inspiring other educators to pursue opportunities teaching and learning peace and conflict abroad. It is particularly important that American educators experience other cultures and perspectives to ensure that their craft is relevant, accurate, and continues to maintain a worldview. This is critical in our field, which by its nature is current, ever changing, interdisciplinary, and cross-cultural. To only offer viewpoints that are U.S.-centric fails to incorporate the global perspectives that characterize not only our specialty, but all disciplines and fields today... 

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«Our lives are built around compromise. Throughout each day we “negotiate” with others in an attempt to obtain mutually acceptable outcomes. In the majority of cases we may not even be conscious of arriving at a compromise we are culturally (or even biologically) conditioned to strike these bargains. However, at other times we are painfully aware of the need to negotiate often until we are blue in the face! (more...)

CHAPTER 1: WHAT IS DRAMA THEORY? 2
1.1 The case of Oedipus—and the rest of us 2
1.1.1 Does drama apply to life? 2
1.2 Drama theory, game theory and choice within a fixed frame (‘instrumental rationality’) 3
1.2.1 Rational choice theory as the starting point for drama theory. 4
1.3 Drama theory and ethics 7
1.3.1 Differing moralities 8
1.3.2 Humour and irony 8
1.3.3 What kind of ethics? 9
1.4 Other uses of the drama metaphor; free will and consciousness 10
1.4.1 The author and the audience 12
1.5 Drama theory in relation to other subjects 13
1.5.1 Rationalism v. irrationalism 15

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