Themes of Conflict Theory

ABSTRACT

Social workers regularly encounter clients involved in conflictual situations, yet little has been written to facilitate understanding and integration of conflict theory themes with practice. Ten themes and theorists of conflict are introduced in this model alongwith lists of triggers, contexts and case examples. The conflict pro-cess, fromwithdrawal of legitimacy and trust throughdecisions and choices toconsequences (outcomes) of conflict, is presented. The model is explained with a “highway” metaphor and provides applications of micro and macro practice for the classroom, staff development and continuing education efforts.     

Paying Attention to Bodies in Education: theoretical resources and practical suggestions

This article theorizes and exemplifies reconceptualized teaching practices, both in early childhood education (ECE) and in a couple of programs within the new Swedish Teacher Education (since 2001). These programs are tightly knit to the last 12 years of reconceptualized early childhood education practices in and around Stockholm, built on deconstructive, co‐constructive, and re‐constructive principles, inspired by poststructural and feminist poststructural theories. The aim is foremost to work towards a dissolution and/or transgression of the modernist theory‐practice binary that dominates ECE and teacher education practices, where theory is meant to be applied to practice. Student teachers, as well as pre‐school teachers, use what I have conceptualized as deconstructive talks, as a possibility of making visible the dominant discourses of childhood, identity, learning, play, and gender in the performed and documented teaching practices. In teacher education, students’ narratives are also deconstructed. The aim is to transgress teaching‐as‐usual; i.e. dominant and normative ways of thinking and acting in teaching and learning situations. I will suggest an ethics of ‘resistance’, affirmation and becoming, inspired by Derridean deconstructionist thinking, as a professional attitude and reflexive mode for teachers, teacher students and teacher educators.     

语法隐喻理论可能“消解”论

尽管目前看来语法隐喻研究尚处于欣欣向荣之机,但是,一则由于语法隐喻理论包含的内容过多,而且很多内容互不相干,甚至互相对立;二则由于语法隐喻理论无法解决语义和语法形式无法割裂以及语义和语法形式的合理融合问题,由此使得语法隐喻理论未来的“消解”成为可能。我们认为“消解”首先发生在术语层面,“语法隐喻”和“一致式”这些术语所遭遇的诸多理论问题可能使得它们最终被弃用或者取代。其次,“消解”也可能发生在理论解释层面,对语义层的详尽描写可能最终导致语法隐喻理论的“消解”：一是,对语义层的详尽描写使得词汇语法层的存在受到质疑;二是,对意义动态构建过程的详尽描述和揭示可能消解“语法隐喻”机制的解释作用。最后,语法隐喻理论新解实质是对语法隐喻理论的“消解”。从事物发展的螺旋形上升角度来说,“消解”的理论指向性是多维的,一方面,它意味着对原有理论框架的发展和完善;另一方面,它意味着对原有理论框架的扬弃。     

聆听叙事话语中的“女性声音”——浅析爱丽丝·芒罗短篇小说中的性别政治

爱丽丝·芒罗的短篇小说以不动声色的女性叙事话语反抗了男性中心主义叙述方式.在女性视角的观照下审视男性和一切他者,改变男人讲故事,女人听故事的局面,对写作中的"菲勒司"中心主义具有反拨和解构力量.隐蔽的"女性声音"湮没了传统的男性叙事声音,进而男性和以男性为中心的社会也被重新审视和定位.     

理论的误读：论商事登记立法模式的重构

商事登记作为商事信用的表征,在商事活动的开展以及商主体立法中所处地位的重要性是不言而喻的.然而,从我国立法和实践的现状来看,作为商事登记两个组成部分,商事主体资格登记和商事营业资格登记却存在定性不明、混淆不清、操作不统一的情形.学者对其的讨论也大多集中在吊销营业执照的后果等实践性问题上,针对商事主体资格的定位以及商事登记立法模式的分析略显不足.因此有必要从我国商事资格登记流程的法律分析入手,找到现存立法模式症结之所在,通过从准统一到分离主义立法模式的构建和登记行为公私法性质的解构还原商事登记立法模式的应然形态.     

解构作为批判——《红拂夜奔》中的知识分子批判研究

<红拂夜奔>是王小波的代表作品之一.作品中,作者通过解构元叙事,批判知识分子文化命运:通过戏谑手段,批判知识分子文化处境,同时通过性荒诞描写,批判知识分子文化精神.从作品的解构主义形式人手,并结合捷克作家昆德拉的影响,探讨<红拂夜奔>中的批判精神,将是解读王小波作品的有效方式.     

双语教师教学能力构成解析

采用半封闭式的方式解构双语教学能力。首先从双语教师的专业标准和双语教学任务出发,对双语教学能力进行理论解构;然后调查实践一线教师和学生对双语教学能力的认识,最后得出结论,双语教学能力由双语表达能力、双语教学设计能力和双语教学实施能力构成。     

德里达解构思想的解悟——解构是挺进复杂性世界场域的隐喻

德里达的解构思想的激进性,既表现在对辩证法的拆解以示反确定论,也表现在对本体论的颠覆以示反决定论.他的解构思想以独特的形式表达着复杂性世界观的内容意味,并映现了晚近世界历史演进的复杂性,这将推动我们在新的历史基础上对辩证法本体论问题做出新的探索与表述.     

The construction of national identity in South Korea and the tradition of masculinity in Korean Abstract Painting

ABSTRACT

Korean Modern Art History began to be produced in the 1970s, when Western Modernist Art History, based on Formalism, was introduced as a matrix to map the ‘evolution’ of 20th century Korean Art. Korean modern art history is based in the same paradigm as the West, beginning with Impressionism and ‘ending’ with Abstract Expressionism. First introduced to the country from the West immediately after the Korean War, Korean Abstract Expressionism is now deemed as South Korea’s ultimate ‘progressive’ and ‘modern’ art form, a ‘Korean’ painting style combining the Western art form with traditional artistic concepts of ‘Scholarly Painting’ (muninhwa). Japanese‐influenced painting styles originating in the colonial period (1910–45) are rejected as ‘non‐authentic.’ The problem is that Scholarly Painting was a gender and class specific art born from the rigid Confucian culture of pre‐modern Korea, and thus its revival as an ‘ultimate modern’ and ‘Korean’ form has the consequence of locating traditionally‐gendered notions of art and artist at the core of the South’s modern art. This essay uses a Semiotic approach to deconstruct this gendered modernist rhetoric by tracing the emergence of the sign ‘Koreaness’ in South Korean modern art, showing how it is defined within Korean Abstract Painting as an ‘ultimate Korean sign’ and how its use of anti‐Japanese rhetoric covers up the traumatic history of the Korean War.     

南方淑女解构--论《心是孤独的猎手》中雌雄同体现象

作为20世纪著名南方女作家，卡森?麦卡勒斯创作主题之一就是对于父权社会中女性命运，尤其是对南方女性命运的描写。《心是孤独的猎手》，作为麦卡勒斯的处女作，自出版起，就受到各方评论家的关注，但大多数评论主要集中于对小说中孤独主题的分析。然而，除了对人与人之间隔离状况的描写，麦卡勒斯还试图将《心是孤独的猎手》中的女主人公－米勒描写成雌雄同体的“变性人”，从而利用这种被解构的女性呈现出父权社会在女性通往自由之路上所展现霸权。“雌雄同体”一词最早出现在柏拉图《会饮篇》中阿里斯托芬的描述当中，现主要传达者一种对人类两性和谐相处的理想期盼，是一种超越的完美人的存在。尽管在霸权之下米勒最终还是难以摆脱回归南方淑女的厄运，但麦卡勒斯通过对米勒的雌雄同体描写向我们展示了女性在摆脱是南方淑女摆脱传统“刻板形象”上的努力，并对她们从禁锢的意愿与个性中解放出来起到了一定的帮助。