Negotiation as Drama: How "Games" Become Dramatic
Negotiation as Drama: How "Games" Become Dramatic
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谈判如戏剧：“游戏”如何变得戏剧化
DOI：
10.1163/157180696x00322
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发表时间：
1996
期刊：
影响因子：
--
通讯作者：
N. Howard
中科院分区：
文献类型：
--
作者：
N. Howard
戏剧的隐喻最近被提出来作为一种扩展博弈论分析方法的手段，包括对非理性、情感和玩家“重构”他们的处境以创造一个新的、不同的游戏的方式的理解。本文试图用非数学家易于理解的术语描述如何将谈判过程作为戏剧进行建模和分析。其中心思想是，通过分析一个游戏（重命名为“框架”）和其中的某些对象，我们可以找到它的梯度，即，它的不同部分在其感知的固定性所产生的情感压力下发生变化的趋势。因此，我们分析的不是一个给定游戏内部必须发生什么，而是这个游戏（现在是一个“框架”）为了解决它产生的问题而必须经历的转变。为了说明，最近的两部电影-水库狗和低俗小说-的结局进行了分析，以显示为什么在第一种情况下，三方决斗结束了枪战，而在第二种情况下，它结束了和平。同样的模型，经过一些修改，然后被用来模拟“维持和平”谈判，例如可能发生在联合国和一个卷入种族冲突的团体之间。
The metaphor of drama has recently been proposed as a means of extending game-theoretic methods of analysis to include an understanding of irrationality, emotion and the way in which players "reframe" their situation so as to create for themselves a new, different game. This paper attempts to describe in terms accessible to non-mathematicians how to model and analyze a negotiation process as a drama. The central idea is that by analyzing a game (renamed a "frame") and certain objects within it, we can find its gradient, i.e., the tendency of its different parts to change under the pressure of the emotions generated by its perceived fixity. Thus rather than an analysis of what must happen inside a given game, we have an analysis of the transformations the game - now a "frame"- must undergo in order to solve the problems it generates. To illustrate, the endings of two recent films -Reservoir Dogs and Pulp Fiction - are analyzed to show why the three-way duel in the first case ends in a shoot-out while in the second case, it ends peacefully. The same model, with a few changes, is then used to model "peace-keeping" negotiations such as might take place between the UN and a group involved in ethnic conflict.