Les jeux et les hommes
01 Jan 1960-Vol. 34, Iss: 4, pp 374
About: The article was published on 1960-01-01. It has received 382 citations till now.
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01 Jan 2003
TL;DR: In this article, the authors argue that one of the reasons why videogames have not yet dealt with human relationships, social and political issues is due to the limitations of the narrative paradigm that has been taken for granted by both the industry and academia.
Abstract: Historically, videogames have been close to popular culture, drawing most of its themes from fantasy and science fiction. In this paper I argue that one of the reasons why videogames have not yet dealt with human relationships, social and political issues is due to the limitations of the narrative paradigm that has been taken for granted by both the industry and academia. Additionally, I will suggest some alternative approaches based on simulation and on dramatist Augusto Boal’s work that could be used to develop the techniques that we need for crafting non-fantasy videogames.
24 Apr 2017
TL;DR: The authors analyzed the rhetorical strategies in two video games: Squishy tank (2010), by Success, and Valkyria Chronicles (2008), by Sega, and found that they employ the Japanese aesthetic concepts of kawaii, cuteness and moe, the identification and fetishism with a fictional character.
Abstract: The same as literature or films, video games can also express a positive view of the war. For example, they are part of the propaganda of armies, such as the US army, or terrorist groups, such as Hezbollah. Related to Japanese video games, they are interesting due to their unusual strategic communications within a country which promotes pacifist culture. This paper analyses which are these rhetorical strategies in two video games: Squishy Tank (2010), by Success, and Valkyria Chronicles (2008), by Sega. In order to achieve it, it will employ the Japanese aesthetic concepts of kawaii, cuteness, and moe, the identification and fetishism with a fictional character.
TL;DR: In this paper, le type de jeux associe au mecanisme du dementi ( le jeu comme leurre) is defined, i.e., le jeus, dans la cure des enfants, obeissent, selon notre hypothese, des logiques inconscientes differentes, ce qui se revele, seon nous, d'une importance decisive pour envisager leur accueil dans the cure.
Abstract: Les jeux, dans la cure des enfants, obeissent, selon notre hypothese, a des logiques inconscientes differentes, ce qui se revele, selon nous, d'une importance decisive pour envisager leur accueil dans la cure. Aussi proposons-nous une classification structurale des jeux qui epouse le champ freudien, de meme que Piaget l'avait tente pour la psychologie developpementale et Caillois pour la sociologie. Nous considerons ainsi que certains jeux obeissent a une logique de denegation (Verneinung), jeux que nous baptisons jeux « trompe-l'oeil », d'autres a une logique de dementi (Verleugnung), jeux que nous baptisons jeux « leurres » et d'autres a une logique de forclusion (Verwerfung), jeux que nous proposons de nommer jeux « suppleances ». Cet article developpe le type de jeux associe au mecanisme du dementi : le jeu comme leurre. Un exemple de la litterature est, a cet effet, convoque et analyse, celui d'Arpad, le « petit homme-coq » recu en 1913 par S.Ferenczi. L'approfondissement de ce cas ainsi que l'analyse de la physionomie des jeux « leurres » nous permettent de degager les raisons pour lesquelles de tels jeux peuvent faire obstacle a la cure ainsi qu'a l'instauration, au developpement et a l'analyse du transfert. Sera, de ce fait, mise en doute la possibilite de considerer de tels jeux comme « therapeutiques » au sens ou Winnicott l'affirme du playing. Faisant l'hypothese que de tels jeux ne sont pas propices a une mutation subjective, nous serons amenes a opposer ceux-ci aux jeux « trompe-l'oeil » et aux jeux « suppleance ».
TL;DR: In 2011, a Berlin theatre put the comic radio play "Much Ado About Kasperl" on stage and invited me to give an interactive lecture about the play to an audience of children aged between 9 and 11.
Abstract: In 1932 Walter Benjamin wrote and read on air the comic radio play “Much Ado About Kasperl”. In March 2011 a Berlin theatre put the piece on stage and invited me to give an interactive lecture about the play to an audience of children aged between 9 and 11. I tried to actively involve the young audience referring to some Benjaminian aspects of the Pixar movie “Toy Story” and inviting them to think about how much we learn by playing games (Roger Caillois’ classification of games provided a useful background for my purposes). Special attention has been devoted to the decisive role played by the “mimetic faculty” in this context.