Narrative discourse : an essay in method
TL;DR: Cutler as mentioned in this paper presents a Translator's Preface Preface and Preface for English-to-Arabic Translating Translators (TSPT) with a preface by Jonathan Cutler.
Abstract: Foreword by Jonathan Cutler Translator's Preface PrefaceIntroduction 1. Order 2. Duration 3. Frequency 4. Mood 5. VoiceAfterword Bibliography Index
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Dissertation•
01 Jan 2015
TL;DR: In this article, the Disruptive Game Feature Design and Development (DisDev) model is proposed to support players in satiating their needs for not only achievement and mastery at a performative level but also, their need for problem-solving and creativity.
Abstract: First-person games often support the player’s gradual accretion of knowledge of the game’s rules during gameplay. They thus focus on challenging and developing performative skills, which in turn supports the player in attaining feelings of achievement and skills mastery. However, an alternative disruptive game design approach is proposed as an approach that encourages players to engage in higher-order thinking, in addition to performative challenges. This requires players to cognitively engage with the game at a deeper level. This stems from the player’s expectations of game rules and behaviours being disrupted, rather than supported, requiring players to learn and re-learn the game rules as they play. This disruptive approach to design aims to support players in satiating their needs for not only achievement and mastery at a performative level but also, their needs for problem-solving and creativity.
Utilising a Research through Design methodology, a model of game space proposes different stages of a game’s creation, from conceptualisation through to the final player experience. The Ludic Action Model (LAM), developed from existing game studies and cognitive psychological theory, affords an understanding of how the player forms expectations in the game as played. A conceptual framework of game components is then constructed and mapped to the Ludic Action Model, providing a basis for understanding how different components of a game interact with and influence the player’s cognitive and motor processes. The Ludic Action Model and the conceptual framework of game components are used to construct the Disruptive Game Feature Design and Development (DisDev) model, created as a design tool for ‘disruptive’ games. The disruptive game design approach is then applied to the design, development, and publication of a commercial game, Amnesia: A Machine for Pigs (The Chinese Room, 2013). This application demonstrated the suitability of the design approach, and the proposed models, for establishing disruptive game features in the game as designed, developing those features in the game as created, to the final resolution in the game as published, which the player will then experience in the game as played.
A phenomenological template analysis of online player discussions of the game shows that players tend to evaluate their personal game as played (i.e. their personal play experience) in relation to their a priori game as expected (i.e. the experience that they expected the game to provide). Players reported their play experiences in ways that suggested they had experienced cognitive engagement and higher-order thinking. However, player attitudes towards this type of play experience were highly polarised and seemingly dependent on the correspondence between actual and expected play experiences. The discussion also showed that different methods of disruption have a variable effect on the player experience depending on the primacy of the game feature being disrupted. Primary features are more effectively disrupted when the game’s responses to established player actions are subsequently altered. Secondary game features, only present in some sections, are most effectively disrupted when their initially contextualised behaviour is subsequently altered, or recontextualised. In addition, story-based feature disruption is most effected when the initial encoding stage is ambiguous, thus disrupting players’ attempts to form an initial understanding of them. However, these different methods of disruption may be most effective when used in conjunction with each other.
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Cites background from "Narrative discourse : an essay in m..."
...In particular, the concept of ludodiegesis (Pinchbeck, 2009b), and within that, homodiegesis and heterodiegesis (Genette, 1980), was explored (Section 5....
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TL;DR: After explicating the general nature of a psychiatric perspective, the authors show how such a perspectivism can resolve disputes concerning the different methods of psychiatry and how it can avoid the shortsightedness of sectarianism.
27 citations
Dissertation•
01 Nov 2014
TL;DR: The work of the British theatre company Blast Theory explores intermedial dramaturgies that this thesis claims can be categorized as radical because they present a generative characteristic as discussed by the authors, a moment at which all the attending performance variables come together in a constant process of performative re-activation.
Abstract: The work of the British theatre company Blast Theory explores intermedial dramaturgies that this thesis claims can be categorized as radical because they present a generative characteristic. Intermediality, understood here as the impact of analogue and digital technologies in theatrical performance, establishes complex relationships between physical and virtual spaces, structures that create a rich polyphony of multiple temporal orchestrations, and narratives that present a multiplicity of performative arrangements. Intermedial performance, as a performative and experiential event, encompasses a triad of performative interactions between performers, spectators and the media itself executed at and concentrated on the moment of the performance encounter. This research argues that this encounter displays a generative character – a moment at which all the attending performance variables come together in a constant process of performative re-activation thus generating the intermedial performance event.
Within this descriptive parameter, this research claims that recent performance conceptualizations fail to account for the work of Blast Theory. Contemporary performance and liveness debates focus principally on the ontology of performance. So, notwithstanding their differences, performance theorists such as Lavender (2002), Fischer-Lichte (2008), and Schechner (2003), and presentness/presence theorists such as Phelan (1993) and Power (2008) all agree that performance is an ontological, ephemeral, and fleeting event. While there are many valid points in these diverse approaches, they only offer a partial account of the specificities of the work of Blast Theory and, by extent, the intermedial performance event.
This thesis therefore relocates the terms of the debate on a constructivist epistemological basis. In this way, the thesis proposes that an intermedial performance event must be understood beyond the ontological approach by specifically interrogating the conditions of intelligibility; that is, its operative and intelligible architecture of attending elements and the participating subject. The key hypothesis shared is that in introducing a constructivist reading of epistemology, as described by Alfred Whitehead and Gilles Deleuze, a new account of intermediality in performance emerges as a radical dramaturgy, incorporating generative aspects, and with this, a unique type of intermedial performance subjectivity is enabled.
27 citations
TL;DR: A collection of lesbian, gay, bisexual, trans*, queer, and questioning (LGBTQQ) and ally stude... as mentioned in this paper retrospectively examines a collection of LGBT-themed books discussed by lesbians, gays, bisexual and trans* (LGBT)-related authors.
Abstract: This paper retrospectively examines a collection of lesbian, gay, bisexual and trans* (LGBT)-themed books discussed by lesbian, gay, bisexual, trans*, queer, and questioning (LGBTQQ) and ally stude...
27 citations
01 Apr 2016
TL;DR: In this paper, a formal definition of narrative for cognition and its constituents are presented, and the functions that an implementation of the architecture needs are described, the relative merits and the potential benefits with regard to general cognitive architectures are discussed and exemplified.
Abstract: Narrative is ubiquitous. According to some models, this is due to the hypothesis that narrative is not only a successful way of communication, but a specific way of structuring knowledge. While most cognitive architectures acknowledge the importance of narrative, they usually do so from a functional point of view and not as a fundamental way of storing material in memory. The presented approach takes one step further towards the inclusion of narrative-aware structures in general cognitive architectures. In particular, the presented architecture studies how episodic memory and procedures in semantic memory can be redefined in terms of narrative structures. A formal definition of narrative for cognition and its constituents are presented, and the functions that an implementation of the architecture needs are described. The relative merits and the potential benefits with regard to general cognitive architectures are discussed and exemplified.
27 citations
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Book•
01 Jan 1954
TL;DR: Deuxieme tirage de cet essai critique de Georges Blin sur Stendhal, publie aux editions Jose Corti en 1954 as mentioned in this paper, et les images, une description a completer, une bibliotheque
Abstract: Deuxieme tirage de cet essai critique de Georges Blin sur Stendhal, publie aux editions Jose Corti en 1954.Deux images, une description a completer, une bibliotheque.
22 citations