A proposta desta tese é apresentar uma análise das obras O Mandarim e A Relíquia, de Eça de Queirós, a partir da perspectiva da escrita intimista. Para essa leitura serão considerados os aspectos inerentes à escrita de si segundo Michel Foucault, descritas nos textos Lécriture de soi, publicado pela primeira vez no ano de 1983, e no Volume III da História da Sexualidade: O cuidado de si, publicado em 1985. A escolha desse aporte teórico se dá pela evidenciação dos traços desse tipo de escrita nessas duas narrativas de Eça de Queirós, ora classificadas como autodiegéticas. Pretende-se demonstrar que a mimese da escrita de si elaborada pelo escritor nessas duas obras está a serviço de uma forte crítica social, que visa a atingir a própria constituição do sujeito oitocentista. / The aim of this thesis is to present an analysis of the works The Mandarin and The Relic of Eca de Queiroz, from the intimate writing perspective. On this reading will be considered aspects of the writing the self, according to Michel Foucault, described in the texts L\'écriture de soi, first published in 1983, and in Volume III of the History of Sexuality: Self care, published in 1985. The choice of this theoretical contribution is given by the disclosure of the features of this kind of writing these two narratives of Eca de Queiroz, now classified as autodiegéticas. We intend to demonstrate that Eça de Queirozs writing of itself as mimesis in these two works is at the service of a strong social criticism, which aims to achieve the very constitution of the subject nineteenth century.

This thesis seeks to portray how an objectifying intra-diegetic gaze influences and constructs the plot devices Frances Burney uses in her four novels: Evelina, Cecilia, Camilla, and The Wanderer. Burney creates a literary reality within her four novels’ narratives and breaks that reality down with the influence of the gazes and judgments of her novels’ characters upon each of her heroines. The gaze is an almost microscopic examination that objectifies and depersonalizes all of Burney’s heroines. Burney shows how the gaze shifts perspectives and manipulates that which it objectifies. Burney places her audience and her heroines into unfamiliar situations and then she shows the costs and benefits of reasserting one’s gaze. This thesis will show how Burney portrays the power of objectification in her novels upon her heroines, and the consequences that arise from the tensions of bombarding social gazes in all their duplicitous forms.

Virtual Reality is one of the next big things in gaming, more and more games delivering an immersive VR-experience are popping up. Words such as immersion and presence has quickly become buzzwords that’s often used to describe a VR-game or experience. This interactive simulation of reality is literally turning people’s heads. The crowd pleaser, the ability to look around in 360-degrees, is however casting a shadow on the aural aspect. This study focused on this problem in relation to audio narrative. We examined which differences we could identify between a purely diegetic audio narrative and one utilizing a mix between diegetic and non-diegetic sound. How to grab the player’s attention and guide them to places in order for them to progress in the story. By spatializing audio using HRTF, we tested this dilemma through a game comparison with the help of soundscapes by R. Murray Schafer and auditory hierarchy by David Sonnenschein, as well as inspiration from Actor Network Theory. In our game comparison we found that while the synthesized sound, non-diegetic, ensured that the sound grabs the player’s attention, the risk of breaking the player’s immersion also increases.

[pt] O panoptismo - um conceito fundamental para a compreensão da formação e do funcionamento das sociedades disciplinares ocidentais a partir dos séculos XVII - XVIII, bem como para a produção e controle do espaço - apareceu em meados dos anos 70 nas análises empreendidas pó Michel Foucault, em Vigiar e Punir, de um dispositivo carcerário setentista então pouco estudado - o panopticum de Jeremy Bentham. Esta dissertação estabelece uma releitura da teoria foucaultiana sobre o panoptismo em que a crítica do dispositivo panóptico é retomada a partir dos filmes Laranja Mecânica (Stanley Kubrick), 1984 (Michael Radford), Inimigo do Estado (Tony Scott) e Minority Report (Steven Spielberg); enfatizando metodologicamente a relevância da ficção científica, como gênero, na elaboração teórica das passagens e processos de transição que podemos observar entre as já conhecidas e estudadas formas de disciplinares de sociedade e uma possível, ou suposta, sociedade porvir do controle; assim como a relação de todo esse processo com a construção dos espaços real e diegético. / [en] Panopticism is a key concept for a better understanding on the functioning and shaping of the western disciplinary societies from the XVII - XVIII centuries on, as well as the production and control of the space. It hás appeared, in the midst of the seventies, in Michael Foucault´s Surveiller et Punir analysis about what was at that time an almost obscure XVIII the century personal device - Jeremy Bentham´s panopticum. This dissertation rereads the foucauldian´s panoptic theory through a critical perspective provided by the depiction of the panoptical device in the films A Clockwork Orange (Stanley Kubrick), 1984 (Michael Radford), Enemy of the State (Tony Scott) and Minority Report (Steven Spielberg); and puts its methodological emphasis in the relevance of sciencefiction processes that we can nowadays observe between the well- know, alreadystudied, disciplinary forms of society and a possible, or alleged, controlled society to-come; as well as the relation of all this process with the construction of real and diegetic spaces.

The task of navigating and orienting oneself in an unknown environment might seem arbitrary to most people. For a person with a visual impairment however, it can prove to be a challenge. Much research has been conducted to provide useful software solutions to aid this problem. Nevertheless, not enough research has been put into studying the use of our everyday sounds for such software. The present thesis is aimed at evaluating the usefulness of utilising diegetic spatial audio. After a real environment was replicated in a virtual audio environment without visual input, 16 sound students from the University of Skövde were asked to perform the same set of tasks in the virtual and the real environment. The results indicated that diegetic spatial audio is an important part of navigating without vision and that the experiment would be interesting to perform on a larger scale with visually impaired participants.

The introduction of a game mechanic is an aspect of a game that - when done right - goes almost unnoticed by the player. When it is done incorrectly however, it can become a large point of frustration in the player. The goal of this study is to discover how to introduce a game mechanic that guides the player through the game's musical score. The research question asked was: "Based on player experiences, how should a non-diegetic musical guidance mechanic be introduced in a video game?" This study uses design science as a foundation and uses a survey to gain a broad overview of the general preferences given by participants. Two versions of a prototype were developed which was played by 11 participants who were then asked about their experience. In both versions, the player was tasked with finding the magic flutes scattered across a city by listening to the music. The flute was stereo panned to the left or right speaker, corresponding the direction of the flute in the game world. The versions contained two different methods of introduction and the participant was asked in a semi-structured interview afterwards whether they enjoyed the method they received. One version contained a detailed introduction that described how the guidance mechanic worked, the other version did not. The interviews were transcribed and analysed using thematic analysis to extract common themes in the answers given. The results were varied, but the majority said that they preferred to learn by themselves, without a detail introduction. This method let the player think for themselves and led to a greater sense of accomplishment and satisfaction when figuring out what to do. For a game such as this where the objective is to somehow find something, they believed that it is better to not give the answer away too freely. Not many ethical concerns where found for this study, though the one that was found is important to acknowledge. Players with aural impairments cannot play this game the way it is intended, by listening to the musical score, since they have difficulties with sound. This is a flaw that should be studied and solved or mitigated in future studies.

In 2K Games’ Bioshock (2007) the player, as the protagonist Jack, is thrown into a dystopian, futuristic alternate history of America. Rapture is an underwater city saturated in music: popular songs from the mid twentieth century; classical-style soundtrack pieces composed by Garry Schyman; characters humming, singing, whistling or playing instruments; musical vending machines; and even the sounds of whales and other creatures all participate in forming a textured soundscape. The songs from the 1930s - 50s used throughout Bioshock recall a real-world cultural environment—a popular music culture that is both comfortably recognizable yet strangely unfamiliar. They occur within the game world and are heard by the player and game characters, and thus the songs are diegetic or “screen music.” In Bioshock, such music is an explicit component of narrative production, game environment creation, and player immersion. Significantly, diegetic music participates in the construction of narrative through a constant interplay or negotiation with the video game’s other elements—visual, textual, ludic—and ultimately functions as a distinct discourse able to mediate for Jack/the player between contesting factors, via established conventional codes of musical, cultural, film, and now video game signification. Bioshock’s use of music initiates a pre-game discourse during installation and prior to every game session in the disc-loading scenes, and this musical discourse is continued throughout the narrative. The story’s opening and descent into Rapture further establishes and “naturalizes” the presence of diegetic music as part of the story being told, and as a vital component of the audio-visual environment enhances player immersion. At the same time, these opening instances and subsequent occurrences of diegetic music at significant points in the story demonstrate that music’s culturally encoded emotive potential produces ironic and poignant effects, while its lyrical intertextuality generates narratological and ludic commentary in various song/scene pairings.

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Throughout the history of strategy games, the concept of realism has taken part of cultural discourses that claim such games reproduce dynamics of war. In this thesis, A. Galloways, I. Bogosts and C. Pierces work are used to construct the concept of procedural realism to support the thesis that strategy games build realist fiction based on the execution of game processes through the Heads Up Display interface. Discussion on the visibility of rules will draw attention to the extra-diegetic dimensions of games, to explore how these devices promote ideological approaches to the real. The form of realism found in computer strategy games is an example of Katherine Hayles regime of computation, where [c]ode is understood as the discourse system that generates nature itself (27). This worldview is also present in non-computational strategy wargames; however, analysis focuses on Real Time Strategy and Turn-Based Strategy games non-diegetic devices. / Modern Languages and Cultural Studies

Detta kandidatarbete syftar till att påpeka några av de möjligheter som digitaliseringen bidrar till, genom att bland annat lyfta smartphones och sociala medier som en potentiell kanal för utökad kriskommunikation. I en krissituation är kommunikation av yttersta vikt. I Sverige har den traditionella kriskommunikationen länge kretsat kring ljudsignalen Hesa Fredrik och VMA (viktigt meddelande till allmänheten) i statligt ägda tv- och radiokanaler. På senare tid har stora delar av samhället kommit att digitaliseras, vilket även medför att förutsättningarna och möjligheterna för kriskommunikation utvecklas och förändras. Detta har visualiserats i en film med hjälp av designfiktion och diegetiska prototyper för att spekulera och testa vilka digitala lösningar som hade kunnat vara möjliga i en nära framtid. Vi har utgått från Bleeckers (2009) definition och beskrivning av designfiktion och som ett stöd i skapandet av detta användes metoder såsom Three Layered Model of design fiction av Lindley & Coulton (2014), scenarier som beskrivs av Nardi (1992) och framtida personas enligt Fergnani (2019). För filmens slutgiltiga resultat spelade framför allt de diegetiska prototyperna en betydande roll, men också den verklighetsbaserade grunden samt narrativet för att kunna sammanföra verkligheten med den spekulativa framtiden. I filmen visas dock endast ett fåtal av de oändliga möjligheter som digitaliseringen medför, men kan förhoppningsvis ses som inspiration till vidare utforskning av nya digitala lösningar för kriskommunikation. / This Bachelor Thesis aims to highlight some of the opportunities that the digitisation contributes to, by among other things, lifting smartphones and social media as a potential channel for increased crisis communication. In a crisis situation, communication is of utmost importance. In Sweden, the traditional crisis communication system has long revolved around the audio signal “Hesa Fredrik” and “VMA” (important announcement to the public) in state-owned television and radio stations. Recently, big parts of the society have been digitised which means that the conditions and opportunities for crisis communication both develop and change. This has been visualised in a film by using design fiction and diegetic prototypes as a way to help speculate and test which digital solutions may be possible in a near future. We have used the definition and explanation of design fiction as mentioned by Bleecker (2009), and methods such as the Three Layered Model of design fiction by Lindley & Coulton (2014), scenarios as described by Nardi (1992) and future personas according to Fergnani (2019) were supportive in the making of the film. For the final result of the film, the diegetic prototypes played a significant role, as well as the foundation based on reality and the narrative in order to connect the reality with the speculative future. Only a few of the endless opportunities that the digitisation brings is shown in the film, but may hopefully inspire further exploration of new, digital solutions for crisis communication.