Denna rapport går först igenom olika typer av immersion samt tar upp andra relevanta begrepp som är nödvändiga för arbetet, som har frågeställningen: ”Hur påverkas spelarens upplevelse av sinnesbaserad immersion av ’luftbaserade’ karaktärsljud i ett tredjepersons-actionspel?”. En prototyp skapades med tre olika variationer på ljudläggningar för att kunna användas under undersökningar där de deltagande fick spela de olika versionerna samt svara på frågor efter varje genomspelning. Resultaten från dessa tyder på att spelarens upplevelse av sinnesbaserad immersion både kan påverkas positivt och negativt, men studien som gjorts är i för liten skala för att det ska vara möjligt att dra välgrundade slutsatser. En större studie som inte enbart använder sig kvalitativa intervjuer skulle kunna bidra till bättre grundade slutsatser med högre validitet.

This research focuses on student attitudes toward multilingual education. Although much work has been done on multilingual education pedagogy and policy, almost none has been child-centered. Little consideration has been given to first-hand accounts of children in immersion programs. Through participatory observation, surveys, and focus group discussions with third grade students at a public, French immersion elementary school in the Pacific Northwest, I have found many common threads within student experiences of multilingual education. Specifically, students' fear of failure and peer-to-peer shaming when learning a new language can leave them feeling ambivalent toward French. This is not to say that the student experience is overwhelmingly negative; however, student attitudes seem to fall somewhere between their learned value for multilingualism and their lived experiences. Ultimately, this thesis highlights the importance of student narratives and the ways in which they can inform the development of immersion education programs.

Délaissée par les théoriciens pour la notion plus large d'incipit, il semble pourtant acquis que la première phrase d'un roman est spécifique. À l'aide des outils de la linguistique et dans une approche centrée sur le lecteur, on a voulu caractériser cette spécificité ressentie, identifier ses causes et ses effets. Le matériel est un corpus de 402 premières phrases tirées de romans publiés de 1980 à 2011, rédigés en langue anglaise. Penser le commencement est un défi pour la cognition. Le début de roman rejoue ses problématiques et met face à l'arbitraire indépassable de toute création. Le passage du discours ordinaire au discours fictionnel pose la question du statut logique de la fiction et fait apparaître la première phrase comme le seuil critique où s'articule un dialogue entre réalité et fiction. La théorie littéraire et le structuralisme attribuent des fonctions (programmation, codification) au commencement. La première phrase inaugure un espace énonciatif ludique et est le lieu d'un transfert d'autorité énonciative de l'auteur au narrateur. Elle construit le cadre énonciatif et narratif du récit, mais aussi ses premiers contenus, dont le lecteur élabore des représentations mentales. L'étude de l'anatomie du corpus révèle un manque de spécificité grammaticale, le jeu consistant à faire comme si la phrase n'était pas la première. En résulte une énigme, dont la résolution détourne à des fins ludiques les fonctions cognitives habituellement dévolues aux problèmes sérieux. Ce piège séductif explique le phénomène d'immersion fictionnelle, dont on explore également le versant esthétique. La spécificité de la première phrase de roman est avant tout cognitive et affective. / Despite being neglected by theorists for the larger notion of incipit, it is generally accepted that the first sentence of a novel is special. Taking the point of view of the reader, this dissertation aims at characterizing this specificity and identifying its causes and effects, using the tools and concepts of linguistics. 402 first sentences were studied, taken from novels published from 1980 to 2011 and written in English. Beginnings are cognitive non-sense. The opening sentence inherits this specificity and places the reader in front of the arbitrariness inherent to creation. The emerging fictional discourse also raises the question of its logical status and makes the opening sentence appear as a hinge between reality and fiction. For literature theorists and structuralists, beginnings have functions (programmatic, codifying). Also, the first sentence is often seen as a crucial brick in the fictional apparatus. It is the opening fringe of a new speech territory, ie a game one, and the edge where enunciative authority is being transferred from the author onto the narrator. It sets the enunciative and narrative frame-work of the story, as well as its first contents, of which readers elaborate mental representations. A study of the anatomy of the corpus reveals its lack of grammatical specificity, part of the game being for the opening sentence not to appear as such. The result is an enigmatic sentence which, for the purpose of the game, hijacks cognitive functions meant for serious matters. This cognitive hijacking is a seduction, it facilitates fictional immersion, which also is an aesthetic experience. The specificity of the first sentence is cognitive and affective.

O objetivo deste trabalho é entender como o jogo narrativo de aventura para videogame consegue atrair e manter a atenção do jogador, imergindo-o no mundo ficcional, em face dos inúmeros estímulos existentes a sua volta. É sugerida uma definição para o jogo narrativo de aventura e a imersão e, posteriormente, estabelece-se uma relação entre elementos presentes nos jogos e as estruturas que atraem a atenção do indivíduo. Para isso, consultou-se material produzido pelas duas principais linhas de estudos de jogos: Narratologia e Ludologia. O conteúdo teórico foi comparado e exemplificado através da prática de diversos jogos, principalmente do console Sony Playstation 3. O próprio conceito de jogo narrativo, a prática dos jogos e a relação percebida entre seus elementos e as ferramentas para criar e manter a atenção revelaram que o videogame, através dos jogos narrativos de aventura, representa um potente meio para criar e manter o estado de imersão sobre o jogador. / The objective of this research is to understand how the narrative game of adventure manages to attract and maintain the attention of the player, immersing him into the fictional world, despite the existence of countless stimuli available around him. It is suggested a definition to narrative game of adventure and to immersion, and then it is established a relationship between elements present in games and frameworks that attract the attention of the individual. The research uses material produced by the two main lines of games study: Narratology and Ludology. The theoretical content was compared and exemplified by the practice of different games, mainly of Sony Playstation 3. The concept of narrative game, the playing of games and the relationship between its elements and the attention tools revealed that the narrative game of adventure represents a powerful way to create and maintain the state of immersion of the player.

The visual appearance of video game characters carries great importance in regards to how a player perceives them. This also holds true for characters that are meant to represent the player in games, their avatars. In this thesis, the topic of preferences regarding visual appearance in relation to age of player avatars is explored. Interviews were held with participants from two age demographics in order to find potential differences and analyse them. The two age demographics consisted of middle aged swedes and young adult swedes. In the interviews, the respondents were given choices between eight different characters sketches. These eight sketches consisted of two groups, one meant to appear as being in the same age group as the young adult swedes and one meant to appear as being part of the middle aged swedes age group. After having made their choices, the respondents were asked to explain the motivation behind them. In order to gain a deeper understanding of the thought process that fueled their answers, the respondents were also prompted to answer question regarding their gaming habits, and their preferences in characters in other mediums than games. Results from the interviews indicated that there were trends in the choices made by the participants that differed between the two demographics. A majority of the demographic consisting of young adult swedes chose characters that were designed to appear closer to their age. Similarly, a majority of the middle aged demographic chose characters that were designed to appear closer to their age group. In short, a majority of the participants from both demographics showed a preference towards characters that were closer to their own age group.

Made available in DSpace on 2014-06-11T19:22:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-07-09Bitstream added on 2014-06-13T19:08:18Z : No. of bitstreams: 1 bastos_fn_me_prud.pdf: 662059 bytes, checksum: e53a8b1da32e59631739cc47d409626e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A recuperação pós-exercício consiste em restaurar os sistemas do corpo à sua condição basal, proporcionando equilíbrio e prevenindo a instalação de lesões e, nesse sentido, torna-se aspecto importante de todo programa de condicionamento físico, em quaisquer níveis de desempenho, mas, sobretudo nos mais elevados. O objetivo desta revisão foi reunir informações e descrever as respostas proporcionadas por métodos recuperativos pós-exercício como, crioterapia, contraste, massagem e recuperação ativa, constituindo uma fonte de atualização do referido tema. Utilizou-se os bancos de dados, MedLine, Scielo e Lilacs, como lista de periódicos o SportsDiscus. Foram incluídos no estudo somente ensaios clínicos randomizados controlados e não-controlados além de artigos... / The post-exercise recovery consists in restoring the body systems to baseline condition, providing balance and preventing injuries installation and, in that sense; it becomes an important aspect of every fitness program, at any levels of performance, but especially in higher levels. The objective of this review was to gather information and to describe the responses provided by post-exercise recovery methods, such as cryotherapy, contrast water immersion, massage and active recovery, providing an update on this issue. MedLine, Scielo and Lilacs databases were used, as well as the SportsDiscus list of journals. Only randomized controlled and non-controlled clinical essays, in addition to review articles concerning the proposed topic were included. Our choice was for the search terms: cryotherapy, massage, active recovery, thermotherapy, immersion and exercise, individually and combined. It was observed that some studies report that cryotherapy is harmful concerning post-exercise recovery, once it reduces performance immediately after the technique... (Complete abstract click electronic access below)

O objetivo deste trabalho é entender como o jogo narrativo de aventura para videogame consegue atrair e manter a atenção do jogador, imergindo-o no mundo ficcional, em face dos inúmeros estímulos existentes a sua volta. É sugerida uma definição para o jogo narrativo de aventura e a imersão e, posteriormente, estabelece-se uma relação entre elementos presentes nos jogos e as estruturas que atraem a atenção do indivíduo. Para isso, consultou-se material produzido pelas duas principais linhas de estudos de jogos: Narratologia e Ludologia. O conteúdo teórico foi comparado e exemplificado através da prática de diversos jogos, principalmente do console Sony Playstation 3. O próprio conceito de jogo narrativo, a prática dos jogos e a relação percebida entre seus elementos e as ferramentas para criar e manter a atenção revelaram que o videogame, através dos jogos narrativos de aventura, representa um potente meio para criar e manter o estado de imersão sobre o jogador. / The objective of this research is to understand how the narrative game of adventure manages to attract and maintain the attention of the player, immersing him into the fictional world, despite the existence of countless stimuli available around him. It is suggested a definition to narrative game of adventure and to immersion, and then it is established a relationship between elements present in games and frameworks that attract the attention of the individual. The research uses material produced by the two main lines of games study: Narratology and Ludology. The theoretical content was compared and exemplified by the practice of different games, mainly of Sony Playstation 3. The concept of narrative game, the playing of games and the relationship between its elements and the attention tools revealed that the narrative game of adventure represents a powerful way to create and maintain the state of immersion of the player.

abstract: The purpose of this study was to investigate whether an alignment exists between the mission of Puente de Hozho Magnet School and the visualization of how current Navajo students view their education at the school. Qualitative research was used as an opportunity to explore the significance and to gain an in-depth understanding of how Navajo students view their education in the context of their personal experiences. The population consisted of six Navajo fifth grade students who lived outside the boundaries of their Indian reservation and attended school at Puente de Hozho Magnet School. The six student participants were asked to respond to the question, "What does your education look like at Puente de Hozho Magnet School?" through the pictures they took with a camera in and around the school. After the pictures were developed, students were individually interviewed by utilizing selected pictures to prompt their memory in eliciting descriptions and meanings of the images they captured. The students' responses generated a data set for coding and analysis, from which a wealth of data yielded prominent themes as to their education at Puente de Hozho Magnet School. Analysis of this research concluded that the students' visualization of their education at Puente de Hozho is aligned with the original mission and vision of the school. The student voices represent a relationship of natural connections to their cultural heritage as experienced in their school by disregarding stereotypes and rising above the expected. / Dissertation/Thesis / Ed.D. Educational Administration and Supervision 2012

Denna studie undersöker hur avsaknaden av ljud i digitala spel påverkar spelarens upplevelser av spelet, påverkan på spelförmåga och allmänna skillnader mellan att spela ett spel med och utan ljud. Undersökningen utfördes i form av två spelsessioner med och utan spelets ljud, följt av semistrukturerade intervjuer. Åtta respondenter fick uppleva spelet Mario Kart 8 och dela med sig av sina tankar kring avsaknaden av ljud samt hur ljudet påverkat deras spelupplevelse. Studien kom fram till att avsaknaden av ljud i Mario Kart 8 påverkade spelaren på ett flertal sätt, såsom att spelet upplevdes som mindre underhållande och svårare att interagera med.

Digitala spel har utvecklats kraftigt de senaste 10 åren. Moderna spel kan skryta med otroliga världar med trovärdiga karaktären och visuella egenskaper som liknar modern film. Modern teknologi har förmågan att skapa världar som kan uppsluka vår uppmärksamhet som aldrig förut. Många moderna spel lägger även stort fokus på att skapa ett narrativ som ger kontext och mening till den virituella världen. Ett sätt att skapa narrativ i spel har varit att implementera en bakgrundshistoria som spelaren får ta del av innan man börjar interagera med spelet. Målet med denna rapport har varit att koppla teorier om the magic circle till teorier om perception, och immersion för att försöka få en bild över hur spelarna upplever spelvärlden.  För att sedan undersöka hur en bakgrundshistoria påverkar spelupplevelsen. För att undersöka bakgrundshistoriens påverkan på spelupplevelsen har det utvecklas ett spel med två versioner. Spelet som utvecklats är ett äventyrsspel i förstapersonsperspektiv där målet är att klara två utmaningar för att utföra en religiös ritual. En version av spelet har en kort introduktionssekvens av text med bakgrundshistoria, och den andra versionen av spelet har inte denna introduktionssekvens. I versionen utan bakgrundshistoria får spelarna alltså direkt börja interagera med mjukvaran efter att den startats. I den ena versionen av spelet har spelarna fått bygga sitt egna narrativ och kontext, och i den andra har de fått ta del av ett narrativ och kontext i form av en bakgrundshistoria. Påverkan på spelupplevelsen har undersökts genom att två grupper med testpersoner fått spela varsin version av spelet och sedan besvarat enkät och intervjufrågor. Dessa frågor har undersökt hur personerna upplevt immersion, narrativ, spelmekanik samt estetik. Denna information har sedan kopplats till Bartles (1996) taxonomi av spelartyper för att skapa ett mer generaliserbart resultat. Undersökningen kunde inte ge något klart resultat över bakgrundshistoriens påverkan på spelupplevelsen. Resultaten var väldigt spridda över de båda testgrupperna där immersionsnivåerna varierat kraftigt. För att få mer generaliserbara resultat skulle fler testpersoner behövas samt så skulle man behöva använda sig av en jämn grupp av de olika spelartyperna.