<p>The study follows the tradition of Cultural Studies, with a special interest in visual culture, and examines how history is being represented in different media, how these representations are interpreted by the audience, and how the outcome functions in the individual knowledge-building about this particular era. Here the notion of what is often called a collective, or cultural, memory, is important; both as a vehicle for a dominant discourse on memory and as a counterpart to individual memory, which might be more or less in agreement or opposition with the dominant. A central theme is the examination of how elements of the mythical enters a historical narrative, how they affect this, and how this is being interpreted by the audience. The media texts examined are mostly films (fiction and docudramas as well as documentaries) and computer games, although there are also some examples from role-playing games and alternative popular music. The audience part of the study consists of 11 in-depth interviews and a number of additional informants.</p><p>I propose that the media material indicates a convergence between myth in the traditional, religiously connected sense, and in the secularized sense of Roland Barthes. The former is made visible by the persistent use of elements of a clearly metaphysical nature, while the latter is made clear through the almost omnipresent authoritarian character of the media presentations. The material in its entirety clearly shows the importance of transmediality, transmedia storytelling and knowledge communities (cf Henry Jenkins) within the context. The audience examined expresses a highly critical attitude towards what is considered to be a “mainstream” media representation of World War II and Nazi Germany that – according to them – transforms the gruesome historical reality into cheap thrills and entertainment. Thus, it becomes fundamentally problematic to look upon the media representations of the theme as an expression of collective memory.</p>

<p><strong>Syfte: </strong>Att undersöka vilken ansträngningsgrad och spelupplevelse en grupp flickor respektive pojkar i åldrarna 13-16 år hade vid 15 minuters spelande på Nintendo Wii Sports boxning samt att göra en jämförelse mellan könen. Syftet var även att undersöka om det förekom ett samband mellan spelupplevelse och ansträngningsgrad.</p><p><strong>Metod:</strong> Ansträngningsgraden mättes med pulsklocka och skattning på Borg Ratings of Perceived Exertion (RPE). Spelupplevelsen mättes med en 1-5 skala. Tjugo friska försökspersoner (10 flickor och 10 pojkar) deltog i studien.</p><p><strong>Resultat:</strong> Den genomsnittliga pulsen för flickor var 117,2 slag/min (SD 17,7) och för pojkar 132,3 slag/min (SD 22,9). Flickorna skattade 13,9 på Borg’s RPE-skala (SD 1,1) och pojkarna skattade 13,4 (SD 2,4). Båda könen skattade i genomsnitt 4 på upplevelseskalan. Pulsen respektive skattningen på Borg’s RPE-skala hos båda könen ökade signifikant under spelets gång jämfört med i vila. Studien visade inte någon skillnad mellan könen gällande ansträngning eller spelupplevelse. Sambandet mellan spelupplevelse och ansträngningsgrad mätt med puls var mycket svagt (r = 0,33, p =.16). Sambandet mellan spelupplevelse och ansträngningsgrad mätt med Borg’s RPE-skala var svagt (r = 0,52, p =.018).</p><p><strong>Konklusion: </strong>Att spela TV-spelet Nintendo Wii Sports boxning medför en ökning av ansträngningsgraden och pulsen. Aktiva TV-spel kan vara en passande aktivitet för barn och ungdomar och skulle kunna vara ett alternativ till fysisk aktivitet hos svårmotiverade barn och ungdomar. Fler studier inom detta område krävs för att på bästa sätt kunna ordinera och utvärdera TV-spelet som en aktivitetsform.</p>

Syfte: Att undersöka vilken ansträngningsgrad och spelupplevelse en grupp flickor respektive pojkar i åldrarna 13-16 år hade vid 15 minuters spelande på Nintendo Wii Sports boxning samt att göra en jämförelse mellan könen. Syftet var även att undersöka om det förekom ett samband mellan spelupplevelse och ansträngningsgrad. Metod: Ansträngningsgraden mättes med pulsklocka och skattning på Borg Ratings of Perceived Exertion (RPE). Spelupplevelsen mättes med en 1-5 skala. Tjugo friska försökspersoner (10 flickor och 10 pojkar) deltog i studien. Resultat: Den genomsnittliga pulsen för flickor var 117,2 slag/min (SD 17,7) och för pojkar 132,3 slag/min (SD 22,9). Flickorna skattade 13,9 på Borg’s RPE-skala (SD 1,1) och pojkarna skattade 13,4 (SD 2,4). Båda könen skattade i genomsnitt 4 på upplevelseskalan. Pulsen respektive skattningen på Borg’s RPE-skala hos båda könen ökade signifikant under spelets gång jämfört med i vila. Studien visade inte någon skillnad mellan könen gällande ansträngning eller spelupplevelse. Sambandet mellan spelupplevelse och ansträngningsgrad mätt med puls var mycket svagt (r = 0,33, p =.16). Sambandet mellan spelupplevelse och ansträngningsgrad mätt med Borg’s RPE-skala var svagt (r = 0,52, p =.018). Konklusion: Att spela TV-spelet Nintendo Wii Sports boxning medför en ökning av ansträngningsgraden och pulsen. Aktiva TV-spel kan vara en passande aktivitet för barn och ungdomar och skulle kunna vara ett alternativ till fysisk aktivitet hos svårmotiverade barn och ungdomar. Fler studier inom detta område krävs för att på bästa sätt kunna ordinera och utvärdera TV-spelet som en aktivitetsform.

The study follows the tradition of Cultural Studies, with a special interest in visual culture, and examines how history is being represented in different media, how these representations are interpreted by the audience, and how the outcome functions in the individual knowledge-building about this particular era. Here the notion of what is often called a collective, or cultural, memory, is important; both as a vehicle for a dominant discourse on memory and as a counterpart to individual memory, which might be more or less in agreement or opposition with the dominant. A central theme is the examination of how elements of the mythical enters a historical narrative, how they affect this, and how this is being interpreted by the audience. The media texts examined are mostly films (fiction and docudramas as well as documentaries) and computer games, although there are also some examples from role-playing games and alternative popular music. The audience part of the study consists of 11 in-depth interviews and a number of additional informants. I propose that the media material indicates a convergence between myth in the traditional, religiously connected sense, and in the secularized sense of Roland Barthes. The former is made visible by the persistent use of elements of a clearly metaphysical nature, while the latter is made clear through the almost omnipresent authoritarian character of the media presentations. The material in its entirety clearly shows the importance of transmediality, transmedia storytelling and knowledge communities (cf Henry Jenkins) within the context. The audience examined expresses a highly critical attitude towards what is considered to be a “mainstream” media representation of World War II and Nazi Germany that – according to them – transforms the gruesome historical reality into cheap thrills and entertainment. Thus, it becomes fundamentally problematic to look upon the media representations of the theme as an expression of collective memory.

Le succès commercial des jeux vidéo nous montre qu’ils sont devenus une alternative non négligeable en matière de loisir et de divertissement. En observant les tendances, on constate que les concepteurs de jeux vidéo cherchent à transposer ou adapter les loisirs comme la danse, l’interprétation de la musique ou la pratique d’un sport dans le contexte de jeux vidéo (l’univers virtuel) et ceci est devenu encore plus évident depuis l’apparition des nouvelles technologies intégrant le mouvement comme mode d'interaction. En rapport aux activités dont les jeux vidéo s’inspirent, ces tendances entraînent des changements considérables sur l’aspect formel de l’activité ludique et notamment l’interaction. Dans le cas particulier du tennis de table, ou ping-pong dans le langage courant, il semble y avoir des différences en terme de plaisir lors de la pratique de ce loisir de façon traditionnelle ou en mode virtuel dans ses différentes adaptations. Le but de cette recherche est de mettre en évidence les différences entre l’appréciation de l’interaction avec le contrôleur multifonctionnel Wiimote et une raquette traditionnelle de ping-pong et de découvrir les implications sur l’expérience du plaisir de la transposition du jeu ping-pong traditionnel comparé aux adaptations sur la console Wii. Ainsi, en regard du CLASSIC GAME MODEL de Juul (2005) et du modèle THE FOUR FUN KEYS de Lazzaro (2008) nous comparons les deux modes d’interaction, jeu traditionnel avec le jeu virtuel, sur le plan formel du jeu et sur les dimensions du plaisir que chacun procure. Les résultats obtenus par l’observation des tests de jeu et l’entremise des autres outils permettent de souligner le rôle déterminant des interfaces dans l’engagement des joueurs et de montrer les limites des interfaces digitales par rapport à celle des jeux traditionnels. / The market success of Video games shows us that they have become a significant alternative for leisure and entertainment. While observing the trends one can realize that game designers tend to transpose or adapt leisure activities such as dance, playing music or sports to the context of video games which has become even more obvious with the appearance of input devices incorporating physical movement as a mode of interaction. Inspired by these different forms of leisure, video game user interfaces have considerably changed the formal aspect of play, especially in terms of interaction. In the particular case of table tennis, also known as ping-pong, there are significant differences with respect to pleasure when playing a traditional game or its virtual adaptations in form of video games. The purpose of this research is to highlight the difference in appreciation of the interaction with the Wiimote controller and a traditional ping-pong racket and discover the implications on the fun experiences of traditional table tennis and its adaptations for the Wii console. Thus, based on Juul's CLASSIC GAME MODEL (2005) and Lazzaro' model of THE FOUR FUN KEYS (2008) we compare both interaction modes, traditional game with the virtual game, in terms of formal level of the game and the notion of fun that each provides. The results obtained through observation and testing through other tools allow us to highlight the importance of interfaces and their role in the players' commitment as well as to show the limit of video games compared to their traditional counterpart.

Le jeu vidéo proposerait une nouvelle forme de subjectivation autour de l’action en mouvement, dont le moteur apparait dans l’organisation fantasmatique. L’auto-empathie va s’y déployer : processus par lequel un sujet se met à la place de l’autrui-en-soi, produisant un regard intériorisé sur soi pour représenter son monde subjectif. La médiatisation de ce processus d’auto-empathie dans les mondes virtuels va permettre au sujet de se mettre à la place d’une figure qui le représente, de telle façon que son attention et son empathie pour cette figure sont tournées indirectement vers lui-même. Ce second temps d'empathie virtuelle pour une figure de soi, que nous appelons auto-empathie médiatisée par un avatar ou auto-empathie virtuelle, favoriserait dans un troisième temps le développement d’une empathie pour soi. Enfin dans un quatrième temps, dans les jeux de rôle en ligne multi-joueurs, serait favorisé le développement d’une nouvelle forme de travail du lien intersubjectif : différenciateur plutôt que sexuel, engageant l’action dans des proto-conversations plutôt que les émotions entre joueurs, et ressortant du domaine fantasmatique, l’autre joueur étant toujours représenté par le sujet avant d’être perçu, sollicitant entre les joueurs un désir d’intersubjectivité par lequel il faut entendre le désir d’une rencontre dans le monde réel d’un autre joueur par la mise en jeu d’un fantasme dans lequel les représentations imaginaires sont tournées vers la figuration, imaginaire également, d’un sujet réel derrière un autre avatar / Video games propose a new form of subjectivity concerning action in motion, which motor appears in fantasy organization. Auto-empathy will deploy: process by which a subject puts himself instead of the other-in-self, producing an internalized view of self in order to represent his subjective world. The mediation of self-empathy process in virtual worlds will allow the subject to identify with the figure that represents him in the virtual worlds, so that his attention and empathy for this figure are turned indirectly towards himself. This second stage of virtual empathy for a self-figure, which we call self-empathy mediated by an avatar or virtual self-empathy, favors in a third time the development of empathy for oneself. Finally, in a fourth step in the multi-player online role-playing games, the development of a new form of intersubjective relationship work is favored: differentiating rather than sexual, engaging the action in proto-conversations rather than emotions between players and emerging from fantasy domain, the other player being always represented by the subject before being seen creates between players a desire for intersubjectivity through which the desire for a meeting in the real world of another player by putting in a fantasy in which imaginary representations are turned into figuration, also imaginary, of a real subject behind another avatar.

Este estudo, inserido no contexto das transformações e novas alfabetizações possibilitadas pela cultura digital, busca contribuir para a compreensão de processos de aprendizagem envolvidos na atividade de programação de jogos em Etoys (software de autoria multimídia desenvolvido em linguagem orientada a objetos). Foram realizadas quatorze Oficinas de construção de jogos em uma escola estadual de Porto Alegre com seis sujeitos de 5º ano do Ensino Fundamental cuja turma se inseria na modalidade um computador por aluno (1:1). As intervenções que sustentam o trabalho são guiadas pelo Método Clínico de Piaget. A análise dos processos de construção de jogos digitais pelos sujeitos é fundamentada em conceitos do campo do estudo da cognição, videogames (Game Studies) e da programação. O Etoys se mostrou um dispositivo interessante para a pesquisa desses processos. Através da observação e análise das produções desenvolvidas, pôde-se observar a dinâmica de estratégias, noções de programação e de jogos envolvidas na atividade de programar. / These study, placed in context of the digital age's transformations and possibilities, aims to contribute to the compreehsion of learning processes involved in programming games with Etoys (multimidia authoring software developed in object oriented language). Fourteen weekly workshops were given for a group of six students (which the class had one laptop per child) from a state public school in Porto Alegre. The interventions were carried out guided by Piaget Clinical Method. The processes of creating a game are grounded on the fields of Cognition, Game Studies and programming. The Etoys has proved to be an interesting tool for researching these processes. Through the analysis of the games produced, the dinamic of strategies, programming and game concepts could be observed.

O presente trabalho versa sobre a escrita da História em dois jogos digitais baseados na temática da Revolução Francesa. Os artefatos analisados foram Tríade: liberdade, igualdade e fraternidade e Assassin’s Creed Unity. O primeiro, produzido pela Universidade do Estado da Bahia (UNEB), no contexto de uma chamada pública para financiamento governamental de jogos digitais com destinações educacionais. O segundo, desenvolvido por um dos maiores estúdios criadores de jogos digitais do mundo, a Ubisoft. O foco da pesquisa se concentrou na análise das concepções de tempo e de História presentes nos dois produtos, de modo que isso possa contribuir com professores que pretendam utilizá-los como recursos didático-pedagógicos no ensino de História. Para realizar a pesquisa foi necessário jogá-los, sob um olhar atento para as imagens, a paisagem sonora e a narrativa interativa, característica desse tipo de artefato digital. Os resultados da investigação sugerem que existem semelhanças nas concepções de História nos dois jogos, pois ambos apresentam certo apego a um tipo de História dos grandes homens e dos grandes acontecimentos. Mas positivamente, o jogo educacional possui uma personagem feminina como protagonista da narrativa, ao contrário do comercial, em que é essencialmente masculino. Por outro lado, o jogo produzido pelo grande estúdio, possui uma complexa concepção temporal, apresentando ao jogador múltiplas temporalidades simultâneas, mas o jogo educacional, tem predominantemente uma concepção linear de tempo histórico. É fundamental, portanto, em caso de utilização como recurso didático-pedagógico no ensino de História, a intervenção do professor para sanar os limites desses artefatos, de maneira que os estudantes construam conhecimento histórico. / This paper deals with the writing of History in two digital games based on the theme of the French Revolution. The artifacts analyzed were Tríade: liberty, equality and fraternity and Assassin's Creed Unity. The first, produced by the University of the State of Bahia (UNEB) in the context of a public call for government funding of digital games with educational destinations. The second, developed by one of the world’s greatest creator studios of digital games. The aim of the research focused on the analysis of the concepts of time and History presented in both products, so that it may contribute to teachers who wish to use them as a teaching-learning resource in the teaching of History. To conduct the survey, it was necessary to play them under a closer look at the images, the soundscape and interactive narrative, characteristics of this type of digital device. The research results suggest that there are similarities in the concepts of History in the two games, as both have a certain attachment to a kind of History of great men and great events. However, in a positive way, the educational game has a female character as the protagonist of the narrative, unlike the commercial in which is essentially male. On the other hand, the game produced by the large studio, has a complex design of time, presenting to the player multiple simultaneous time frames, but the educational game has a predominantly linear conception of historical time. It is essential, therefore, when using as a didactic-pedagogic resource in teaching History, teacher intervention to remedy the limitations of these devices, so that students build historical knowledge.

Esta dissertação tem como objetivo analisar o diálogo intermidiático que se estabelece na passagem de A Sociedade do Anel, de John Ronald Reuel Tolkien (1892 – 1973) para o jogo The Lord of The Rings Online (Lotro) e pretende dar conta de aspectos importantes na construção desse diálogo, de como se instala e como se movimenta, dando enfoque, segundo o viés comparatista, ao processo de remidiação e aos aspectos de estrutura, meia-realidade e ficção interativa, próprios da interação entre as mídias pertencentes ao corpus. A obra de John R. R. Tolkien já passou por inúmeros e complexos processos (re)midiação, The Lord of The Rings Online é um deles. O jogo contempla toda a parte do mapa da Terra Média e a história narrada nos dois primeiros volumes de O Senhor dos Anéis e guia seus jogadores por missões denominadas epic books, que seguem, assim como os nove membros da sociedade do anel, os caminhos até as grandes batalhas em Mordor. A análise aqui realizada parte da problemática de classificação do que uma mídia é (MCLUHAN, 2013) e do modo como as mídias se relacionam entre si e o contexto em que são inseridas (BOLTER; GRUSIN, 2000), agregando os postulados teóricos do videointerativo. A partir do corpus de pesquisa, propõe-se um estudo comparado que compreende, exemplificando as devidas diferenças de articulações estruturais e de outros aspectos, a passagem (VAN TIEGHEM, 1931) da literatura para o videogame como um empreendimento bem-sucedido, que valoriza as duas mídias e promove novas experiências ao leitor. / This M.A. thesis analyses the intermediatic dialogue established between The Fellowship of the Ring, a book written by Professor John Ronald Reuel Tolkien (1892 - 1973), and The Lord of the Rings Online (Lotro), a Massively Multiplayer Online Role-playing Game. Here, I intend to explain important aspects for the construction of this dialogue such as how it is created and how it has been articulating itself, focusing, according to Comparative Literature Studies’, on the remediation process and on aspects such as structure, half-reality and interactive fiction, characteristic of the interaction between both media. John R. R. Tolkien’s book has gone through several complex processes of (re)mediation, being The Lord of the Rings Online one of them. The game features the part of Middle-Earth that is told in the first two volumes of The Lord of the Rings. Lotro guides its players through missions called epic quests, which follow the nine members of the fellowship of the ring to the great battles at Mordor. The analysis proposed starts from the problematic issue of classifying what a medium is (MCLUHAN, 2013), the way through which media relate to one another and the context in which they are created (BOLTER; GRUSIN, 2000), adding the theoretical postulates of videogames. It is a comparative analysis that includes, as an example of the appropriate differences in structural articulations and other aspects, the passage (VAN TIEGHEM, 1931) from literature into videogame as a successful exchange that values both media, while promoting new experiences to the reader.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-21T18:09:20Z No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-25T12:47:15Z (GMT) No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / Made available in DSpace on 2018-09-25T12:47:15Z (GMT). No. of bitstreams: 1 Tese versão para entrega 2.pdf: 3703165 bytes, checksum: 0ab52dcdd975f05d78659b1aa6b8bd90 (MD5) / A presente tese tem como objetivo analisar dramaturgicamente o Massively Multiplayer Online Roleplaying Game (MMORPG) World of Wacraft (WoW), identificando e sistematizando seus aspectos estruturais. Este trabalho sustenta a hipótese de que a dramaturgia de WoW é estruturada de modo a dar suporte ao processo contínuo de expansão do jogo ao longo dos últimos 10 anos (do jogo base ao pacote de expansão Mists of Pandaria). A tese nomeia dramaturgia da expansão, o tipo de construção dramatúrgica que, tal como a de World of Warcraft, é orientada pela necessidade expandir o espaço e o tempo ficcionais, ampliar o número e a extensão das suas ações dramáticas, além de incorporar novos personagens a fim de criar novas experiências narrativas e de jogo (referindo-se ao universo dos jogos digitais ou analógicos). Esse tipo de dramaturgia não surge com WoW, afinal o referido MMORPG possui uma evidente filiação a jogos de interpretação de personagens, os Role-Playing Games (RPG) de mesa e digitais, os quais já apresentam estratégias de expansão do seu universo ficcional e experiências de jogo com fins comerciais. Assim, o presente trabalho se configura como um estudo de caso e, portanto, verifica particularidades da dramaturgia de WoW ao mesmo tempo que aponta generalizações possíveis. A pesquisa adota uma metodologia pautada na observação direta e participante (na medida em que é preciso jogar para analisar o objeto). O próprio jogo constitui a principal fonte de dados da pesquisa. Dados estes obtidos a partir de cerca de 700 horas de jogo com 19 personagens jogáveis por parte do pesquisador e cruzados com um aparato teórico multidisciplinar advindo dos media studies, games studies, teorias do imaginário, teorias dos gêneros literários e estudos teatrais para serem enfim sistematizados na presente tese. Como resultado foi possível confirmar a hipótese defendida, verificando como cada um dos aspectos estruturais analisados (Ação, Composição de personagens e organização espacial dos signos) colabora para o contínuo processo de expansão do jogo. / This thesis aims to analyze dramaturgically the Massively Multiplayer Online Roleplaying (MMORPG) World of Wacraft (WoW), identifying and systematizing its structural aspects. This work sustains the hypothesis that the dramaturgy of WoW is structured to support the ongoing process of expansion of the game over the last 10 years (from the base game to the expansion pack Mists of Pandaria). The thesis names dramaturgy of the expansion, the type of dramaturgical construction which, such as World of Warcraft, is guided by the need to expand the fictional space and fictional time, increase the number and the extent of their dramatic actions, as well as incorporate new characters to create new narratives and game experiences (referring to the universe of digital or analog games). This type of drama does not come with WoW, after all the said MMORPG has an obvious affiliation to the interpretation of characters games, table and digital Role-Playing Games (RPG), which already have expansion strategies of their fictional universe and experience game for commercial purposes. Thus, this study is configured as a case study and therefore, verifies dramaturgy of particularities of WoW while pointing possible generalizations. It adopts a guided methodology in direct and participant observation (to the extent that is necessary to play to analyze the object). The game itself is the main source of research data. These data obtained from about 700 hours of playing with 19 playable characters from the researcher and crossed with a multidisciplinary theoretical apparatus arising from media studies, games studies, imaginary theories, theories of literary genres and theater studies to be finally systematized in this thesis. As a result it was possible to confirm the hypothesis defended by checking how each of the structural aspects analyzed (Action, composition of characters and spatial organization of the signs) contributes to the continued expansion of the game process.