- About
-
The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 81 to 84 of 84 (0.012 seconds)| 81 |
The significance of the approaches to constitutional interpretation in S. V. Mhlungu 1995(7) BCLR 793(CC)Boardman, Richard Neville Crause 06 1900 (has links)
The dissertation consists of an analysis of the Constitutional Court decision S v Mhlungu 1995(7)
BCLR 793 CC. The analysis focuses on the significance of the different interpretative approaches
adopted by the members of the Court in analysing section 241(8) of the Constitution of the
Republic of South Afii.ca Act 200 of 1993. The theoretical approaches to constitutional
interpretation are first briefly discussed. This is followed by a description of the four respective
judgments in the decision. The case is then analysed in respect of section 3 5, Chapter 3 and the
Constitution itself in order to determine the significance. The jurisprudence of the Court
(developed in its first eight decisions) is evaluated to assess the approach of the Constitutional
Court to Chapter 3 and the remainder of the Constitution respectively. The conclusion is reached
that the Court has endorsed a generous/purposive approach to constitutional interpretation and
that this extends to the entire text of the Constitution. / Law / LL.M.
|
| 82 |
Disruptive game design : a commercial design and development methodology for supporting player cognitive engagement in digital gamesHowell, Peter Mark January 2015 (has links)
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.
|
| 83 |
Die Vögte von Weida: Ein SchülertheaterstückKirchberger, Luca 06 October 2022 (has links)
Dieses theaterpädagogische Buch enthält ein eigens für schulische Zwecke entworfenes Theaterstück, das sich inhaltlich auf eine mittelalterliche Schauernovelle bezieht und Schülern somit nicht nur Eindrücke in die künstlerische Arbeit an einer Produktion gibt, sondern ihnen auch Einblicke in historische Zusammenhänge und ‘alte‘ Literatur gibt. Umrahmt wird der Text des Theaterstücks von verschiedenen Grundlagenkapiteln, die den Lehrkräften bei der Umsetzung und Planung der Aufführung helfen sollen. So sind auch Bühnenbildentwürfe, Ideen für verschiedene theaterpädagogische Auflockerungsspiele und Hinweise zu Kostümen und Requisiten enthalten.:1. Einleitung
2. Einführung in das theaterpädagogische Arbeiten
3. Allgemeine Informationen zum mittelalterlichen Original
4. Hinweise zur Neuinszenierung
5. »Die Vögte von Weida« – der Grundtext
6. Rahmenhandlungen
7. Aufbau des Theaterstücks
8. Die Gestaltung des Theaterstücks / This book contains a play that was specifically adapted for school purposes. The content of this play refers to a medieval horror story and thus not only gives pupils impressions of the artistic work on a production, but also gives them insights into historical contexts and 'old' literature. The text of the play is framed by various basic chapters, which are intended to help the teachers with the implementation and planning of the performance. Stage design drafts, ideas for various improtechniques and information on costumes and props are also included.:1. Einleitung
2. Einführung in das theaterpädagogische Arbeiten
3. Allgemeine Informationen zum mittelalterlichen Original
4. Hinweise zur Neuinszenierung
5. »Die Vögte von Weida« – der Grundtext
6. Rahmenhandlungen
7. Aufbau des Theaterstücks
8. Die Gestaltung des Theaterstücks
|
| 84 |
Plotting Horror / Horror-Ästhetik in dramaturgischer Perspektive – zwischen Medienspezifik und TransmedialitätHeuer, Thomas 06 May 2019 (has links)
Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt.
Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert.
Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation. / The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines.
Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction.
Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.
|
Page generated in 0.0197 seconds