Researches done on social movements and media are often conducted at a micro-level, focusing on the individual activity (Klandermans 1997), or the macro level, excluding the meso level, linking the two first levels together. Furthermore, studies focusing on the relation between feminism as a social movement and media often neglect to identify the opportunities and the limitations of such an intersection. The aim of this research is to increase knowledge in this gap, offering a comprehensive conceptual framework that focuses on the three levels of interaction between media and feminist activism. Attention will also be paid to the intersection between offline and online as it ‘helps us question the bias towards online and always connected forms of activism’ . (Fotopoulou 2014) The research questions of this thesis are: How women in Great-Britain perceive the limitations and opportunities in media, to connect with the feminist movement? And How can we understand these experiences through the role of ICT linked to macro-processes such as mediatization?The findings are that the relatively new online platforms and media practices of digital and networked media are changing the landscape of how feminist activists think and fight for gender equality. They both carry the opportunities and the limitations of such a relation. Indeed, the assumption that social network and online media are a central in women’s organization is correct, however, they are not the only way of doing so and they should remain complementary. The concept of ‘digital sisterhood’ helps us to understand that complex balance and it allows us to question the different levels of activism that are being reconsidered.

Solicitud de embargo por publicación en revista indexada. / Objetivo: Identificar el uso de práctica digital en fisioterapia durante la pandemia por la COVID-19, realizada por fisioterapeutas colegiados en el Colegio de Tecnólogo Médico del Perú que laboran en la ciudad de Lima-Perú. Método: Estudio observacional, de corte transversal y descriptivo Resultados: Se obtuvieron 194 encuestas válidas de fisioterapeutas colegiados que laboraban en la ciudad de Lima- Perú durante los meses de febrero a junio del año 2021 de los cuales 46.4% han optado por la modalidad de práctica digital y 53.6% por la modalidad no digital o presencial. La mayor parte de los encuestados está representado por 66% de mujeres con una mediana de 37 años de edad, de los cuales 52.1% no se encuentran unidas, 76.3% viven con familia, 63.4% egresaron de una universidad nacional, 58.3% tienen una segunda especialidad con 12 años de práctica de labor en fisioterapia, 35.1% trabajaban en Lima Centro, 57.2% laboraban en el área de clínica general, 63.6% manifestaron no mantener el mismo monto cobrado, 75% no recibieron ninguna facilidad o beneficios para la práctica digital por la institución, por lo que el 54.8% no se encuentran satisfechos ni insatisfechos con su trabajo; sin embargo, 93% señalaron que no cambiarían de empleo. Conclusiones: Se identificó que la mayor parte de los fisioterapeutas encuestados optaron por el abordaje presencial durante la pandemia por la COVID-19 en Lima - Perú. / Objective: To identify the use of digital practice in physiotherapy during the COVID-19 pandemic, carried out by physiotherapists registered in the College of Medical Technologists of Peru working in the city of Lima-Peru. Method: Observational, cross-sectional and descriptive study. Results: 194 valid surveys were obtained from collegiate physical therapists who worked in the city of Lima-Peru during the months of February to June 2021, of which 46.4% have opted for the digital practice modality and 53.6% for the non-digital or face-to-face modality. Most of the respondents are represented by 66% women with a median of 37 years of age, of which 52.1% are not married, 76.3% live with a family, 63.4% graduated from a national university, 58.3% have a second specialty with 12 years of work practice in physiotherapy, 35.1% worked in downtown Lima, 57.2% worked in the general clinical area, 63.6% said they did not maintain the same amount charged, 75% did not receive any facilities or benefits for the practice digital by the institution, for which 54.8% are neither satisfied nor dissatisfied with their work; however, 93% indicated that they would not change jobs. Conclusions: It was identified that most of the surveyed physical therapists opted face-to-face approach during the pandemic by COVID-19 in Lima - Peru. / Tesis

Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.