The exposure of social problems such as forced disappearances is necessary for the history of society. The interactive documentary is a new digital proposal for the creation of spaces for the reconstruction of a social memory. In this paper, a content analysis is used to analyze the construction of the interactive narrative for the reconstruction of memory in the webdoc Forensic Landscapes and, with this, to identify its narrative composition in the construction of new spaces for the user’s experience. The interactive documentary generates a shared feeling between the user and the interface due to resources such as hypertextuality, database, narrative elements, representation modalities and interactivity. Thus, immersion is adhered, a new way of exposing a social theme in 360 degrees which recreates a sensory experience within an imaginary universe. Through the story, the memory of the agents involved in forced disappearances in Latin America is reconstructed.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-05T12:59:08Z No. of bitstreams: 1 Annye Cristiny Tessaro.pdf: 2558658 bytes, checksum: 6ae482af1522ccf49fba1f5b8ed87511 (MD5) / Made available in DSpace on 2018-11-05T12:59:09Z (GMT). No. of bitstreams: 1 Annye Cristiny Tessaro.pdf: 2558658 bytes, checksum: 6ae482af1522ccf49fba1f5b8ed87511 (MD5) Previous issue date: 2018-09-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Humanity has always used narratives to communicate. Over the years, theorists have realized that there was a common basic structure and formulation in the narratives that allowed stories to perpetuate and adapt in order to form new stories. The contributions of Aristotle, Vladimir Propp and Jung, based on the observation of a varied corpus of tales and fables, enabled the scholar Joseph Campbell to elaborate a narrative structure called “Hero’s Journey”, an elliptical and evolutionary cycle in which the central axis is the hero (and also its variations, such as the anti-hero). This structure is widely used in the construction of contemporary narratives which paved the way for writers such as Vogler and Mckee allowing them to propose it’s adaptation centered on the protagonist-hero for literature and cinema. From the 1970s, with the evolution towards an interactive possibility, the entertainment industry began to incorporate, although modestly, the narrative as a possibility to improve the immersion in games using, most of the time, the Writer’s Journey (structure adapted by Vogler) as a parameter for the construction of narratives in games. However, it is essential to realize that games have specific peculiarities, besides a high content of interaction differing from other media and, therefore, its structure can not be conceived in the same way as it was proposed by Vogler, requiring an adaptation which addresses such particularities. In addition, usually professionals who engage in storytelling for games are screenwriters (which does not seem to be the most appropriate because the art of narrative goes beyond the script), or are writers (who mostly lack specific knowledge and qualification in the games area). Considering what was stated above, we argue for the adoption of a Narrative Designer (term created in 2006 by Game Designer Stephen Dinehart) to designate this professional whose knowledge involves multiple skills – such as programming, art and writing – combining the areas of Narratology, Ludology, and Game Design. Thus, the purpose of this thesis is to investigate conventional narrative structures and how they are presented in games, which are the elements and tools that can help the narrative designer in the creative process / A humanidade sempre se utilizou de narrativas para se comunicar. Ao longo dos anos, os teóricos perceberam haver nas narrativas uma estrutura e uma formulação básica comum que propiciava que as histórias se perpetuassem e se adaptassem formando novas histórias. As contribuições de Aristóteles, Vladimir Propp e Jung, fundamentadas com base na observação de um corpus variado de contos e de fábulas, possibilitaram ao estudioso Joseph Campbell elaborar uma estrutura narrativa denominada “Jornada do Herói”, um ciclo elíptico e evolutivo no qual o eixo central é o herói (e também suas variações, tal como o anti-herói). Essa estrutura é amplamente utilizada na construção de narrativas contemporâneas e abriu o caminho para que roteiristas como Vogler e Mckee propusessem sua adaptação centrada no protagonista-herói para a literatura e o cinema, Com a evolução das possibilidades interativas, a indústria de entretenimento passou a incorporar, a partir da década de 1970, ainda que modestamente, a narrativa como possibilidade de refinar a imersão nos games utilizando, na maioria das vezes, a Jornada do Escritor (estrutura adaptada por Vogler) como parâmetro para construção das narrativas em games. No entanto, é essencial que se perceba que os games possuem particularidades específicas, além de um alto teor de interação diferenciando-se das outras mídias e, portanto, sua estrutura não pode ser concebida da mesma forma como foi proposto por Vogler, requerendo uma adaptação que contemple tais particularidades. Além disso, geralmente os profissionais que se dedicam à arte narrativa para games ou são roteiristas (que não parece ser o mais adequado, pois a arte narrativa vai além do roteiro), ou são escritores (que em sua maioria não possuem conhecimento e qualificações específicas na área de games). Diante do exposto, defende-se a adoção de Designer de Narrativas (termo criado, em 2006, pelo Game Designer Stephen Dinehart) para designar esse profissional cujo conhecimento envolve múltiplas habilidades – como programação, arte e escrita – combinando as áreas da narratologia, da ludologia e do Game Design. Sendo assim, a proposta desta tese é investigar as estruturas narrativas convencionais e como elas se apresentam nos games, quais são os elementos e as ferramentas que podem auxiliar o designer de narrativas no processo criativo

Indiana University-Purdue University Indianapolis (IUPUI) / The treatment of chronic diseases requires patient adherence to medical advice. Nonadherence worsens health outcomes and increases healthcare costs. Consultations with a virtual physician could increase adherence, given the shortage of healthcare professionals. However, if the virtual physician is a computer animation, acceptance of its advice may be hampered by the uncanny valley effect, a negative affective reaction to human simulations. Two experiments were conducted to investigate the impact of the virtual physician on patients’ adherence. The first study, a 2 ´ 2 ´ 2 between-groups posttestonly experiment, involved 738 participants playing the role of a patient in a hypothetical virtual consultation with a doctor. The consultation varied in the doctor’s Character, Outcome, and Depiction. Character, Outcome, and Depiction were designed to manipulate the doctor’s level of warmth, competence, and realism. The second study, a 2 ´ 5 between-groups experiment, involved 441 participants assuming a patient’s role in a similar hypothetical virtual consultation with a doctor. The experiment varied the doctor’s Character and Depiction. These independent variables were designed to manipulate the doctor’s level of warmth and eeriness. The first study found that warmth and competence increased adherence intention and consultation enjoyment, but realism did not. On the contrary, the computer-animated doctor increased adherence intention and consultation enjoyment significantly more than the doctor portrayed by a human actor. The enjoyment of the animated consultation caused the doctor to appear warmer and more real, compensating for his realism inconsistency. In the second study, Depiction had a nonsignificant effect on adherence intention, even though the computer animated doctor was perceived as eerier than the real human. The low-warmth, high-eeriness doctor prompted heuristic processing of information, while the high-warmth doctor prompted systematic processing. This pattern runs counter to the literature on persuasion. The doctor’s eeriness, measured in a pretest, had no significant effect on adherence intention via the heuristic-systematic model. Although virtual characters can elicit the uncanny valley effect, they were comparable to a real person in increasing adherence intention, adherence and health behavior. This finding should encourage the development and acceptance of virtual consultation to address the shortage of healthcare professionals. / 2023-11-03

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-09T10:23:44Z No. of bitstreams: 1 Stanley Cunha Teixeira.pdf: 3344939 bytes, checksum: 90798921bdc8a453a0436c4215b74a12 (MD5) / Made available in DSpace on 2018-11-09T10:23:44Z (GMT). No. of bitstreams: 1 Stanley Cunha Teixeira.pdf: 3344939 bytes, checksum: 90798921bdc8a453a0436c4215b74a12 (MD5) Previous issue date: 2018-09-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The process of information digitization and the subsequent convergence of digital media are promoting a breakdown of paradigms that will certainly affect the way in which the programming of the open TV channels will be elaborated. Even though it is still unclear what kind of impact this will have on the viewer, there is a trend towards "appification", that is, the transformation of the channels into applications (apps), which will divide space in the screen ecosystem with other software currently used in tablets and smartphones. Thus, the audience dispute will occur not only between broadcasters, but also with other apps that attract attention in mobile media, such as games, social networks, messengers, and so on. As a typical storyteller, TV cannot ignore the interactive language popularized by digital media. However, especially in the case of commercial TVs, one of the main challenges to incorporate the interactivity feature will be to flexibilize the time of the hourly grid to include the "reading time" and the "time of action" that are subjective and different for each viewer. For this, this study proposes the break with the idea of “timeline” to adopt the “Timelink” concept. By replacing the "time line" with the "time network", we suggest another paradigm for the viewer who, from a new technological support, a new architecture and a new information design on the screen, will have the TV time itself to the reach of the remote control. This will allow not only a new experience in front of television, but also the main objective of the Brazilian Digital Terrestrial TV signal, which is to minimize the effects of "digital exclusion", considered by the UN as one of the main factors of social exclusion in Worldwide / O processo de digitalização de informações e a posterior convergência das mídias digitais estão promovendo uma quebra de paradigmas que certamente vai afetar a forma como será elaborada a programação dos canais da TV aberta. Mesmo ainda não estando claro que tipo de impacto isto terá sobre o telespectador, vislumbra-se uma tendência de “appificação”, ou seja, de transformação dos canais em aplicativos (apps), que passarão a dividir espaço no ecossistema da tela com outros softwares atualmente utilizados em tablets e smartphones. Assim, a disputa pela audiência vai ocorrer não apenas entre as emissoras, mas também com os demais apps que hoje atraem a atenção nas mídias móveis, como jogos, redes sociais, mensageiros etc. Como um veículo tipicamente contador de histórias, a TV não poderá fechar os olhos para a linguagem interativa popularizada pelas mídias digitais. Porém, em especial no caso das TVs comerciais, um dos principais desafios para incorporar o recurso da interatividade será flexibilizar o tempo da grade horária para comportar o “tempo de leitura” e o “tempo de ação” que são subjetivos e diferentes para cada telespectador. Para isso, este estudo propõe a ruptura com a ideia de timeline da programação para adotar o conceito de Timelink. Ao substituir a “linha do tempo” pela “rede do tempo”, sugerimos outro paradigma para o telespectador que, a partir de um novo suporte tecnológico, uma nova arquitetura e um novo design das informações na tela, terá o próprio tempo da TV ao alcance do controle remoto. Isto permitirá não apenas uma nova experiência diante da televisão, mas principalmente alcançar o principal objetivo do Sinal Brasileiro de TV Digital Terrestre, que é minimizar os efeitos da “exclusão digital”, considerada pela ONU como um dos principais fatores de exclusão social em todo o mundo

Cette thèse porte sur les propriétés du discours de la caméra virtuelle autour de trois axes: le temps, l'histoire, et la présentation visuelle. Nous nous répondrons principalement à la question sur la façon d'analyser, d'exploiter des données, et de générer automatiquement des arrangements temporels de l'histoire et des contenus visuels. Nos techniques proposées peuvent être appliquées aux problèmes de planification automatique de la caméra dans des environnements 3D, et ouvrent des perspectives pour l'analyse cognitive du cinéma et de la narration visuelle. / This thesis concerns the discourse properties of cinematographic storytelling around three axes: time, story, and visual presentation. We address the question of how to analyse and gain knowledge from data, and automatically generate temporal arrangements of story and their visual content. We work with actual film data to understand the good practices of visual storytelling. The techniques in this thesis target applications to automatic camera planning problems in 3D environments, and also open perspectives for cognitive analysis of film and visual storytelling.

Made available in DSpace on 2016-04-29T14:22:50Z (GMT). No. of bitstreams: 1 Eduardo Savino Gomes.pdf: 2348227 bytes, checksum: a83e459c4c9e20856bc8c086cb3c43c8 (MD5) Previous issue date: 2010-10-29 / This research relates the concept of Interactive Digital TV, in its aspects technicalcomputing, linking them with new forms of expression of content in order to allow the production of new genres, sub-genres of narrative in television products. It shows that television, from computational systems, becomes from a connected device to a transmission system in a continuous line for a semi-open system of processing events, linking more closely the production system of the content to the user viewer. Presents a description of the technical and conceptual patterns of Digital TV in the world and in Brazil, its architecture and, in particular, the software tools for developing of interactive applications for the T-SBTVD (Sistema Brasileiro de TV Digital-Terrestrial). Analyzes their technological possibilities, towards a methodological analysis, which involves the narrative structures (properties and classifications), showing how these can be considered in an interactive narrative inside the current systems of TVDi. Discusses types of interactive narratives already tried, which are taken as references, showing how the Complex Narratives, the Narratives in Expanded Cinema, Hypermedia and last in Games (Digital Games)., currently insert on the context of planning current and future TVDi. From the obtained results, presents the development of a prototype of application of an Interactive Narrative, using current technology standards within the SBTVD-T. Concludes in favor of a broader discussion of the issue to contribute to the adequacy of narrative forms currently used in television concencional to the new system in its emerging phase, focusing on the essential aspects of interactivity with the user-viewer, a glimpse toward the new way to watch TV without losing the current characteristics, but differentiates itself from other medias / A presente pesquisa relaciona o conceito de TV Digital Interativa, em seus aspectos técnico-computacionais, relacionando-os com as novas formas de expressão de conteúdo no sentido de possibilitar a produção de novos gêneros, subgêneros narrativos dentro de produtos televisivos. Mostra que a televisão, a partir dos sistemas computacionais se transforma, de um aparelho conectado a um sistema de transmissão em linha contínua para um sistema semi-aberto de processamento de eventos, associando mais fortemente o sistema produtivo do conteúdo ao usuário-telespectador. Apresenta a descrição dos padrões técnico-conceituais da TV Digital no mundo e no Brasil, sua arquitetura e, em particular, as ferramentas de software para o desenvolvimento de aplicações interativas para o SBTVD-T (Sistema Brasileiro de TV Digital-Terrestre). Analisa as suas possibilidades tecnológicas, na direção de uma análise metodológica, a qual envolve as estruturas narrativas (unidades e classificações), refletindo como estas podem ser consideradas em uma narrativa interativa dentro dos atuais sistemas da TVDi. Discute tipos de narrativas interativas já experimentadas, que são tomadas como referências, mostrando como as Narrativas Complexas, as Narrativas no Cinema Expandido, na Hipermídia e por último nos Games(Jogos Digitais)., se inserem atualmente no contexto do planejamento da atual e futura TVDi. A partir dos resultados obtidos, apresenta o desenvolvimento de um protótipo de aplicação de uma Narrativa Interativa, utilizando as tecnologias padrões atuais dentro do SBTVD-T. Conclui em favor de uma discussão mais ampla da questão no sentido de contribuir para a adequação das formas narrativas atualmente utilizadas na televisão concencional ao novo sistema em sua fase emergente, enfocando os aspectos essenciais da interatividade com o usuário-telespectador, na direção do vislumbrar uma nova maneira de se ver TV, sem perder as atuais características, porém diferenciando-se dos demais meios

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-12T17:26:03Z No. of bitstreams: 1 juliapessoavarges.pdf: 2258766 bytes, checksum: 4e93cc17ecc6f9a7932f8f1bcd68d32e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-04T12:35:53Z (GMT) No. of bitstreams: 1 juliapessoavarges.pdf: 2258766 bytes, checksum: 4e93cc17ecc6f9a7932f8f1bcd68d32e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-04T12:36:12Z (GMT) No. of bitstreams: 1 juliapessoavarges.pdf: 2258766 bytes, checksum: 4e93cc17ecc6f9a7932f8f1bcd68d32e (MD5) / Made available in DSpace on 2016-10-04T12:36:12Z (GMT). No. of bitstreams: 1 juliapessoavarges.pdf: 2258766 bytes, checksum: 4e93cc17ecc6f9a7932f8f1bcd68d32e (MD5) Previous issue date: 2011-04-15 / Resumo: Esta dissertação de mestrado analisa os jogos eletrônicos a partir de seu potencial narrativo. A popularização dos consoles de videogames e a disseminação dos computadores pessoais e da Internet ao longo das duas últimas décadas facilitou o acesso a estes produtos tecnológicos, aumentando também o interesse acadêmico em tais jogos. Grande parte da bibliografia referente ao assunto gira em torno do debate Narratologia versus Ludologia; em que teóricos de vertentes opostas acreditam que os jogos eletrônicos podem ser compreendidos ou somente por seus aspectos lúdicos, diretamente ligados à ação do jogador (gameplay); ou apenas pelos narrativos. Ao longo da presente dissertação, apresentaremos os pensamentos dos principais ludologistas (Jesper Juul, Gonzalo Frasca, Espen Aarseth) e também dos narratologistas, dos quais a americana Janet Murray é a principal expoente. Nosso objetivo, ao descrever as duas vertentes, é demonstrar a necessidade de incorporá-las para uma compreensão mais ampla dos jogos eletrônicos, contrapondo o caráter excludente como as duas correntes teóricas vêm sendo concebidas. Desta forma, nossa hipótese é de que somente levando em conta o gameplay e o potencial narrativo é que se pode analisar os videogames no que Marie-Laure Ryan, Santaella e Galloway consideram sua característica mais distintiva: a interatividade. Para isto, utilizaremos o conceito de “narrativas interativas” de Ryan (2009), que propõe que a narratividade nos videogames é diretamente ligada ao gameplay, já que cada elemento narrativo é construído a partir de ações desempenhadas pelo jogador e materializadas no interior do jogo através de um avatar; e, por outro lado, cada ação a ser tomada é determinada pelo enredo narrativo que se forma. Assim, lúdico e narrativo são elementos inextricáveis para a compreensão dos jogos eletrônicos em todo potencial. Como exemplo desta tendência, analisaremos “Red Dead Redemption”, jogo para Xbox 360 criado pela Rockstar Games, que acreditamos agregar todas as características das “narrativas interativas” de Ryan. / This dissertation analyzes videogames from their narrative potential. The popularity of videogame consoles and the spread of personal computers and the Internet over the past two decades have facilitated the access to these technological products, also causing the academic interest in such games to increase. Much of the literature on the subject revolves around the debate “Narratology versus Ludology”, where theorists of opposing sides believe that electronic games can be understood either by their ludic aspects, directly related to the action of the player (gameplay), or only by its narrative characteristics. Throughout this thesis, we present the thoughts of the main Ludologists (Jesper Juul, Gonzalo Frasca, Espen Aarseth) and the Narratologists, of which Janet Murray is the principal exponent. Our goal in describing the two theories is to demonstrate the need to incorporate them both in order to achieve a broader understanding of electronic games, unlike the opposition between the two theoretical approaches proposes. Hence, our hypothesis is that it is only taking into account both gameplay and the narrative potential of videogames that one can analyze these games in which Marie-Laure Ryan, Santaella and Galloway consider its most distinctive feature: interactivity. To do so, we use Ryan’s concept of "interactive narratives" (2009), which proposes that the narrative in video games is directly related to gameplay, as each narrative element is constructed from actions taken by the player and materialized inside the game through an avatar, and, moreover, every action taken is determined by the narrative plot that is designed. As a consequence, ludic and narrative elements are inextricable to the understanding of electronic games in their full potential. As an example of this trend, we will analyze the game "Red Dead Redemption" for Xbox 360, created by Rockstar Games, which we believe aggregates all the characteristics of Ryan’s "interactive narratives".

Increasing concerns on the effect of climate change is arousing the awareness of sustainability all over the world, and plenty of measures have been taken to lower greenhouse gas emissions. Reducing energy consumption through behavior change of residents presents a promising opportunity to save energy significantly. This project is focused on designing a choice-based interactive game to support increased energy literacy of Chinese youths, especially in the kitchen of Chinese households. With an interactive narrative prototype evaluated by 11 participants through interviews and surveys, learning outcomes and feedback were collected and considerations in the design process were figured out. The result indicates the potential of enhancing energy literacy with such an interactive game based on point collecting, but a more interesting protostory, suitable difficulty levels and freedom of interaction is significant to the general experience and effect. / En ökande oro för effekterna av klimatförändringar väcker medvetenheten om hållbarhet över hela världen, och många åtgärder har vidtagits för att minska utsläppen av växthusgaser. Att minska energiförbrukningen genom invånarnas beteendeförändring ger en lovande möjlighet att spara energi avsevärt. Detta projekt är fokuserat på att designa ett valbaserat interaktivt spel för att stödja ökad energikunskap hos kinesiska ungdomar, särskilt i köket hos kinesiska hushåll. Med en interaktiv narrativ prototyp utvärderad av 11 deltagare genom intervjuer och enkäter, samlades läranderesultat och feedback in och överväganden i designprocessen har klurats ut. Resultatet indikerar potentialen för att förbättra energikunnigheten med ett sådant interaktivt spel baserat på poänginsamling, men en mer intressant protostory, lämpliga svårighetsgrader och interaktionsfrihet har betydelse för den allmänna upplevelsen och effekten.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-04-11T12:44:28Z No. of bitstreams: 1 MARINA AUTUORI.pdf: 1422722 bytes, checksum: c8da9e0caa1128cd23ab88f7c58a03ca (MD5) / Made available in DSpace on 2018-04-11T12:44:28Z (GMT). No. of bitstreams: 1 MARINA AUTUORI.pdf: 1422722 bytes, checksum: c8da9e0caa1128cd23ab88f7c58a03ca (MD5) Previous issue date: 2018-02-27 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The growing demand for child psychological care results in increased referral of children to mental health services. However, a rate of 50% to 60% abandonment of child psychotherapy is estimated. Since the beginning of child psychological care is the most delicate and decisive phase for the success or failure of psychotherapy, we must investigate the purposes of children's psychological referrals to understand the meanings attributed to this process. To do so, using a psychoanalytically oriented qualitative methodology, we interviewed four children, their parents, psychologists and other professionals involved in the referral to a Public Health Unit for Children and Adolescents. We adopted as a procedure the framework of individual open interviews and the investigative resource of Interactive Narratives to facilitate access to the experience undergone by the participants. We have established five thematic axes that contemplate the meanings found, both in the scientific literature and in the participants' reports, as follows: Reasons for child referral; Sources of child referral; Profile of children's clientele; Parents and the psychological care of their children; and Adherence and abandonment of psychotherapy. Such axes guide the discussion about the theme of the psychological referral of children in the light of the scientific literature as well as the work of Donald Woods Winnicott. Parents appear as the main part involved, although usually excluded from decision making, whose participation in all stages of the referral process is decisive to the success or failure of the referral itself. In addition, the inclusion of the child's perspective has enabled us not only to reveal the meanings that it attributes to the efforts of understanding by professionals, to parental care and to their own suffering, but to doubt the effectiveness of any intervention that disregards the child's view and excludes a deep partnership with parents. / La creciente demanda por la atenci?n psicol?gica infantil resulta en el aumento de la derivaci?n de ni?os a los servicios de salud mental. Sin embargo, se estima una tasa de 50% a 60% de abandono de la psicoterapia infantil. Siendo el inicio de la atenci?n psicol?gica infantil la fase m?s delicada y decisiva para el ?xito o fracaso de la psicoterapia, cabe investigar los sentidos de las derivaciones psicol?gicas infantiles, a fin de comprender los significados atribuidos a este proceso. Para ello, utilizando el m?todo cualitativo de orientaci?n psicoanal?tica entrevistamos cuatro ni?os, sus padres, psic?logos y otros profesionales involucrados en las derivaciones a una Unidad P?blica de Salud Mental Infanto-Juvenil. Adoptamos como procedimiento el encuadre de entrevistas abiertas individuales y el recurso investigativo de las Narrativas Interactivas, con la intenci?n de facilitar el acceso a la experiencia vivida por los participantes. Establecimos cinco ejes tem?ticos que contemplan los sentidos encontrados, tanto en la literatura cient?fica como en los relatos de los participantes, que son: Motivos para la derivaci?n infantil; Fuentes de derivaci?n infantil; Perfil de la clientela infantil; Los padres y la atenci?n psicol?gica de los hijos; y Adhesi?n y abandono de la psicoterapia. Tales ejes gu?an la discusi?n sobre el tema de derivaci?n infantil a la luz de la literatura cient?fica, as? como la obra de Donald Woods Winnicott. Los padres aparecen como los principales involucrados, aunque usualmente excluidos de la toma de decisiones, siendo su participaci?n en todas las etapas de proceso de derivaci?n decisiva para el ?xito o fracaso de la derivaci?n psicol?gica infantil. Adem?s de eso, la inclusi?n de la perspectiva del ni?o nos permiti? no solo revelar los sentidos que ?l atribuye a los esfuerzos de comprensi?n por parte de los profesionales, al cuidado parental y a su propio sufrimiento, sino dudar de la eficacia de cualquier intervenci?n que no tenga en cuenta la visi?n infantil y excluya una profunda cooperaci?n con los padres. / A crescente demanda pelo atendimento psicol?gico infantil resulta no aumento do encaminhamento de crian?as para os servi?os de sa?de mental. Entretanto, estima-se uma taxa de 50% a 60% de abandono da psicoterapia infantil. Sendo o in?cio do atendimento psicol?gico infantil a fase mais delicada e decisiva para o sucesso ou fracasso da psicoterapia, cabe investigarmos os sentidos do encaminhamento psicol?gico infantil, a fim de compreendermos os significados atribu?dos a esse processo. Para tanto, utilizando metodologia qualitativa de orienta??o psicanal?tica entrevistamos quatro crian?as e seus pais, al?m de psic?logos e outros profissionais envolvidos com os encaminhamentos para uma Unidade P?blica de Sa?de Mental Infanto-Juvenil. Adotamos como procedimento o enquadre de entrevistas abertas individuais e o recurso investigativo das Narrativas Interativas, no intuito de facilitar o acesso ? experi?ncia vivida pelos participantes. Estabelecemos cinco eixos tem?ticos que contemplam os sentidos encontrados, tanto na literatura cient?fica quanto nos relatos dos participantes, a saber: Motivos para o encaminhamento infantil; Fontes de encaminhamento infantil; Perfil da clientela infantil; Os pais e o atendimento psicol?gico dos filhos; e Ades?o e abandono da psicoterapia. Tais eixos norteiam a discuss?o sobre o tema do encaminhamento psicol?gico infantil ? luz da literatura cient?fica e da obra de Donald Woods Winnicott. Os pais figuram como os principais envolvidos, embora usualmente exclu?dos da tomada de decis?o, cuja participa??o em todas as etapas do processo de encaminhamento psicol?gico ? decisiva para o sucesso ou fracasso do pr?prio encaminhamento. Al?m disso, a inclus?o da perspectiva da crian?a nos permitiu n?o s? revelar os sentidos que esta atribui aos esfor?os de compreens?o dos profissionais, ao cuidado parental e ao seu pr?prio sofrimento, mas duvidar da efic?cia de qualquer interven??o que desconsidere a vis?o infantil e exclua uma profunda parceria com os pais.

I denna uppsats analyseras spelen Howling Dogs och 16 Ways to Kill a Vampire at McDonalds ur ett narratologiskt perspektiv. Huvuddelen av analysen fokuserar på hur hypertextens mediala förhållanden påverkar relationen mellan spelaren och narrativet samt på förhållandet mellan berättare och lyssnarinstans. Analysen baserar sig på metoder med utgångspunkt i possible worlds theory, formulerat av Alice Bell. Uppsatsen exemplifierar hur man går till väga i analys av texter med ett starkt deiktiskt förhållande mellan texten och läsaren. Syftet är att undersöka existerande metoder och att förbättra dem, tillika en, möjligtvis naiv, förhoppning om att komma ett steg närmare ett större litteraturvetenskapligt intresse gällande vad spel kan tillföra litteraturvetenskapen. / This essay contains narratological analyses of the games Howling Dogs and 16 Ways to Kill a Vampire at McDonalds. The analyses are focused on the hypertext’s medial impact on the relations between user and narrative as well as narrator and narratee. The work is based on methods using possible worlds theory, created by theorists such as Alice Bell. A main purpose here is to further exemplify how to analyze texts having a deictic effect between themselves self and their readers. The purpose here is thus to test existing methods and further develop them. This purpose is also motivated by a, possibly naïve, hope of getting one step closer to a wider acknowledgement of how games can contribute to the subject of literature.