Submitted by Julio Santos (julioparsifal@hotmail.com) on 2016-09-02T23:14:13Z No. of bitstreams: 1 tese final.pdf: 8472411 bytes, checksum: 72cab36c2b81939419657a642cd00d98 (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2016-09-08T17:33:59Z (GMT) No. of bitstreams: 1 tese final.pdf: 8472411 bytes, checksum: 72cab36c2b81939419657a642cd00d98 (MD5) / Made available in DSpace on 2016-09-08T17:33:59Z (GMT). No. of bitstreams: 1 tese final.pdf: 8472411 bytes, checksum: 72cab36c2b81939419657a642cd00d98 (MD5) / “O Fascínio e a Espetacularização como Pedagogias Corporais no World Of Warcraft.”, 247p. Tese (Doutorado), Faculdade de Educação, Universidade Federal da Bahia, Salvador-Bahia, 2016. O corpo sempre exerceu fascínio e os homens fizeram dele um dispositivo simbólico e cultural. Com o surgimento das tecnologias digitais se cria uma ampliação do seu processo de fascínio e espetacularização tendo nas relações sociais dos jogos online de MMORPG (Massively Multiplayer Online Role -Playing Game) um campo promissor para essa observação por se tratar de um espaço de ‘mundos persistentes’ em que se localizam relações sociais complexas. Nas redes o corpo está também para os aprendizados sociais. O argumento central da tese é que os processos de fascínio e espetacularização de si encontradas nas representações corporais do jogo online World of Warcraft, podem ser vistos como construtores de pedagogias corporais. O objetivo foi analisar nas criações corporais e nas relações dos personagens de jogadores do World of Warcraft processos de fascínio e espetacularização do corpo como parte das construções de pedagogias corporais. A metodologia utilizada foi a qualitativa de cunho descritivo e analítico, com dados construídos por meio de uma pesquisa participante e de entrevistas semi-estruturadas com roteiro. A pesquisa permitiu concluir, dentre outros aspectos, que os processos de fascínio e espetacularização de si, por meio de uma festiva exibição dos corpos dos personagens no jogo, embalados pela cultura da visibilidade, são estratégias para dão aos sujeitos acessos a diferentes experiências corporais mutantes. Esses corpos fascinantes e espetacularizados no jogo e em rede não se limitam apenas à aquisição de capital social, mas, também, são legítimos dispositivos pedagógicos e produtores de conhecimentos. / ABSTRACT The body has always held fascination and men made him a symbolic and cultural device. With the emergence of digital technologies to create an extension of its allure process and spectacle with the social relations of online games MMORPG (Massively Multiplayer Online Role Game -playing) a promising field for this observation because it is an area of 'worlds persistent 'where they are located complex social relations. In the networks the body is also to social learning. The central argument of the thesis is that the fascination processes and spectacle of themselves found in bodily representations of the online game World of Warcraft, can be seen as pedagogies body builders. The aim was to analyze the physical creations and relationships of the characters players of World of Warcraft fascination processes and spectacle of the body as part of the body pedagogies buildings. The methodology was qualitative descriptive and analytical, with data built through a participatory research and semi-structured interviews with script. The study concluded, among other things, that the fascination processes and spectacle of himself, through a festive display of the bodies of the characters in the game, packed the culture of visibility, are strategies to give individuals access to different bodily experiences mutants. These fascinating and espetacularizados in the game and network bodies are not limited to the acquisition of capital, but also are legitimate pedagogical devices and producers of knowledge. Keywords: World of Warcraft, Online Games and Education, Body Representations, Fascination and Spectacularization, pedagogies Body.

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.

In this essay, I have investigated whether players of World of Warcraft change their language to suit the gender of the character they play. I have researched if there are gender differences that correspond to what is defined as male and female language in mixed-sex conversations. Chat-logs, collected during four participant observations, were used for making an analysis based primarily on research by Coates (1993) and Yale (2007). Seven features were selected for analysis: amount of participation, hedges, questions, directives and commands, taboo language, compliments and grammar. It was possible to discover gender differences, but these were not consistent in all areas of research. For example, female characters had a higher contribution than males, as well as a higher use of hedges and tag-questions among males, which contradicts previous research. The lack of consistency might be due to the fact that the participants do not specifically consider all areas as typically female or male, or their unawareness of these tendencies. We also need to consider disagreement in previous gender studies as well as folklinguistic belief. The explanation of the lack of consistent differences may be a more equal relationship between males and females in this context, or due to thepossibility that the participants, who are usually male, make use of their normal male language.

The aim of this study is to examine the language from a small sample of texts from the chat channels of World of Warcraft and analyze the differences found between World of Warcraft English and Standard English. In addition, the studywill compare the language found in World of Warcraft with language found on other parts of the Internet, especially chatgroups. Based on 1045 recorded chat messages, this study examines the use of abbreviations, emoticons, vocabulary, capitalization, spelling, multiple letter use and the use of rare characters. The results of the investigation show that the language of World of Warcraft differs from Standard English on several aspects, primarily in the use of abbreviations. This is supported by secondary sources. The results also show that the use of language is probably not based on the desire to deliver a message quickly, but rather to reach out to people. In addition, the results show that the language found in World of Warcraft is more advanced than a simple effort to try to imitate speech, thereby performing more than written speech.

Warcraft är ett strategidataspel som massor av människor världen över ägnar sig åt. Sebastian Pesic (alias 4K FuRy) är en av världens bästa spelare och dataspelandet har blivit hans jobb. Dokumentärfilmen handlar om Sebastian Pesic och hans verklighet i Warcraftlaget 4Kings. Sebastian kommer att berätta om sina upplevelser och vi kommer att få se honom i action. Filmen kommer att ge en inblick i dataspelsvärlden som många inte ens vet om existerar. Ännu mindre att man kan tjäna stora pengar på att spela. Utomlands är uppmärksamheten för Warcraft större. Sebastian är mycket känd och han har fans runt om i hela världen. 4K FuRy is an alias and the man behind the name is Sebastian Pesic. He is a 19 year old young man who’s playing a strategy computer game called Warcraft. He is one of the best Warcraftplayers in the world and the computer playing has become his job. The documentary is about him and his reality in the Warcraft team 4 Kings. You will be able to follow Sebastian in his preparation for the biggest tournament of the year and you will be informed about the computergameworld that many don’t even know exists. Nor less that you can make a lot of money playing. Warcraft is well know and played of a lot of people worldwide and Sebastian has a lot of fans all around the globe. / Detta är en reflektionsdel till en digital medieproduktion.

Distributed virtual environments (DVEs) have been an active area of research and engineering for more than 20 years. The most widely deployed DVEs are network games such as Quake, Halo, and World of Warcraft (WoW), with millions of users and billions of dollars in annual revenue. Deployed DVEs remain expensive centralized implementations despite significant research outlining ways to distribute DVE workloads. This dissertation shows previous DVE research evaluations are inconsistent with deployed DVE needs. Assumptions about avatar movement and proximity - fundamental scale factors - do not match WoW's workload, and likely the workload of other deployed DVEs. Alternate workload models are explored and preliminary conclusions presented. Using realistic workloads it is shown that a fully decentralized DVE cannot be deployed to today's consumers, regardless of its overhead. Residential broadband speeds are improving, and this limitation will eventually disappear. When it does, appropriate security mechanisms will be a fundamental requirement for technology adoption. A trusted auditing system ('Carbon') is presented which has good security, scalability, and resource characteristics for decentralized DVEs. When performing exhaustive auditing, Carbon adds 27% network overhead to a decentralized DVE with a WoW-like workload. This resource consumption can be reduced significantly, depending upon the DVE's risk tolerance. Finally, the Pairwise Random Protocol (PRP) is described. PRP enables adversaries to fairly resolve probabilistic activities, an ability missing from most decentralized DVE security proposals. Thus, this dissertations contribution is to address two of the obstacles for deploying research on decentralized DVE architectures. First, lack of evidence that research results apply to existing DVEs. Second, the lack of security systems combining appropriate security guarantees with acceptable overhead.

Gaming as an activity possesses many different facets (Sköld 2018: 134). One important yet relatively underexplored is the social facet, how the act of gaming is impacted by social rules and codes. Previous research on the topic is relatively limited and mainly performed retroactively on older game communities. The thesis addresses this lack of research by studying a community formed around World of Warcraft, a game that currently has an active player base.  By specifically studying a World of Warcraft guild whose members define the guild by its social nature (Interview 1,2,3,4), this thesis provides a perspective on how the desire to maintain relationships impact how gaming is practiced and what is considered to be desirable behaviour among players.  The thesis is based on material gathered in four interviews and two observations of guild members playing together. The interviews were primarily focused on discovering how the members experienced the guild and the game itself, and what they believed to be positive or negative behaviour. The observations were intended to study how the members interact in practice, how the ideas and notions that they mentioned in the interviews were expressed while playing. The analysis uses Political Discourse Theory (PDT) to connect the ideas, practices and terms used in both interviews and observations into a cohesive discourse. This discourse is then divided into specific traits that are seen desirable within different contexts.  The thesis finds that being respectful of other guild members time is seen as the most important trait among players. This respect is primarily expressed through understanding that other members have lives outside of the game and therefore cannot devote the majority of their time to the game. If another player or even the game itself demands more from a member than they are able to give, it is seen as problematic. Accomplishing in-game goals is seen as fun, yet unimportant in comparison to maintaining a respectful social environment within the guild.

Les jeux vidéo en ligne sont de plus en plus populaires, autant chez les enfants que les chez les adolescents et les adultes. Les jeux de rôle en ligne massivement multijoueurs ne sont pas étrangers à cette popularité, eux qui comptent chaque jour plusieurs millions de joueurs à leurs actifs. Dans ce mémoire, je présente un travail d'enquête que j'ai mené auprès de joueurs dans le but de comprendre comment les jeux de rôle en ligne massivement multijoueurs, et plus précisément, World of Warcraft. peuvent être des espaces de sociabilité pour les joueurs, au même titre que le salon de quille ou le bar de quartier. J'ai plus précisément cherché à savoir dans quels contextes et de quelles manières les liens entre les joueurs se tissent, quelle place ils occupent dans leur vie et de quelles manières ces liens peuvent dépasser le cadre du jeu pour se poursuivre hors ligne.

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Made available in DSpace on 2014-12-17T15:48:05Z (GMT). No. of bitstreams: 1 MarceloBB_DISSERT.pdf: 3279178 bytes, checksum: a9382860941b949e031aeb7781e74e59 (MD5) Previous issue date: 2013-02-20 / Neste trabalho, apresentamos uma ferramenta cujo intuito ? auxiliar n?o-programadores, jogadores de videogame, na cria??o de extens?es na forma de Add-ons para World of Warcraft, o jogo online. Nele, o usu?rio pode criar extens?es customizando completamente sua interface, de forma a reinventar a sua experi?ncia de jogo e melhorar sua jogabilidade. A cria??o de extens?es para aplicativos e jogos surgiu da crescente necessidade de fornecer aos usu?rios mecanismos eficientes de Programa??o por Usu?rio Final, permitindo que os mesmos preenchessem suas necessidades singulares atrav?s da cria??o, customiza??o e especifica??o de extens?es em software. Em World of Warcraft mais especificamente, os Add-ons exploram um tipo de extens?o na qual os jogadores passam a programar sua pr?pria interface de usu?rio ou a fazer uso de interfaces criadas por outros usu?rios. No entanto, realizar a programa??o dessas extens?es - os Add-ons - n?o ? uma tarefa f?cil. Dentro deste contexto, desenvolvemos a ferramenta EUPAT for WoW (do ingl?s, End-User Programming Assistance Tool for World of Warcraft) que oferece assist?ncia ? cria??o de Add-ons. Al?m disso, investigamos como usu?rios jogadores com e sem conhecimento de programa??o s?o beneficiados. Os resultados desta pesquisa permitiram refletir sobre as estrat?gias de assist?ncia de programa??o por usu?rio final no contexto de jogos