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421	"Skönliltteraturen är mitt favoritläromedel" : En studie om hur grundlärare i svenska arbetar med boksamtal i årskurs 4-6 / A study on how teachers in the Swedish language work through book conversationsfrom grade 4–6 in their education. Kängström, Zandra, Lönn, Angelica, Rydersten, Magdalena January 2020 (has links) Syftet med denna kvalitativa studie är att ta reda på hur och varför svensklärare i årskurs 4–6 använder sig av boksamtal i sin undervisning. Tidigare forskning visar många fördelar för elevernas kunskapsutveckling genom att de får samtala om böcker och där är Chambers samtalsmodell i fokus. Däremot framkommer det också att det finns svårigheter i arbetet med boksamtal. Studiens teoretiska ram grundar sig i det sociokulturella perspektivet med utgångspunkt i att vi lär oss tillsammans samt Judith Langers föreställningsvärldar och Michel Tengbergs läsarter. Med hjälp av semistrukturerade intervjuer med sex svensklärare i årskurs 4–6 har studiens data kunnat samlas in. Den insamlade datan har systematiskt analyserats utifrån våra frågeställningar och resulterade i olika svarskategorier: hur lärare arbetar med boksamtal, varför lärare arbetar med boksamtal samt svårigheter med boksamtal. Utifrån intervjuerna kan en slutsats göras om att det mest förekommande sättet som boksamtal används enligt studiens deltagare är vid läsläxa och högläsning. Samtliga deltagare beskrev bland annat att eleverna får utveckla sitt ordförråd, sin läsförmåga och sitt sätt att resonera. Dessutom kan boksamtal hjälpa eleverna att uppnå betygskriterierna för årskurs 6. Studiens resultat om hur och varför lärare arbetar med boksamtal stämmer bra överens med den tidigare forskningen inom området. Däremot har det uppmärksammats svårigheter av lärarna som inte framkommer lika mycket i den tidigare forskningen. Den tidigare forskningen tar upp att eleverna kan uppfatta boksamtalen som problematiska om de blir hårt styrda av läraren eller för intima. Ingen av studiens lärare nämner det problemet utan de uppmärksammar i stället andra problem som att tiden och resurserna inte räcker till. Booktalk litteraturetalk Tengberg’s reading types Langer’s performance worlds Chamber’s conversation model Teacher of Swedish grade 4–6 Boksamtal litteratursamtal Tengbergs läsarter Langers föreställningsvärldar Chambers samtalsmodell svensklärare årskurs 4–6 Didactics Didaktik Languages and Literature Språk och litteratur
422	Kde se potkávají hry a příběhy: Čtyři rámce významu v herním systému City of Mist / Where Games and Stories Meet: Four Frames of Meaning in the City of Mist TTRPG System Picková, Tereza January 2022 (has links) . a. by the plurality of "worlds" the players operate in, and pertinent plurality of roles adopted frame analysis (see Fine 2002), describes three of these "worlds of meaning": the frame of the "the frame of the storytellers". Ad playing games resemble "storytelling events" (Georges 1969), and how this fact differentiates this genre from "classical" games. This framework broadens the understating of players d with the storyteller's agenda and expectations linked to this role. This unique form gaming world in the primary framework of the "real"
423	More Than Reading: Narrative, Medial Frames, and Digital Media in the Contemporary Novel Van Tassell, Evan January 2022 (has links) No description available. Comparative Literature Literature Modern Literature digital media narrative theory digital narrative multimodality games studies ludology contemporary media novel studies experimental fiction multiple worlds mosaic narrative history of the novel rhetorical narrative theory semiotics paratext media evolution
424	High-fidelity Distributed Physics for Continuous Interactive Virtual Worlds Using Server Clusters Nykl, Scott L. 29 December 2008 (has links) No description available. Computer Science physics distributed physics distributed game engine game physics using server clusters simulated physics using server clusters MMO virtual worlds MMO physics distributed physics for MMOs
425	In Real Life (Or Elsewhere) : om kreativa processer och parallella verkligheter i dokumentärfilm Nevanti, Kirsi January 2017 (has links) Reality isn’t what it appears to be. Contexts are not always clear and visible. People don’t always say what they really mean. And they don’t always mean what they say. When life is your stage manager, anything can happen. I often say, life is hard, my head is harder. Making documentaries is not for the faint-hearted.This PhD project explores creative processes and parallel realities in documentary film, and discusses and conceptualizes the artistic practice of documentary filmmaking. The project consists in part of artistic works and essays that are critical reflections on the creative process and how that process can be conceptualized. The cinematic centerpiece of the thesis is entitled Images and the Worlds of Being (2011–2016). Previous subprojects are A Shift Between Worlds (2013–2015) and an essay book entitled In Real Life (or Elsewhere) (2013). Between 2013 and 2017, more essays were written, some of them translated to English. All the Swedish essays are available in PDF format. All of the works in the PhD project explore creative processes and parallel realities in two different ways: A Shift Between Worlds (2013–2015) explores identity and parallel realities in the gendered world. These works are based on two workshops led by Diane Torr, “Man for a Day” and “Woman for a Day.” They resulted in several component works, including two video essays, two audio works and two large-format photographic works, the latter in collaboration with photographer Johan Bergmark, as well as a short commentary film entitled Diane Speaks Out (2016). Images and the Worlds of Being (2011–2016) – a VR Classic Style film – explores what happens when documentary images are shown on four screens forming the walls of a room. This work also focuses on the view through the camera lens through which the filmmaker meets the world, in a hypnotic tapestry of parallel realities in a tenderly portrayed, runaway present. A sort of logical reasoning about the illogic of our era, in search of elusive reality (to paraphrase Jean Baudrillard) – the presence in the act of seeing. An experiment in the forms of visual knowledge, outside the traditional display windows. Shooting location: The World. ethics documentary film situational understanding authenticity reality parallel realities creative processes know thyself Images and the Worlds of Being A Shift Between Worlds director film team world in real life (or elsewhere) IRL VR Virtual Reality AR Augmented Reality life as stage manager reflections on space journey snippet of time interpretation of reality protagonist cinema cinematic means universe imagination artistic research presence of the camera existence the act of seeing visual knowledge intuition practical knowledge communication fictional gender bending identity visual art vantage point unreality art vision photography cinematography sound design editing directing life science Arts Konst
426	Intertextuality reinterpreted : a cognitive linguistics approach with specific reference to conceptual blending Van Heerden, Chantelle 30 June 2008 (has links) In this dissertation, I investigate the cognitive processes integral to intertextual readings by referring to the cognitive linguistics framework known as conceptual blending. I refer to different genres of intertextual texts and then explain these intertexts in terms of cognitive principles and processes, such as conceptual blending networks. By applying the framework of conceptual blending to intertexts within different genres, I suggest that the underlying cognitive processes are universal for the interpretation of any type of intertextual text. My findings indicate that conceptual blending underpins intertextuality which is cognitive, creative and dynamic in nature. This means that the meaning we construct from intertexts is dependent on the context in which they appear and cannot be studied in isolation. Investigating intertextual texts from a cognitive linguistics perspective reveals new inferences (such as the influence of implicit knowledge as a type of intertext) and the creativity involved in the meaning-making process. / Linguistics / M.A. (Linguistics) Vital relations Schema Possible worlds Poetry Mental space Fairytales Intertextuality Expository text Embodiment Conceptual integration Conceptual blending network Conceptual blending Cognitive poetics 401.9 Intertextuality Discourse analysis Influence (Literary, artistic, etc.) Cognitive grammar Creativity (Linguistics) Modality (Linguistics) Meaning (Psychology) Reader-response criticism
427	The literary science of the 'Kafkaesque' Troscianko, Emily Tamarisk January 2009 (has links) This study provides a precise definition of the term 'Kafkaesque' by enriching literary criticism with scientific theory and practice, including an experiment on readers' responses to Kafka. Dictionary definitions justify taking the term back to its textual origins in Kafka's works, and the works can fruitfully be analysed by investigating how readers engage with them through cognitive processes of imagination. Modern scientific developments posit that vision, imagination, and consciousness should be conceived of not in terms of static pictorialism – reducible to the notion of 'pictures in the head' – but in terms of enaction, i.e. as an ongoing interaction with the external world around us. Most traditional nineteenth-century Realist texts are based on pictorialist assumptions, while Kafka's texts evoke perception non-pictorially and are therefore more cognitively realistic. In his personal writings, Kafka wrestles with problems entailed by pictorialist conceptions of vision, imagination, and the function of language, and comes to enactivist solutions: evocation of perception that does not result in painting static tableaux with words. In his fictional works, Kafka correspondingly evolves a cognitively realistic way of writing to evoke fictional worlds that directly engage the cognitive processes of their readers; Der Proceß is a prime example of the 'Kafkaesque' text and reading experience, defined by being compelling yet simultaneously unsettling. Modulations in narrative perspective and evocation of emotion as enactive also contribute to the experience of the 'Kafkaesque' as compelling; yet Kafka's texts simultaneously unsettle by preventing straightforward emotional identification with the protagonists, and destabilising deep-rooted concepts of selfhood as singular and unified. The theoretical discussion of the 'Kafkaesque' experience as compelling yet unsettling is complemented and refined by an experiment testing readers' responses to a short story by Kafka. The term 'Kafkaesque realism' denotes Kafka's compelling yet unsettling non-pictorial evocation of perception of the fictional world. Kafkaesque realism falls into the broader category of 'cognitive realism', which provides a framework for analysing fictional texts more generally. 830
428	Networked cultural production : filmmaking in the Wreckamovie community Hjorth, Isis Amelie January 2014 (has links) This thesis challenges core assumptions associated with the peer production of culture using the web-based collaborative film production platform Wreckamovie to understand how peer production works in practice. Active cultural participation is a growing political priority for many governments and cultural bodies, but these priorities are often implemented without a basis in empirical evidence, making it necessary for rigorous scholarship to tackle emerging networked cultural production. Existing work portrays peer production efforts as unrealistically distinct from proprietary, market-based production, incorrectly suggesting that peer production allows distributed, non-monetarily motivated, collaboration between self-selected individuals in hierarchy-free communities. In overcoming these assumptions, this thesis contributes to the development of a consolidated theoretical framework encompassing the complicated and multifaceted nature of networked cultural production. This theoretical framing extends Bourdieu’s theory of cultural production and reconciles it with Becker’s Art Worlds framework, and further embeds and draws on Benkler’s notion of commons-based peer production. Concretely, this research tackles the emergence of new collaborative production models enabled by networked technologies, and theorizes the tensions and challenges characterizing such production forms. Secondly, this thesis redefines cultural participation and considers the divisions of labour in online filmmaking materializing from the interactions between professional and non-professional filmmakers. Finally, this study considers the social economies surrounding networked cultural production, including crowdfunding, and characterizes associated conversions of capital, such as the conversion of symbolic capital into financial capital. Methodologically, this thesis employs an embedded case study strategy. It examines four feature film productions facilitated by the online platform Wreckamovie, as well as the online community within which these productions are embedded. The four production cases have completed all production stages, and have resulted in completed cultural goods during the course of data collection. This study’s findings were derived from two and half years of participant observations, interviews with 29 Wreckamovie community and production members, and the examination of archived production-related discourses (2006-2013). Ultimately, this study makes concrete proposals towards a theory of networked cultural production with clear policy implications. 791.43
429	Mezi subjektem a objektem: "Já" v diskurzu moderní japonské literatury / Between Subjectivity and Object: Self in the Discourse of Modern Japanese Literature Cima, Igor January 2015 (has links) (in English): This thesis is devided into three parts. In the fist part, the development of literary discourse in Japan between Meiji and postwar period is described, with emphasis on the development of literary character and Subject in a work of literature. The second part theoretical apparatus for studiying and analyzing literary character is introduced, using contemporary literary theory. In that part relationship between literary character and its subject is also included. In the third part, these findings are applied on a specific literary works of Japanese postwar literature, on which development and changes of literary character are observed. The three analyzed works here are Kamen no kokuhaku by Mishima Yukio, Tanin no kao by Abe Kōbō and Man'en gan'nen no futtobōru by Ōe Kenzaburō.
430	Teorie petrifikovaných světů na příkladu antiutopické a dystopické literatury / The Theory of Petrified Worlds on the Example of Anti-utopian and Dystopian Literature Pavlova, Olga January 2019 (has links) In my dissertation Theory of Petrified Worlds on the Example of Anti-Utopian and Dystopian Literature, I deal with anti-utopian and dystopian literature, which has been largely neglected by Czech scholarship. After the introduction to the issue I deal with the detailed analysis of the novel We by Yevgeny Zamyatin, after which I devote my attention to the theoretical definition of terms, including the historical mapping of previous research. I focus on the historical context of the emergence of the genres, including a deeper analysis of its beginnings, i.e. the development of utopian literature from Plato to William Morris and Herbert George Wells, and in detail describe the emergence of anti-utopian literature primarily as an opposition to utopian tendencies and its evolution into dystopia. A major part of the work deals with a specific semiotic analysis of the characteristic and constitutive features of the genres of anti-utopian and dystopian literature of the 20th and 21st centuries. This includes, among other things, the closed and petrified world of the novels, which gave the name to the presented theory, the strict division of society, the existence of newspeak, the characteristics of the main and secondary characters, as well as the social and political context of the analysed works. In...

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