91 |
Dramaturgia de la polifonía un estudio sobre las prácticas de enseñanza y aprendizaje de las escrituras dramáticas en el obrador internacional de la sala Beckett de Barcelonade Souza, Maria Aparecida 10 December 2015 (has links)
Esta tesis surge de la necesidad de reflexionar sobre los procesos de enseñanza y aprendizaje de escrituras dramáticas relacionada con la evolución del drama contemporáneo, mas específicamente, a partir del regreso del texto teatral que ha despuntado a partir de la década de los ochenta en varios países europeos.
En lo que respecta a la perspectiva pedagógica, la dramaturgia producida a partir de este período, se presenta a la práctica docente como un campo de estudio nuevo, exigiendo nuevos planteamientos estéticos y nuevas metodologías de aprendizaje.
Dentro de los supuestos teóricos conceptuales que orientaron la investigación la noción de polifonía desarrollado por Mijaíl Bakhtin se ha revelado como un marco reflexivo y uno de los conceptos transversales que nos permitió comprender las configuraciones del drama contemporáneo, y proponer criterios referenciales en cuanto a su relación con los procesos de enseñanza y aprendizaje de las escrituras dramáticas contemporáneas.
Consecuentemente, elaboramos ejes o indagaciones que orientaran el estudio: ¿Qué papel juegan las normas de la convención teatral dramática en los espacios de enseñanza y aprendizaje alternativos de los espacios oficiales como los talleres de escritura dramática? ¿Podrían existir procedimientos metodológicos específicos que pudiesen configurar una pedagogía para las escrituras dramáticas contemporáneas? ¿Existe un denominador común de carácter estético observable en los cursos/talleres para que puedan ser considerados como polifónicos? ¿Cómo se relaciona el perfil polifónico del drama contemporáneo con la enseñanza de la escritura dramática en los espacios no formales como los talleres?
Estos interrogantes nos impulsaron a realizar una investigación participativa en talleres y cursos de algunas instituciones de enseñanza y aprendizaje de la escritura dramática en Barcelona, y entre ellas el Obrador Internacional de dramaturgia de la Sala Beckett de Barcelona. Él ha sido nuestro campo de investigación. / This thesis arises from the need of thinking about the teaching and learning dramatic writing related to the evolution of the contemporary drama, more specifically, from the return of the theatrical text, reborn with the arrival of the eighties in several European countries. With regard to the pedagogy, the dramaturgy produced from this period, is presented to the teaching practice as a new field of study, with new aesthetic principles and new learning methodologies.
Among the conceptual & theoretical assumptions that guided the research of the notion of polyphony developed by Mikhail Bakhtin have been revealed as a thinking frame and one of the cross-cutting concepts that allowed us to understand the configurations of the contemporary drama, and propose reference criteria regarding its relationship with the processes of teaching and learning dramatic writing.
Consequently, we made a guiding axis and investigations to shape the study: What role is played by the norms of the dramatic theatrical convention in alternative spaces of education and learning of the official spaces like workshops for dramatic writing? Could there be any specific methodological procedures able to set up a new pedagogy for contemporary dramatic writings? Is there a common ground of aesthetic character in the courses/workshops to be considered as polyphonic? How the polyphonic profile of the contemporary drama can be related to the teaching of dramatic writing in not formal spaces as the workshops? These questions prompted us to carry out an interactive research in workshops and courses of some dramatic writing teaching institutions in Barcelona, and among them the Dramaturgy Obrador International of La Sala Beckett. He has been our field of research.
|
92 |
How do esports actors perceive the Metaverse as a servicescape for esports: An interpretative phenomenological analysis : An exploratory study about the business opportunities and challenges in the MetaverseAbed, Anas, Rinkevic, Karolina January 2022 (has links)
The Metaverse is an immersive, interactive, and collaborative shared virtual 3D environment where people are represented by avatars and interact in real-time. The Metaverse is still an unexplored phenomenon that has recently become interesting to researchers. In general, there is scarce literature regarding the Metaverse, and when it comes to the servicescapes and esports industry, it is much scarcer. Knowing that the video game industry and esports (competitive video gaming), a business that attracts millions of people, are significant parts of the Metaverse, this qualitative research aims to analyze and explain how the Metaverse as a servicescape for esports is understood from the perspective of esports actors. The Interpretive Phenomenological Analysis (IPA) was used to analyze eight semi-structured interviews with experienced professionals within the esports industry. It was found that the Metaverse platform could serve as a servicescape for not only the esports industry but potentially for other industries as well. Even though the Metaverse phenomenon is considered to be surrounded by uncertainty and is still developing, it has a great potential for businesses to expand their marketing and business practices online in an immersive, engaging, and innovative way. The findings of this research will contribute to the literature by opening a window to understanding the complexity of the Metaverse platform as a servicescape and esports industry. In addition, these findings can be used to further research the Metaverse platform as a servicescape for marketing and business practices online.
|
93 |
Gambling and Video Games: What Do We Know? Should We Worry?Ginley, Meredith K., Pfund, Rory A., Collie, Christin N. 28 May 2019 (has links)
In the United States, at least 65% of adults have gambled and/or played a video game in the past year. An emerging form of entertainment combines gambling and video game play and has led to an approximately $30 billion per year industry. Despite an explosion in growth, this form of potentially high-risk behavior has received little research attention. This paper will present a systematic review of the available peer-reviewed and grey literature related to gambling on video games.
Our review identifies three major methods of combining gambling and video games. First is betting directly on the outcomes of eSports, either with money or via skin gambling. Second is gambling within video games where players purchase a chance to win a valued prize or consumable virtual item (e.g., loot box, prize crate, gacha). Prizes change the within game experience, from superficial items that change an in-game character’s appearance to items that substantially improve a player’s chance of winning. Further, if desired, these items can be sold for actual money in secondary marketplaces. Third, there are gamified casino games with the sequential, skill-based feel of video games and real money at stake.
Implications: This paper is the first comprehensive review of this nascent literature. Results will provide clinicians with important insights into the language and behaviors of clients who gamble on video games. Further, findings may have future policy implications as some gambling on video games is potentially accessible to underage gamblers.
|
94 |
League of Legends: Players and Esports / The Work of Professional Players in League of Legends EsportsAgha, Brandon 11 1900 (has links)
Esports gaming is a new subject within various fields of research. Typically, research explores the relationships between games and its players or the developers. By contrast this thesis examines the highest level of play within gaming, professional players. To do so, it utilizes the example of League of Legends. Created in 2009, League of Legends has rapidly grown to become one of the largest online multiplayer games with a massive Esports scene that matches or exceeds that of traditional sports such as Basketball or Baseball. But what factors contribute to this sudden rise in League of Legends Esports popularity and how have professional players adjusted over the years? This thesis explores these questions and the overall evolution of professional teams and League of Legends over the course of its Esports growth. It finds that League of Legends is unique in its use of the immaterial labour and digital labour of professional players. Through a concept called the “Meta”, League of Legends is able to mimic traditional sports and maintain interest in its game. Further for professional players the existence and evolution of the “Meta” sharply influences the need for organizational restructuring over the years. Players and teams become complex organizations in which players’ transition from gamers to become workers in Esports. Exploring the League of Legends Esports setting uncovers a unique combination of sport and work within a new digital context. / Thesis / Master of Philosophy (MA) / The goal of this work is to explore the lives and labour of League of Legends professional players. Created in 2009, League of Legends rapidly grew to be one of the most played and watched Esport game in the world. Professional players are often heralded as celebrities and their decisions impact the larger League of Legends and Esports community. This work examines the realities of Esports for professional players. It further analyzes the structure and organization of play and work in the League of Legends Esports setting. For the developer, Riot Games, Esports serves a variety of purposes and this thesis explores this and the contributions of Esports professionals to the development of the game.
|
95 |
E-sport in i idrottsrörelsen? : Idrottsföreningar och deras uppfattningar om och förhållningssätt till framtida e-sport i den egna verksamheten / E-sports in to the sports movement? : Sports association clubs and their notions and attitudes about future e-sport within their own operationsRayat, Pooya January 2017 (has links)
With the rapid expansion of e-sports, the e-sports federation in Sweden seeks legitimacy and support in their efforts to gain recognition as a real sport. With this background, a bill has been proposed to the National Sports Association of Sweden to include the movement as a member of the organization. Thus, granting the official legitimacy and support that the e-sports movement seeks as a sport. The purpose if this study was to examine how sports clubs perceive e-sports to see if they think it has a place within the context of a traditional sports club. The method used to retrieve this data was semi-structured interviews with key decision makers within the sports clubs randomly chosen within a specific county. The purpose was examined by breaking it down into three key questions, which were then used as headlines in the result. The results of the study are that there is a willingness among most of the sports clubs to begin the work of integrating e-sports within the club, but there were requirements. One of them was drift from the starters so that the board of direction can keep doing what they do, thus they want the e-sports section to operate on its own. Another requirement was that those who wish to start the e-sports sections know the economic parameters, preferably. The less enthusiastic leaders who did not wish to integrate e-sports still wished to learn more about e-sports as they saw that it will keep expanding, these leaders were however somewhat doubtful of how an e-sports club could be integrated into a sports club and what benefits there might be for both parties in this cooperation.
|
96 |
Fictional orality in the German television series "Türkisch für Anfänger" and its translations into Romance languages: the expression of emotionalityFalbe, Sandra 11 December 2015 (has links)
El presente estudio se propone investigar el significado interpersonal del lenguaje y su papel en la cultura de los medios de comunicación actuales. Con este fin se examinará un corpus de textos audiovisuales formado por la comedia de situación alemana Türkisch für Anfänger y de sus traducciones a las lenguas románicas como el catalán y el francés.
El análisis se basa en la transcripción multimodal de los primeros episodios de la sitcom, e incluye tanto la transcripción de los códigos verbales como de los paraverbales y no verbales (gestos, expresiones faciales, cinematografía, etc.).
Para analizar el significado interpersonal en los diferentes niveles narrativos (extradiegético e intradiegético), el estudio parte de la teoría de la valoración, recientemente aplicada en los estudios de traducción. / The present study aims to explore the role of interpersonal layers of meaning in the current media culture of distance. With this aim in mind, we examine a corpus of audiovisual texts composed of the German sitcom Türkisch für Anfänger and its translations into Romance languages such as Catalan and French.
The analysis is based on a multimodal transcript of the first episodes including not only the verbal context but also paraverbal, nonverbal (gestures, facial expressions, etc.) and shooting details.
In order to explain the interpersonal layers on the extradiegetic and intradiegetic level of narration in film we draw on the theoretical framework of appraisal theory which in recent years has been applied to translation studies.
|
97 |
Traduciendo la mirada. Sobre la práctica del montaje en los remakes norteamericanos de las películas de terror japonesas contemporáneasSánchez Lopera, Sandra 09 February 2016 (has links)
El 1998, una petita pel.lícula japonesa va revolucionar el cinema de terror, que en aquell moment es trobaba dominat per la indústria nord-americana. Es tractava de Ringu, un film en el qual el director Hideo Nakata mostrava l’essència de les histories de fantasmes tradicionals del seu país en un entorn urbà contemporani. L’èxit d’aquest títol va obrir les portes a una sèrie de produccions japoneses de terror que es caracterizava per uns trets comuns que les feien reconeixibles. L’absència de violència explícita, la por a les noves tecnologies, presentades com quelcom negatiu, la presència d’un tipus de fantasma conegut com a yurei (esperits aturmentats, normalment femenins, que acostumaven a vestir roba blanca i caminar lentament amb part del seu rostre cobert per una llarga melena fosca) i, sobretot, un ritme més pausat que el que presentava el cinema de Hollywood, gràcies a un muntatge diferent, van ser les característiques més identificables d’aquestes pel.lícules que van originar el fenomen conegut com J-Horror. Dark Water, Ju-On. La maldición, Llamada perdida i Kairo van formar part d’aquest fenomen, sorgit a finals dels anys noranta i que amb prou feines va durar una década.
Veient la possibilitat d’aprofitar aquest èxit, la indústria nord-americana va fer remakes de diversos d’aquests films. Ara bé, com van traduir en aquestes produccions una cosa tan important com és el muntatge? Aquesta pregunta és la base d’aquest treball d’investigació. Després de fer una introducció al cinema de terror japonès i a les principals teories i conceptes del muntatge, s’han estudiat tant els films de terror japonesos contemporanis com els seus respectius remakes nord-americans centrant tota l’atenció en el seu muntatge visual. Per això, hem escollit una seqüència de cada original i la mateixa seqüència del remake per a descomposar-les en escenes i analitzar el muntatge fet servir en totes dues. La realització d’aquests decoupages permet observar aspectes com els tipus de plans, la seva durada, els movimients de càmara i el tipus de transició utilitzada per unir les escenes. El resultat d’aquest estudi mostra que, mentre les pel.lícules originals fan servir plans de major durada, acostumen a presentar els espais a través d’un pla general i, en la majoria de casos, els seus moviments de càmara es fan girant sobre el seu eix, els remakes recorren a nombrosos moviments de travelling, en els quals es desplaça la càmara, es fan servir més plans mitjans que plans generals i les seves escenes són d’una durada molt més breu que les que podem observar als films originals. Això, unit als canvis de durada que es produeixen en les escenes dels remakes però no en les del J-Horror estudiades, fa que el ritme narratiu sigui la principal diferència entre els seus muntatges. El ritme lent i pausat japonès es contraposa al ritme clarament més ràpid dels seus remakes nord-americans, que mostren una major fragmentació tant de l’acció com de l’espai i no han sabut traduir la tranquil.la mirada amb la que s’ha distingit el cinema de terror japonès contemporani, sent aquesta la conclusió de l’estudi realitzat. / En 1998, una pequeña película japonesa revolucionó el cine de terror, que en ese momento se encontraba dominado por la industria norteamericana. Se trataba de Ringu, un film en el que el director Hideo Nakata mostraba la esencia de las historias de fantasmas tradicionales de su país en un entorno urbano contemporáneo. El éxito de este título abrió las puertas a una serie de producciones japonesas de terror que se caracterizaba por unos rasgos comunes que las hacían reconocibles. La ausencia de violencia explícita, el temor a las nuevas tecnologías, presentadas como algo negativo, la presencia de un tipo de fantasma conocido como yurei (espíritus atormentados, normalmente femeninos, que solía vestir ropas blancas y caminar lentamente con parte de su rostro cubierto por una larga melena oscura) y, sobre todo, un ritmo más pausado que el que presentaba el cine de Hollywood, gracias a un montaje diferente, fueron las características más identificables de estas películas que dieron origen al fenómeno conocido como J-Horror. Dark Water, Ju-On. La maldición, Llamada perdida y Kairo formaron parte de este fenómeno, surgido a finales de los años noventa y que apenas duró una década.
Viendo la posibilidad de aprovechar este éxito, la industria norteamericana hizo remakes de varios de estos films. Ahora bien, ¿cómo tradujeron en estas producciones algo tan importante como el montaje? Esta pregunta es la base de este trabajo de investigación. Tras hacer una introducción al cine de terror japonés y a las principales teorías y conceptos del montaje, se han estudiado tanto los films de terror japoneses contemporáneos como sus respectivos remakes norteamericanos centrando toda la atención en su montaje visual. Para ello, hemos elegido una secuencia de cada original y la misma secuencia de su remake para descomponerlas en escenas y analizar el montaje utilizado en ambas. La realización de estos decoupages permite observar aspectos como los tipos de plano, su duración, los movimientos de cámara y el tipo de transición utilizada para unir las escenas. El resultado de este estudio muestra que, mientras las películas originales japonesas utilizan planos de mayor duración, suelen presentar los espacios donde se desarrolla la acción a través de un plano general y en la mayoría de casos sus movimientos de cámara se realizan girando sobre el propio eje, los remakes recurren a numerosos movimientos de travelling, en los que se desplaza la cámara, se utilizan más planos medios que planos generales y sus escenas son de una duración mucho más breve que las que podemos observar en los films originales. Esto, unido a los cambios de duración que se producen en las escenas de los remakes pero no en las películas del J-Horror estudiadas, hace que el ritmo narrativo sea la principal diferencia entre sus montajes. El ritmo lento y pausado japonés se contrapone al ritmo claramente más rápido de sus remakes norteamericanos, que muestran una mayor fragmentación tanto de la acción como del espacio y no han sabido traducir la tranquila mirada con la que se ha distinguido el cine de terror japonés contemporáneo, siendo esta la conclusión del estudio realizado. / In 1998, a japanese movie revolutionized horror cinema, which in that moment was dominated by American industry. It was Ringu, a film in which the filmmaker Hideo Nakata showed the essence of traditional ghosts stories from his country in an urban environ. The success of this title open the way to a series of Japanese horror productions that was characterized by some features in common that made it recognizebles. The absence of explicit violence, fear of new technologies, showed as something negative, the presence of a kind of ghost known as yurei (tormented spirits, usually women, that wear white clothes and walks slowly with part of its face hidden by black hair) and, above all, a slower rythm than Hollywood cinema, thanks to a different kind of edition, were the characteristics more identificables from the movies which caused the phenomenon kwown as J-Horror. Dark Water, Ju-On, One Missed Call and Kairo were part of this phenomenon, born at last of the 90 and that barely last for a decade.
Understanding the chance to take advantage of this success, American industry did remakes from some of these films. How did these productions translate something so important as the edition? This question was the basis for this research. After an introduction to japanese horror cinema and the main edition theories and concepts, we have studied contemporary Japanese horror movies and their American remakes with the focus of the attention on the visual edition. Because of thar, we have choosen one sequence from each original and the same sequence from their remake to separate it into scenes and analysing the edition from both. These decoupages allow to observate aspects like the angle of plans, its lenght, the camera movements and transitions used to join scenes together. The results of this research shows that, while original movies uses more lenght plans, it used to show the space through a general plan and, the most of times, its camera movements are doing turning above its own axle, remakes uses more travelling movements, in which camera is displaced, more general plans are done and the length of its scenes is very shorter thsn the length of the scenes from original films. These points, and the changes in the lenght of remakes scenes but not in the J-Horror scenes movies, do the narrative rythm be the main difference between its editions. The slow japanese rythm is opposed to faster rythm of american remakes, which shows a biggest fragmentation of the narrative action and the space. American remakes don’t know translate the peaceful look that distinguished japanese contemporary horror cinema, being that the conclusion of this issue.
|
98 |
On Mediasport consumptionLópez González, Hibai, 1983- 20 December 2015 (has links)
Material addicional: http://hdl.handle.net/10230/25937 / This thesis dissertation reflects on the way fans consume mediated sport today. The work is comprised of four articles. In Manufacturing conflict narratives in Real Madrid versus Barcelona football matches we challenged the identity-based generation of conflict and proposed a celebrity-based framework to understand fans’ sport consumption of narratives. In Community building in the digital age. Dynamics of online sports discussion and Discussion moderation in online media. The case of Marca newspaper the authors examined the comments section under the news in sports journalism. We explored users’ participation and interaction behaviour in a Spanish online sports community to conclude that fans’ engagement was based on liquid connections. Finally, in Quantifying the immeasurable: A reflection on sport, time and media I built on the previous research to comprehensively inquire the nature of mediasport consumption. Following the standardization of modern sports by means of quantification, I argue that mediated sport has become a globally consumable and simplified commodity. / Esta tesis reflexiona sobre el consumo contemporáneo del deporte mediado. El trabajo se compone de cuatro artículos. En Manufacturing conflict narratives in Real Madrid versus Barcelona football matches cuestionamos la generación del conflicto basada en características identitarias y proponemos un marco teórico centrado en la cultura de celebridades para entender el consumo de narraciones de los aficionados. En Community building in the digital age. Dynamics of online sports discussion y Discussion moderation in online media. The case of Marca newspaper los autores analizamos los comentarios de los lectores en las noticias de periodismo deportivo. Exploramos la participación e interacción de los usuarios en una comunidad online deportiva y concluimos que el comportamiento de los fans se caracterizaba por la liquidez de sus lazos. Por último, en Quantifying the immeasurable: A reflection on sport, time and media se retoma la investigación anterior para ofrecer una reflexión integral sobre la esencia del consumo de mediasport. A través de la standarización del deporte moderno llevada a cabo mediante su cuantificación, justifico que el deporte mediado se ha convertido en un producto global y simplificado.
|
99 |
Dreaming “Macbeth’s film Project”. La práctica artística como investigación. Proceso de construcción del proyecto cinematográfico “Macbeth / The Empire State” y su contextualizaciónPinent, Antoni 08 February 2016 (has links)
El trabajo que aquí se presenta trata de dar cuenta del trayecto frustrado a lo largo de más de un lustro. La intención inicial era tratar de poner en pie un proyecto de largometraje cinematográfico, para que éste se convirtiera en objeto de estudio para el trabajo de tesis. Viéndose frustrado en varios intentos en su pre-producción, y llegando a las fechas establecidas para la conclusión y la entrega de la tesis, lo que se incluye aquí es el trabajo realizado hasta el momento durante ese camino. En éste se traslada el recorrido establecido desde la primera idea, su particular casting, el contexto en el que se podría encasillar este tipo de película, las intenciones artísticas para afrontar el proyecto, las diferentes piezas con las que se va construyendo su corpus de imagen y sonido, los titubeos reflejados en el propio proceso creativo del mismo, así como un gran 'anexo / portafolio' con varios materiales allí reunidos como cuaderno de bitácora.
Es por tanto que el trabajo de tesis que aquí inicia, es un viaje para ayudar a imaginar el potencial proyecto cinematográfico que concluirá más allá de este primer cierre [el de la tesis], para seguir su camino en solitario. / The work presented here tries to explain the failed path over more than five years. The initial intention was to try to put in place a feature film project, so that it became an object of study for the thesis. Seeing several attempts frustrated in its pre-production, and coming to the dates set for the completion and delivery of the thesis, what is included here is the work done so far in that direction. In this travel set from the first idea, his particular casting, the context in which they could classify this kind of film, the artistic intentions to tackle the project, the different pieces that are being built moves his body image and sound, the hesitation reflected in the creative process of it himself; as well as a great 'Annex / Portfolio' with various materials gathered there as logbook.
It is therefore the thesis work starts here, it is a journey to help imagine the potential film project which will conclude beyond this first closing [the thesis], to follow his path alone.
|
100 |
La Conquista cantada: Fuentes historiográficas de tres óperas del Siglo de las Luces sobre la Conquista de MéxicoColorado, Alfonso 15 January 2016 (has links)
Esta tesis estudia tres óperas: Motezuma (1733) de Antonio Vivaldi; Montezuma (1755) de Carl Heinrich Graun y Fernand Cortez ou la conquête du Mexique (1809) de Gaspare Spontini. La finalidad es establecer la fuente exacta de sus libretti. El estudio comprueba si esa fuente es la Historia de la conquista de México (1684) de Antonio de Solís. La tesis analiza las tradiciones en las que esta obra se inserta: la historiografía sobre la Conquista de México y la crónica de Indias. Por último, estudia el contexto en el cual surgieron las tres óperas así como sus implicaciones artísticas, políticas e ideológicas. / This thesis studies three operas: Motezuma (1733) by Antonio Vivaldi; Montezuma (1755) by Carl Heinrich Graun and Fernand Cortez ou la conquête ou du Mexique (1809) by Gaspare Spontini . The aim is to establish the exact source of their libretti. The study tests whether that source is the History of the Conquest of Mexico (1684) by Antonio Solis. The thesis examines the traditions in which this work is inserted: the historiography of the Conquest of Mexico and Spanish chronicles of the Indies. Finally it, studies the context in which these three operas arose as well as their artistic, political and ideological implications.
|
Page generated in 0.044 seconds