Rapporten är en reflekterande text som behandlar arbetsprocessen och omkringliggande mål för ett examensarbete inom medier som bedrivits mot Högskolan Skövde. Syftet med examensarbetet har varit att finna grepp som maskerar spels linjaritet, det vill säga vilka knep som används i dataspelsindustrin (medvetet eller omedvetet) för att få ett spel med linjär level-design till att framstå som mindre linjär. Min analysmetod är hämtad från Espen Aarseths, Forskning på spel: Metodologiska ansatser till spelanalys (2007), där en av de totalt tre analysmetoder är vald; nämligen att själv spela igenom analysobjektet. De två återstående analysmetoderna presenteras kort under metodavsnittet. Därefter jämförs greppens betydelse i en rad spel för att därefter slutligen tillämpas i en egenskapad modul. Jämförelser görs med The Legend of Zelda – a Link to the Past (Nintendo, 1991), Grand Theft Auto – Vice City (Rockstar North, 2002) och World of Warcraft (Blizzard, 2001). En inblick ges i Neverwinter Nights 2:s level-editor, Electron. Rapporten tar upp delar ur produktionen för att framföra utmaningar, framsteg och lösningar som författaren bemött. Slutsatsen som dras hävdar att det finns en mängd grepp som en designer kan använda för att få spelaren till att känna sig mindre tyglad i en sluten miljö men att en öppen miljö krävs för att spelaren ej skall känna att han/hon följer en utstakad stig lika tydligt.

<p>  </p> <p>An epic in verse which follows Shahrazad, the narrator of <em>One Thousand and One Nights, </em>as she leaves the myth after the Nights have ended. In this epic, Shahrazad has three hundred daughters with her girlfriend, and these are the women which feature in the tales. She leaves the world of myth and leaves to America. In her garden, Arabic letters begin to grow, and call her back to her tales and her daughters, and the damage she inflicted with the telling and the leaving. </p>

This dissertation stands at the intersection between human rights, contemporary postcolonial literature, and medieval folkloric texts, specifically the One Thousand and One Nights, also known as the Nights, by an unknown author. The Nights was first translated to French by Antoine Galland, when it appeared as a series from 1704 to 1715. This was followed by subsequent English translations and other translations into many other languages. Today, the Nights continues to captivate the world’s literary imagination. The dissertation focuses on selected popular textual and visual human rights narratives published from 1994 to 2014. These narratives are by celebrated human rights artists and authors from different parts of the globe: they are both non-Western and Western, but all have spent a significant portion of their personal lives and careers preoccupied by rights and social justice issues, both locally and universally. I focus on the following texts: Dreams of Trespass: Tales of A Harem Girlhood (1994) by Moroccan author and feminist Fatima Mernissi; Women Without Men (2009) by the exiled Iranian artist and director Shirin Neshat; Women Without Men by exiled and celebrated Iranian novelist called Shahrnush Parispur; Habibi (2011) by novelist Craig Thompson; and The Dream of Shahrazad (2014) by Emmy-Award-winning South African documentary film maker/director François Verster. The varied texts tackle human rights issues such as colonization, wars, human trafficking, rape, violence, torture, women’s subjection, environmental justice; freedom of speech and movement; forms of classism; and racism. I attempt to explore how and why these works are employing the Nights’ narrative model, as well as its formal and aesthetic aspects, to enable modern human rights narratives. While the direct connection to the Nights is obvious, I also trace obscure references to the Nights’ stories, genres, and themes. I focus on how “The Story of King Shahryar and Shahrazad” and its plot about storytelling to heal and save lives interplays with a modern sense of rights issues such as violence, genocide, trauma, healing, and legal appeals for justice. I offer a reading of the Nights’ stories referenced in each work to theorize why human rights artists and authors include them directly or obscurely within their narratives. I conclude that these stories from the Nights were chosen for their themes of social justice, discrimination, trauma, torture, judicial discourse, and feminist empowerment. I also conclude that contemporary human rights artists and authors incorporate elements from the Nights in intertextual ways that enable them to construct currently applicable allegories of human rights advocacy.

Made available in DSpace on 2016-04-26T20:21:38Z (GMT). No. of bitstreams: 1 Luciana Hsiao Tebaldi de Queiroz Barbosa.pdf: 968055 bytes, checksum: d2e2e0b42fc0b5138415c4f8eb77ff77 (MD5) Previous issue date: 2013-05-16 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation investigates the notion of justice embedded in the Arab-Islamic philosophy from the standpoint of the representational imagery provided in the One Thousand and One Nights (often known in English as the Arabian Nights). In so doing, this paper provides a comparative analysis of the ontological gnoseology of law and justice in the philosophical thinking of Western civilization and the Arab-Islamic culture to establish the dynamic character and autopoietic quality of the objects. The bibliographical research and the comparative method are of great importance on the research methodologies presented in this dissertation. The importance is justified by the fact that the Western civilization has a poor understanding of the islamic law and the concept of justice in Islam, and therefore this dissertation intends to contribute to a better understanding of such concepts. However, the study has an innovative trend, having as the core a prominent literary of Arab-Muslim culture which is the fantastic book One Thousand and One Nights. The value of justice is relative, since the presented hypothesis is answered by the autopoietic character of the Law and by consequence, of the justice. As a result, we can gather a better understanding of the context of the Arab-Muslim world, for greater tolerance among the people and exercising the gift of charity, the supreme manifestation of love, being able to contemplate a more peaceful and harmonious coexistence of human beings on earth / A presente dissertação tem por objetivos a intelecção da justiça no pensamento filosófico oriental árabe-muçulmano, sob o espectro do Livro das Mil e Uma Noites e a análise comparativa entre a ontognoseologia do direito e da justiça no pensamento jusfilosófico ocidental e na tradição oriental árabe-islâmica, buscando o caráter dinâmico e a poética dos objetos. A pesquisa bibliográfica e o método comparativo perfazem eminentes nas metodologias de pesquisa que instruem o presente trabalho. A importância justifica-se no fato de que o mundo ocidental pouco compreende o direito islâmico e o conceito de justiça no Islã, e por conseguinte, o presente trabalho pretende contribuir para uma melhor compreensão de tais conceitos. Contudo, o estudo possui um viés inovador, que é ter como cerne o expoente literário da cultura árabe-muçulmana que é o fantástico livro das Mil e Uma Noites. O valor da justiça é relativo, pois a hipótese aventada responde-se pelo caráter autopoiético do direito e por consequencia, da justiça. Como resultado, pode-se inferir uma melhor compreensão do contexto do mundo árabe-muçulmano, para uma maior tolerância entre os homens e o exercício do dom da caridade, a suprema manifestação do amor, tendo-se possibilidade de vislumbrar uma convivência harmônica e mais pacífica dos homens sob a face da terra

Cette thèse analyse le mythe fondateur des Mille et une nuits, ou « mythe de Shéhérazade », par une approche psychanalytique et comparatiste. Nous mettons en évidence que le récit-cadre des Nuits constitue un récit mythique, miroir de l’imaginaire collectif, qui révèle la place de la femme, du féminin et du maternel dans le processus de civilisation.En effet, les Nuits s’ouvrent sur un double adultère et un double meurtre: deux femmes, sultanes, trompent leur époux avec un esclave noir. Ce désir féminin transgressif est le déclencheur de tout le recueil. Il constitue le péché originel qui entraîne la déchéance et le chaos. Shahrayar, tel le patriarche de la horde primitive freudienne, se venge et instaure le meurtre de la femme comme loi. La parole infinie de Shéhérazade, à la fois amante et mère, crée une zone transitionnelle féconde et mène le sultan à renoncer à la jouissance éphémère pour entrer dans le champ de la sublimation et du symbolique. Par la fonction symbolique du langage, la conteuse conduit le tyran à advenir sujet, parlêtre, soumis aux lois fondamentales de la civilisation.Nous analysons l’évolution de la dialectique du féminin, du maternel et des lois symboliques dans les réécritures, imitations, pastiches, perversions, parodies, tragédies, suites et adaptations musicales du mythe de Shéhérazade du XVIIIe au XXIe siècle. / This thesis analyzes the founding myth of the Arabian Nights, or « myth of Scheherazade », with a psychoanalytical and comparative approach. This research points that the frame story of the Nights is a mythical story that constitutes the mirror of the collective imagination, which reveals the place of the woman, the feminine and the maternal in the process of civilization.The Nights open on a double adultery and a double murder scene: two sultanas commit adultery with a black slave. This transgressive feminine desire is the trigger of the Arabian Nights' collection. It constitutes the original sin that leads to the forfeiture and the chaos. Shahrayar, such as the patriarch of the Freudian primal horde, decides to take revenge on them and institutes as a law the murder of women. The infinite word of Scheherazade, who is at the same time lover and mother, creates a transitional fertile space and leads the sultan to give up the temporally enjoyment to enter the field of the sublimation and symbolism. With the symbolic function of the language, the storyteller leads the tyrant to become parlêtre, subject to the fundamental laws of civilization.We examine the rewritings, imitations, pastiches, perversions, parodies, tragedies, continuations and musical adaptations of the myth of Scheherazade from eighteenth to the twenty-first century, to analyze the dialectic’s evolution of the feminine, the maternal and the symbolic laws.

The report details the conceptual development, pre-production, production, and post-production stages of making Lost Nights. Lost Nights is a short, narrative film about two brothers who go out for one last night before the younger brother leaves for basic training. The film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin. / text

Cinematography in the Czech lands went through a dynamic development during first decades of the 20th century. Original nomadic theatres and vaudevilles were replaced by permanent cinemas. The first one of this kind in the Czech lands was opened in 1907 in Brno. Movies became soon one of the most common way of spending free time as it was obtainable to all sorts of public. The biggest amount of movie theatres were obviously located in bigger aglomerations, the highest level of cinemas in Czech lands were concentrated in Prague. Here, in the center of the Czech capital, had also started a new trend of building a big screening halls, for a first time originaly projected only for a cinema purpose. These venues, builded in the 20's of 20th century as a part of commercial and financial palaces, were unique for reason to be premiere cinemas. Owners of majority of these special cinemas got together into a special ellite club called The association of the premiere cinemas. In the first part of this Thesis is will be described a social-culture context of the defined time period, with focus on a life of society in big aglomerations, together with coherencies of the community life and cinematography in the Czech lands. The second part describes work of the Association of the premiere cinematographs - the...

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-18T12:04:45Z No. of bitstreams: 1 Erica Schmidt.pdf: 1077015 bytes, checksum: aef87500f18454c28db3a3788d30733d (MD5) / Made available in DSpace on 2017-07-18T12:04:45Z (GMT). No. of bitstreams: 1 Erica Schmidt.pdf: 1077015 bytes, checksum: aef87500f18454c28db3a3788d30733d (MD5) Previous issue date: 2017-06-30 / This master´s degree thesis analyzes the novel Vozes do deserto (2005), by Nélida Piñon aiming to point out the construction of this said work in the folds of intertextuality established with the millennial The Arabian Nights, revisiting it and updating it. Vozes do deserto retells the traditional plot outlining the fondness and the story of a transgressing Scheherazade. The study focuses on the appropriation of the Eastern work examining the author's strategy to elaborate her work in a full and fruitful dialogue between the tradition and the contemporary. Furthermore, we have also considered Mamede Mustafa Jarouche's translation of The Arabian Nights (Livro das mil e uma noites, 2012). The discussion of main concepts, such as intertextuality and updating, will be presented mainly with the assistance of theorists such as Mikhail Bakhtin (1978, 2003, 2010) and Julia Kristeva (2005), qualified by Tânia Carvalhal (1973, 2003, 2014), Affonso Romano de Sant´Anna (2003) among others / Esta dissertação analisa o romance Vozes do deserto (2005), de Nélida Piñon, com o objetivo de apontar a construção da referida obra nas dobras da intertextualidade estabelecida com o milenar Livro das mil e uma noites, revisitando-o e atualizando-o. Vozes do deserto reconta a intriga clássica delineando os afetos e a história de uma Scherezade transgressora. O estudo debruça-se sobre a apropriação da obra oriental com vistas à estratégia da autora para elaborar sua obra no pleno e profícuo diálogo entre a tradição e o contemporâneo. Levou-se em consideração a tradução de Mamede Mustafá Jarouche do Livro das mil e uma noites (2012). A discussão de conceitos centrais, tais como as relações intertextuais e a atualização, será apresentada, principalmente, com o auxílio de teóricos como Mikhail Bakhtin (1978, 2003, 2010) e Julia Kristeva (2005), qualificados por Tânia Carvalhal (1973, 2003, 2014), Affonso Romano de Sant´Anna (2003) e outros

O Livro das Mil e Uma Noites, na forma como se encontra em seu grupo de manuscritos mais antigo, o chamado ramo sírio, configura-se como um grande compêndio de narrativas árabes de cunho erótico, em sua maioria. As cenas encontradas nessas narrativas, quase sempre explícitas, revelam mulheres sensualíssimas, donas de corpos desejados, e homens desejosos desses corpos e, na maioria das vezes, traídos por suas mulheres. Porém, uma narrativa em especial se destaca fortemente nesse universo carnal das Noites: a história de \"N&#363;rudd&#299;n &#872; Al&#299; Bin Bakk&#257;r e &#352;amsunnah&#257;r\". O amor que tem lugar nessa narrativa beira o divino e inefável, e suas descrições, sempre imprecisas, revelam a dificuldade em se descrever um amor tão distante da carne e de seus desejos. Mas não é só no livro em questão que tal narrativa se destaca: dentro de toda a tradição amorosa da época a que pertence (entre os séculos IX e XI, no apogeu do Califado Abássida), tal como a conhecemos hoje, essa história de amor se mostra como única. O presente trabalho tem como objetivo analisar justamente esse destaque da narrativa de \"N&#363;rudd&#299;n &#872; Al&#299; Bin Bakk&#257;r e &#352;amsunnah&#257;r\" dentro de seus contextos: primeiramente dentro do Livro das Mil e Uma Noites e, posteriormente, dentro da literatura amorosa abássida. Busca-se comparar a narrativa dos dois amantes com todas as outras narrativas erótico-amorosas das Mil e Uma Noites, demonstrando suas diferenças substanciais. Além disso, busca-se mapear a tradição literária amorosa abássida, demonstrando como N&#363;rudd&#299;n e &#352;amsunnah&#257;r nada têm que ver com os amantes das narrativas de amor da época. Ao final do trabalho, enumerando-se e analisando-se pormenorizadamente essas características de destaque, aproximamos a narrativa dos dois amantes a outras obras, contemporâneas a ela, que se declaram platonizantes. Assim, situamos a história de N&#363;rudd&#299;n e &#352;amsunnah&#257;r num pequeno e pouco estudado grupo de obras árabes medievais: o grupo que compartilha características que se assemelham às das obras platônicas e neoplatônicas. / The Book of the Thousand and One Nights, in the way it is written in its oldest group of manuscripts, the Syrian branch, is composed as a big compendium of erotic Arabic stories, in its majority. The scenes found in those stories, which are almost always explicit, reveal very sensual women, owners of desired bodies, and men who desire those bodies, and who are, almost always, betrayed by those women. However, one story in special contrasts from the others in this carnal universe of the Nights: the story of \"N&#363;rudd&#299;n &#872; Al&#299; Bin Bakk&#257;r and &#352;amsunnah&#257;r\". The love described in this narrative approaches the divine and ineffable love, and its descriptions, always imprecise, reveal the difficulty of describing a love, which is so distant from the body and its desires. But, the narrative of the two lovers is not a highlight only in this book: in the whole erotic tradition to which it belongs (the Abbasid love, between the IX and X centuries), this story shows itself as a unique one. The present dissertation aims to analyse these highlights of the narrative of \"N&#363;rudd&#299;n &#872; Al&#299; Bin Bakk&#257;r and &#352;amsunnah&#257;r\" in its contexts: first, inside the Book of the Thousand and One Nights and, after that, inside the erotic Abbasid literature. We do it by comparing the story of the two lovers to all the other erotic narratives of the Nights, demonstrating all the substantial differences among them. Besides that, we draw a map of the whole erotic Abbasid literary tradition, demonstrating how N&#363;rudd&#299;n and &#352;amsunnah&#257;r have nothing in common with the other Abbasid lovers, described in the erotic stories of that time. At the end of the dissertation, by enumerating and analysing carefully those characteristics of highlight, we approach the narrative of the two lovers to other works, contemporary to it, which declare themselves to be platonic. By doing that, we situate the story of N&#363;rudd&#299;n and &#352;amsunnah&#257;r in a very small and not studied group of Arabic medieval works: the group, which shares similar characteristics with the platonic and neoplatonic works.

A repeated theme in the fiction of Angela Carter and Jeanette Winterson is the use of domestic space as a tool for defining socially acceptable versions of female sexuality. Four novels that crystallize this theme are the focus of this dissertation: Winterson??s Oranges Are Not the Only Fruit (1985) and Art and Lies (1994) and Carter??s The Magic Toyshop (1967) and Nights at the Circus (1984). Each chapter examines both authors?? treatments of a specific room in the house. Chapter II, "Parlor Games: Spatial Literacy in Formal Rooms," discusses how rooms used for formal occasions project a desirable public image of a family. More insidiously, however, the rooms protect the sexual order of the household, which often privileges male sexuality. Using the term spatial literacy to describe how characters interpret rooms, the chapter argues that characters with a high spatial literacy can detect not only the overt messages of these formal rooms, but also what underlies those messages. Chapter III, "Making Meals, Breaking Deals: Mothers, Daughters, and Kitchens," discusses the kitchen as the site of the production of domestic comfort. An analysis of who has primary responsibility for the production of comfort and whose comfort is privileged often reveals the power hierarchy of a given household. The chapter also examines the kitchen as a volatile space that can erupt with violence and the expression of repressed emotions and repressed sexuality. Finally, the kitchen is analyzed as a space of intimacy between mothers and daughters. Chapter IV, "Bedtime Stories: Assaulting Sexuality in the Bedroom," argues that the privacy of the adolescent bedroom is often disrupted by the surveillance of family members trying to control the sexual identity of the room??s occupant. The chapter also examines how social prescriptions encourage women to tolerate the interruption of their privacy. Each of the protagonists from these four novels has opportunities to learn about subverting the discursive constructions of domestic space, and several characters enact that subversion. This ability for subversion suggests the possibility for agency, a possibility that postmodernist thought often rejects, but one that Carter and Winterson allow.