Improvisational dramatic role-play activities are used in classrooms to encourage children to explore the feelings of the characters in a story. Roleplay exercises can give a story personal significance to each child, and an insight and understanding of the characters which is reflected in stories written afterwards. The thesis describes the development of a virtual environment designed for similar dramatic role-play exercises. The thesis then investigates its effectiveness as a preparation activity for writing stories. It examines the effects the virtual role-play environment has on the characterisation in children’s imaginative writing. It also investigates the social interactions which children engage in and the moral decisions they make during the role-play; and the motivational effects of the virtual roleplay environment. The virtual role-play environment is based on a commercial computer game. Two children and one role-play leader interact with each other in a perceptually realistic virtual world. Each role-player controls an avatar in order to move around this graphical world, and improvise by sending and receiving typed messages. The high quality graphics, sounds and music contribute to the users’ feelings of perceptual presence while the communication between role-players promotes feelings of social presence. The role-players’ emotional engagement with the other characters and the conflict within the adventure encourages them to experience self presence. The virtual role-play environment was evaluated in a field study with sixty children aged between ten and twelve years. The characterisation in stories written after using the virtual role-play environment was compared to the characterisation in stories written under normal classroom circumstances. The stories were compared using a new, fine-grained analysis scheme for assessing children’s writing. The main result is that the stories written after the virtual role-play contained more dialogue and more indications of relationships between the characters than normal classroom stories. Analysis of the typed communication exchanged between the role-players during the game shows that the role-players formed relationships with the other characters. They also made judgements about the characters’ personalities and to a lesser extent expressed emotional involvement during the game. They made moral decisions and could back up their decisions with reasons. Expert evaluation supports the view that the virtual role-play environment is particularly beneficial to children with low literacy standards. Finally, it also benefits children with low literacy motivation and little interest in school work.

This research project investigates to what extent a social constructivist approach to teaching and learning online can enhance the use of language acquisition for learners of foreign languages. I designed an online role-play simulation in which the students sailed on the expedition of Nicolas Baudin to Australia and took different authentic roles on a simulated voyage. All communication was conducted in the French language, thus enabling the students to interact in realistic conversations, relevant to this historic event. Being in a third year TAFE French class, the students had already been exposed to sound grounding in grammar, relevant vocabulary, and use of colloquial and idiomatic expressions, and thus they had acquired a reasonably high level of proficiency in the language. The study was conducted over a four-week period in which I examined the intense interaction between the participants, while fulfilling the role of facilitator/moderator. In this role, I gave clear guidelines as to what was expected from the participants; provided the students with their identity which was unknown to the other participants during the simulation; created incidents through a weekly “Course of Events” announcement; answered all questions within 12 – 24 hours; encouraged engagement within the learning community; made occasional suggestions if the characters seemed uncertain of what to do next; and, above all, endeavoured to create a non-threatening, friendly online environment for the students. After the four-week online role-play simulation, the participants met for a debriefing session in which they revealed their identities and discussed any issues, in particular technical issues, that had emerged. This provided an opportunity for the participants to disengage from the virtual world in which they have been immersed for four weeks as well as an opportunity to reflect upon their personal learning. A qualitative methodology, drawing on interpretive research, was employed to analyse the data. Student pre- and post-questionnaires, online contributions by the students and the debriefing discussion were used as the major sources of data collection. Most of the students took up the challenge of interacting online through asynchronous and synchronous communication. The study focused on how the use of a social constructivist epistemology could enhance language acquisition for learners of foreign languages and also analysed to what extent did the students’ participation in a webbased online role-play simulation affect their communication skills and fluency in the second language. The findings provided me with guidance for future implementation of online role-play simulations in which I would ensure that all students have the basic computer skills and necessary access to internet in order to participate fully in the simulation. Nevertheless, this study demonstrated many benefits to the language enhancement of the participants and will become a regular activity as it permits students to use their conversational skills in a “real-life” virtual learning community.

The aim of this study is to investigate an inter-action and a roleplay activity that takes place every Friday at a preschool in a suburb of Stockholm. The aim is to investigate learning in this activity and how it is corresponding to the curriculum for preschools. What is the teachers aim and how do the children think, talk and act before, during and after the game. It is a qualitative study and data was collected through qualitative interviews, field notes from observations and recordings with my I-phone. The results showed that the play is useful as a pedagogical documentation and as a tool for reflection. According to the educators it is possible to involve the entire curriculum for preschool in this roleplay, such as fundamental value, conflict resolution, children´s participation, traditional topics as mathematics and languages. The activity has developed in a cooperation with children and teachers together.

Anxiety disorders are some of the most prevalent mental illnesses in the United States, and young adults have developed a variety of coping mechanisms to deal with their symptoms. One of the most common is escapism, or the act of escaping reality by delving into alternate stimuli, fantasies, or media content, but this often leads to social or emotional isolation. Cooperative roleplaying games, such as Dungeons and Dragons, can alleviate symptoms of anxiety disorders while facilitating social interaction through escapism, creative thinking, play, and community building. The companion piece to this paper, Reflections of Fate, is a D&D 5e quest specifically designed with challenges and storylines to further these potentially healing effects.

Syftet med uppsatsen är att undersöka om forumspel kan användas som ett pedagogiskt verktyg i konfliktlösande syfte i en elevgrupp samt är i enlighet med det mål som finns beskrivet i Lpo94: ”Att varje elev utvecklar sin förmåga att göra och uttrycka medvetna etiska ställningstaganden grundade på kunskaper och personliga erfarenheter”.   Undersökningen är en kvalitativ fallstudie där aktionsforskningens modell utgör forskningsstrategin. Urvalet i undersökningen består av en homogen integrerad årskurs 1-2 klass. Resultatet från undersökningen visar att forumspel är ett användbart pedagogiskt verktyg i syfte att lösa konflikter. Forumspel utvecklar eleverna i samspel med varandra på ett sätt som gynnar arbetet mot det mål som finns beskrivet i Lpo94: ” Att varje elev utvecklar sin förmåga att göra och uttrycka medvetna etiska ställningstaganden grundade på kunskaper och personliga erfarenheter”.

Le Jeu, un phénomène difficile à définir, se manifeste en littérature de différentes manières. Le présent travail en considère deux : l’écriture à contrainte, telle que la pratique l’Oulipo, et l’écriture de l’imaginaire, en particulier les romans de Fantasy française. La première partie de cette étude présente donc, sous forme d’essai, les origines et les visées des deux groupes d’écrivains, mettant en lumière les similitudes pouvant être établies entre eux malgré leurs apparentes différences. Tandis que l’Oulipo cherche des contraintes capables de générer un nombre infini de textes et explore la langue par ce moyen, la Fantasy se veut créatrice de mondes imaginaires en puisant généralement à la source de Tolkien et des jeux de rôle. Il en résulte que le jeu, dans les deux cas, se révèle un puissant moteur de création, que le récit appelle un lecteur-explorateur et qu’il crée une infinité de mondes possibles. Malgré tout, des divergences demeurent quant à leurs critiques, leurs rapports avec le jeu et les domaines extralittéraires, et leurs visées. Considérant ce fait, je propose de combiner les deux styles d’écriture en me servant du cycle des Hortense de Jacques Roubaud (structuré au moyen de la sextine) et des Chroniques des Crépusculaires de Mathieu Gaborit (figure de proue en fantasy « pure »). Ce projet a pour but de combler le fossé restant encore entre les deux groupes. Ainsi, la seconde partie de mon travail constitue une première tentative de réunion des deux techniques d’écriture (à contrainte et de l’imaginaire). Six héros (trois aventuriers et trois mercenaires) partent à la recherche d’un objet magique dérobé à la Reine du Désert et capable de bouleverser l’ordre du monde. Le récit, divisé en six chapitres, rapporte les aventures de ce groupe jusqu’à leur rencontre avec l’ennemi juré de la Reine, un puissant sorcier elfe noir. Chaque chapitre comporte six sections plus petites où sont permutés – selon le mouvement de la sextine – six éléments caractéristiques des jeux de rôles : 1-Une description du MJ (Maître du Jeu) ; 2-Un combat ; 3-Une énigme à résoudre ou un piège à désarmer ; 4-Une discussion entre les joueurs à propos de leurs avatars ; 5-L’acquisition d’un nouvel objet ; 6-Une interaction avec un PNJ (Personnage Non Joueur). Tout au long du texte, des références aux Chroniques des Crépusculaires de Mathieu Gaborit apparaissent, suivant également un ordre sextinien. D’autres allusions, à Tolkien, Queneau, Perec ou Roubaud, agrémentent le roman. / The game, a hard-to-define phenomenon, expresses itself in literature by different means. This study considers two of them: the constrained writing, as the Oulipo uses it, and the writing of imaginary, French Fantasy novels in particular. The first part of this work is an essay presenting the origins and goals of the two groups of writers, and showing their similarities despite their apparent differences. While the Oulipo searches for constraints able to generate an infinite number of texts and explore the language by this mean, Fantasy wants to create imaginary worlds by drawing at Tolkien’s source and roleplaying games. It follows that, in both cases, the game shows itself to be a powerful engine for creation, the story calls for a reader-explorer and this process creates an infinity of possible worlds. Nonetheless, divergences remain about their critics, their relationship with the game and with non-literary domains, and their goals. Considering that fact, I propose to combine the two writing styles by using Jacques Roubaud’s Hortense cycle (structure by the “sextine”) and Mathieu Gaborit’s Chronique des Crépusculaires (which is a leading figure in “pure” fantasy). This project aim to bridge the remaining gap between the two groups. The second part of this work is then a first attempt to reunite the two writing technics (constrained and of imaginary). Six heroes (three adventurers and three mercenaries) are going on a quest, looking for a magical object stolen from the Desert’s Queen and able to disrupt the world order. The story, divide in six chapters, tells the adventures of this group from the start to their final battle with the Queen’s sworn enemy, a powerful dark elf sorcerer. Each chapter is composed of six smaller sections where six roleplaying distinctive elements are permutated in a “sextine-like” movement: 1-A DM’s description; 2-A battle; 3-A puzzle to resolve or a trap to disarm; 4-A discussion between the players over their avatar; 5-The gain of a new item; 6-An interaction with a NPC (Non-Player Character). Throughout the story, references to Mathieu Gaborit’ Chronique des Crépusculaires appear, following the “sextine” order. Other references, to Tolkien, Queneau, Perec or Roubaud adorned the novel.

The purpose of this essay is an attempt to create a “first basis” of reliability for religious content in computes games, and its value in academic studies. While not researching it in depth, this essay will also give a suggestion of computer games’ potential as a didactic medium. A quantitative comparative analysis has been performed, to present several common religious themes and their occurrence in the computer game respectively. While researching the game, an abundance of religious themes have been found, documented and presented. Through this, it is concluded that computer games not only have the capability of presenting religious themes; they are found to be capable mediums of presentation. The content itself is of high varsity and of great interest to any religious scholar.

This dissertation concerns live action role-playing (larp). Larp may be described as improvised theater without an audience, as participants simultaneously embody both audience and actor in their constant interaction with one another.  Hence, larp can be seen as a participatory culture.  The study is based on participant observation, interviews and online ethnography in Denmark, Latvia, Sweden and Norway. The aim of the thesis is to analyze how bodies materialize, take and are given space in larps. At the heart of the study lie questions on how processes of embodiment are enacted before, during and after the game. Two central concepts - larp chronotope and matrix of interpretation – shape the analysis. The first denotes the specific timespace in which a larp takes place, e.g a Soviet military camp or a fantasy world. The second concept stands for a general matrix of norms that informs participants on how to enact their characters in the larp chronotope. The thesis shows that participants strive to act in ways that are intelligible according to the matrix of interpretation that reigns during the game days. In addition, although game and everyday matrixes of interpretations are always inseparable, while attending a larp the participant’s ordinary lives are temporarily allowed to fade into the background. Thus, larps are complex combinations of objects, spaces and bodies that are given new relations and new meanings. Furthermore, the thesis shows that larp embodiment is conditioned by normative ideas of what it means to be an intelligible live action role player. White male bodies are more likely to access the sphere of larp intelligibility than others, which is evident in many of the stories and made up worlds portrayed in the study. Yet, the collaborative narration of game worlds that take place before larps can include all sorts of bodies. Consequently, larps provide an opportunity for alternative forms of embodiment and experiences.

Cette étude a pour objectif de définir la compétence d’interaction qui constitue l’objet principal de l’évaluation de l’oral en didactique des langues étrangères. Nous considérons qu’elle consiste en la capacité d’interagir avec l’interlocuteur pour mettre en œuvre des ressources multiples dans l’objectif de gérer collectivement une activité de discours adaptée à l’action dans une situation donnée. A travers une démarche empirique, analytique et compréhensive, nous décrivons la manière dont la compétence d’interaction se manifeste en situation d’évaluation. Elle se présente sous la forme de quatre volets : d’abord par la capacité d’interpréter son rôle dans un contexte donné afin de participer à l’organisation globale de l’interaction ; elle se manifeste aussi dans la coordination de l’alternance des tours de parole ; elle se trouve dans le partage de la responsabilité de la co-construction thématique des échanges ; enfin, cette compétence doit prendre en compte la mise en œuvre des stratégies de communication afin de résoudre les problèmes langagiers et interactionnels qui se présentent. Les analyses nous apportent des clarifications sur les enjeux didactiques en ce qui concerne la manière d’évaluer cette compétence. Elles nous conduisent à souligner quatre éléments essentiels dans la constitution du dispositif évaluatif : le scénario, la modalité de préparation, les conditions de réalisation et le barème de notation. Or, la démarche d’évaluation ne s’arrête pas à un dispositif soigneusement élaboré, mais s’effectue également dans sa mise en pratique et dans l’adaptation à un contexte évaluatif donné. Il existe donc un « contrat d’évaluation » qui règle l’organisation de cette activité et précise les droits et les devoirs de l’évaluateur et du candidat. Dans la réalisation du contrat, l’évaluateur doit assurer à la fois le rôle de facilitateur, d’examinateur, d’interlocuteur et d’accompagnateur, ce qui constitue un vrai défi dans l’évaluation en langues et nous donne des orientations pour nos futures recherches / This study aims to define the competence of interaction constituting the main object of oral evaluation in foreign language pedagogy. We consider that this competence consists in the ability to interact with an interlocutor in order to implement multiple resources with the aim of collectively managing speech activity adapted to action in a given situation. Using an analytical and comprehensive empirical approach, we describe how the competence of interaction manifests itself in a situation of evaluation. It takes the form of four components: firstly, the ability to interpret one’s role in a given context in order to participate in the global organization of interaction ; it also manifests itself in the coordination of turn-taking ; in the shared responsibility of the co-construction of the theme of the discourse; and finally in the use of communication strategies to solve language and interactional problems that arise. The analyses enable us to elucidate the pedagogical issues concerning the way to evaluate this competence. Four essential elements can be identified in the composition of the system of evaluation : the script, the type of preparation, the conditions in which it is implemented and the grading scale. The evaluation is not limited to a carefully worked out method ; it also entails the way it is carried out in a specific context. There exists a “contract of evaluation” which regulates the organisation of this activity and defines the rights and duties of the evaluator and the candidate. According to this contract, the evaluator must assume the roles of facilitator, examiner, interlocutor and guide, which constitutes a real challenge in language evaluation and opens up orientations for future research.

Dans les milieux dits alternatifs ou undergrounden France, affiliés aux formes postmodernes de cultures fan geek et otaku, une pratique a émergé ces dernières années: le rôleplay. Ni tout à fait jeu de rôle, ni tout à fait théâtre, cette modalité d’échange basée sur une mise en scène de soi se pratique en groupe dans des espaces consacrés. Le présent travail est le résultat d’une ethnographie au sein de ces milieux. Il cherche à la fois à rendre compte de cette pratique et à analyser les enjeux qui lui sont liés. C’est une réflexion polyphonique qui lie les questionnements de l’identité, tant individuelle que collective et la performativité à travers, notamment, les travaux de Deleuze, Agamben et Butler. La forme éclatée dans laquelle interviennent différentes voix reprend l’idée de chaos carnavalesque,motif central dans la présente analyse. / In France, in alternative or underground circles characterized bypostmodern fandoms such as geek and otaku cultures, a new form of practice emerged these years defined by the French word rôleplay. It is neither role playing game nor theatre, but a way to exchange with other roleplayers, wearing a costume, in a dedicated area. This work is the result of ethnography in those milieu, and aims to give an account of this practice as much as to analyze the issues of rôleplay. This polyphonic essay links questions as identity (individual or collective) and performativity, through, notably, the work of Deleuze, Agamben and Butler. The splitted up form with several voices taking part recovers the carnivalschaos, central pattern in this analysis.