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Planeta em jogo : a transformação de ludo-narrativas através de um viés ecocrítico
Full text linkOrientador: Prof. Dr. Klaus Friedrich Wilhelm EggenspergerTese (doutorado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa : Curitiba, 25/01/2024Inclui referênciasÁrea de concentração: Estudos LiteráriosResumo: Os jogos digitais são um campo fértil para diferentes análises e abordagens. Seja por sua inerente capacidade de engajar narrativamente e ludicamente quem joga ou, por serem, em essência, um artefato cultural provido de uma grande variabilidade, capaz de formar diferentes formas de jogar, aprender e experimentar. Isto posiciona o jogador como um agente que movimenta estes mundos virtuais através do formato único da interatividade, como exposto por Aarseth (2012). Sendo assim, é necessário que devamos analisar esta mídia audiovisual com seus diferentes formatos a atualizando cada vez que obtemos novas formas tecnológicas de jogar, as implementações graduais nos sistemas dos jogos fazem com que tecnologias de ponta sejam utilizadas constantemente, além de experimentações de como engajar cada vez mais as pessoas dentro destes mundos virtuais. O que, por sua vez, permite abordagens teóricas e análises interdisciplinares sobre suas diferentes facetas, sendo que a Ecocrítica se provou uma eficiente ferramenta de análise para procurar evidenciar a natureza e ao mundo exterior da narrativa dos jogos, frequentemente apagados, para imaginarmos maneiras de descentralizarmos o jogador de sua perspectiva antropocêntrica, pensar diferentes formas de jogar e toda a produção material e de consumo, e demais elementos que circundam os jogos e seus processos de consumo e manufatura, conforme apontado por diversos autores como Abraham (2015, 2018), Bianchi (2017, 2019), Bohunicky e Bianchi (2018), Chang (2009, 2011, 2012, 2021), Sicart (2009, 2011), Dyer-Witheford e Peuter (2009, 2021), Woolbright (2015, 2017) e entre outros. Através destes referidos pontos, levantamos a hipótese de que as ludonarrativas dos jogos digitais podem funcionar como agentes de consciência ambiental, capazes de aproximar e ensinar aos jogadores sobre a(s) natureza(s). Contudo, também apontamos as contradições dos jogos digitais e como, atualmente, estão muito mais próximos de agentes exploratórios e destrutivos desta mesma natureza. Nesse sentido, utilizamos o Modelo de Envolvimento do Jogador, desenvolvido por Gordon Calleja (2011) para analisarmos as dimensões de envolvimento dos jogadores e como elas podem ser percebidas por uma lente ecocrítica de mundo, em suas diferentes formas narrativas e lúdicas, buscando estender a ponte entre real e virtual para formar ou ampliar a consciência ambiental dos jogadores. Além disso, hoje sabemos ser premente a necessidade de pensarmos sobre os jogos digitais dentro de uma perspectiva brasileira, partindo do Sul Global, também por intermédio da Ecocrítica. Desse modo, a Ecocrítica para jogos digitais, ou ecoplay, como posta por Bohunicky e Bianchi (2018), também pode ser utilizada para protagonizarmos importantes lutas locais, faunas e floras e que posicione a produção de jogos brasileira no papel de destaque. Por fim, discorremos em como jogos digitais podem sim, de maneira funcional, protagonizarem formas ludo-narrativas ecológicas, seja de maneira direita ou através da subversão de seus sistemas.Abstract: Digital games are a fertile field for different analyzes and approaches. Whether due to its inherent ability to engage narratively and ludically those who play or, because they are, in essence, a cultural artifact provided with great variability, capable of forming different ways of playing, learning, and experimenting. This positions the player as an agent who moves these virtual worlds through the unique format of interactivity, as exposed by Aarseth (2012). Therefore, it is necessary that we analyze this audiovisual media with its different formats and update it every time we obtain new technological ways of playing, the gradual implementations in game systems mean that cutting-edge technologies are constantly used, in addition to experiments on how to increasingly engage people within these virtual worlds. This, in turn, allows for theoretical approaches and interdisciplinary analyzes of its different facets, with Ecocriticism proving to be an efficient analytical tool to seek to highlight the nature and external world of game narratives, which are often erased, as well as to imagine ways to decentralize the player from his anthropocentric perspective, think about different ways of playing and all material production and consumption, and other elements that surround games and their consumption and manufacturing processes, as pointed out by several authors such as Abraham (2015, 2018), Bianchi (2017, 2019), Bohunicky and Bianchi (2018), Chang (2009, 2011, 2012, 2021), Sicart (2009, 2011), Dyer-Witheford and Peuter (2009, 2021), Woolbright (2015, 2017), among others. Through these points, we raise the hypothesis that the ludo-narratives of digital games may function as agents of environmental awareness, capable of bringing players closer to and teaching them about nature(s). However, we also point out the contradictions of digital games and how, currently, they are much closer to exploratory and destructive agents of this same nature(s). In this sense, we use the Player Involvement Model, developed by Gordon Calleja (2011) to analyze the dimensions of player involvement and how they can be perceived through an ecocritical lens of the world, in its different narrative and ludic forms, seeking to extend the bridge between real and virtual to form or expand players’ environmental awareness. Furthermore, today we know that there is a pressing need to think about digital games from a Brazilian perspective, starting from the Global South, also through Ecocriticism. In this way, Ecocriticism for digital games, or ecoplay, as put forward by Bohunicky and Bianchi (2018), can also be thought in a way that highlights important local struggles, fauna and flora, and that positions Brazilian game production in a prominent role. Finally, we discuss how digital games can, in a functional way, play a leading role in ecological ludo-narrative forms, whether directly or through the subversion of their systems
DE HERÓI A TIRANO: A SAGA DO MASCULINO EM WORLD OF WARCRAFT
Full text linkNa contemporaneidade, levantam-se questionamentos quanto à universalidade da supremacia masculina declarada e da hegemonia baseada na dominação e no poder inquestionável do "patriarca". Uma vez que surgem várias e diversificadas masculinidades que podem ser amplamente observadas por meio das mídias. Com base nos estudos de gênero e através do método hermenêutico, analisamos a narrativa presente no universo fantástico do jogo de computador World of Warcraft, com o objetivo de identificar estratégias discursivas presentes nas representações de tipos de masculinidades em personagens de games de ação contemporâneos, que visam a percepção de mecanismos de reforço de estereótipos de gênero
É possível jogar ecocriticamente no Brasil?
No full textToday we know that there is an urgent need to think about digital games from a Brazilian perspective, in the context of the Global South, through Ecocriticism. This is due to the fact that Ecocriticism for digital games, or Ecoplay, as put by Melissa Bianchi (2018; 2020), assimilates a lot with its literary counterpart, that is, it comes almost exclusively from Anglophone researchers. Although much of Ecocriticism has already freed itself from its Northern roots, turning to decolonial and ecofeminist perspectives, little is seen of this reality in digital games. Thus, I argue that it is extremely necessary to think and analyze games, whether they are produced or consumed in Brazil. As well as their forms of engagement, narratives, mechanics, rules, production and sales contexts. Especially considering that today we are one of the biggest consumer markets and, even though we do not have any AAA publishers (triple A as the billion-dollar gaming companies are called) in the country, there are several indie studios and there is a lot to be gained through Ecoplay. In this way, we can aim at giving a voice to nature and the external world of the narrative, which are often silenced, to imagine ways to decentralize the player from his anthropocentric perspective, to think about different ways of playing, and about all material production and consumption, such as energy expenditure, as well as other elements that surround gaming and its consumption and manufacturing processes.Hoy sabemos que hay una necesidad urgente de pensar los juegos digitales desde una perspectiva brasileña, en el contexto del Sur Global, a través de la Ecocrítica. Esto se debe al hecho de que Ecocriticismo para juegos digitales, o Ecoplay, como dijo Melissa Bianchi (2018; 2020), se asimila mucho con su contraparte literaria, es decir, proviene casi exclusivamente de investigadores anglófonos. Aunque gran parte de Ecocriticismo ya se ha liberado de sus raíces nórdicas, recurriendo a perspectivas decoloniales y ecofeministas, poco se ve de esta realidad en los juegos digitales. Por lo tanto, sostengo que es extremadamente necesario pensar y analizar los juegos, ya sea que se produzcan o consuman en Brasil. Así como sus formas de engagement, narrativas, mecánicas, reglas, contextos de producción y ventas. Especialmente teniendo en cuenta que hoy somos uno de los mayores mercados de consumo y, aunque no tenemos ningún editor AAA (triple A como se llaman las compañías de juegos de mil millones de dólares) en el país, hay varios estudios indies y hay mucho que ganar a través de Ecoplay. De esta manera, podemos apuntar a dar voz a la naturaleza y al mundo externo de la narrativa, que a menudo son silenciados, imaginar formas de descentralizar al jugador desde su perspectiva antropocéntrica, pensar en diferentes formas de jugar, y en toda la producción y consumo material, como el gasto energético, así como otros elementos que rodean el juego y sus procesos de consumo y fabricación.Hoje sabemos ser premente a necessidade de pensarmos sobre os jogos digitais dentro de uma perspectiva brasileira, partindo do Sul Global, por intermédio da Ecocrítica. Isso se dá devido ao fato de que a Ecocrítica para jogos digitais, ou Ecoplay, como posta por Melissa Bianchi (2018; 2020), assimila-se e muito à sua contraparte literária, ou seja, parte quase que exclusivamente de pesquisadores anglófonos. Embora muito da Ecocrítica já tenha se libertado de suas raízes do Norte, voltando-se para perspectivas decoloniais e ecofeministas, pouco se vê dessa realidade nos jogos digitais. Desse modo, argumento que é de extrema necessidade pensarmos e analisarmos jogos, sejam eles produzidos ou consumidos no Brasil. Bem como suas formas de engajamento, narrativas, mecânicas, regras, contextos de produção e venda. Especialmente dado que hoje somos um dos maiores mercados consumidores e, ainda que não tenhamos nenhuma publicadora AAA (triple A, como são chamadas as grandes companhias bilionárias de jogos) no país, existem diversos estúdios indies e há muito a se ganhar através do Ecoplay. Dessa forma, podemos procurar dar voz à natureza e ao mundo exterior da narrativa, frequentemente silenciados, imaginar maneiras de descentralizar o jogador de sua perspectiva antropocêntrica, pensar diferentes formas de jogar, de produzir material e de consumir, o que inclui demais elementos que circundam os jogos e seus processos de consumo e manufatura
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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