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The Poetics of Reflection in Digital Games
© Copyright 2019 Terrence E. Schenold The Poetics of Reflection in Digital Games Terrence E. Schenold A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Brian M. Reed, Chair Leroy F. Searle Phillip S. Thurtle Program Authorized to Offer Degree: English University of Washington Abstract The Poetics of Reflection in Digital Games Terrence E. Schenold Chair of the Supervisory Committee: Brian Reed, Professor English The Poetics of Reflection in Digital Games explores the complex relationship between digital games and the activity of reflection in the context of the contemporary media ecology. The general aim of the project is to create a critical perspective on digital games that recovers aesthetic concerns for game studies, thereby enabling new discussions of their significance as mediations of thought and perception. The arguments advanced about digital games draw on philosophical aesthetics, media theory, and game studies to develop a critical perspective on gameplay as an aesthetic experience, enabling analysis of how particular games strategically educe and organize reflective modes of thought and perception by design, and do so for the purposes of generating meaning and supporting expressive or artistic goals beyond amusement. The project also provides critical discussion of two important contexts relevant to understanding the significance of this poetic strategy in the field of digital games: the dynamics of the contemporary media ecology, and the technological and cultural forces informing game design thinking in the ludic century. The project begins with a critique of limiting conceptions of gameplay in game studies grounded in a close reading of Bethesda's Morrowind, arguing for a new a "phaneroscopical perspective" that accounts for the significance of a "noematic" layer in the gameplay experience that accounts for dynamics of player reflection on diegetic information and its integral relation to ergodic activity. -
Lyric Provinces in the English Renaissance
Lyric Provinces in the English Renaissance Harold Toliver LYRIC PROVINCES IN THE ENGLISH RENAISSANCE Harold Toliver Poets are by no means alone in being pre pared to see new places in settled ways and to describe them in received images. Outer regions will be assimilated into dynasties, never mind the hostility of the natives. The ancient wilderness of the Mediterranean and certain biblical expectations of what burning bushes, gods, and shepherds shall exist every where encroach upon the deserts of Utah and California. Those who travel there see them and other new landscapes in terms of old myths of place and descriptive topoi; and their descriptions take on the structure, to nality, and nomenclature of the past, their language as much recollection as greeting. In Professor Toliver's view, the concern of the literary historian is with, in part, that ever renewed past as it is introduced under the new conditions that poets confront, and is, therefore, with the parallel movement of liter ary and social history. Literature, he reminds us, is inseparable from the rest of discourse (as the study of signs in the past decade has made clearer), but is, nevertheless, distinct from social history in that poets look less to common discourse for their models than to specific literary predecessors. Careful observ ers of place, they seek to bring what is distinct and valuable in it within some sort of verbal compass and relationship with the speaker. They bring with them, however, formulas and tf > w if a loyalty to a cultural heritage that both com plicate and confound the lyric address to place. -
Canada Needs You Volume One
Canada Needs You Volume One A Study Guide Based on the Works of Mike Ford Written By Oise/Ut Intern Mandy Lau Content Canada Needs You The CD and the Guide …2 Mike Ford: A Biography…2 Connections to the Ontario Ministry of Education Curriculum…3 Related Works…4 General Lesson Ideas and Resources…5 Theme One: Canada’s Fur Trade Songs: Lyrics and Description Track 2: Thanadelthur…6 Track 3: Les Voyageurs…7 Key Terms, People and Places…10 Specific Ministry Expectations…12 Activities…12 Resources…13 Theme Two: The 1837 Rebellion Songs: Lyrics and Description Track 5: La Patriote…14 Track 6: Turn Them Ooot…15 Key Terms, People and Places…18 Specific Ministry Expectations…21 Activities…21 Resources…22 Theme Three: Canadian Confederation Songs: Lyrics and Description Track 7: Sir John A (You’re OK)…23 Track 8: D’Arcy McGee…25 Key Terms, People and Places…28 Specific Ministry Expectations…30 Activities…30 Resources…31 Theme Four: Building the Wild, Wild West Songs: Lyrics and Description Track 9: Louis & Gabriel…32 Track 10: Canada Needs You…35 Track 11: Woman Works Twice As Hard…36 Key Terms, People and Places…39 Specific Ministry Expectations…42 Activities…42 Resources…43 1 Canada Needs You The CD and The Guide This study guide was written to accompany the CD “Canada Needs You – Volume 1” by Mike Ford. The guide is written for both teachers and students alike, containing excerpts of information and activity ideas aimed at the grade 7 and 8 level of Canadian history. The CD is divided into four themes, and within each, lyrics and information pertaining to the topic are included. -
Have You Ever? Oh, When?
Activate: Games for Learning American English Game 9: Have You Ever…? Oh, When? Have You Ever…? Oh, When? gives students practice with common conversational moves by asking and telling about past experiences. The teacher may want to explain the use of the present perfect and the meaning of “ever” in “have you ever.” Instructions 1. Have students (the players) sit in groups of 3–4. 2. Determine who goes first and progress clockwise or counter-clockwise. 3. Each player rolls the dice in turn. 4. On their turns, the players move their game pieces along the path according to the number of spaces indicated by the dice. 5. On the space where they land, the players read the question aloud. 6. The players respond to their question. If the answer is “yes,” players should say the last time they did the activity. If the answer is “no,” players should tell something that they have done that is related. 7. The game continues until one or all players reach the ‘Finish’ space. “Player Talk” in Have You Ever…? Oh, When? Cue “Player Talk” Have you ever No I haven’t, but I have swum in an ocean. (Simple swum in a river? response) Have you ever Yes, I have. The last time was when I visited my aunt. I watched a baseball saw a game on TV. (Complex response) game? 27 Activate: Games for Learning American English Game Squares START: WE’RE SO READY! 1. Have you ever swum in a river? 2. Have you ever watched a baseball game? 3. -
The Devils' Dance
THE DEVILS’ DANCE TRANSLATED BY THE DEVILS’ DANCE HAMID ISMAILOV DONALD RAYFIELD TILTED AXIS PRESS POEMS TRANSLATED BY JOHN FARNDON The Devils’ Dance جينلر بازمي The jinn (often spelled djinn) are demonic creatures (the word means ‘hidden from the senses’), imagined by the Arabs to exist long before the emergence of Islam, as a supernatural pre-human race which still interferes with, and sometimes destroys human lives, although magicians and fortunate adventurers, such as Aladdin, may be able to control them. Together with angels and humans, the jinn are the sapient creatures of the world. The jinn entered Iranian mythology (they may even stem from Old Iranian jaini, wicked female demons, or Aramaic ginaye, who were degraded pagan gods). In any case, the jinn enthralled Uzbek imagination. In the 1930s, Stalin’s secret police, inveigling, torturing and then executing Uzbekistan’s writers and scholars, seemed to their victims to be the latest incarnation of the jinn. The word bazm, however, has different origins: an old Iranian word, found in pre-Islamic Manichaean texts, and even in what little we know of the language of the Parthians, it originally meant ‘a meal’. Then it expanded to ‘festivities’, and now, in Iran, Pakistan and Uzbekistan, it implies a riotous party with food, drink, song, poetry and, above all, dance, as unfettered and enjoyable as Islam permits. I buried inside me the spark of love, Deep in the canyons of my brain. Yet the spark burned fiercely on And inflicted endless pain. When I heard ‘Be happy’ in calls to prayer It struck me as an evil lure. -
Song Lyrics of the 1950S
Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart. -
Welsh Physics Teachers Conference Brecon 2021 a Blended Approach #Breconconf2021
Welsh Physics Teachers Conference Brecon 2021 A Blended Approach #BreconConf2021 Friday 8th to Friday 15th October 2021 For all teachers of Physics… join the Welsh Physics Teachers Conference Brecon 2021, this year between 8th – 15th October 2021. A fabulous free week of presentations and workshops for teachers, technicians and PGCE students with opportunities to network with colleagues. We will offer workshops shows and presentations between 1.30pm and 3pm each afternoon and 4pm until 8pm each evening Monday – Friday, as well as a quiz, a trek and workshops at an Alpaca Farm in the Brecon Beacons on Saturday morning (10:30am – 3.30pm), an opportunity to discuss the relationship between Physics and faith, networking opportunities with colleagues from Ireland and New Zealand – and a virtual tour of Penderyn Whisky Distillery in the heart of the Brecon Beacons. Please join us for a full week of workshops and inspiring lectures, which include: ‘Materials in Action’ (Dr Diane Aston, IOM3); ‘The Digital Century’ (Professor Neil Stansfield, National Physical Laboratory); ‘From cat skin to submarines – soft materials that are a bit of a stretch’ (Professor Helen F Gleeson, Leeds University) and ‘From Deep Space to Deep Impact: bringing the solar system down to Earth’ (Professor Paul Roche, Cardiff University). Workshops will include: ‘Keeping up the Momentum’; ’Physics, weather and forecasting’; ‘Tones, Tines and Tings’ and ‘What alpacas and other animals can teach us about Physics’. Technicians are welcome to attend all the events and we will also be hosting a technicians event: ‘The Physics Prep Room’ on Thursday 14th October. FREE registration via Eventbrite is at welshphysicsteachersconference2021.eventbrite.co.uk Please encourage colleagues from other schools and organisations to attend. -
Intimate Partner Violence
:':? *:gRS1.2..t :RS!:4'. 4w .t^r'@t,.pSv5NX t:$..:sm.5.s'..X".}p...'...g.-X.'.ts.'S".......'5S... .......S'.t ....'.:.St:4CgNwaW Utility of STaT for the Identification of Recent Intimate Partner Violence Anuradha Paranjape, MD, MPH; Kimberly Rask, MD, PhD; and Jane Liebschutz, MD, MPH Atlanta, Georgia and Boston, Massachusetts for Disease Control and Prevention report on IPV defi- Financial support: Funding for this study was made possible nitions-are physical violence; sexual violence; threat by a grant from the Emory Medical Care Foundation. Pre- of physical or sexual violence; and psychological or sented at the American Public Health Association Annual emotional abuse, including coercive tactics.' Patients Meeting, San Francisco, CA, November 2003. Dr. Paranjape who are victims ofviolence may have experienced these was supported by the Emory Mentored Clinical Research four forms of IPV together or separately in >1 relation- Scholars Program (National Institutes of Health/National ship over their lifetime. The lifetime prevalence of IPV Center for Research Resources K12 RR 017643). Dr. Lieb- ranges from 26-54% among patients in different med- schutz was supported by a grant through the Generalist ical settings,29 while the one-year incidence of IPV Physician Faculty Scholars Program of the Robert Wood ranges from 10-15%.569 In one emergency room study, Johnson Foundation (RWJF #045452). 13% of all women seeking care did so for injuries and Intimate partner violence (IPV) is an important issue with far- illnesses related to IPV2 Patients who report IPV have reaching health consequences. This study investigates the been shown to suffer from a variety of pain syndromes, utility of STaT, a three-question IPV screening tool, for recent including headaches'0 and chronic abdominopelvic IPV identification in a sample of adult women in an inner- complaints,""2 and report higher rates of posttraumatic city urgent care clinic. -
Jazz Quartess Songlist Pop, Motown & Blues
JAZZ QUARTESS SONGLIST POP, MOTOWN & BLUES One Hundred Years A Thousand Years Overjoyed Ain't No Mountain High Enough Runaround Ain’t That Peculiar Same Old Song Ain’t Too Proud To Beg Sexual Healing B.B. King Medley Signed, Sealed, Delivered Boogie On Reggae Woman Soul Man Build Me Up Buttercup Stop In The Name Of Love Chasing Cars Stormy Monday Clocks Summer In The City Could It Be I’m Fallin’ In Love? Superstition Cruisin’ Sweet Home Chicago Dancing In The Streets Tears Of A Clown Everlasting Love (This Will Be) Time After Time Get Ready Saturday in the Park Gimme One Reason Signed, Sealed, Delivered Green Onions The Scientist Groovin' Up On The Roof Heard It Through The Grapevine Under The Boardwalk Hey, Bartender The Way You Do The Things You Do Hold On, I'm Coming Viva La Vida How Sweet It Is Waste Hungry Like the Wolf What's Going On? Count on Me When Love Comes To Town Dancing in the Moonlight Workin’ My Way Back To You Every Breath You Take You’re All I Need . Every Little Thing She Does Is Magic You’ve Got a Friend Everything Fire and Rain CONTEMPORARY BALLADS Get Lucky A Simple Song Hey, Soul Sister After All How Sweet It Is All I Do Human Nature All My Life I Believe All In Love Is Fair I Can’t Help It All The Man I Need I Can't Help Myself Always & Forever I Feel Good Amazed I Was Made To Love Her And I Love Her I Saw Her Standing There Baby, Come To Me I Wish Back To One If I Ain’t Got You Beautiful In My Eyes If You Really Love Me Beauty And The Beast I’ll Be Around Because You Love Me I’ll Take You There Betcha By Golly -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
A Narrative Approach to the Philosophical Interpretation Of
A NARRATIVE APPROACH TO THE PHILOSOPHICAL INTERPRETATION OF DREAMS, MEMORIES, AND REFLECTIONS OF THE UNCONSCIOUS THROUGH THE USE OF AUTOETHNOGRAPHY/BIOGRAPHY A Dissertation by ANTONIO RIVERA ROSADO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Major Subject: Curriculum and Instruction A NARRATIVE APPROACH TO THE PHILOSOPHICAL INTERPRETATION OF DREAMS, MEMORIES, AND REFLECTIONS OF THE UNCONSCIOUS THROUGH THE USE OF AUTOETHNOGRAPHY/BIOGRAPHY A Dissertation by ANTONIO RIVERA ROSADO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Co-Chairs of Committee, Stephen Carpenter Patrick Slattery Committee Members, Valerie Hill-Jackson Toby Egan Head of Department, Dennie Smith May 2011 Major Subject: Curriculum and Instruction iii ABSTRACT A Narrative Approach to the Philosophical Interpretation of Dreams, Memories, and Reflections of the Unconscious Through the Use of Autoethnography/Biography. (May 2011) Antonio Rivera Rosado, B.A., Interamerican University of Puerto Rico; M.Ed., The University of Texas at El Paso Co-Chairs of Advisory Committee, Dr. Stephen Carpenter Dr. Patrick Slattery The purpose of the present study aimed to develop a comprehensive model that measures the autoethnographic/biographic relevance of dreams, memories, and reflections as they relate to understanding the self and others. A dream, memory, and reflection (DMR) ten item questionnaire was constructed using aspects of Freudian, Jungian, and Lacanian Theory of Dream Interpretation. Fifteen dreams, five memories, and five reflections were collected from the participant at the waking episode or during a moment of deep thought. -
A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.