@article{Ungelenk2021, author = {Ungelenk, Johannes}, title = {{\´E}mile Zola and the Literary Language of Climate Change}, series = {Nottingham French Studies}, volume = {60}, journal = {Nottingham French Studies}, number = {3}, doi = {https://doi.org/10.3366/nfs.2021.0331}, pages = {362 -- 373}, year = {2021}, abstract = {On 7 February 1861, John Tyndall, professor of natural philosophy, delivered a historical lecture: he could prove that different gases absorb heat to a very different degree, which implies that the temperate conditions provided for by the Earth's atmosphere are dependent on its particular composition of gases. The theoretical foundation of climate science was laid. Ten years later, on the other side of the Channel, a young and ambitious author was working on a comprehensive literary analysis of the French era under the Second Empire. {\´E}mile Zola had probably not heard or read of Tyndall's discovery. However, the article makes the case for reading Zola's Rougon-Macquart as an extensive story of climate change. Zola's literary attempts to capture the defining characteristic of the Second Empire led him to the insight that its various milieus were all part of the same 'climate': that of an all-encompassing warming. Zola suggests that this climate is man-made: the economic success of the Second Empire is based on heating, in a literal and metaphorical sense, as well as on stoking the steam-engines and creating the hypertrophic atmosphere of the hothouse that enhances life and maximises turnover and profit. In contrast to Tyndall and his audience, Zola sensed the catastrophic consequences of this warming: the Second Empire was inevitably moving towards a final d{\´e}b{\^a}cle, i.e. it was doomed to perish in local and 'global' climate catastrophes. The article foregrounds the supplementary status of Tyndall's physical and Zola's literary knowledge. As Zola's striking intuition demonstrates, literature appears to have a privileged approach to the phenomenon of man-induced climate change.}, language = {en} } @article{Walz2009, author = {Walz, Steffen P.}, title = {Approaches to space in game design research}, series = {DIGAREC Lectures 2008/09 : Vortr{\"a}ge am Zentrum f{\"u}r Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009}, journal = {DIGAREC Lectures 2008/09 : Vortr{\"a}ge am Zentrum f{\"u}r Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009}, number = {2}, publisher = {Universit{\"a}tsverlag Potsdam}, address = {Potsdam}, isbn = {978-3-86956-004-5}, issn = {1867-6219}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-33259}, pages = {228 -- 254}, year = {2009}, abstract = {In this contribution, we gather major academic and design approaches for explaining how space in games is constructed and how it constructs games, thereby defining the conceptual dimensions of gamespace. Each concept's major inquiry is briefly discussed, iterated if applicable, as well as named. Thus, we conclude with an overview of the locative, the representational, the programmatic, the dramaturgical, the typological, the perspectivistic, the form-functional, and the form-emotive dimensions.}, language = {en} } @article{Warnke2010, author = {Warnke, Martin}, title = {Logic as a medium}, series = {DIGAREC series}, journal = {DIGAREC series}, number = {4}, issn = {1867-6227}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42710}, pages = {64 -- 78}, year = {2010}, abstract = {Computer games are rigid in a peculiar way: the logic of computation was the first to shape the early games. The logic of interactivity marked the action genre of games in the second place, while in massive multiplayer online gaming all the emergences of the net occur to confront us with just another type of logic. These logics are the media in which the specific forms of computer games evolve. Therefore, a look at gaming supposing that there are three eras of computation is taken: the early synthetical era, ruled by the Turing machine and by mainframe computers, by the IPO principle of computing; the second, mimetical era, when interactivity and graphical user interfaces dominate, the domain of the feedback loop; and the third, emergent era, in which the complexity of networked personal computers and their users is dominant.}, language = {en} } @article{Weilandt2022, author = {Weilandt, Maria}, title = {Nationality as Intersectional Storytelling}, series = {New Perspectives on Imagology}, journal = {New Perspectives on Imagology}, editor = {Edtstadler, Katharina and Folie, Sandra and Zocco, Gianna}, publisher = {Brill}, address = {Leiden}, isbn = {978-90-04-45012-7}, doi = {10.1163/9789004513150_016}, pages = {297 -- 311}, year = {2022}, abstract = {Nationality traditionally is one of imagology's key terms. In this article, I propose an intersectional understanding of this category, conceiving nationality as an interdependent dynamic. I thus conclude it to be always internally constructed by notions of gender, sexuality, race, class, religion, age, ability, and other identity categories. This complex and multi-layered construct, I argue, is formed narratively. To exemplify this, I analyse practices of stereotyping in Honor{\´e} de Balzac's Illusions perdues (1843) and Henry James's The American (1877) which construct the so-called Parisienne as a synecdoche for nineteenth-century France.}, language = {en} } @article{Weilandt2020, author = {Weilandt, Maria}, title = {Ways of Worldmaking}, series = {Materielle Miniaturen : zur {\"A}sthetik der Verkleinerung}, journal = {Materielle Miniaturen : zur {\"A}sthetik der Verkleinerung}, editor = {Lehnert, Gertrud and Weilandt, Maria and Textor, Ursula}, publisher = {K{\"o}nigshausen \& Neumann}, address = {W{\"u}rzburg}, isbn = {978-3-8260-6679-5}, pages = {185 -- 202}, year = {2020}, language = {en} } @article{Wenz2010, author = {Wenz, Karin}, title = {Narrative logics of digital games}, series = {DIGAREC series}, journal = {DIGAREC series}, number = {4}, issn = {1867-6227}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42750}, pages = {146 -- 164}, year = {2010}, abstract = {The debate whether to locate the narrative of digital games a) as part of the code or b) as part of the performance will be the starting point for an analysis of two roleplaying games: the single-player game ZELDA: MAJORA'S MASK and the Korean MMORPG AION and their respective narrative logics. When we understand games as abstract code systems, then the narrative logic can be understood as embedded on the code level. With a focus on the player's performance, the actualization of the possibilities given in the code system is central. Both logics, that of code and that of performance, are reflected in players' narratives based on the playing experience. They do reflect on the underlying code and rules of the game system as they do reflect on the game world and their own performance within. These narratives rely heavily on the source text - the digital game -, which means that they give insights into the underlying logics of the source text. I will discuss the game structure, the players' performance while playing the game and the performance of the player after playing the game producing fan narratives. I conceive the narrative structure and the performance of the player playing as necessarily interconnected when we discuss the narrative logics of a game. Producing fan narratives is understood as a performance as well. This performance is based on the experience the players made while playing and refers to both logics of the game they use as their source text.}, language = {en} } @article{Wiemer2010, author = {Wiemer, Serjoscha}, title = {Playing on the plane of immanence}, series = {DIGAREC series}, journal = {DIGAREC series}, number = {4}, issn = {1867-6227}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42765}, pages = {166 -- 195}, year = {2010}, abstract = {In recent years computer games have been discussed by a variety of disciplines from various perspectives. A fundamental difference with other media, which is a point of continuous consideration, is the specific relationship between the viewer and the image, the player and the game apparatus, which is a characteristic of video games as a dispositive. Terms such as immersion, participation, interactivity, or ergodic are an indication of the deep interest in this constellation. This paper explores the resonance between body and image in video games like REZ, SOUL CALIBUR and DANCE DANCE REVOLUTION from the perspective of a temporal ontology of the image, taking particular account of the structuring power of the interface and its subject positioning aspects.}, language = {en} } @article{Wolf2011, author = {Wolf, Mark J. P.}, title = {Theorizing navigable space in video games}, series = {DIGAREC Series}, journal = {DIGAREC Series}, number = {6}, issn = {1867-6219}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49809}, pages = {18 -- 49}, year = {2011}, abstract = {Space is understood best through movement, and complex spaces require not only movement but navigation. The theorization of navigable space requires a conceptual representation of space which is adaptable to the great malleability of video game spaces, a malleability which allows for designs which combine spaces with differing dimensionality and even involve non-Euclidean configurations with contingent connectivity. This essay attempts to describe the structural elements of video game space and to define them in such a way so as to make them applicable to all video game spaces, including potential ones still undiscovered, and to provide analytical tools for their comparison and examination. Along with the consideration of space, there will be a brief discussion of navigational logic, which arises from detectable regularities in a spatial structure that allow players to understand and form expectations regarding a game's spaces.}, language = {en} }