Sep 052019

Sep 052019

Call for Chapters: Multidisciplinary Perspectives on Narrative Aesthetics in Video Games

Proposals Submission Deadline: September 18, 2019
Full Chapters Due: January 16, 2020
Submission Date: May 10, 2020


Each period creates its particular aesthetics. Developments in the scientific and technological fields affect art forms and accelerate their evolution. In time, the leading art movements of an era generate and exceed their own saturation of thresholds, transform their ‘deep-and-singular’ selves into ‘shallow-and-multiple’ selves. An art form that evolves by its internal dynamics and statics reaches the threshold of saturation, and finally becomes a ‘springboard’ upon which another art form can take further steps. This is how art forms evolve in interaction. In this context, video games have rapidly covered the path that cinema has taken over a long period.

By advancing through its evolution, video games now represent many narrative systems that provide a semantic reserve of form and content for both their own medium and the other mediums. These narrative systems have been inevitably subjected to the effects of technological developments. Meanwhile, concepts such as Mimesis, Diegesis, and Katharsis, which have remained valid since Aristotle, have dominated the narrative channels throughout the history of art given the enigmatic attractiveness of their singularities. As in everything, the principle of dialectic antagonism, which carries and expands all the layers of meaning by adding new particles as time progresses, stood against these concepts by revealing alternative systems like Brechtian, Modern and Postmodern narratives, particularly in theater and cinema. On the one hand, it can be claimed that there has always been a single narrative idea and it embodied in various mediums; on the other hand, it can also be claimed that each media could have inevitably created its own narrative system. In both cases, it is certain that almost every piece of art which conveyed by many other mediums or branches formed their own ontologic “present,” while feeding on the unalterable knowledge of the past. Sometimes by standing alongside the things they show, sometimes by standing up against, or sometimes by being only neutral observers to them.

Evolutionary big leaps in the history of art have always taken place with a dimensional expansion and Every successful thing goes beyond its predecessor. As the predecessor of video games, cinema took the first big leap and replicated the unique features of many previous art forms and synthesized them. The dimensional expansion here manifested as (detection of) movement. Afterward, video games replicated mostly all the features of cinema and others and synthesized them. The dimensional expansion here manifested as interactivity. Since video games synthesize unique features of various art forms, they have the qualified characteristics of expressing many meanings, elements, contents and methods that convey and construct narrative systems in various ways.


In this project, our Editorial Advisory Board and we will endeavor to read video games as one of the most potent and evolutionary representatives of narrativity, from a narrativist perspective without missing valuable arguments of ludologist perspective. As a collection of critical and cultural studies, this book aims to provide valuable knowledge of relevant theoretical and conceptual frameworks in both game studies and the theory of video games. This book also aims to be a manuscript that reassesses and interprets intensive topics of the history of video games from a contemporary and multidisciplinary perspective. I’ll be written for scholars, researchers, practitioners, and professionals who want to enhance their understanding and imply the knowledge of the relationship and correlation of video games, narrativity, and aesthetics.

Target Audience

The target audience of this book will be composed of scholars, researchers, practitioners, and professionals studying and/or working in the fields of game studies, history of video games, art and other arts, media arts, social and communication sciences, interdisciplinary and multidisciplinary studies, media studies, critical and cultural studies, narration arts like cinema, theater, literature, photography and music, and game design.

Recommended Topics

Welcomed Topics Include (but also a combination of) the following:

• Analyzes through Narrative Discourse of Gerard Genette upon video games.
• Analyzes on video games with Erwin Panofsky’s Iconographic method.
• Linguistic Competence of Video Games: Emergence and maintenance of meaning codes, components, patterns, and systems.
• The appearance of Classic, Modern, and Postmodern narrative in video games.
• Exchange of narrative elements between art branches and video games.
• Analogical narrative design in video games.
• Relativist narrative design in video games.
• Perspectivist narrative design in video games.
• Structuralist narrative design in video games.
• Formalist narrative design in video games.
• Interpretivist narrative design in video games.
• Stylist narrative design in video games.
• Sophisticated content design in video games.
• Games that have complicated plots/superimpose narrative layers.
• Reading video games as a “representation system.”
• Games that replicate/transform cinematographic aesthetics.
• Games that replicate/transform photographic aesthetics.
• Games that replicate/transform literal aesthetics.
• Games that replicate/transform theatrical aesthetics.
• Games that replicate/transform musical aesthetics.
• The appearance of archetypes on video games/video game archetypes.
• The appearance of stereotypes on video games/video game stereotypes.
• The appearance of Kitsch, Pastiche, and Parody on video games.
• Mimetic, Diegetic, and Cathartic manifestations in video games.
• Epic, Poetic, and Didactic manifestations in video games.
• Theoretical analysis of narratology through video games.
• Historical analysis of narratology through video games.
• Sociological analysis of narratology through video games.
• Psychological analysis of narratology through video games.
• Anthropological analysis of narratology through video games.
• Dialogue, monologue & inner voice in the context of video game narrative.
• Narrative aesthetics through acting & dubbing in video games.
• The aesthetic function of the narrator in video games.

Submission Procedure

Scholars and researchers are invited to submit on or before Sept 18, 2019, a chapter proposal of 500 to 750 words (excluding bibliography) clearly explaining the mission and concerns of his or her proposed chapter and an author information 200 to 300 words. The authors will be notified by Oct 05, 2019 about the acceptance of their proposals and sent chapter guidelines. Full chapters are expected to be submitted by Jan 16, 2020. All interested authors must consult the guidelines for manuscript submissions at prior to submission. All manuscripts are accepted based on a double-blind peer review editorial process. Contributors may also be requested to serve as reviewers for this project. 

Note: There are no submission or acceptance fees for manuscripts submitted to this book publication, Multidisciplinary Perspectives on Narrative Aesthetics in Video Games.

All proposals should be submitted through the eEditorial Discovery®TM online submission manager.


This book is scheduled to be published by IGI Global (formerly Idea Group Inc.), publisher of the “Information Science Reference” (formerly Idea Group Reference), “Medical Information Science Reference,” “Business Science Reference,” and “Engineering Science Reference” imprints. For additional information regarding the publisher, please visit This publication is anticipated to be released in 2020.

Important Dates

Sept 18, 2019: Proposal Submission Deadline 
Oct 5, 2019: Notification of Acceptance
Jan 16, 2020: Full Chapter Submissions
Mar 15, 2020: Review Results Returned
Apr 12, 2020: Revised Chapter Submission
May 10, 2020: Final Chapter Submission

Project Link


Deniz Denizel 
Bahcesehir University

Deniz Eyüce Şansal 
Bahcesehir University

Sep 052019

Teens, Social Media & Technology 2018” por Monica anderson e Jingjing jiang

“YouTube, Instagram and Snapchat are the most popular online platforms among teens. Fully 95% of teens have access to a smartphone, and 45% say they are online ‘almost constantly'”

+infos(estudo): LINK

Sep 052019

“Do you want to find out how games can enhance traditional teaching and learning and would like to include games elements in your classroom? This MOOC for teachers will examine the opportunities but also challenges offered by integrating games into our teaching and learning and will provide practical examples of gaming tools and activities to use in your daily teaching practice. We will be learning through a mix of video, interactive activities and discussions as well as sharing of resources.”

Module 1: Why use Computer Games in the classroom?
Module 2: Using Games for Thematic Learning
Module 3: Learning Games
Module 4: What can we learn from games?
Module 5: Designing Games
Module 6: Why is it important to teach about games?

Começa dia 14 de outubro..

+infos(o curso): LINK

Sep 052019

Dois textos interessantes sobre a grande problemática que hoje existe e que está relacionada com a publicação que é paga..

The false academy: predatory publishing in science and bioethics” por Stefan Eriksson e Gert Helgesson

“This paper describes and discusses the phenomenon ‘predatory publishing’, in relation to both academic journals and books, and suggests a list of characteristics by which to identify predatory journals. It also raises the question whether traditional publishing houses have accompanied rogue publishers upon this path. It is noted that bioethics as a discipline does not stand unaffected by this trend. Towards the end of the paper it is discussed what can and should be done to eliminate or reduce the effects of this development. The paper concludes that predatory publishing is a growing phenomenon that has the potential to greatly affect both bioethics and science at large. Publishing papers and books for profit, without any genuine concern for content, but with the pretence of applying authentic academic procedures of critical scrutiny, brings about a worrying erosion of trust in scientific publishing.”

+infos(o texto): LINK

Write-Only Publication IGI Global and Other Vampire Presses” por Ian Bogost

“For those of you who have become cynical in the face of academic publishing, an enterprise sometimes accused of supporting itself in spite of rather than in support of the ideas contained in the books that are its product”

+infos(o texto): LINK

Sep 052019

#Desenvolvimento de jogos educativos
As teorias de aprendizagem e os jogos educativos
Inteligência Artificial e Machine Learning
Ambientes Imersivos
Realidade Virtual
Realidade Aumentada

Serious games
Game-based learning
Social learning games

#Mobile learning
Apps para aprender
Apps e educação inclusiva
Abordagens mobile learning inovadoras / criativas
Avaliação da aprendizagem com dispositivos móveis
Internet das Coisas

Datas importantes:
Até 1 de fevereiro de 2020, Submissão de comunicações (textos completos) e relatórios de experiências
Até 6 de março de 2020, Notificação aos autores
Até 26 de março de 2020, Envio da versão final da comunicação
A partir de 1 de março de 2020, Inscrições e pagamento para participantes



Sep 052019

procuro aceder ao livro/i seek access to the book:

Historia Ludens: The Playing Historian editado por: Alexander von Lünen, Katherine J. Lewis, Benjamin Litherland, Pat Cullum

“This book aims to further a debate about aspects of “playing” and “gaming” in connection with history. Reaching out to academics, professionals and students alike, it pursues a dedicated interdisciplinary approach. Rather than only focusing on how professionals could learn from academics in history, the book also ponders the question of what academics can learn from gaming and playing for their own practice, such as gamification for teaching, or using “play” as a paradigm for novel approaches into historical scholarship. “Playing” and “gaming” are thus understood as a broad cultural phenomenon that cross-pollinates the theory and practice of history and gaming alike.”

+infos(preview): LINK


Aug 062019

“O Colóquio Inovação em educação: balanços e perspetivas futuras inscreve-se nas atividades do CIDInE e pretende constituir-se como um momento de reflexão sobre as questões que a inovação e a intervenção em educação levantam aos investigadores, formadores, professores e outros profissionais de educação em sociedades cada vez mais complexas.”

Os temas:
Contextos e dimensões do desenvolvimento humano
Aprendizagem e construção de conhecimento
Desenvolvimento curricular e formação
Supervisão e desenvolvimento profissional e institucional
Docência e inovação no Ensino Superior

Envio de resumos – 23 de agosto de 2019
Comunicação da aceitação da proposta – 14 de setembro de 2019
Divulgação do programa – 10 de setembro de 2019


Jul 222019

O consórcio IPB/USAL/UAberta/UCM, formado pelo Departamento de Tecnologia Educativa e Gestão de Informação da Escola Superior de Educação do Instituto Politécnico de Bragança em Portugal, o Departamento de Didáctica, Organización y Métodos de Investigación da Universidad de Salamanca em Espanha, a Unidade de Desenvolvimento dos Centros Locais de Aprendizagem da Universidade Aberta em Portugal e o Departamento de Estudios Educativos/ Didáctica y Organización Escolar da Facultad de Educación da Universidad Complutense de Madrid em Espanha, apresentam a VI edição da conferência Ibérica de Inovação na Educação com Tecnologias da Informação e Comunicação (ieTIC2020).

Eixos temáticos: Lista de Tópicos / List of Topics
1 – Movimentos e ocorrências emergentes da e-sociedade
– Novas perspetivas de integração das TIC na educação e na formação
– TIC e sociedade
– Open source e open access
– Ética, valores e comportamentos no mundo digital
– Semantic web na Educação
– Big data e learning analitics em educação
– Internet das coisas e educação.

2- Comunicação e interação em redes de aprendizagem e formação
– Redes sociais, comunidades online e tecnologias Web 2.0
– e-learning, b-learning e m-learning, MOOCs e comunidades virtuais
– Videoconferência e outros serviços de interação síncrona e assíncrona
– Ferramentas colaborativas
– Computação em nuvem.

3 – Produção e integração de recursos educativos digitais
– Desenvolvimento de aplicações web
– Tecnologias multimédia e dispositivos associados
– Tecnologias para criação de objetos de aprendizagem multimédia
– Programação e robótica
– Realidade virtual, realidade aumentada e realidade mista
– Mundos virtuais 3D
– Serious games e virtual games
– TIC e necessidades educativas especiais.

4 – Políticas e projetos para a aprendizagem e formação com TIC
– Perspetivas nacionais e internacionais de projetos educativos com TIC
– TIC e formação inicial e contínua de professores
– TIC e aprendizagem ao longo da vida
– TIC e transformação da escola
– Projetos inovadores e experiências educativas com TIC
– Aprendizagem assistida por tecnologias.

Datas importantes:
30/11/2019 Prazo final para a submissão de resumos
31/12/2019 Prazo final para envio de revisões
06/01/2020 Notificação aos autores
12/01/2020 Prazo final para a submissão da versão revista dos resumos
05/02/2020 Publicação do livro de resumos (digital)
27 e 28/02/2020 VI Conferência Ibérica de Inovação na Educação com TIC (ieTIC2020)
29/03/2020 Prazo final para a submissão de artigos (textos integrais das comunicações orais e em poster)
26/04/2020 Notificação aos autores da aceitação dos textos
10/05/2020 Prazo final para a submissão da versão final dos textos
junho, 2020 Publicação do livro de textos selecionados da ieTIC2020


Jun 252019

procuro aceder ao paper/i would like to have access to this article:

Super Mario Seriality: Nintendo’s Narratives and Audience Targeting within the Video Game Console Industry

“At the conclusion of Super Mario Bros. (1986), the archetypal side-scrolling platform game, the player-character Mario confronts his arch-nemesis Bowser for the first time. The demonic monster Bowser — King of the Koopa — awaits Mario upon a drawbridge spanning a lava sea. The player’s game-long narrative goal is Mario’s freeing of Princess Peach by defeating Bowser, her captor;1 the player must guide Mario beneath the Koopa King, who hops up and down hurling axes, having him then leap upon a larger glowing axe hovering at the opposite end of the drawbridge. Successful completion of this task results in the disintegration of the drawbridge and Bowser’s descent into the lava below upon which Mario enters an adjacent room where Peach awaits. Screen text conveys her highness’ gratitude — ‘Thank you Mario!’, confirming that the hero’s ‘quest is over’.”