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In seven chapters, this book offers a comprehensive and accessible characterisation of the first-person shooter videogame genre. After providing an overview of the history of the first-person shooter videogame genre, Alberta Oya comments on the various defining peculiarities of the first-person shooter videogame genre, namely the first-person perspective, the shooting gaming mechanics, the heroic in-game narrative or background story, and multiplayer gaming. Oya explores these features and uses them to argue that educators can use first-person shooter videogames to encourage their students to reflect on historical and philosophical issues.
Author:
In seven chapters, this book offers a comprehensive and accessible characterisation of the first-person shooter videogame genre. After providing an overview of the history of the first-person shooter videogame genre, Alberta Oya comments on the various defining peculiarities of the first-person shooter videogame genre, namely the first-person perspective, the shooting gaming mechanics, the heroic in-game narrative or background story, and multiplayer gaming. Oya explores these features and uses them to argue that educators can use first-person shooter videogames to encourage their students to reflect on historical and philosophical issues.
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Approaches to Translation Studies is an international series promoting the scholarly study of translation. The notion of plural ‘approaches’ to translation and its study calls up images of scholarly explorers following untrodden paths to translation, or more cautiously (re)tracing the familiar routes. Either way, it indicates a refusal to be tied to dogma or prejudice, a curiosity about possible new vistas, and an awareness that the observer’s view depends on where s/he comes from. But a recognition of the plurality of possible approaches does not necessarily mean passive acquiescence to relativism and scepticism. The idea of ‘approaching’ translation also implies a sense of purpose and direction.
In the context of today’s globalised and pluralised world, this metaphorically suggested perspective is perhaps more relevant than ever before. The series therefore remains fully committed to it, while trying to respond to the rapid changes of our digital age. Ready to travel between genres, media and technologies, willing to span centuries and continents, and always keeping an open mind about the various oppositions that have too often needlessly divided researchers (e.g. high culture versus popular culture, linguistics versus literary studies versus cultural studies, translation ‘proper’ versus ‘adaptation’), the series Approaches to Translation Studies will continue to accommodate all translation-oriented books that match high-quality scholarship with an equal concern for reader-friendly communication.
Approaches to Translation Studies is open to a wide range of scholarly publications in the field of Translation Studies (monographs, collective volumes…). Dissertations are welcome but will obviously need to be thoroughly adapted to their new function and readership. Conference proceedings and collections of articles will only be considered if they show strong thematic unity and tight editorial control. For practical reasons, the series intends to continue its tradition of publishing English-language research. While students, teachers and scholars in the various schools and branches of Translation Studies make up its primary readership, the series also aims to promote a dialogue with readers and authors from various neighbouring disciplines.
Approaches to Translation Studies was launched in 1970 by James S Holmes (1924-1986), who was also one of the ‘founding fathers’ of Translation Studies as an academic discipline. At later stages the series’ editorship passed into the hands of Raymond van den Broeck, Kitty M. van Leuven-Zwart and Ton Naaijkens. Being the very first international series specifically catering for the needs of the fledgling discipline in the 1970s, Approaches to Translation Studies has played a significant historical role in providing it with a much needed platform as well as giving it greater visibility in the academic marketplace.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
Volumes 2, 4, and 5 were published by Van Gorcum (Assen, The Netherlands), but orders should be directed to Brill | Rodopi.
The series published an average of two volumes per year over the last 5 years.
In the context of today’s globalised and pluralised world, this metaphorically suggested perspective is perhaps more relevant than ever before. The series therefore remains fully committed to it, while trying to respond to the rapid changes of our digital age. Ready to travel between genres, media and technologies, willing to span centuries and continents, and always keeping an open mind about the various oppositions that have too often needlessly divided researchers (e.g. high culture versus popular culture, linguistics versus literary studies versus cultural studies, translation ‘proper’ versus ‘adaptation’), the series Approaches to Translation Studies will continue to accommodate all translation-oriented books that match high-quality scholarship with an equal concern for reader-friendly communication.
Approaches to Translation Studies is open to a wide range of scholarly publications in the field of Translation Studies (monographs, collective volumes…). Dissertations are welcome but will obviously need to be thoroughly adapted to their new function and readership. Conference proceedings and collections of articles will only be considered if they show strong thematic unity and tight editorial control. For practical reasons, the series intends to continue its tradition of publishing English-language research. While students, teachers and scholars in the various schools and branches of Translation Studies make up its primary readership, the series also aims to promote a dialogue with readers and authors from various neighbouring disciplines.
Approaches to Translation Studies was launched in 1970 by James S Holmes (1924-1986), who was also one of the ‘founding fathers’ of Translation Studies as an academic discipline. At later stages the series’ editorship passed into the hands of Raymond van den Broeck, Kitty M. van Leuven-Zwart and Ton Naaijkens. Being the very first international series specifically catering for the needs of the fledgling discipline in the 1970s, Approaches to Translation Studies has played a significant historical role in providing it with a much needed platform as well as giving it greater visibility in the academic marketplace.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
Volumes 2, 4, and 5 were published by Van Gorcum (Assen, The Netherlands), but orders should be directed to Brill | Rodopi.
The series published an average of two volumes per year over the last 5 years.
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New Intersectional Approaches to German Studies
Founded in 1972, this series welcomes publications that further develop the investigation of German-language literature(s) and culture(s) from a transdisciplinary perspective, covering the period from 1600 onwards. This includes edited volumes and monographs offering state-of-the-art research, as well as new critical editions of primary sources and collections.
Our mission remains to publish high quality research, especially new transdisciplinary approaches to German Studies. Consequently, the series offers a venue for exploring emerging fields of study that intersect with German cultural studies. This may include but is not limited to gender and sexuality studies, critical race and whiteness studies, disability studies, transcultural and postcolonial studies, film, theatre, and comic studies.
All submissions are subject to a double-anonymous peer review process prior to publication.
Authors are cordially invited to submit proposals for manuscripts in either German or English to the publisher at BRILL, Masja Horn.
Please advise our Guidelines for a Book Proposal.
Our mission remains to publish high quality research, especially new transdisciplinary approaches to German Studies. Consequently, the series offers a venue for exploring emerging fields of study that intersect with German cultural studies. This may include but is not limited to gender and sexuality studies, critical race and whiteness studies, disability studies, transcultural and postcolonial studies, film, theatre, and comic studies.
All submissions are subject to a double-anonymous peer review process prior to publication.
Authors are cordially invited to submit proposals for manuscripts in either German or English to the publisher at BRILL, Masja Horn.
Please advise our Guidelines for a Book Proposal.
New Intersectional Approaches to German Studies
Founded in 1972, this series welcomes publications that further develop the investigation of German-language literature(s) and culture(s) from a transdisciplinary perspective, covering the period from 1600 onwards. This includes edited volumes and monographs offering state-of-the-art research, as well as new critical editions of primary sources and collections.
Our mission remains to publish high quality research, especially new transdisciplinary approaches to German Studies. Consequently, the series offers a venue for exploring emerging fields of study that intersect with German cultural studies. This may include but is not limited to gender and sexuality studies, critical race and whiteness studies, disability studies, transcultural and postcolonial studies, film, theatre, and comic studies.
All submissions are subject to a double-anonymous peer review process prior to publication.
Authors are cordially invited to submit proposals for manuscripts in either German or English to the publisher at BRILL, Masja Horn.
Please advise our Guidelines for a Book Proposal.
Our mission remains to publish high quality research, especially new transdisciplinary approaches to German Studies. Consequently, the series offers a venue for exploring emerging fields of study that intersect with German cultural studies. This may include but is not limited to gender and sexuality studies, critical race and whiteness studies, disability studies, transcultural and postcolonial studies, film, theatre, and comic studies.
All submissions are subject to a double-anonymous peer review process prior to publication.
Authors are cordially invited to submit proposals for manuscripts in either German or English to the publisher at BRILL, Masja Horn.
Please advise our Guidelines for a Book Proposal.
Longer than an article, shorter than a book. The mini-monograph series allows researchers to publish their innovative work at lengths of between 35,000 and 60,000 words. Address the essence of your topic in this new format, and take advantage of our rigorous peer review, state of the art production, and personal guidance. Publish fast, stimulate academic debate, and reach your global audience through an international distribution network at an affordable price.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
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Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
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Was war Kino, und was wird es sein? Der schweizerisch-französische Regisseur Jean-Luc Godard (1930–2022) hat die Geschichte des Kinos wie kein zweiter im Medium selbst geschrieben, etwa in seinem monumentalen Filmessay Histoire(s) du cinema. Zugleich hat Godard dem Kino eine Rolle der historischen Zeugenschaft für die Katastrophen des 20. und 21. Jahrhunderts zugeschrieben, eine Verantwortung, die über den Horizont einer Geschichte der Kunstform Film weit hinaus geht. Und schließlich hat er sich früh schon die Frage gestellt, was nach dem Kino kommt: Wie es mit der Geschichte der Kunst weitergeht nach dieser »Erfindung ohne Zukunft«, wie Louis Lumière seine eigene Kreation einmal nannte. In einem Moment der Mediengeschichte, in dem der Film nicht mehr nur im Kino, sondern in den unterschiedlichsten Konfigurationen auftritt, nimmt der vorliegende Band Godards Werk zum Ausgangspunkt für eine vielstimmige Reflexion über die Geschichten und Zukünfte des Kinos. Mit Beiträgen von Jacques Aumont, Raymond Bellour, Nicole Brenez, Georges Didi-Huberman, Lorenz Engell, Daniel Fairfax, Vinzenz Hediger, Rembert Hüser, Adrian Martin, Volker Pantenburg, Regine Prange, Martin Seel, Philip Ursprung, Michael Witt.
Film denken nach der Geschichte des Kinos
Series:
Film Denken
Was war Kino, und was wird es sein? Der schweizerisch-französische Regisseur Jean-Luc Godard (1930–2022) hat die Geschichte des Kinos wie kein zweiter im Medium selbst geschrieben, etwa in seinem monumentalen Filmessay Histoire(s) du cinema. Zugleich hat Godard dem Kino eine Rolle der historischen Zeugenschaft für die Katastrophen des 20. und 21. Jahrhunderts zugeschrieben, eine Verantwortung, die über den Horizont einer Geschichte der Kunstform Film weit hinaus geht. Und schließlich hat er sich früh schon die Frage gestellt, was nach dem Kino kommt: Wie es mit der Geschichte der Kunst weitergeht nach dieser »Erfindung ohne Zukunft«, wie Louis Lumière seine eigene Kreation einmal nannte. In einem Moment der Mediengeschichte, in dem der Film nicht mehr nur im Kino, sondern in den unterschiedlichsten Konfigurationen auftritt, nimmt der vorliegende Band Godards Werk zum Ausgangspunkt für eine vielstimmige Reflexion über die Geschichten und Zukünfte des Kinos. Mit Beiträgen von Jacques Aumont, Raymond Bellour, Nicole Brenez, Georges Didi-Huberman, Lorenz Engell, Daniel Fairfax, Vinzenz Hediger, Rembert Hüser, Adrian Martin, Volker Pantenburg, Regine Prange, Martin Seel, Philip Ursprung, Michael Witt.
In:
Jean-Luc Godard
Author:
In:
Jean-Luc Godard