Questões de Inglês

[1] The study of game aesthetics is a very

recent practice, spanning less than two

decades. Unlike game studies in mathematics

or the social sciences, ........ are much older,

[5] games became subject to humanistic study

only after computer and video games became

popular. This lack of persistent interest might

seem odd, but only if we see traditional

games and computer games as intrinsically

[10] similar, ........ they are not. We might try to

explain this lack by noting that games are

usually seen as trivial and lowbrow by the

aesthetic and theoretical elites ........ cultivate

the analysis of artistic media objects:

[15] literature, the visual arts, theatre, music, etc.

But this does not explain the fact that

aesthetic studies of games are now not only

possible, but even encouraged and supported

with funding. What happened to cause this

[20] change?

A possible explanation could be that digital

games, unlike traditional games or sports,

consist of non-ephemeral content (stored

words, sounds and images), which places

[25] them much closer to the ideal object of the

Humanities, the work of art. Thus, they

become visible and textualizable for the

aesthetic observer, in a way the previous

phenomena were not.

[30] However, this sudden visibility, probably

also caused by the tremendous economic and

cultural success of computer games, produces

certain blind spots in the aesthetic observer,

especially if he/she is trained in textual/visual

[35] analysis, as is usually the case. Instead of

treating the new phenomena carefully, and as

objects of a study for which no methodology

yet exists, they are analyzed with tools that

happen to be at hand, such as film or

[40] narrative theories. Therefore we need to

outline and promote a methodology for the

aesthetic study of games, which, given the

current nascent state of the field, will

doubtlessly give way to more sophisticated

[45] approaches in the years to come.

Adapted from: Aarseth, Espen. Playing Research: Methodological approaches to game analysis. Available at: <http://hypertext.rmit.edu.au/dac/ papers/Aarseth.pdf>. Accessed on July 26th, 2014.

[1] The study of game aesthetics is a very

recent practice, spanning less than two

decades. Unlike game studies in mathematics

or the social sciences, ........ are much older,

[5] games became subject to humanistic study

only after computer and video games became

popular. This lack of persistent interest might

seem odd, but only if we see traditional

games and computer games as intrinsically

[10] similar, ........ they are not. We might try to

explain this lack by noting that games are

usually seen as trivial and lowbrow by the

aesthetic and theoretical elites ........ cultivate

the analysis of artistic media objects:

[15] literature, the visual arts, theatre, music, etc.

But this does not explain the fact that

aesthetic studies of games are now not only

possible, but even encouraged and supported

with funding. What happened to cause this

[20] change?

A possible explanation could be that digital

games, unlike traditional games or sports,

consist of non-ephemeral content (stored

words, sounds and images), which places

[25] them much closer to the ideal object of the

Humanities, the work of art. Thus, they

become visible and textualizable for the

aesthetic observer, in a way the previous

phenomena were not.

[30] However, this sudden visibility, probably

also caused by the tremendous economic and

cultural success of computer games, produces

certain blind spots in the aesthetic observer,

especially if he/she is trained in textual/visual

[35] analysis, as is usually the case. Instead of

treating the new phenomena carefully, and as

objects of a study for which no methodology

yet exists, they are analyzed with tools that

happen to be at hand, such as film or

[40] narrative theories. Therefore we need to

outline and promote a methodology for the

aesthetic study of games, which, given the

current nascent state of the field, will

doubtlessly give way to more sophisticated

[45] approaches in the years to come.

Adapted from: Aarseth, Espen. Playing Research: Methodological approaches to game analysis. Available at: <http://hypertext.rmit.edu.au/dac/ papers/Aarseth.pdf>. Accessed on July 26th, 2014.

[1] The study of game aesthetics is a very

recent practice, spanning less than two

decades. Unlike game studies in mathematics

or the social sciences, ........ are much older,

[5] games became subject to humanistic study

only after computer and video games became

popular. This lack of persistent interest might

seem odd, but only if we see traditional

games and computer games as intrinsically

[10] similar, ........ they are not. We might try to

explain this lack by noting that games are

usually seen as trivial and lowbrow by the

aesthetic and theoretical elites ........ cultivate

the analysis of artistic media objects:

[15] literature, the visual arts, theatre, music, etc.

But this does not explain the fact that

aesthetic studies of games are now not only

possible, but even encouraged and supported

with funding. What happened to cause this

[20] change?

A possible explanation could be that digital

games, unlike traditional games or sports,

consist of non-ephemeral content (stored

words, sounds and images), which places

[25] them much closer to the ideal object of the

Humanities, the work of art. Thus, they

become visible and textualizable for the

aesthetic observer, in a way the previous

phenomena were not.

[30] However, this sudden visibility, probably

also caused by the tremendous economic and

cultural success of computer games, produces

certain blind spots in the aesthetic observer,

especially if he/she is trained in textual/visual

[35] analysis, as is usually the case. Instead of

treating the new phenomena carefully, and as

objects of a study for which no methodology

yet exists, they are analyzed with tools that

happen to be at hand, such as film or

[40] narrative theories. Therefore we need to

outline and promote a methodology for the

aesthetic study of games, which, given the

current nascent state of the field, will

doubtlessly give way to more sophisticated

[45] approaches in the years to come.

Adapted from: Aarseth, Espen. Playing Research: Methodological approaches to game analysis. Available at: <http://hypertext.rmit.edu.au/dac/ papers/Aarseth.pdf>. Accessed on July 26th, 2014.

[1] Orientalism means several interdependent

things. The most readily accepted designation

for Orientalism is an academic one. Anyone

who teaches, writes about, or researches the

[5] Orient, either in its specific or its general

aspects, is an Orientalist, and what he or she

does is Orientalism.

Related to this academic tradition is a

more general meaning for Orientalism as a

[10] style of thought based ........ a distinction

made between ‘the Orient’ and ‘the Occident.’

Thus a very large mass of writers and thinkers

have accepted the basic distinction between

East and West as the starting point for

[15] elaborate theories, epics, novels, social

descriptions, and political accounts concerning

the Orient, its people, customs, ‘mind,’

destiny, and so on.

The interchange between the academic

[20] and the more or less imaginative meanings of

Orientalism is a constant one, and since the

late 18th century there has been a

considerable traffic between the two. Here I

come to the third meaning of Orientalism,

[25] which is something more historically and

materially defined than either of the other

two. Orientalism can be discussed and

analyzed as the corporate institution for

dealing with the Orient—dealing with it by

[30] making statements about it, authorizing views

of it, describing it, by teaching it, settling it: in

short, Orientalism as a Western discourse for

dominating, restructuring, and having

authority ........ the Orient.

[35] The Orient is not an inert fact of nature. It

is not merely there, just as the Occident itself

is not just there either. As both geographical

and cultural entities such regions as ‘Orient’

and ‘Occident’ are man-made. Therefore as

[40] much as the West itself, the Orient is an idea

that has a history and a tradition of thought,

imagery, and vocabulary that have given it

reality and presence in and for the West. The

two geographical entities thus support and to

[45] an extent reflect each other. It would be

wrong to conclude that the Orient is

essentially an idea, or a creation with no

corresponding reality. There are cultures and

nations whose location is in the East, and

[50] their lives, histories, and customs have a

brute reality obviously greater than anything

that could be said about them in the West.

But the phenomenon of Orientalism as

studied here deals principally, not with a

[55] correspondence between Orientalism and

Orient, but with the internal consistency of

Orientalism and its ideas about the Orient

........ or beyond any correspondence, or lack

thereof, with a ‘real’ Orient.

Adaptado de: SAID, Edward. Orientalism. In: Ashcroft, Bill et al. (ed.) The Postcolonial Studies Reader . London/ New York: Routledge, 1995. p. 87-91.

[1] Orientalism means several interdependent

things. The most readily accepted designation

for Orientalism is an academic one. Anyone

who teaches, writes about, or researches the

[5] Orient, either in its specific or its general

aspects, is an Orientalist, and what he or she

does is Orientalism.

Related to this academic tradition is a

more general meaning for Orientalism as a

[10] style of thought based ........ a distinction

made between ‘the Orient’ and ‘the Occident.’

Thus a very large mass of writers and thinkers

have accepted the basic distinction between

East and West as the starting point for

[15] elaborate theories, epics, novels, social

descriptions, and political accounts concerning

the Orient, its people, customs, ‘mind,’

destiny, and so on.

The interchange between the academic

[20] and the more or less imaginative meanings of

Orientalism is a constant one, and since the

late 18th century there has been a

considerable traffic between the two. Here I

come to the third meaning of Orientalism,

[25] which is something more historically and

materially defined than either of the other

two. Orientalism can be discussed and

analyzed as the corporate institution for

dealing with the Orient—dealing with it by

[30] making statements about it, authorizing views

of it, describing it, by teaching it, settling it: in

short, Orientalism as a Western discourse for

dominating, restructuring, and having

authority ........ the Orient.

[35] The Orient is not an inert fact of nature. It

is not merely there, just as the Occident itself

is not just there either. As both geographical

and cultural entities such regions as ‘Orient’

and ‘Occident’ are man-made. Therefore as

[40] much as the West itself, the Orient is an idea

that has a history and a tradition of thought,

imagery, and vocabulary that have given it

reality and presence in and for the West. The

two geographical entities thus support and to

[45] an extent reflect each other. It would be

wrong to conclude that the Orient is

essentially an idea, or a creation with no

corresponding reality. There are cultures and

nations whose location is in the East, and

[50] their lives, histories, and customs have a

brute reality obviously greater than anything

that could be said about them in the West.

But the phenomenon of Orientalism as

studied here deals principally, not with a

[55] correspondence between Orientalism and

Orient, but with the internal consistency of

Orientalism and its ideas about the Orient

........ or beyond any correspondence, or lack

thereof, with a ‘real’ Orient.

Adaptado de: SAID, Edward. Orientalism. In: Ashcroft, Bill et al. (ed.) The Postcolonial Studies Reader . London/ New York: Routledge, 1995. p. 87-91.

[1] Orientalism means several interdependent

things. The most readily accepted designation

for Orientalism is an academic one. Anyone

who teaches, writes about, or researches the

[5] Orient, either in its specific or its general

aspects, is an Orientalist, and what he or she

does is Orientalism.

Related to this academic tradition is a

more general meaning for Orientalism as a

[10] style of thought based ........ a distinction

made between ‘the Orient’ and ‘the Occident.’

Thus a very large mass of writers and thinkers

have accepted the basic distinction between

East and West as the starting point for

[15] elaborate theories, epics, novels, social

descriptions, and political accounts concerning

the Orient, its people, customs, ‘mind,’

destiny, and so on.

The interchange between the academic

[20] and the more or less imaginative meanings of

Orientalism is a constant one, and since the

late 18th century there has been a

considerable traffic between the two. Here I

come to the third meaning of Orientalism,

[25] which is something more historically and

materially defined than either of the other

two. Orientalism can be discussed and

analyzed as the corporate institution for

dealing with the Orient—dealing with it by

[30] making statements about it, authorizing views

of it, describing it, by teaching it, settling it: in

short, Orientalism as a Western discourse for

dominating, restructuring, and having

authority ........ the Orient.

[35] The Orient is not an inert fact of nature. It

is not merely there, just as the Occident itself

is not just there either. As both geographical

and cultural entities such regions as ‘Orient’

and ‘Occident’ are man-made. Therefore as

[40] much as the West itself, the Orient is an idea

that has a history and a tradition of thought,

imagery, and vocabulary that have given it

reality and presence in and for the West. The

two geographical entities thus support and to

[45] an extent reflect each other. It would be

wrong to conclude that the Orient is

essentially an idea, or a creation with no

corresponding reality. There are cultures and

nations whose location is in the East, and

[50] their lives, histories, and customs have a

brute reality obviously greater than anything

that could be said about them in the West.

But the phenomenon of Orientalism as

studied here deals principally, not with a

[55] correspondence between Orientalism and

Orient, but with the internal consistency of

Orientalism and its ideas about the Orient

........ or beyond any correspondence, or lack

thereof, with a ‘real’ Orient.

Adaptado de: SAID, Edward. Orientalism. In: Ashcroft, Bill et al. (ed.) The Postcolonial Studies Reader . London/ New York: Routledge, 1995. p. 87-91.