EXAMINING THE BEHAVIORAL INTENTIONS OF OLDER ADULTS AS VIRTUAL TOURISTS IN THE CONTEXT OF A SECOND LIFE DESTINATION

ABSTRACT Tourism opportunities are being promoted heavily on the web, yet one of the largest and most lucrative markets, older adults are least likely to use the internet. In an effort to explore barriers to and potential acceptance of technology for tourism experiences, this study followed closely ten older adults through a learning process with technology. Qualitative methodology was used to explore in-depth the experience of these older adults being exposed to online virtual world technology for the first time and exploring the process by which technology acceptance takes place. The findings indicate that online virtual world such as Second Life (SL) experiences have a high ease of use, and high perception of usefulness. However, with more immersed experiences, problems do rise due to inauthentic nature of SL. Overall the technology is not hard to learn for older adults, according to the study participants, and they did have a positive experience with the interactive nature of the virtual travel experience. They also saw benefits related to increased access to places that are difficult to reach physically for them. The Tourism industry may benefit from use of SL type technology as a tool to engage potential tourists. This study points to future research to prepare the tourism industry to take full advantage of this new cutting edge interactive technology in order to both market and maximize the tourist experience and increase satisfaction levels

The social poetics of analog virtual worlds : toying with alternate realities

textWhile online virtual worlds draw increasingly wider audiences of players and scholars alike, offline games continue to evolve into more complex and socially layered forms as well. This dissertation argues that virtual worlds need not exist as online, digital environments alone and probes three genres of non-digital gaming for evidence of the virtual: tabletop role-playing games, murder-mystery events, and localized alternate reality games. More broadly, then, this dissertation is about deliberate make-belief: practiced by adults, taken seriously by participants, engaged with for long hours at a time, performed in public, and integrated into everyday social relationships. Drawing on scholars who study games as social activities (McGonigal 2006, Montola 2012) and social institutions (Goffman 1974, Searle 1995), I present three ethnographic case studies that illustrate how complex forms of social gaming can conjure and sustain environments best understood as analog virtual worlds. Through the widespread use of mobile technologies and the concerted efforts of innovators, game spaces are increasingly permeating our everyday lives on- and offline. This dissolving boundary demands anthropologists to revisit questions of how, where, and with whom we play games. Dovetailing Martin Heidegger’s notions of worlding and poiesis to the semiotics of C.S. Peirce, this dissertation investigates how new forms of social gaming demonstrate the same qualities of shared intentionality, intersubjectivity, and performance essential to the production of new social meaning and cultural forms. Following, I situate the bold ethnographic case studies of make-belief in dialogue with scholars who figure exclusively online virtual worlds (Castronova 2005, Taylor 2006, Boellstorff 2008) and argue that analyzing both on- and offline virtual worlds together can help scholars better understand the fundamental nature of social interaction and shared intentionality, those everyday mechanisms that both sustain personal relationships on the one hand and maintain our broadest and most serious social institutions on the other.Anthropolog

Sisterhood Articulates A New Definition Of Moral Female Identity: Jane Austen\u27s Adaptation Of The Eighteenth-century Tradition

Writing at a moment of ideological crisis between individualism and hierarchical society, Jane Austen asserts a definition of moral behavior and female identity that mediates the two value systems. I argue that Austen most effectively articulates her belief in women\u27s moral autonomy and social responsibility in her novels through her portrayal of sisterhood. Austen reshapes the stereotype of sisters and female friendships as dangerous found in her domestic novel predecessors. While recognizing women\u27s social vulnerability, which endangers female friendship and turns it into a site of competition, Austen urges the morality of selflessly embracing sisterhood anyway. An Austen heroine must overcome sisterly rivalry if she is to achieve the moral strength Austen demands of her. As Mansfield Park (1814) and Pride and Prejudice (1813) demonstrate, such rivalry reveals the flawed morality of both individualism and patrilineal society. I further argue that in these novels sisterhood articulates the internally motivated selflessness Austen makes her moral standard. Sisterhood not only indicates female morality for Austen, it also enables this character. Rejecting Rousseau\u27s proposal of men shaping malleable female minds, Austen pronounces sisters to be the best moral guides. In Northanger Abbey (1818), Austen shows the failure of the man to educate our heroine and the success of his sister. In Sense and Sensibility (1811), Austen pinpoints the source of sisterly education\u27s success in its feminine context of nurture, affection, intimacy, and subtlety. With this portrait of sisterhood, Austen adheres to the moral authority inherent in Burkean philosophy while advocating individual responsibility, not external regulation, to choose selfless behavior. Austen further promotes gender equality by expressing women\u27s moral autonomy, while supporting gender distinctions that privilege femininity. By offering such powerful, complex sister relationships, Austen transforms eighteenth-century literary thought about women, sisters, and morality

Satire and sympathy : some consequences of intrusive narration in Tom Jones and other comic novels

This thesis aims to reinterpret Tom Jones by putting it into some previously untried comparative contexts. As well as using the traditional points of reference such as Lucian, Swift and Sterne, I compare Fielding's satire with Flaubert's; his narrative poetics with Dickens's and Beckett's; his strategy of intrusion with George Eliot's; and his literary politics with Brecht's. I start by assuming the ambivalence of Tom Jones, but rather than seeing this as a conscious ironic duality, I argue that it derives from literary, moral and political uncertainty. The intrusive narrator is seen as an index of vacillation between first- and third-person narration, while conservative satiric influences are shown to complicate rather than strengthen the book's moral decisiveness. Its form, moreover, is shown to be dialogic, and unable to keep at bay either the reader's subjectivity or the flux of historical reality. But Fielding's achievement, I finally suggest, is to have put these factors into the service of his awareness of the always judgmental nature of literature. The thesis therefore takes on several previously uncovered areas: it is very specific about the nature and extent of the narrator's presence in Tom Jones; it draws new analogies between social and literary forms (in the sections on conversation) and political and literary structures (in the section on Fielding's plays). It thereby reveals new areas of Fielding's writings which can be treated as literary theory; finds detailed affinities between Fielding and writers not normally associated with him; and eventually constitutes a reading of Tom Jones as an inconclusive and open-ended text which implies not a denial but a redefinition of its historical importance

Writing not drowning: an examination of the issues discussed in the novel Summer of Love, and of the creative and contextual research supporting its creation

This PhD submission consists of a novel, 'The Summer of Love', and a supporting thesis. Together, novel and thesis comprise and address the research inquiry underpinning the novel's creation, namely: how is it possible to write fiction exploring political issues, the UK Government's treatment of disabled people and the associated stigmatisation of welfare dependents, without flattening the story or appearing partisan or divisive? Is it possible for this novelist to capture difficult truths from the political and social landscape in prose that combines humour with insight? 'The Summer of Love' is a darkly satirical novel in which Alex, a disabled journalist fallen on hard times, uncovers a story that could link the govenment to a euthanasia programme targeting disabled, elderly and vulnerable people. During her investigation, she inadvertently becomes part of the Ladies' Defective Agency, a group of disabled women running a phone sex company which, in turn, may or may not be fronting for the underground activist gang, BOUDICCA. Alex and her guide dog, Chris, must negotiate a world where anyone reliant on any form of welfare is pilloried, scapegoated and a potential target of hate crime, in order to bring the uncomfortable truth to an oblivious society. The novel intends to bring forward challenging ideas about compassion, human rights and equality, about disability and normalcy, reflecting my/our worst nightmares about the current welfare changes and their impact on disabled and vulnerable people. Following extensive research and experiment, several key creative techniques are specified and applied including: 1) Immersion in historical texts in order to write scenarios and characters that would create a resonance with the T4Aktion plans for Nazi Germany 2) Conscientious development of a fully rounded, three dimensional disabled protagonist, in order to reflect our shared human experience and not just a 'disabled' experience 3) The use of satire and humour to create further narrative empathy through a shared, cathartic response of laughter followed by understanding and 4) Employment of the notion of 'protective fictionality', allowing the reader to escape into a slightly more fantastical 'Other England', where they can imaginatively inhabit the minds of animals as well as people. This was done in the hope that a more relaxed reader would be a more amenable, empathic and absorbed one. By applying these creative tactics, I hope, 'The Summer of Love' creates strong narrative empathic connections with its readers that may lead to a greater understanding of the current climate of hostility and shame faced by vulnerable and disabled people in the UK today, whilst at the same time providing an entertaining and exhilarating read

Psyche as a Playable Construct in Video Games

The aim of this master’s thesis called Psyche as a Playable Construct in Video Games is to explore how the human mind is reflected in video games and how thus the psyche becomes a playable environment. This study also analyzes whether video games as a medium can promote self-reflection and empathy by portraying the psyche and developing narratives around this theme. These set objectives are achieved by performing medium-specific multimodal discourse analysis of three case studies, as well as comparative game analysis. The purpose is to discover how the psyche nowadays becomes an accessible, interactive, and embodied virtual environment through various modern modes of expression. In addition to the topic of the psyche as a game setting the research also looks at the reflection of the psyche in the theories of psychoanalysts, the principles of creating playable virtual spaces and mental landscapes, and the unique manner of video games in representing phenomena. This thesis includes a review of relevant scholarship into game studies, psychoanalysis and multimodal discourse, as well as an examination of three video games of different scales and genres, all of which render the human psyche psyche a playable construct: Nevermind (2015), When the Darkness comes (2019) and Psychonauts 2 (2021). By showing distinctive approaches to representing the psyche and interaction with it, this research highlights the enormous potential of video games to offer their users experiences that cannot be delivered through any other channel. As well, my thesis demonstrates how game design reflects scientific discoveries about the psyche to the present day: as independent but influenceable; chaotic and multi-layered but deterministic. It also proposes future research suggestions in this context on how likely are games set in the human mind to promote compassion, empathy, and self-analysis in a wide audience.Master's Thesis in Digital CultureDIKULT350MAHF-DIKU

Framing Social Interaction : Continuities and Cracks in Goffman's Frame Analysis

This book is about Erving Goffman’s frame analysis as it, on the one hand, was presented in his 1974 book Frame Analysis and, on the other, was actually conducted in a number of preceding substantial analyses of different aspects of social interaction such as face-work, impression management, fun in games, behavior in public places and stigmatization. There was, in other words, a frame analytic continuity in Goffman’s work. In an article published after his death in 1982, Goffman also maintained that he throughout his career had been studying the same object: the interaction order. In this book, the author states that Goffman also applied an overarching perspective on social interaction: the dynamic relation between ritualization, vulnerability and working consensus. However, there were also cracks in Goffman´s work and one is shown here with reference to the leading question in Frame Analysis – what is it that’s going on here? While framed on a "microsocial" level, that question ties in with "the interaction order" and frame analysis as a method. If, however, it is framed on a societal level, it mirrors metareflective and metasocial manifestations of changes and unrest in the interaction order that, in some ways, herald the emphasis on contingency, uncertainty and risk in later sociology. Through analyses of social media as a possible new interaction order – where frame disputes are frequent – and of interactional power, the applicability of Goffman’s frame analysis is illustrated

Imōto-moe : seksualisoidut sisarussuhteet japanilaisessa animaatiossa

In this work I examine how imōto-moe, a recent trend in Japanese animation and manga in which incestual connotations and relationships between brothers and sisters is shown, contributes to the sexualization of girls in the Japanese society. This is done by analysing four different series from 2010s, in which incest is a major theme. The analysis is done using visual analysis.The study concludes that although the series can show sexualization of drawn underage girls, reading the works as if they would posit either real or fictional little sisters as sexual targets. Instead, the analysis suggests that following the narrative, the works should be read as fictional underage girls expressing a pure feelings and sexuality, unspoiled by adult corruption.To understand moe, it is necessary to understand the history of Japanese animation. Much of the genres, themes and styles in manga and anime are due to Tezuka Osamu, the “god of manga” and “god of animation”. From the 1950s, Tezuka was influenced by Disney and other western animators at the time. His stories and themes had intellectual and philosophical depth that the western counterparts did not have. The works also touched themes that the western animation steered away from, including sexuality, which was not compartmentalized in a similar fashion in Japan as it was in the Western world. His works not only created new genres by themselves, but the constant combination by future generations created thethematic complexity that can be seen in manga and anime today.Tezuka also had a role in underage girl sexualization: his girl characters were an inspiration for the sexuality of little girls, both real and fictional, in the 70s. The western works of Vladimir Nabokov’s Lolita and Lewis Carroll’s Alice’s Adventures in Wonderland drew attention to the cuteness of little girls. In combination, sexualized versions of Tezuka’s characters were drawn, at first as a parody. In the 80s there was a boom of drawn girls in sexually compromised situations, or loliconart. Duringthe 80s, the focus shifted away from connotations to real girl imagery and drawn rape imagery towards less violent forms.In 1989, a dubious connection was drawn between otaku, fans of popular culture, including loliconimagery, and a serial killer of small children. The moral panic that followed slowed the spread of loliconin the 90s.Meanwhilein the 90s, an idea of moebegan to form: if fictional little girls are not corrupted by adult sexuality, the girls cause feelings of affection in the viewer. The viewers are affected by moe via isolated, but recognizable tropes, such as cat ears and tail, a speech habit, or twin tails. A part of this research is to examine how well imōto-fits under the loliconcriteria, and undermoe: the characters are sexualized: they are showing having sexual thoughts and expressing sexual activity. After the examination, I conclude that, at least in the works examined, imōto-moe fits under the latter category: the male partners are passive and follow the girl’s lead, the ages are very close, and many of the series emphasize the virtual aspect: to enjoy little sisters, they have to be two-dimensional, outside the laws of reality

JSU Writing Project Anthology | Summer 1988

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