Studies on adaptation for younger audiences tend to mull over around the film adaptation of children classics. Adaptation of textual, visual, and operative elements for younger audiences in the context of literary texts with ergodicity like apps, comics, animation films, and games is understudied. This case study based descriptive qualitative study aims at exploring and investigating the phenomenon and how this adaptation is exercised. This study employs Siddharthan's text simplification, Genette's hypertextuality, Nikolajeva's Barthesian proairetic decoding for younger audiences, and Huizinga's play-function and play-mood to address the language aspects of ludic adaptation, Aarseth's ergodic literature and Sander's adaptation to address the literary aspects, and Rajewsky's intermediality to address the medial aspects. Drawing upon the theories and employing Spradleyan analysis, we argue that adaptation for younger audiences is best termed ludic adaptation, an adaptation aimed at establishing a playful communication involving textual, visual, and operative adjustments for younger audiences through transmodalization, transstylization, and transformation of the source texts. In adapting the apps, comics, animation films, and games into their simplified versions, the adapters employ what we call as babyfication, chibification, bambification, and cherubification. Scholars of language and literary studies might apply ludic adaptation to reveal how adaptation
The necessity for a children’s picturebook to generate a proairetic decoding by the children influences translators to deliver the messages of the source text as explicit as possible. This condition leads the translators to implement amplifications aimed at detailing particular information. Though a proairetic reading is achieved through amplification, negative impacts follow the implementation. This qualitative experiential study involves nine children picturebook translators. Exchanging insights and translated texts in a focused group discussion (FGD) comprising of English to Indonesian and English to Javanese children picturebook translators, we found that a typology of amplification technique constructed specifically for children picturebook translation is required to provide a guideline for the translators when forced to apply amplification. The result of the translation data, supported by FGD, indicates that amplification is classifiable into three function-based types namely naturalizing, synchronizing, and stylizing amplifications. These amplifications, when applied, generate four impacts namely congruity losses, effect rendering, reading level deviation, and deviation on the purposes of the children’s picturebooks. These impacts deal with verbosity and thus requiring a further concern on verbosity level acceptance.
This study revisits Hymes' ethnography of communication for game avatars, functioning as a communication nexus connecting games and gamers. Hymes formulates his ethnography of communication into SPEAKING (Settings and Scenes, Participants, Ends, Act Sequences, Keys, Instrumentalities, Norms, and Genres) and this formula deems to be unfit to explain how game avatars communicate. Implementing Klevjer's prosthetic telepresence (2012) to analyze sixty-two game titles, it is revealed that SPEAKING requires an extension when applied to study game avatars since the formula is not designed to explain the prosthetic nature of game avatars. This prosthetic nature produces specific communication ethnography of avatars, which we dub prosthetic communication ethnography. By prosthetic communication ethnography refers to technical elements of gaming, which contribute to the ways the avatars communicate. As Hymes' ethnography of communication with SPEAKING, this avatar based communication ethnography requires the same tool of analysis, which we call GAMING (Gaming systems, Attributes, Mechanics, Indexicalities, Narratives, and Geosocial systems), constructed with indexical storytelling by Fernández-Vara (2011), user interface types of games by Stonehouse (2014) and prosthetic video game theory by Jagodzinski (2019) as the theoretical foundations. GAMING and SPEAKING are integrated by bridging them with Aarseth's ludonarrative dimensions (2012).
This paper aims at questioning the existence of performative acts in video games and proposing the presence of acts, for the purpose of this paper, called ludorative acts. To prove that ludorative acts are existent, the award-winning and commercially successful Konami's Metal Gear Solid franchises are analyzed. The analyzed titles are Metal Gear Solid, Metal Gear Solid 2: Sons of Liberty, Metal Gear Solid 3: Snake Eater, and Metal Gear Solid 4: Guns of the Patriot. The findings reveal that ludorative acts have four characteristics distinguishing the acts from performative acts. They are mechanistic-narrative, configurative, spatialmultimodal, and HCI (Human Computer Interaction)-Infovis (Information Visualization) bound. The emergence of these four characteristics from which ludorative acts are constructed roots from the fact that ludology, the science of play, and narratology, the study of narratives, are the primary substances of video games. The two substances are linguistically embodied through the appearance of two different language uses in video games. They are instruction based expressions, derived from the ludology of the video games, and narration based, rooted from the narratology of the video games.
This research focused on studying gugon tuhon in Surakarta and its relation to Islamic values. The gugon tuhon was related to the marriage cycle, pregnancy cycle, and children family education. The data were obtained through interviewing the Javanese society in Surakarta area. It employed an interactive analysis with the cultural interpretation relevant to Islamic values. The result indicates that some gugon tuhon in the marriage include prohibition for brides to go out by themselves and conduct wedding ceremonies in Sura/Muharram month. In the pregnancy cycle of gugon tuhon, pregnant women are prohibited from gossip and think negatively since those result in the child personality. Husbands of pregnant women are also prohibited from killing or hurt animals because their children will be harmed. The gugon tuhon in educating children includes the prohibition to go out at Maghrib (sunset prayer) because an evil spirit will kidnap them and suggest washing hands and legs before visiting babies. The existence of gugon tuhon can be used as the character education to construct good habits. Besides, gugon tuhon functions to implant Islamic moral values in terms of tolerance, responsibility, and good deeds to build a harmonious life system.Penelitian ini mengkaji gugon tuhon di Surakarta dan kaitannya dengan nilainilai keislaman. Gugon tuhon yang dikaji adalah dalam siklus pernikahan, siklus kehamilan, dan yang digunakan untuk mendidik anak. Data diperoleh dari hasil wawancara dengan masyarakat di wilayah karesidenan Surakarta. Analisis interaktif digunakan dengan pemaknaan secara kultural selanjutnya direlevansikan dengan nilai islami. Hasil penelitian menunjukkan beberapa gugon tuhon dalam perkawinan, diantaranya adalah larangan calon penganten putri untuk bepergian sendiri dan larangan untuk melaksanakan pernikahan di bulan Sura/Muharram. Dalam gugon tuhon siklus kehamilan, wanita hamil dilarang menggunjing dan berpikiran negatif karena akan berdampak pada watak anaknya. Suami yang istrinya sedang hamil juga dilarang membunuh dan menyakiti hewan karena anaknya akan celaka. Gugon tuhon dalam mendidik anak seperti larangan untuk keluar di waktu Magrib karena akan diculik oleh wewe gombel dan anjuran untuk membasuh kaki-tangan sebelum bertemu dengan bayi. Adanya gugon tuhon dapat digunakan sebagai sarana pendidikan karakter kepada generasi muda untuk membentuk kebiasaan-kebiasaan yang baik. Selain itu, fungsi gugon tuhon juga sebagai sarana menanamkan nilai-nilai moral keislaman seperti tenggang rasa, toleransi, tanggung jawab, dan selalu berbuat baik kepada sesama untuk membentuk sistem kehidupan masyarakat yang harmonis.
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