{"id":{"repo_id":"carleton","oai_identifier":"oai:carleton.scholaris.ca:20.500.14718/40982"},"canonical_url":"https://search.dev.ndltd.org/etd/carleton/oai:carleton.scholaris.ca:20.500.14718/40982","repository":{"repo_id":"carleton","name":"Carleton University","base_url":"https://carleton.scholaris.ca/server/oai/request"},"display":{"title":"Engines of Agency and Affect: A Model for Interactive Histories","abstract":"This thesis presents a framework for interactive histories that presents an argument for using interactive media (principally, games) as a form of historical writing. It argues that when historical knowledge is embedded within an interactive structure, it is as a historical problem space consisting of game and narrative mechanics. It provides a library of historical and digital humanities methodologies that allows a historian to derive historical aesthetics and agencies from their historical research, then adapt their knowledge as game and narrative mechanics. In doing so, the historian also adopts the practices of a game designer; they become a “developer-historian”. When players engage their agency with game and narrative mechanics, they encounter the designer’s historical-rhetorical claims about the nature of historical reality. By interrogating these claims, they are brought “within the circle” of historical and ethnographic practice, and expand their historical imagination and understanding.","abstract_html":"This thesis presents a framework for interactive histories that presents an argument for using interactive media (principally, games) as a form of historical writing. It argues that when historical knowledge is embedded within an interactive structure, it is as a historical problem space consisting of game and narrative mechanics. It provides a library of historical and digital humanities methodologies that allows a historian to derive historical aesthetics and agencies from their historical research, then adapt their knowledge as game and narrative mechanics. In doing so, the historian also adopts the practices of a game designer; they become a “developer-historian”. When players engage their agency with game and narrative mechanics, they encounter the designer’s historical-rhetorical claims about the nature of historical reality. 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