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Journal articles on the topic 'Role-playing'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Chung, Beom Sun, and Min Suk Chung. "Role playing." Science Editing 2, no. 2 (August 14, 2015): 100–102. http://dx.doi.org/10.6087/kcse.53.

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2

Wistrom, Frances E. "Role Playing." Journal of Psychosocial Nursing and Mental Health Services 25, no. 6 (June 1987): 21–24. http://dx.doi.org/10.3928/0279-3695-19870601-06.

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3

Bailey, Linda. "Role playing." Nursing Standard 4, no. 31 (April 25, 1990): 62. http://dx.doi.org/10.7748/ns.4.31.62.s54.

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4

Midmer, D. "Role playing." BMJ 326, no. 7382 (January 25, 2003): 28S—28. http://dx.doi.org/10.1136/bmj.326.7382.s28.

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5

Van Hasselt, Vincent B., Stephen J. Romano, and Gregory M. Vecchi. "Role Playing." Behavior Modification 32, no. 2 (March 2008): 248–63. http://dx.doi.org/10.1177/0145445507308281.

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6

Hendy, Lesley. "Playing, Role‐Playing and Dramatic Activity." Early Years 15, no. 2 (March 1995): 13–16. http://dx.doi.org/10.1080/0957514950150203.

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7

Waskul, Dennis, and Matt Lust. "Role-Playing and Playing Roles: The Person, Player, and Persona in Fantasy Role-Playing." Symbolic Interaction 27, no. 3 (August 2004): 333–56. http://dx.doi.org/10.1525/si.2004.27.3.333.

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8

Wyn, Mark A., and Steven J. Stegink. "Role-Playing Mitosis." American Biology Teacher 62, no. 5 (May 1, 2000): 378–81. http://dx.doi.org/10.2307/4450924.

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9

Randak, Steve. "Historic Role-Playing." American Biology Teacher 52, no. 7 (October 1, 1990): 439–42. http://dx.doi.org/10.2307/4449161.

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10

Wyn, Mark A., and Steven J. Stegink. "Role-Playing Mitosis." American Biology Teacher 62, no. 5 (May 2000): 378–81. http://dx.doi.org/10.1662/0002-7685(2000)062[0378:rpm]2.0.co;2.

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11

Yoder, Susan Dirksen, and Mary Wilbur Rode. "Role Playing Revisisted." Nurse Educator 11, no. 3 (May 1986): 4–5. http://dx.doi.org/10.1097/00006223-198605000-00002.

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12

Laird Hunt. "Simultaneous Role Playing." American Book Review 31, no. 2 (2010): 16. http://dx.doi.org/10.1353/abr.0.0033.

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13

Bodenhorn, Nancy, and Donna Starkey. "Beyond Role-Playing." Journal of Creativity in Mental Health 1, no. 2 (July 26, 2005): 17–27. http://dx.doi.org/10.1300/j456v01n02_03.

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14

de Wildt, Lars, and Stef Aupers. "Playing the Other: Role-playing religion in videogames." European Journal of Cultural Studies 22, no. 5-6 (August 30, 2018): 867–84. http://dx.doi.org/10.1177/1367549418790454.

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In contemporary ‘post-secular society’, videogames like Assassin’s Creed, BioShock Infinite or World of Warcraft are suffused with religious elements. Departing from a critique on studies perceiving such in-game representations as discriminatory forms of religious Othering, the main research question of this article is: how does role-playing the (non-)religious Other in games affect the worldview of players? The study is based on a qualitative analysis of in-depth interviews held with 20 international players from different (non-)religious backgrounds. Rather than seeing religion in games as representations of ‘Othering’, the analysis demonstrates that players from different (non-)religious beliefs take on different worldviews while role-playing the (non-)religious Other. Atheists relativize their own position, opening up to the logic of religious worldviews; Christians, Hindus and Muslims, in turn, compare traditions and may draw conclusions about the similarities underlying different world religions. Other players ‘slip into a secular mindset’, gradually turning towards the position of a ‘religious none’. It is concluded that playing the religious Other in videogames provides the opportunity to suspend (non-)religious worldviews and empathize with the (non-)religious Other. The relevance of these findings is related to broader sociological debates about ‘post-secular society’ and the alleged increase of religious fundamentalism, conflict and mutual Othering.
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15

Bolton, Gary E. "Game theory’s role in role-playing." International Journal of Forecasting 18, no. 3 (July 2002): 353–58. http://dx.doi.org/10.1016/s0169-2070(02)00027-4.

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16

Abdullayeva, Umida. "ROLE-PLAYING LYRICS IN THE WORKS OF USMAN AZIM." Scientific Reports of Bukhara State University 5, no. 5 (December 30, 2021): 167–78. http://dx.doi.org/10.52297/2181-1466/2021/5/5/15.

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Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.
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17

Simpson, Becky. "Playing the ideal role." Nursing Management 14, no. 9 (February 2008): 12–15. http://dx.doi.org/10.7748/nm.14.9.12.s16.

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18

Levin, David Michael. "Role Playing and Identity." International Philosophical Quarterly 25, no. 2 (1985): 211–13. http://dx.doi.org/10.5840/ipq198525210.

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19

Bailey, Linda. "Student nurse role playing." Nursing Standard 4, no. 33 (May 9, 1990): 38. http://dx.doi.org/10.7748/ns.4.33.38.s36.

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20

Littler, Eric R. "Playing an important role." Nursing Standard 5, no. 19 (January 30, 1991): 38. http://dx.doi.org/10.7748/ns.5.19.38.s44.

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21

Schrag, Calvin O. "Role Playing and Identity." International Studies in Philosophy 17, no. 1 (1985): 114–16. http://dx.doi.org/10.5840/intstudphil198517177.

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22

Gunn, B. C. "Reconstruction Through Role Playing." OAH Magazine of History 4, no. 1 (January 1, 1989): 71. http://dx.doi.org/10.1093/maghis/4.1.71.

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23

UFEMA, JOY. "Playing a supporting role." Nursing 35, no. 5 (May 2005): 24. http://dx.doi.org/10.1097/00152193-200505000-00017.

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24

King-Farlow, John. "Role Playing and Identity." Idealistic Studies 15, no. 2 (1985): 177–78. http://dx.doi.org/10.5840/idstudies198515238.

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25

Schafer, Josephine Gatti. "Making role-playing real." Teaching Public Administration 34, no. 2 (November 6, 2015): 150–58. http://dx.doi.org/10.1177/0144739415611215.

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26

Lutter, Lowell D. "Balance and Role Playing." Foot & Ankle International 23, no. 6 (June 2002): 484–85. http://dx.doi.org/10.1177/107110070202300601.

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27

Reichenbach, Michael. "Playing a Pioneering Role." ATZ worldwide 119, no. 9 (August 25, 2017): 3. http://dx.doi.org/10.1007/s38311-017-0104-2.

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28

Belaief, Lynne. "Role Playing and Identity." Process Studies 15, no. 2 (1986): 145–46. http://dx.doi.org/10.5840/process198615220.

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29

Wang, Yufeng, Akihiro Nakao, and Athanasios V. Vasilakos. "Heterogeneity playing key role." ACM Transactions on Autonomous and Adaptive Systems 7, no. 3 (September 2012): 1–25. http://dx.doi.org/10.1145/2348832.2348834.

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30

Martin, Randall B. "Involvement and role playing." Journal of Clinical Psychology 50, no. 5 (September 1994): 763–72. http://dx.doi.org/10.1002/1097-4679(199409)50:5<763::aid-jclp2270500515>3.0.co;2-t.

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31

Weaver, Richard L., and Howard W. Cotrell. "Role Playing Assertiveness Scenes." Speech Communication Teacher 4, no. 2 (February 28, 1990): 10–12. http://dx.doi.org/10.1080/29945054.1990.12289296.

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32

Harviainen, J. Tuomas. "Sadomasochist Role-Playing as Live-Action Role-Playing: A Trait-Descriptive Analysis." International Journal of Role-Playing, no. 2 (March 27, 2011): 59–70. http://dx.doi.org/10.33063/ijrp.vi2.194.

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This article describes sadomasochist role-playing which is physically performed by its participants. All sadomasochist activities have a role-playing component to them. It is a form of role-playing where people consensually take on dominant and submissive roles, for the purpose of inflicting things such as pain and humiliation, in order to create pleasure for all participants. In some cases, participants agree to emphasize those roles, or make them fetishistically attractive, by adding complexity and definitions to them, and then act them out in semi-scripted fantasy scenes. This paper examines that activity, commonly called “sadomasochistic role-play”, as opposed to the more generic “sadomasochism” of which it is only one facet. Furthermore, the article compares this form of play with live-action role-playing (larp). Its main emphasis is on the question of how closely related the two activities are. To determine this, the article examines sadomasochist role-playing as being potentially a game, the question of its goal-orientation and the issue of whether or not it contains a character in the sense of a live-action role-playing character. Based on this process, it comes to the conclusion that sadomasochist role-playing is not a separate type of role-playing, but rather one kind of live-action role-playing. As its theoretical framework, this text utilizes studies done on both live-action role-playing games and on sadomasochist role-playing. Reliable material on the latter being quite limited, descriptions have been gathered from both academic works and practical manuals. The data gained from these is further supported by interviews of practitioners with personal experience in playing sadomasochist fantasy scenes. This article has two key purposes: The research of a relatively understudied form of role-playing, and the building of bridges from that to live-action role-playing research.
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33

Montola, Markus. "The Invisible Rules of Role-Playing The Social Framework of Role-Playing Process." International Journal of Role-Playing, no. 1 (December 30, 2008): 22–36. http://dx.doi.org/10.33063/ijrp.vi1.184.

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This paper looks at the process of role-playing that takes place in various games. Role-play is a social activity, where three elements are always present: An imaginary game world, a power structure and personified player characters. In a nutshell, all role-playing activities about imaginary people acting out in an imaginary environment; the power structure is needed to differentiate these activities from free make-believe and children’s play. After the basics, the paper moves on to discuss the various components in detail, going through how rules, goals, worlds, power, information and identity function in role-play. While the paper does not lead to a simple conclusion, it seeks to present a solid foundation for further research.
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34

Shapiro, Shawna, and Lisa Leopold. "A Critical Role for Role-Playing Pedagogy." TESL Canada Journal 29, no. 2 (August 23, 2012): 120. http://dx.doi.org/10.18806/tesl.v29i2.1104.

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This article draws from practitioners’ experience and from scholarship in a variety of disciplines to construct a rationale for incorporating what we call “critical roleplay” in the English-for-academic-purposes (EAP) classroom. We discuss the historical significance of role-play in TESOL and explore why this type of pedagogy has become less prominent in scholarship from recent decades. We argue for a new direction in role-play pedagogy that foregrounds critical thinking as essential to academic literacy. We describe several role-play activities that were successfully implemented in college-level EAP classes to demonstrate that academic role-play can be both cognitively challenging and linguistically relevant.
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35

Malek, Andrej, Marjan Ninčević, and Dunja Jurić Vukelić. "The Role of Playing Video Games on School Achievement." Communication Management Review 03, no. 02 (January 1, 2019): 54–71. http://dx.doi.org/10.22522/cmr20180234.

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36

Greenberg, Jerald, and Don E. Eskew. "The Role of Role Playing in Organizational Research." Journal of Management 19, no. 2 (April 1993): 221–41. http://dx.doi.org/10.1177/014920639301900203.

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The present article analyzes role playing as an organizational research technique. A survey of organizational journals for 1978-1988 reveals that role playing was used in 11.55 percent of the published studies. Role playing studies are conducted to learn about attitudes and behaviors in organizational contexts and to learn about basic psychological contexts. The studies differ along three key dimensions: subjects’ level of involvement, the role being played, and the degree of response specificity provided. We recommend that role playing studies be designed in a manner that is appropriate to the purpose of the study, and offer guidelines for doing so.
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37

Poling, Devereaux A., and Julie M. Hupp. "Active Learning through Role Playing." College Teaching 57, no. 4 (September 1, 2009): 221–26. http://dx.doi.org/10.3200/ctch.57.4.221-228.

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38

Alshammari, Elham. "Simulated Role-playing in Pharmacy." International Journal of Pharmaceutical Quality Assurance 11, no. 01 (January 25, 2013): 74–82. http://dx.doi.org/10.25258/ijpqa.11.1.27.

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Role-play refers to a situation that allows learners to examine realistic situations by interacting with other individuals in a controlled way to develop experience and try different strategies within a supported environment. Depending on the objective of the activity, learners may play a role that is related to their own or could take on an opposite part as well. In this study, the author sought to investigate the satisfaction and perception of pharmacy students toward role-playing. The study used a prospective study design and collected data from students at Princes Nourah bint Abdulrahman University (PNU). The researcher used a rubric that allowed the learners to select their responses as either “Poor,” “Average,” “Proficient,” or “Excellent.” The rubric was distributed to 6th level pharmacy students who experienced role-play for the first time in a classroom session. The findings showed that role play helped in the development of professional skills, recognized possible arguments and solutions, facilitated better understanding, developed the confidence of the learners, enhanced their communication skills, promoted effective discussion, and encouraged active participation. These observations were discussed in light of past studies that have focused on the domain of role-playing. Based on these findings, the study recommends the use of simulation and role-play in teaching pharmacy programs.
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39

Shaymukhametova, Liudmila N. "Role Playing in Piano Instruction." ICONI, no. 1 (2021): 160–67. http://dx.doi.org/10.33779/2658-4824.2021.1.160-167.

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The article presents innovative forms of work with musical texts during piano lessons applied in work with beginning students in all conditions of teaching: in the academic educational process, as well as in private teaching practice of self-employed specialists. The reader shall be acquainted with concrete methodological elaborations of role playing which may be useful for the teacher in his or her practical work. The elaborations are carried out within the framework of one of the leading contemporary directions developed by the academic school of practical musical semantics. The presented homework assignments may serve as specimens for the creation of analogous elaborations by the teacher himself with substitutions of the musical material and with consideration of the pupils’ age-related capabilities. The author of the project, Liudmila Nikolayevna Shaymukhametova aspires to draw attention not only to new approaches to work with the musical text and to practical semantics as the most important direction in teaching music, but also to the question of what the contemporary textbook for the beginner musician should look like. The materials are addressed, among others, to upgrade training courses and professional retraining of teachers of schools, methodologists and teachers of general and professional education, as well as for application in practical work of private school teachers
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40

Carlomagno, Nadia, Alfredo Di Tore, and Maurizio Sibilio. "Role Playing and Perspective Taking." International Journal of Digital Literacy and Digital Competence 5, no. 2 (April 2014): 49–58. http://dx.doi.org/10.4018/ijdldc.2014040104.

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The rationale of this work combines the concepts of role playing and storytelling in the creation of an interactive virtual environment aimed at assessing and training students' perspective taking skill, or the ability of students in primary and secondary level to take the point of view of the characters of a narrative. The ability to take the perspective of others is extremely important from the cognitive point of view. Piaget has suggested that the moment we abandon the egocentric perspective in favor of the ability to take another point of view, takes place not earlier than seven years of age. Subsequent researches challenged the findings of Piaget. For this reason, the project will address children in the last years of primary school (aged 8-10) and the first level of secondary school (aged 11-13). From 8 years old then, in fact, the child, in the opinion of many researchers who have addressed this issue, should be out of the egocentric stage and should have acquired the skill of perspective taking. The goal of current stage is to create a tool that allows the students to take the point of view of the characters in a story and to make choices in the narrative, which are consistent with the role of the character played.
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41

Razzak, Nina Abdul. "Role-Playing in the Classroom." Journal of Middle East Women's Studies 7, no. 2 (2011): 89–102. http://dx.doi.org/10.2979/jmiddeastwomstud.7.2.89.

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42

김나영. "Clownlike Role-Playing in Hamlet." Jungang Journal of English Language and Literature 53, no. 1 (March 2011): 63–85. http://dx.doi.org/10.18853/jjell.2011.53.1.004.

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43

Thurman, William F. "Psychotherapy Through Clinical Role-Playing." International Journal of Group Psychotherapy 38, no. 1 (January 1988): 128–30. http://dx.doi.org/10.1080/00207284.1988.11491092.

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44

O’Bryan-Osborne, Donna. "Role Playing in Critical Care." AACN Advanced Critical Care 4, no. 3 (August 1, 1993): 528. http://dx.doi.org/10.4037/15597768-1993-3023.

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45

Deshmukh, Vijay. "Which role you are playing?" Journal of the International Clinical Dental Research Organization 5, no. 1 (2014): 2. http://dx.doi.org/10.4103/2231-0754.134128.

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46

Loughman, Thomas P. "III The Role-Playing Journal." Bulletin of the Association for Business Communication 57, no. 1 (March 1994): 35–36. http://dx.doi.org/10.1177/108056999405700109.

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47

OʼBRYAN-OSBORNE, DONNA. "ROLE PLAYING IN CRITICAL CARE." AACN Clinical Issues: Advanced Practice in Acute and Critical Care 4, no. 3 (August 1993): 528. http://dx.doi.org/10.1097/00044067-199308000-00023.

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48

Haddad, Amy Marie. "Role Playing and Ethics Instruction." Journal of Pharmacy Teaching 6, no. 1-2 (1997): 49–63. http://dx.doi.org/10.1300/j060v06n01_04.

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49

Livingstone, Ian. "Role-playing Planning Public Inquiries." Journal of Geography in Higher Education 23, no. 1 (March 1999): 63–76. http://dx.doi.org/10.1080/03098269985605.

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50

LaVilla-Havelin, Jim. "Role Playing in Children's Museums." Journal of Museum Education 15, no. 2 (March 1990): 12–14. http://dx.doi.org/10.1080/10598650.1990.11510142.

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