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This paper explores the emotional relationship between game experience and real experience in That Dragon, Cancer (Numinous Games 2016), a video game about Joel, a 4-year child, and his fight against cancer. The approach of this paper combines game studies and philosophy. The first part introduces the procedural rhetoric of this video game, to understand how the game can influence reality through its game mechanics. Then, the paper presents some of these game elements: the effects of video game language, the universalization of the experience through visual and spatial design choices, and the question of time. The aim is to discuss the game's effectiveness in the production of a possible change in real life, on a psychological, political and relational level. ; Il saggio affronta la relazione emozionale fra l'esperienza videoludica e l'esperienza reale partendo da That Dragon, Cancer (Numinous Games, 2016), videogioco che ripercorre la malattia e la morte di Joel, un bambino di quattro anni. L'approccio proposto combina l'ambito dei game studies con la filosofia. La prima parte dell'articolo introduce le componenti che caratterizzano la retorica procedurale di questo videogioco, per mostrare in che modo possano influenzare la realtà attraverso le sue meccaniche ludiche. In seguito vengono analizzati, in quest'ordine, alcuni specifici elementi di gioco: gli effetti del linguaggio videoludico, l'universalizzazione dell'esperienza tramite scelte visive e spaziali di design, il modo con cui il videogioco gestisce la temporalità. L'obiettivo del saggio è quello di riflettere sull'effetto del gioco nel produrre possibili cambiamenti nella realtà, dal punto di vista psicologico, politico e relazionale.

This special dossier is the result of a Law and Narrative Workshop which took place at the University of Lucerne in the context of the IVR World Congress 2019. It collects papers of law and humanities scholars coming from Australia, Brazil, Holland, Italy, Switzerland and the United States. The authors apply in creative ways the lens of narrative to investigate the broader IVR theme of the relations between dignity, democracy and diversity, by reinforcing our conviction that nowadays 'narrative' should be considered not only a critical tool and means to interpret legal texts, but also a significant legal category that plays a crucial role in the processes of legal adjudication, case resolution, and social inclusion and exclusion.

The 43rd UID conference, held in Genova, takes up the theme of 'Dialogues' as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with 'others', which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, "dialogue" as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title 'translated' into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences.

Since its appearance, in US newspapers to today, comics have travelled through eras, societies and formats, constantly adapting to changes in the media landscape and managing to embody in their narrative devices the great social traumas derived from the innumerable turning points that humanity is forced to get through. The digital revolution could not fail to involve this medium, which has always been linked to paper technologies, changing narrative strategies, production, consumption, public relations and the very identity of comics. In this paper, through To be Continued analysis - award-winning web comic by Lorenzo Ghetti - we want to try to understand how anthropological/cultural mutations, myths and social traumas find a space of representation in the new semiotic and spatial structures of digital comics, in which different and more complex gaze dynamics they help rewrite narrative techniques and practices. The encounter/clash between comics and digital can allow us to reflect on social, political, cultural and media transformations, on the production and consumption strategies that currently circulate on the web and on the main consequences that reading and digital writing have on the human thought. ; Since its appearance, in US newspapers to today, comics have travelled through eras, societies and formats, constantly adapting to changes in the media landscape and managing to embody in their narrative devices the great social traumas derived from the innumerable turning points that humanity is forced to get through. The digital revolution could not fail to involve this medium, which has always been linked to paper technologies, changing narrative strategies, production, consumption, public relations and the very identity of comics. In this paper, through To be Continued analysis - award-winning web comic by Lorenzo Ghetti - we want to try to understand how anthropological/cultural mutations, myths and social traumas find a space of representation in the new semiotic and spatial structures of digital comics, in which different and more complex gaze dynamics they help rewrite narrative techniques and practices. The encounter/clash between comics and digital can allow us to reflect on social, political, cultural and media transformations, on the production and consumption strategies that currently circulate on the web and on the main consequences that reading and digital writing have on the human thought.

The role of reticence within the narrative of Caesar's De bello Gallico is examined by pointing out how the author's silences support his needs for self-justification and self-praise. Among the rhetoric instruments Caesar employed in his artful narrative, reticence carries out a primary role, being one of the most important proofs of the author's tendency. Caesar's reticence consists not only in omitting facts that are pivotal for the comprehension of the events, but also in modifying them, according to the author's needs for self-justification and self-praise. Three passages from the De bello Gallico books 1, 2 and 5 are investigated by providing intra- and inter-textual comparisons from a 'small' omission, in book 1, to a significant narrative absence in book 5. Then, the reason beneath Caesar's silences is commented by focusing on the relation between the author's reticence and the contemporary political situation.