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            "note": "<div data-schema-version=\"8\"><h1>Theses.fr 2015-07-20</h1>\n<p><a href=\"http://www.theses.fr\" rel=\"noopener noreferrer nofollow\">www.theses.fr</a></p>\n<p>-----------------------------------------</p>\n<p><span style=\"background-color: #ff9900\">&nbsp;\"jeux de roles\" = 46</span></p>\n<p>&nbsp;<a href=\"https://theses.fr/resultats?q=Jeux+de+r%C3%B4le&amp;page=1&amp;nb=10&amp;tri=pertinence&amp;domaine=theses\" rel=\"noopener noreferrer nofollow\">https://theses.fr/resultats?q=Jeux+de+r%C3%B4le&amp;page=1&amp;nb=10&amp;tri=pertinence&amp;domaine=theses</a> </p>\n<p>-----------------------------------------</p>\n<h2>À savoir :</h2>\n<p>Utiliser peu de mot et ensuite se limiter par Disciplines</p>\n<p>&nbsp;</p>\n</div>",
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            "note": "<h1>_ À faire</h1>\n<p> </p>\n<p><a href=\"https://jarps.net/journal\">https://jarps.net/journal</a></p>\n<p> </p>\n<p> </p>\n<p> </p>\n<ul>\n<li><a href=\"http://www.collectionscanada.gc.ca/thesescanada/\">http://www.collectionscanada.gc.ca/thesescanada/</a>\n<ul>\n<li>Canada</li>\n<li>Choisir la recherche élaborée</li>\n<li>Champs: Tous les mots-clés &gt; Sujet-V-M &gt; Résumé &gt; Titre</li>\n</ul>\n</li>\n</ul>\n<p> </p>\n<ul>\n<li><a href=\"http://www.sudoc.abes.fr/\">http://www.sudoc.abes.fr/</a>\n<ul>\n<li>France – seulement en papier (faire venir par PEB)</li>\n<li>Choisir la recherche avancée <br />+ Type de publication : Thèses seulement</li>\n<li>Troncature*: Oui</li>\n<li>Champs: Tous les mots &gt; Mots sujet &gt; Vedette-Matière &gt;Mots du titre</li>\n</ul>\n</li>\n</ul>\n<p> </p>\n<ul>\n<li><a href=\"http://www.educacion.gob.es/teseo\">http://www.educacion.gob.es/teseo</a>\n<ul>\n<li>Espagne</li>\n</ul>\n</li>\n</ul>\n<p> </p>\n<ul>\n<li><a href=\"http://www.red-redial.net/bibliografia-documento-tesis.html\">http://www.red-redial.net/bibliografia-documento-tesis.html</a>\n<ul>\n<li>Espagne / Amérique Latine</li>\n</ul>\n</li>\n</ul>\n<p> </p>\n<ul>\n<li><a href=\"http://www.oatd.org/\">http://www.oatd.org/</a></li>\n</ul>\n<p> </p>\n<p> </p>\n<h2>Autres ensembles de livres électroniques</h2>\n<p> </p>\n<table dir=\"ltr\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" width=\"593\">\n<tbody>\n<tr>\n<td width=\"188\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Les classiques des sciences sociales</p>\n</td>\n<td width=\"189\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>http://classiques.uqac.ca/</p>\n</td>\n<td width=\"216\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Sociologie, anthropologie, économie, économie politique, science politique, philosophie sociale et politique</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\">\n<p>Google Books</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\">\n<p>http://books.google.com/books</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\">\n<p>Accès partiel ou complet.</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Internet Archive</p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>http://www.archive.org/details/texts</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p> </p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\">\n<p>Gutenberg Project</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\">\n<p>http://www.gutenberg.org/wiki/Main_Page</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\">\n<p>Livres dans le domaine public (beaucoup de fictions)</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Gallica (BNF)</p>\n</td>\n<td width=\"189\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>http://gallica.bnf.fr/</p>\n</td>\n<td width=\"216\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Bibliothèque nationale de France: histoire, littérature, philosophie, économie, etc</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\">\n<p>Europeana</p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\">\n<p>http://www.europeana.eu/portal/</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\">\n<p>Institutions européennes</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>OAPEN (Open Access Publishing in European Networks)</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>http://www.oapen.org/xtf/home?brand=oapen</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Europe, principalement en sciences humaines et sociales</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\">\n<p>The Online Books Page - UPenn</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\">\n<p>http://onlinebooks.library.upenn.edu/</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\">\n<p> </p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Digital Book Index</p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>http://digitalbookindex.org/about.htm</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p> </p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\">\n<p>Digital Public Library of America</p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\">\n<p>http://dp.la/</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\">\n<p>Patrimoine États-Unis</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>DOAB: Directory of <br />Open Access Books</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>http://www.doabooks.org/doab</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p> </p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"20\" valign=\"Top\">\n<p> </p>\n</td>\n<td width=\"189\" height=\"20\" valign=\"Top\">\n<p> </p>\n</td>\n<td width=\"216\" height=\"20\" valign=\"Top\">\n<p> </p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Oxford Handbooks Online</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Affaires et gestion, science politique, religion, philosophie, etc.</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\">\n<p>Ebrary</p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\">\n<p>Éditeurs canadiens</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>eBook Collection</p>\n</td>\n<td width=\"189\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"49\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Sciences sociales et humaines (72 %), technologie (15 %) et sciences pures et biomédicales (13 %)</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\">\n<p>Harmathèque </p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\">\n<p>Sciences humaines et sociales </p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>ACLS Humanities E-book </p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Sciences humaines et sociales</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\">\n<p>Springer Ebook Collection </p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\">\n<p>Tous les domaines  (medicine, bio, chimie,…)</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Eighteenth Century Collections Online</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Histoire, géographie, littérature, philosophie, religion, droit, art et science</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\">\n<p>Books 24X7</p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\">\n<p>Sciences de l'information, informatique</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>CIAO - Columbia International Affairs Online</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Relations internationales </p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\">\n<p>Past Masters</p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\">\n<p>Philosophie</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>ARTFL Project - University of Chicago</p>\n</td>\n<td width=\"189\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"35\" valign=\"Top\" bgcolor=\"#F3F3F3\">\n<p>Littérature</p>\n</td>\n</tr>\n<tr>\n<td width=\"188\" height=\"34\" valign=\"Top\">\n<p>Literature Online Fulltext - LION (Chadwyck)</p>\n</td>\n<td width=\"189\" height=\"34\" valign=\"Top\">\n<p>Via Maestro</p>\n</td>\n<td width=\"216\" height=\"34\" valign=\"Top\">\n<p>Littérature</p>\n<p> </p>\n</td>\n</tr>\n</tbody>\n</table>",
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            "note": "<h1>Listes de revues avec comité de lecture où publier un article sur les TRPGs</h1>\n<p> </p>\n<p><a href=\"http://www.mdpi.com/journal/games\">Games</a> : très haut niveau mathématique, théorie des jeux. décision, intéractions stratégiques</p>\n<p> <span dir=\"ltr\"><span class=\"_3l3x\">Simulation and Gaming</span></span></p>\n<p>PhD&amp;D Journal : <a href=\"http://www.phdnd.org/phdd-journal.html\">http://www.phdnd.org/phdd-journal.html</a></p>\n<p>Analog Games Studies</p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\">Game Studies <a href=\"http://gamestudies.org/\">http://gamestudies.org/</a> </span></span></p>\n<p>Games &amp; Culture</p>\n<p>IJRP</p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\">Sciences du Jeu <a href=\"https://journals.openedition.org/sdj/?fbclid=IwAR2Fr6IEyaYVWQsKy_pZKXIGTGJ5ibC82LwtzI7PAr2zAWO2-Fi3YhLrBa4\">https://journals.openedition.org/sdj</a>/</span></span></p>\n<p> </p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\">Loading</span></span></p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\">Journal of Virtual Worlds Research</span></span></p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\">New Media &amp; Society </span></span></p>\n<p> </p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\"> First Person Scholar + Press Start for grad students <br /></span></span></p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\">Game Journal  <a href=\"https://www.gamejournal.it/about/about-eng/\">https://www.gamejournal.it/about/about-eng/</a> <br /></span></span></p>\n<p> </p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\">build on <a href=\"https://www.facebook.com/groups/roleplaytheorystudygroup/\">https://www.facebook.com/groups/roleplaytheorystudygroup/</a> (Steven Dashiell) </span></span></p>\n<p> </p>\n<p><span dir=\"ltr\"><span class=\"_3l3x\"><a href=\"https://jarps.net/journal/announcement/view/1?fbclid=IwAR3VtsIRh5-pp8W3LMUi8a8L1e9qt8L3ZzVV4l3twLvYLQaVIAsaxlPwKP4\">https://jarps.net/journal/announcement/view/1?fbclid=IwAR3VtsIRh5-pp8W3LMUi8a8L1e9qt8L3ZzVV4l3twLvYLQaVIAsaxlPwKP4</a></span></span></p>\n<p> </p>\n<p><a href=\"https://jarps.net/journal\">https://jarps.net/journal</a></p>\n<p> </p>\n<p> </p>",
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            "note": "<p>Isabelle Borsus et Greg Pogorzelski</p>\n<p> </p>\n<p>Merci beaucoup pour votre retour.</p>\n<p>Je viens de parcourir votre blogue en vitesse : quel travail ! C'est un outil précieux. Et le verbatim de Critical Role a l'air assez intéressant, merci aussi pour ce lien.</p>\n<p>Très cordialement,</p>\n<p>Isabelle Borsus</p>\n<p> </p>\n<p>------------------------------------</p>\n<p>Assistante</p>\n<p>Faculté des Sciences Sociales (FASS)</p>\n<p>Laboratoire d'Anthropologie Sociale et Culturelle (LASC) Université de Liège Place des orateurs, 3 (B31,Quartier Agora) - 4000 LIEGE</p>\n<p>Bureau: 3/52</p>\n<p>Tel:  04 366 31 71</p>\n<p> </p>\n<p>----- Mail original -----</p>\n<p>De: \"pascal martinolli\" &lt;<a href=\"mailto:pascal.martinolli@umontreal.ca\">pascal.martinolli@umontreal.ca</a>&gt;</p>\n<p>À: \"Borsus Isabelle\" &lt;<a href=\"mailto:iborsus@uliege.be\">iborsus@uliege.be</a>&gt;</p>\n<p>Envoyé: Lundi 21 Septembre 2020 15:33:53</p>\n<p>Objet: RE: ORBi : Demande de tire a part / Request for off-print(s)</p>\n<p> </p>\n<p>Bonjour,</p>\n<p> </p>\n<p>Je vous remercie. Je tiens un blogue où je fais une petite veille universitaire sur les jeux de rôle à mon temps perdu : <a href=\"https://jdr.hypotheses.org/\">https://jdr.hypotheses.org/</a></p>\n<p> </p>\n<p>J'ai bien aimé votre article pour son approche anthropologique. Une piste de recherche qui pourrait prolonger votre recherche serait une analyse linguistique des conversations d'une campagne de jdr. Hélas, je n'ai pas les outils pour le faire mais il existe au moins un ensemble de données structurées pour cela : le verbatim de Critical Role <a href=\"https://github.com/RevanthRameshkumar/CRD3\">https://github.com/RevanthRameshkumar/CRD3</a></p>\n<p> </p>\n<p>Très cordialement,</p>\n<p>Pascal Martinolli</p>\n<p> </p>\n<p> </p>\n<p>Pascal MARTINOLLI</p>\n<p>Bibliothécaire | Instruction librarian</p>\n<p>Bibliothèque des lettres et sciences humaines</p>\n<p> </p>\n<p>514 343-6111, poste 3273</p>\n<p><a href=\"mailto:pascal.martinolli@umontreal.ca\">pascal.martinolli@umontreal.ca</a></p>\n<p> </p>\n<p>Pavillon Samuel-Bronfman</p>\n<p>3000 rue Jean Brillant</p>\n<p>Bureau 1097, Montréal</p>\n<p>C.P. 6128, succursale Centre-ville, Montréal QC H3C 3J7</p>\n<p> </p>\n<p> </p>\n<p> </p>\n<p> </p>\n<p>-----Message d'origine-----</p>\n<p>De : <a href=\"mailto:iborsus@uliege.be\">iborsus@uliege.be</a> &lt;<a href=\"mailto:iborsus@uliege.be\">iborsus@uliege.be</a>&gt;</p>\n<p>Envoyé : 21 septembre 2020 02:23</p>\n<p>À : Martinolli Pascal &lt;<a href=\"mailto:pascal.martinolli@umontreal.ca\">pascal.martinolli@umontreal.ca</a>&gt;</p>\n<p>Objet : Fwd: ORBi : Demande de tire a part / Request for off-print(s)</p>\n<p> </p>\n<p>Bonjour,</p>\n<p>Je viens de recevoir une notification indiquant que vous souhaiteriez consulter mon article.</p>\n<p>Je vous informe qu'il est disponible en Open Access sur le site de la revue via le lien suivant : <a href=\"https://www.espacestemps.net/articles/le-jeu-de-role-comme-espace-potentiel-contribution-a-une-anthropologie-de-lenchantement/\">https://www.espacestemps.net/articles/le-jeu-de-role-comme-espace-potentiel-contribution-a-une-anthropologie-de-lenchantement/</a></p>\n<p> </p>\n<p>J'espère que le contenu pourra vous aider, n'hésitez pas à faire des commentaires !</p>\n<p> </p>\n<p>Bien à vous,</p>\n<p>Isabelle Borsus</p>\n<p> </p>\n<p>------------------------------------</p>\n<p>Assistante</p>\n<p>Faculté des Sciences Sociales (FASS)</p>\n<p>Laboratoire d'Anthropologie Sociale et Culturelle (LASC) Université de Liège Place des orateurs, 3 (B31,Quartier Agora) - 4000 LIEGE</p>\n<p>Bureau: 3/52</p>\n<p>Tel:  04 366 31 71</p>\n<p> </p>",
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            "note": "<h1>Cotes de classement</h1>\n<p>Principales cotes de classement des livres sur mon sujet dans les bibliothèques. Furetez autour de ces emplacements dans les rayons des bibliothèques que vous hantez.</p>\n<p> </p>\n<h2>Classification <em>Library of Congress</em> :</h2>\n<p><!--StartFragment--></p>\n<p><span style=\"background-color: #ff6600;\"> BF: psychologie</span></p>\n<p><span style=\"background-color: #ff6600;\">L : Education</span></p>\n<p><span style=\"background-color: #ff6600;\">GV: Jeux</span></p>\n<p><!--EndFragment--></p>\n<p> </p>\n<ul>\n<li><span style=\"background-color: #ffcc00;\">GV 1200 ... GV 1500</span>\n<ul>\n<li><span style=\"background-color: #ffcc00;\">GV 1230</span></li>\n<li><span style=\"background-color: #ffcc00;\">GV 1469 Game Design</span></li>\n<li><span style=\"background-color: #ff9900;\">GV1469.6 à GV1469.63 : Fantasy Games / Fantasy role playing games / Role-playing games<br /></span>\n<ul>\n<li><span style=\"background-color: #ff9900;\">GV1469.62.D84 : D&amp;D</span></li>\n</ul>\n</li>\n</ul>\n</li>\n<li><span style=\"background-color: #ffcc00;\">PN 212   Storytelling in Literature<br /></span></li>\n<li><span style=\"background-color: #ffcc00;\">LB 1042   Storytelling in Education<br /></span></li>\n<li><span style=\"background-color: #ffcc00;\">U310 Wargames</span></li>\n<li><span style=\"background-color: #ffcc00;\">BJ 971 Wargames</span></li>\n</ul>\n<p> </p>\n<h2> Classification <em>Dewey</em>: </h2>\n<ul>\n<li><span style=\"background-color: #ff9900;\">793.93 : adventure game book</span></li>\n<li> </li>\n<li><span style=\"background-color: #ffcc00;\">793.2 : jeux de société</span></li>\n<li> </li>\n<li><span style=\"background-color: #ffcc00;\">794.8: jeux video</span></li>\n<li><span style=\"background-color: #ffcc00;\">795.4 : jeux de cartes</span></li>\n<li><span style=\"background-color: #ffcc00;\">800-809 : Literature, rhetoric &amp; criticism</span></li>\n<li><span style=\"background-color: #ffcc00;\">372.6 Storytelling</span></li>\n<li><span style=\"background-color: #ffcc00;\">306.487</span></li>\n<li><span style=\"background-color: #ff9900;\"><span style=\"background-color: #ffcc00;\">355.48 : wargames</span><br /></span></li>\n</ul>\n<p> </p>\n<h2>Astuces :</h2>\n<p>Cotes LC générales ici : <span style=\"color: #0000ff;\"><a href=\"http://www.loc.gov/catdir/cpso/lcco/\">http://www.loc.gov/catdir/cpso/lcco/</a> </span>Plus précisément :  Library of Congress Authorities  <a href=\"http://authorities.loc.gov/webvoy.htm\">http://authorities.loc.gov/webvoy.htm</a></p>\n<ol>\n<li>Chercher un mot clé</li>\n<li>Page de résultats : cliquer sur un bouton rouge \"Authorized &amp; References\" ou \"Authorized Heading\"</li>\n<li>Cliquer sur Authority record</li>\n<li>Cliquer sur le lien en face de Heading (1xx)</li>\n<li>Décrypter la notice MARC ou cliquer sur Labelled Display</li>\n</ol>\n<p>Dewey : <span style=\"color: #0000ff;\"><a>http://www.ebsi.umontreal.ca/jetrouve/biblio/dewey.htm</a> </span></p>\n<p>Passer de l’une à l’autre : <span style=\"color: #0000ff;\"><a href=\"http://www.questionpoint.org/crs/html/help/it/ask/ask_map_lcctoddc.html\"><span style=\"color: #0000ff;\">http://www.questionpoint.org/crs/html/help/it/ask/ask_map_lcctoddc.html</span></a></span></p>\n<p> </p>",
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            "note": "<p>p.124 \"Visitation fictions recognized the appetite  of fantasy readers in the 1960s to interact with these fantasy worlds—not merely as passive observers, but as protagonists. Fantasy was never content to be confined to the page. Fantastic adventure is too exciting, too immersive, to be appreciated only from afar: its fans wanted to get involved with it.\"</p>",
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            "note": "<p>Revue de jeux de rôles <strong class=\"text-strong\">Runes #5</strong> (septembre / octobre 1983):<br /><br />Attention ! La pratique de Donions et Dragons est dangereuse ! Même meurtrière, s'il faut en croire les parents d'un <br />jeune américain de 16 ans qui s'est suicidé l'année dernière peu de temps après avoir joué une partie au cours de <br />laquelle ses partenaires lui avaient jeté un sort de malédiction. Une perquisition de la police dans la chambre de <br />l'adolescent disparu a permis de trouver une foule de personnages et objets du fameux jeu de société. C'est <br />pourquoi, un an après sa mort, ses parents exigent un millions de dollars de dommages et intérêts de la firme T.S.R. <br />qui est responsable, selon eux, de cet événement navrant. lls affirment que, parce que leur jeune fils souffrait de <br />troubles psychologiques graves, le sort jeté sur lui par ses partenaires a provoqué un désarroi affectif et <br />émotionnel qui est à l'origine de son suicide à quelques jours de ses examens. Dans cette pénible affaire, seul M. <br />Robert Landa, avocat de l'association anti-D&amp;D Sending America Light and Truth n'a pas été surpris : Mon tiroir <br />est plein d'histoires incroyables de personnes qui ont été victimes du rôle qu'elles ont joué dans Donjons et Dragons. <br />Ce jeu est devenu en fait un mode de vie relevant de la sorcellerie et de la magie noire. Gasp !<br /><br />Au cours du mois d'août 1983, un grand quotidien français, le Matin de Paris, a publié sous le titre Donjons et <br />Dragons : mourir pour un jeu, un article qui relatait cette histoire. Profitant de l'occasion pour expliquer à ses <br />lecteurs ce qu'est ce jeu dangereux, le journaliste, bien informé, présenta D&amp;D comme ( un jeu obscur dont les <br />implications psychologiques sont certaines qu'elles soient positives ou négatives. ll continue en disant que ce <br />jeu \" a fait des adeptes dans des milieux dits intellectuels \" et qu'il invite les joueurs à devenir n des personnages <br />mystiques dotés de certains pouvoirs magiques dans le cadre de scènes imaginées par un maître de cérémonies. <br />C'est ainsi que les participants peuvent goûter les délices cataleptiques du jeu. Une description si objective <br />dans le simple but d'alerter les parents sur les dangers d'un tel jeu nous a paru très généreuse car il est rare que <br />la grande Presse s'intéresse à cette activité qui touche un public, hélas ! de plus en plus nombreux.</p>",
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            "note": "<p>p.119-121 : D&amp;D &amp; Tolkien</p>\n<p>\"</p>\n<p>Our best insight into this question comes from an article Gygax published soon after the first edition of <em class=\"calibre5\">Dungeons &amp; Dragons</em> in the fall of 1974 entitled, handily enough, “Fantasy Wargaming and the Influence of J.R.R. Tolkien.” [LV:v1n4] In that piece Gygax questions whether or not Tolkien invented the definitive fantasy setting:</p>\n<p class=\"Extract\">Most hobbyists who are in the least interested in playing fantasy games will tend to consider Tolkien as the ultimate authority and his writings as sacrosanct. Is this position actually deserved? At the risk of being called all sorts of foul blasphemer, I think not… What is in question… is whether or not his fantasy creatures such as hobbits, dwarves, elves, goblins, orcs, trolls, and so on as found in his writings are unimpeachable; whether or not his treatment of heroes and magicians is such as to disallow any other.</p>\n<p>   The first question we must ask about this piece is why Gygax penned it. He gives us a strong clue near the start by discussing the reception of <em class=\"calibre5\">Chainmail</em>. He relates that while its “brief rules were aimed primarily at the battles found in the Tolkien books,” they admitted a secondary focus on Howard and other fantasy writers as well, such that “the rules are not limited to any single mythos or author’s fantasy creation.” Gygax consequently laments that “despite these very clear prefatory statements, not a few readers complained that the work did not follow Tolkien!” As was noted above, Gygax had already complained about the reception of <em class=\"calibre5\">Chainmail </em>back in 1972, in the pages of <em class=\"calibre5\">Wargamer’s Newsletter</em>: “Tolkien purists will not find these rules entirely satisfactory, I believe, for many of the fantastic creatures do not follow his ‘specifications’, mainly because I believe that other writers were as ‘authoritative’ as he.” [WGN:#127] It is easy to imagine that most gamers who played <em class=\"calibre5\">Chainmail</em> had read Tolkien, but fewer had other experience with fantasy literature—thus, when they encountered creatures like the troll of <em class=\"calibre5\">Chainmail</em>, which is indebted to the vicious and resilient creatures in Poul Anderson’s <em class=\"calibre5\">Three Hearts and Three Lions</em> rather than to the bumbling trolls in <em class=\"calibre5\">The Hobbit</em>, they interpreted the design of the creature as a simple error. Gygax apparently found these sorts of complaints exasperating, and they may have steered him to deemphasize Tolkien in creating <em class=\"calibre5\">Dungeons &amp; Dragons</em>.</p>\n<p>   To this effect, Gygax openly asserts of <em class=\"calibre5\">Chainmail </em>and <em class=\"calibre5\">Dungeons &amp; Dragons </em>that “the first is very much more influenced by the works of Professor Tolkien than is the second.” [LV:v1n4] This is an important claim, and one which merits deeper analysis. The mere fact that this is Gygax’s opinion goes a long way toward explaining why the former work acknowledges such an explicit debt to Tolkien and the latter does not. However, Gygax cannot deny the reality that, in the absence of Tolkien, there would be no market for fantasy gaming. Indeed, he does “readily acknowledge the debt owed to J.R.R. Tolkien as far as popularizing fantasy” and notes that both of his games “for their popularity… lean not inconsiderably upon [Tolkien’s] creations.” Remembering the state of obscurity in which fantasy literature languished before 1965, it seems improbable that <em class=\"calibre5\">Chainmail</em> or <em class=\"calibre5\">Dungeons &amp; Dragons</em> could have found a broad, positive reception without the monumental popularity of Tolkien. What Gygax does suggest, however, is that in much the same way that other fantasy authors reaped the rewards of a market seeded by Tolkien in the late 1960s, so too could <em class=\"calibre5\">Dungeons &amp; Dragons </em>sell to Tolkien’s fans a game weighted toward the creations of other fantasy authors.</p>\n<p>   Who were these other authors? In “Fantasy Wargaming,” Gygax helpfully provides a list of the most significant authors, all names familiar from the account of fantasy literature earlier in this chapter: “Besides Howard whom I have already mentioned, there are the likes of Poul Anderson, L. Sprague de Camp (and Fletcher Pratt), Fritz Leiber, H. P. Lovecraft, A. Merritt, Michael Moorcock, Jack Vance, and Roger Zelazny.” <a class=\"calibre6 pcalibre pcalibre1\" title=\"\">[206]</a> Using selections from their collective canon as examples, Gygax then embarks on a series of arguments to illustrate why Tolkien is not as good a basis for fantasy wargaming as the works of these other authors. First, he asserts that “the ‘Ring Trilogy’ is not fast paced.” The <em class=\"calibre5\">Lord of the Rings </em>is indeed not a vivid adventure narrative in the stamp of <em class=\"calibre5\">Treasure Island</em>, but more of a historical chronicle. Second, he tackles the depiction of heroes and wizards and the lack of any religious element. The heroic figures of Tolkien, he argues, are “not of the ‘Conan‘ stamp,” and do not strike him as the sorts of characters with whom a participant in a fantasy game should identify. Tolkien’s wizards, he says, are “either rather ineffectual or else they lurk in their strongholds working magical spells which seem to have little if any effect while their gross or stupid minions bungle their plans for supremacy.” The absence of religion in the<em class=\"calibre5\"> Lord of the Rings</em> is another respect in which it is followed more closely by <em class=\"calibre5\">Chainmail</em> (which has no concept of a religious miniature figure ‘type’) than by <em class=\"calibre5\">Dungeons &amp; Dragons</em>. Third, Gygax argues that “outside the framework of the tale many of Tolkien’s creatures are not very exciting or different.” The aforementioned trolls are one. He complains that giants are largely glossed over by Tolkien yet have tremendous potential in fantasy settings. Finally, Gygax stresses that Tolkien’s elves “are actually far more like English fairies than anything else,” and that wargaming required a very different vision of elves.</p>\n<p>   This is not to suggest that Gygax believed the<em class=\"calibre5\"> Lord of the Rings</em> got everything wrong. He enthusiastically endorses Tolkien’s version of goblins, dragons and especially dwarves. Among Tolkien’s original creations, Gygax esteems the barrow wights, Nazgûl, balrog, ents and hobbits, all of which he faithfully reproduced in <em class=\"calibre5\">Chainmail</em>. However, he adamantly resists a dogmatic elevation of Tolkien to an authority over fantasy, insisting instead that fantasy wargaming should be “a blend of all these fantastic worlds and creatures, especially devised for recreating fantasy in game form.”</p>\n<p>   Gygax’s points of contention with Tolkien’s fantasy world echo those expressed by the authors whom he champions: a group that found themselves in the awkward position of being simultaneously indebted to Tolkien for the boost in their sales yet reluctant to embrace his approach to the genre. Gygax certainly was not the first to claim that the<em class=\"calibre5\"> Lord of the Rings</em> suffered from serious pacing problems: Fritz Leiber praised the beginning of the series, especially bits with the Nazgûl and the balrog, but then when he searches his memory for later notable events, “exciting things <em class=\"calibre5\">should</em> spring to mind, but they don’t.” <a class=\"calibre6 pcalibre pcalibre1\" title=\"\">[207]</a> In fairness, however, we should remember that <em class=\"calibre5\">The Hobbit</em><em class=\"calibre5\"> </em>is as significant a potential influence as Tolkien’s later trilogy, and where Frodo’s quest explores deep questions about the use of power and the nature of evil in a protracted and sometimes ponderous mythical narrative, Bilbo’s far briefer adventure is a more light-hearted romp of treasure-seeking dwarves and slain monsters. As we shall explore later in Section 2.5, Bilbo’s adventure comes much closer to the spirit of <em class=\"calibre5\">Dungeons &amp; Dragons</em>, not in the least part because it prominently features both dungeons and dragons.</p>\n<p>   Other criticisms by fantasy authors of the day cut a bit deeper. In his <em class=\"calibre5\">Imaginary Worlds</em>, Lin Carter submits that “Tolkien is not much of an artist when it comes to prose style” (though it is embarrassing for Carter to cast that particular stone, especially at an Oxford don) and that his portrayal of evil is “flimsy and two-dimensional.” Carter dedicates quite a long passage to the absurdity of religion’s absence from the<em class=\"calibre5\"> Lord of the Rings</em>, a critique that encompasses a veritable catalog of all previous fantasy fiction, demonstrating the universality of religion and the incredibility that it should not flourish in the bellicose medieval societies of Middle-earth. Michael Moorcock is perhaps most damning, and most aligned with the expected stance of the counterculture, in his judgment that the<em class=\"calibre5\"> Lord of the Rings </em>is “a pernicious confirmation of the values of a morally bankrupt middle-class.” When Moorcock reviewed both <em class=\"calibre5\">The Broken Sword</em> and the<em class=\"calibre5\"> Lord of the Rings</em> near their time of release, he noted that “Anderson’s book impressed me so powerfully that I couldn’t enjoy Tolkien’s… I couldn’t take Tolkien seriously.” <a class=\"calibre6 pcalibre pcalibre1\" title=\"\">[208]</a></p>\n<p>   The basis of Moorcock’s critique in particular reminds us of the counterculture’s seemingly hypocritical acceptance of a work with so many reactionary elements. If Led Zeppelin’s often-confused references are any indication, the popular embrace of the<em class=\"calibre5\"> Lord of the Rings</em> was not slavishly faithful to Tolkien’s work as much as to a more general impression of its meaning, a message that spread rapidly and anecdotally through the counterculture. Weighing in at half a million words, spread in common editions over some twelve hundred pages, the complete trilogy must have been more admired than read—to take that one step further, in some respects the work itself may have been ancillary to the extra-literary sense of the setting it imparted and the tremendous attraction that this magical world exerted on the minds of readers.</p>\n<p>\"</p>",
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            "note": "<p>Originally published: Roleplaying in psychotherapy. Chicago : Aldine, c1966, in series: Modern applications of psychology</p>",
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            "note": "<p><!--StartFragment--></p>\n<div style=\"margin-bottom: 0in;\">Half way through reading Robert J. Kuntz's book, <strong>DAVE ARNESON'S TRUE GENIUS</strong><span style=\"font-weight: normal;\">, I wrote the following response on the<a href=\"http://ruinsofmurkhill.proboards.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Ruins of Murkhill BBS</a></span></div>\n<blockquote class=\"tr_bq\">\n<div style=\"font-weight: normal; margin-bottom: 0in;\">You have, I feel, given the best definition of what it is that we do. Describing to others why we sit around a table and play pretend either ends well or it doesn't. You also identify and clarify thoughts that I have had about the system for years but in a concise way which both strengthens and expands what I have been grasping at for so long. <br /><br />I had taken a very long break from gaming, and when I came back to it, I played MUCH differently than I did as a youngster. The game functions better, we took our time and just did what we wanted to. You go into a house to search it, there is no dice for that now, I make the player search it. One of the club's founding members returned for a game, he had heard that it wasn't just a hack and slash anymore and he got curious about it. During play he'd try old tactics that rely on dice, and would get frustrated when I forced him to use his brain instead; however, the very next session he came back ready to go. <br /><br />I had a hard time grasping what I did, what was different, and I finally figured it out! I allowed the player's thoughts and ideas to become more important to the game than the dice. If the player can't mentally accomplish a goal, or just becomes overwhelmed, we can always use the dice, but we don't have to. People come first, not the system. This philosophy, once it takes hold, changes the dynamics of the game in a positive way. This book really reinforces this principle, and even extends my personal awareness of how far this knowledge can really take us.<br /><br />Thank you!</div>\n</blockquote>\n<table class=\"tr-caption-container\" style=\"float: left; margin-right: 1em; text-align: left;\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td style=\"text-align: center;\"><a style=\"clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;\" href=\"https://3.bp.blogspot.com/-X3I2UbiT80Q/WRN0g4UULsI/AAAAAAAABgc/-QA_-LIb6AULfrdPRyMKpIqIRZugsjioACLcB/s1600/Dave%2BArneson%2B%25282%2529.jpg\"><img src=\"https://3.bp.blogspot.com/-X3I2UbiT80Q/WRN0g4UULsI/AAAAAAAABgc/-QA_-LIb6AULfrdPRyMKpIqIRZugsjioACLcB/s320/Dave%2BArneson%2B%25282%2529.jpg\" alt=\"\" width=\"217\" height=\"320\" border=\"0\" /></a></td>\n</tr>\n<tr>\n<td class=\"tr-caption\" style=\"text-align: center;\">Copyright Three Line Studios</td>\n</tr>\n</tbody>\n</table>\n<div style=\"font-weight: normal; margin-bottom: 0in;\">After finishing reading the book, my thoughts about it really haven't changed. The book contains a bit of personal history from an original designer; but, it isn't a history book. The book has no mechanics, nor does it tell you how to design worlds; what this book does do is that it describes the engine that makes the game so addictive and allows you, the reader, to understand the engine for yourself. True Genius is much longer than the page count, it is interactive as it requires you to take the ideas presented to continue the thought processes and what they mean to you personally.</div>\n<div style=\"font-weight: normal; margin-bottom: 0in;\">The engine itself is larger than Dungeons &amp; Dragons, in fact, Dungeons &amp; Dragons places limitations upon it to stop it from reaching its full potential. The purpose of the game system isn't to help you, the end user, nor does it govern or improve the engine, the primary purpose of Dungeons &amp; Dragons is to sell you Modules and to pretend that it is the best at what it does, when this is far from the truth.</div>\n<div style=\"margin-bottom: 0in;\"><span style=\"font-weight: normal;\">If you are ready for this book, <a href=\"https://www.threelinestudio.com/store/dave-arneson-s-true-genius/\" target=\"_blank\" rel=\"noopener noreferrer\">it is here</a>, but beware that it will challenge what you know and encourage you to evolve. It exposes things that other designers know but don't want you to. The only critical issue I have with the book is that I feel that it could had been improved by a harsher editor, I sure wouldn't want that job! On average, most people have a 9</span><sup><span style=\"font-weight: normal;\">th</span></sup><span style=\"font-weight: normal;\"> Grade reading level, however since this is a hobby primarily made up of readers, that average is probably somewhere in the collage level, still, I find it to be a bit too academic minded at times. Some find his word choices to be either intellectually intimidating, or thought provoking. The man is describing something that has never been fully described yet, with ideas as large as this (the engine), language itself is slow to catch up. This barrier has always been an obstacle, going right back to Arneson. </span></div>\n<div style=\"margin-bottom: 0in;\"><span style=\"font-weight: normal;\">What I was hopping from this book were some insights on Dave's behavior while in the company, which are addressed, very clearly. I also wanted to know what Mr. Arneson's lost notes said, they, regrettably, are gone, but Rob does elude to some motivations of why this is. While those notes have no doubt been destroyed, Rob Kuntz, I believe, does his best to describe the contents of them. They didn't describe D&amp;D, there was no D&amp;D, they attempted to define the engine itself, which, like I said, is the exciting part of this book. This engine is the focus, and it, my friends is a very large yet illusive concept. The intent of the engine wasn't to recreate games that had already happened, it can do that, but as a resource, it is capable of so much more; how much more will only be discovered once we unshackle ourselves from the influences of people who aren't even at our gaming tables.</span></div>\n<div style=\"font-weight: normal; margin-bottom: 0in;\">The target audience for this title is for those who are very very advanced. Those who have noticed the limitations set in place by their system of choice; any system. It is also of interest to those who study the history of our hobby, the information presented here is first-hand accounts, however that is not its goal, outside of helping you grasp what the engine is and how it was restricted right from the gate.</div>\n<div style=\"font-weight: normal; margin-bottom: 0in;\">If you are serious, or just on the fence about developing your own designs, as I was; this book will provide motivation and direction. It defies my normal grade standards as it isn't a DM or Player Guide, it isn't something that you can apply to your current system, it is it's own thing. I will, however, state that this book is important. It's ultimate goal overshadows the status quo and forces you to question it. It also sets out to, hopefully, allow the hobby to grow beyond its current stagnation set in place by traditional formulas and be allowed to take greater leaps into future innovative designs. Wouldn't that be nice? </div>\n<div style=\"font-weight: normal; margin-bottom: 0in;\">The book itself is only available on the <a href=\"https://www.threelinestudio.com/store/dave-arneson-s-true-genius/\" target=\"_blank\" rel=\"noopener noreferrer\">Three Studios webpage </a>if you are waiting for it to come out digitally, I've been told that that isn't going to happen. A Kindle version would had been nice, but for the small press, Amazon takes a huge bite and leaves the Author unfairly compensated</div>\n<p><!--EndFragment--></p>",
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            "note": "<p><!--StartFragment--></p>\n<div>\n<div class=\"_1mj _1mf\">Howdy All,</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">I just got done reading a fantastic book: Dave Arneson's True Genius by Robert J. Kuntz!</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">I was fortunate enough to get an advanced reading copy of the book (actually a whole lot of them because I volunteered to help with stateside fulfillment) and I must say I am beside myself with excitement!</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">Rob has discussed his intensive research with me over the last several years and I was thrilled by the conclusions he drew but reading it all laid out for the first time is simply stunning. In fact I read it cover to cover before bed and exclaimed, \"Wow! Wow!\" My wife seeing I had just read the last page and flipped closed the book she said, \"Pretty good, huh!\" I nodded and she smiled and turned out the light to go to sleep. I quickly sat up out of bed and she asked, \"What I was doing!?\" I said, putting on my slippers, \"I am going to read it again!\"</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">As I read through it again, she asked if I was ever coming to bed and I said, \"I have to finish reading it!\" And I did...</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">The roleplaying game has been around now for over 45 years and many attempts have been made to define it. Rob has done what hasn't been done before. He has analyzed and identified the true genius of Dave Arneson's creation from the perspective of a game designer. Rob explores and demonstrates how Dave broke with two millennia of game design.</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">The book is three linked essays titled: From Vision to Vicissitude: The Rise and Reversal of Arneson's RPG Concept, Dimensionality in Design: An Examination of Dave Arneson's System of Systems Thinking, and Debunking the Chainmail/Braunstein \"Derivation\" Claims.</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">In these three essays Rob lays out just what Arneson created before ever showing the game to Gary Gygax and explains just why is is such a phenomenal leap, not only in game design, but in systems thinking. He also presents the event horizon of Arneson's genius leap and the lost opportunity and loss of historical significance of what had happened. Rob includes several vignettes that showcase what both Dave and Gary knew and how Gary changed his thinking on the phenomenon in order to monetize the idea. It is an incredible look into the minds of both Dave and Gary.</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">The last essay is Rob's dissection of Arneson's design-leap and demonstrably proves how both Chainmail and Braunstein are related to Dave's creation but in no way have any relationship to Dave's genius systems thinking that becomes the first fantasy roleplaying game.</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">In addition to these distinct essays the book has a section of sample text from Rob's forthcoming book A New Ethos in Game Design: The Paradigm Shift Created by Dungeons &amp; Dragons, 1972-1977. Given the chapter samples, I can not wait to get that book too!</div>\n</div>\n<div>\n<div class=\"_1mj _1mf\"> </div>\n</div>\n<div>\n<div class=\"_1mj _1mf\">This book goes way beyond just a roleplaying audience and is a fantastic read for any type of gamer (board, computer, video, wargamer, etc.), game designers of all walks should be required to read this!, social scientists, historians, teachers, and just about anyone who has ever had experiences with roleplaying in everyday life -- gaming, training, education, acting, you name it!</div>\n<div class=\"_1mj _1mf\"><a href=\"http://thecollectorstrove.com/the-trove-news/2017/4/12/dave-arnesons-true-genius-by-robert-j-kuntz.html\">http://thecollectorstrove.com/the-trove-news/2017/4/12/dave-arnesons-true-genius-by-robert-j-kuntz.html</a></div>\n</div>\n<p><!--EndFragment--></p>",
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            "note": "<p><!--StartFragment--><em style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; vertical-align: top; font-style: italic; color: #333333; font-family: Merriweather, serif; font-size: 16px; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial;\">Cecilie Nemeth</em><br style=\"box-sizing: border-box; color: #333333; font-family: Merriweather, serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial;\" /><span style=\"color: #333333; font-family: Merriweather, serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;\">Denmark, Herning</span><br style=\"box-sizing: border-box; color: #333333; font-family: Merriweather, serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial;\" /><span style=\"color: #333333; font-family: Merriweather, serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;\">Roleplayer and Cand. Ped. Fil student. Working on a major academical work about EDU-LARP and Pedagogy and the project to introduce Roleplay within the UC edducations is part of this academical work. So far I’ve hosted three workshops for pedagogy students as well as a weekend event with two classical social roleplays.</span><!--EndFragment--></p>",
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            "note": "<p><!--StartFragment--></p>\n<p style=\"margin-bottom: 0cm;\">Three linked essays forming the first major treatise on <strong>David L. Arneson</strong>, the man behind the role playing frenzy that swept the nation 1974 onward and that continues to this very day world wide; and all of it, as revealed herein, based upon a unique systems architecture he invented and utilized for his make believe campaign world, <em>Blackmoor,</em> circa 1971.</p>\n<p> </p>\n<p style=\"margin-bottom: 0cm;\">This extensively researched work reveals:</p>\n<p> </p>\n<p style=\"margin-bottom: 0cm; padding-left: 30px;\"><strong>That Arneson broke with 2,000 years of game design history and theory</strong> by creating and implementing a transcendent systems structure never before conceived of in the history of games or play. The author examines and explains Arneson’s evolutionary systems architecture.</p>\n<p> </p>\n<p style=\"margin-bottom: 0cm; padding-left: 30px;\"><strong>That the design dimension qualities of Arneson’s systems structure are still in their embryonic stages</strong> due to his original concept being redacted for a less robust system, and by the very company which was catapulted from a basement concern to a near 1 million dollar business almost “overnight” while at first championing it.</p>\n<p> </p>\n<p style=\"margin-bottom: 0cm; padding-left: 30px;\"><strong>That outstanding claims that the RPG concept, as first made available commercially as <em>Original Dungeons &amp; Dragons™</em> in 1974, is descended from the game <em>Chainmail</em> are incorrect</strong> and stem from assumptive leaps of logic not consonant with design theory or systems theory. Both of the latter’s knowledge bases are utilized by the author to debunk this ongoing fallacy.</p>\n<p> </p>\n<p style=\"margin-bottom: 0cm;\">Included as addenda to this work is a section and chapter outline, including select samples, from the author’s upcoming and much larger work, <em><strong>A New Ethos in Game Design:</strong> The Paradigm Shift Originated by Dungeons &amp; Dragons™, 1972-1977.</em></p>\n<p><!--EndFragment--></p>",
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