Fanny Georges

In this chapter, the authors wish to study the transformation of online profiles created during a user’s lifetime into the profile of a deceased person. To this end, they first focus on the possibilities available to the bereaved to maintain the deceased’s profile and how they manage this. When these perpetuated profiles are taken in hand, they undergo changes. This phenomenon of transformation is what the authors have termed “profilopraxy,” whereby the deceased’s profile is changed so that it complies with the idea that the bereaved have of the person, and/or the affixment of death stigmas to make the profile recognizable as that of a dead person. As the most obvious way of affixing these stigmas involves announcing the death of the deceased, the authors analyze this announcement. They identify the enunciators who make the announcement, the places where it appears and the way it is formulated. On this basis, the authors show that the characteristics of social networking sites profoundly upset traditional hierarchies, since friends and family both intervene on the profile pages to affix death stigmas and shape them for posterity. As a result, the transformation of a living person’s profile into a dead person’s profile stems from a co-enunciation involving viewpoints that are not always similar. Tensions may even be expressed among the co-enunciators active on a profile. Moreover, some choose to use other spaces in which to produce a representation of the deceased, thus creating an image that better fits the one they wish to see handed down to posterity.

Des premiers jeux vidéo aux jeux actuels, les interfaces numériques tout autant que les genres de jeux vidéo se sont diversifiés, multipliant les modalités d’identification du joueur et de manipulation des personnages . Intermédiaire entre le monde du joueur et le monde du jeu, l’avatar est devenu un dispositif complexe et hybride : les limites entre le joueur et le personnage tendent à s’atténuer. Afin de mettre en évidence les lignes directrices de cette évolution des avatars dans les jeux vidéo, cette contribution, s’appuie sur un état de la recherche des travaux portant sur l’avatar et l’identification du joueur, et propose une typologie des avatars sous l’angle des moda- lités d’identification du joueur à son personnage : l’avatar-marionnette, l’avatar-masque et l’avatar-mouvement.Since the first video games, digital interfaces as well as video game genres have become greatly diversified, with many different methods for identifying with and manipulating game characters . The avatar, the intermediary between the world of the gamer and the world of the game itself, has become a complex, hybrid figure where the boundaries between player and character are increasingly blurred. To highlight the main trends in the changing figure of the avatar in video games, this paper draws on cur- rent research on avatars and player identification to put for- ward a typology based on different means used by players to identify with their characters: puppet avatars, mask avatars and motion-based avatars