EL ARTE COMO ARTIFICIO; Autor. Shklovski. INTEGRANTES: Antonieta Ontiveros Ruiz; Adriana López Núñez; Gabriela G. Agis Mendoza. Dra. Flor de María. 16; Louis Vax, Arte y literatura fantásticas (Buenos Aires: Eudeba, ), p. 6. 2. Victor Shklovski, “El arte como artificio” in Teoría de la literatura de los. Shklovski, Viktor (). El arte como artificio (). In Todorov, Tzvetan (Ed.), Teoría de la literatura de los formalistas rusos. Argentina: Siglo XXI, pp.
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After this explanation, we shall proceed to establishing an extended definition and the main levels of analysis for this semantic-pragmatic model.
Si Arturo Cova no fuera poeta… Una relectura However, we have also previously shklosvki that the idea of fiction does not necessarily imply the use of narratives and, therefore, the concept of transmedia narration seems hardly operational from the lens of fictional semantics of possible worlds.
In contrast, in video games, it does not necessarily have to be that way.
The author borrows the holodeck from the television series Star Trek, a device which can produce holonovels, i. The purpose of these games is not defined from fictionality — and even less so from possible narratological interpretation — but rather arts ludic concept of social play, even if later it also becomes transferred to the individual challenge.
The rules of the objective and effective world are adopted, thus producing historical or journalistic types of texts. Shkolvski, after more than half a century of cinematic showing and engineered playing, the emergence of the video game in the mid-seventies demonstrated unique features — part showing, part playing — that are key to understanding how fiction is produced today in electronic entertainment.
It is evident that the intensional perspective does not deny, in any case, the participation of extensional or referentialist semantics, also known as world semantics Albadalejo,p.
Narratology is not perceived, in the same terms inside and outside of the study of video games. Each one of these iterations is composed by different actions, states and finally, conclusions: What happens if I kill my travel companion to avoid a worse evil?
For Maietti, the possible videoludic worlds mondi possibili videoludici are different from cinematic or literary worlds due to their level of access by interactivityp. To clarify, we shall imagine the following example: In other words, narration involves explaining a story. One the one hand, these are theories of null reference and, on the other hand, they consist of exclusively reproductive mimesis.
Teoria Literaria II P This bridge that links reality and fiction is configured, in our model, by both extensional and intensional semantics and by some shared pragmatic uses. Thus, in the phases of preconfiguration Mimesis I and reconfiguration Mimesis III — the creation of the work by the author and the reception, respectively — generally operate as the pragmatic framework of the conceptualization of fictional fact, together with an extensive type of semantics.
Thus, philosophical models consider possible worlds as accessible alternatives to the actual world, but never as impossible constructs from the perspective of their actual or merely possible existence.
Así la vida desaparece transformándose en nada. La – Sistemas de representación de la realidad
First is Philosophy, the idea of possible worlds and conflicts with fiction. Although the game as a fictional world may expand indefinitely, vomo cannot do so likewise in its interactive dimension.
The preconfiguration phase Mimesis I in the fictional work responds to both the pragmatic framework of the creation and the extensional semantics within a specific cultural context. This positioning of Aarseth against narratological colonialism of the new interactive medium inspired a group of theorists to continue investigating the main differences between video games and traditionally narrative mediums. Possible worlds in philosophy 11 2.
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For Plato, the mimetic function is based on the copy of reality, the reproduction of artifkcio world. Thus, it is common to speak of video game designers before creators, or the techniques of game design Crawford, ; Salen and Zimermann, ; Schell, In his Principles of MathematicsRussell admits the possibility of a non- existent being through the previously mentioned example of the golden mountain.
Second, classic possibilism defends the independence of possible worlds without a priori casual relations existing among them, nor hierarchies of any kind since, otherwise, we would find ourselves facing actualist positions, as we shall see later.
To answer this question, Juul makes a comparative analysis between the movie Star Wars and the video game Atari made artifciio the same name in Thus, entering a fictional novel or a movie involves transporting ourselves to an objective coom created for the work in which different possible worlds are organized and which remain separate from the objective reality we experience.
Davidson de Oliveira Diniz. We do not simply think, we think from a specific world: As we shall see later on, some of these worlds hold a hegemonic structural position — the main levels of the adventure, for example — in relation to other less relevant levels — hidden levels, secondary missions — while some fulfill other functions, such as those aimed at narrative contributions. Octavio Paz, years – Department of English, Comparative Thus, it follows that the insistence of the concept of fiction as a mere translation cimo a specific or universalist referent cannot account for the true properties of fictional entities.
However, the hegemony of the argument soon declined upon the confirmation that, in reality, much of the ideological persuasion did not consist dl the mere fictionalization of reality, but rather the intensive use of rhetoric focused on manipulation and deception: