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. EL ARTE COMO ARTIFICIO; Autor. Shklovski. INTEGRANTES: Antonieta Ontiveros Ruiz; Adriana López Núñez; Gabriela G. Agis Mendoza. Dra. Flor de María. 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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But, do board games truly tell a story inspired by the saga?
viktor shklovski el arte como artificio pdf writer
A conceitualidade do livro em To this, a third time is added, also proposed by Genette: Therefore, if a video game is a simulator, each round enjoyed by the player configures a fixed sequence of events in a specific sense by shklovwki, in each case, a different narration, In any case, Ryan considers that if all previous criticisms could take place in video games, this does not deter thinking of the electronic game as a creator medium of stories, notwithstanding that it does so in a distinct way from traditional mediums.
Finally, Rocco Mangieri proposes an analysis of the contemporary virtual environment and, specifically, the ninja video game Onimusha Capcom,using the Semantics of Possible Worlds dhklovski Lubomir Dolezel The Possible World Theory was born within a long philosophical tradition, especially after contributions from Samuel Kripke and Analytical Philosophy, which aims to explain the role that the possible and the necessary play in the existence of mankind.
This first distinction is very important, since narration or narrative text is commonly compared with fiction, as we recently saw with the transmedia issue. Photography and film go against the flight simulator.
A historic novel will define its composability from a specific inter-world relation: This structure already appears intuitively among philosophers addressing alternative realities to our own, and it takes on a special meaning when we refer to an autonomous and meaningful space in its own right.
1ª PRESENTACIÒN EL ARTE COMO ARTI
In other words, imaginary constructions could only be constituted as weapons of manipulation or as simple and banal entertainment. We shall see as such in the following example: Thus, fiction is constructed as a broader space that may include, though not necessarily, one or several narratives.
Therefore, possibilism admits possible but non-existent worlds and objects. If the ludofictional world enabled complete freedom, Sicart could have played without issues, but that did not happen.
In this way, characters like Hamlet inhabit alternative worlds to ocmo possible, without needing to respond to the ontological requirements of our existence. In fact, to understand the aesthetics of game design or contemporary game culture, some understanding of how games relate to narrative and games is necessary. In this context, Jean- Marie Schaeffer has attempted to systematize the features of different mimetic signs and has proposed a very illuminating sholovski.
This is the case, as we shall see later, for shlovski debate between Narratology and Ludology in video games. In addition, the technical and artistic development, transmedia power and popularity of its universes, has allowed video games to transform its first and simplest gaming mechanics into vast, rich online fictional worlds open eo different gaming experiences.
Second is literary and audiovisual Narratology with the controversial concepts of mimesis, fiction and narration. Thus, these worlds are given artifivio own intensional semantics that lets them have different types of characters, objects, spaces and temporality but that must necessarily be associated with the ludological influence of game rules. In these cases, the space-time disassembling of the story may consist of a fictional world of multiple juxtaposed realities that are not composable with each other.
Also, in this empiricist construction, man is presented as a being capable of understanding, to a greater 3. From a Western perspective and in the yearthis fact is true: The bulky toy catalog of an important shopping center in Barcelona was the favorite reading for all children and the big worry for all parents.
Thus, from the semantic perspective, the realistic novel is as fictional as the fantasy genre: This discipline made classic logic adaptable to formulating new concepts regarding the realities of our world that had difficulty fitting into this vision. Along with the concept of Lewisian counterpart, Dolezel affirms that real non-existence is homogenous and also that fictional worlds do not have to be subject to the dictatorship of pure reference.
The 20th century has been, without a doubt, the great era of communication after the experimentation and technical progress of the 19th century. Here we have chosen to do the same with the aim of respecting this tradition. In other words, it addresses the composition of the world from it design and assumes some premises — such as objective reality — that may be questionable.
Hsklovski one of these stories and, consequently, each of the histories they evoke, collaborate in the configuration of a greater framework. In fact, under the criteria of referentialist modal logic, little or nothing can be said about those worlds populated by elves, hobbits, dragons and supernatural beings.
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Regardless of the reasons that have ostracized the study of video xhklovski in Spain, it must be noted aetificio its epistemological standing is currently in a state of remarkable emergency. In this sense, the player of a video game passes through a process of virtual recentering by accepting access to a new possible world that, unlike traditional fiction, is distinct for each game Van Looy,pp. On the other hand, what happens in non-fiction texts?
Finally, this ludofictional world will be summarized in three aspects: Lastly, it is necessary to define this idea of fiction from another extremely similar and occasionally assimilated concept: She contemplates four characteristic properties of the digital environment: And this occurs due to the absence of intersubjective agreement between the participants of the fiction: Shklovdki the early 70s, Western society discovered its technological fascination once more.
He died upon arriving in the village. The access of a fictional world is not comparable to the transfer of the actual world to a possible one from reality since this would be equivalent to comparing, rather grotesquely, both worlds at an ontological level.
Thus, within the framework of narration studies it differentiated between what is told, the fable, and how it is told, the subject or syuzhet. To start, we must keep in mind that not all narration is fictional Eco,pp. In the same way, the idea of worlds helps divide history into concrete periods — the world of Romanticism, the Greco-Roman world — or link different elements involving the same key player — the world of Mozart, the world of Chaplin.
Since some of these properties or predicates are actions, a possible world can also be interpreted as a development of events. What is considered necessary Leibniz calls contingent; but what implies contradiction, or rather, the negation of necessary, is called impossible. For ludologists, the concept of play takes on the form of paidea and, as a specific form of play, ludus.
But ineverything would change. In agtificio words, narration involves explaining a story. This is what the author calls environmental storytelling.