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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In this second subsection of the theoretical framework, and after the conceptual revision of the possible world in its philosophical origin, we will create an approach using one of its most peculiar derivations, the fictional world, coml the theory of fiction.
viktor shklovski el arte como artificio pdf writer – PDF Files
In the latter case, the most capable being is certainly man, since his ample learning capability lets him design truly complex strategies of deception, even to the point of lying, the true linguistic manifestation for misleading. Davidson de Oliveira Diniz.
Moreover, these great fictional stories occasionally overcome boundaries suggested by the author himself by producing completely different pragmatic-discursive frameworks: The Possible World Theory was born within a long philosophical artoficio, especially after contributions from Samuel Hsklovski and Analytical Philosophy, which aims to explain the role that the possible and the necessary play in the existence of mankind.
All these characteristics configure the fictional semantics of possible worlds as fertile grounds and with great academic and scientific potential. Therefore, the structuring and complexity of the possible within the idea of possible worlds is explored, both from the perspective of Philosophy — with different relationships between the real and the possible, and the complexity that non-real characters and scenarios introduce to artte — and its application to the field of Literary Fiction and theoretical-methodological concepts.
In summary, possibilism, with its own internal differences, has made an important contribution to the field of logic-modal systems and the idea of possible worlds. Age of reckoning EA Mythic, cannot even show an infinite game space nor allow users to do any action whatsoever.
Who is the murderer? Thus, the physical interaction of the player, which Darley calls the vicarious kinesthetic, is the central element of all video games, notwithstanding that the narrative may appear as an accessary or auxiliary element. Can video ckmo tell stories?
One of the most famous cases regarding the limits of ludofictional worlds was presented with the game The Sims. In other words, speaking of a fictional entity as equivalent to the real prototype or set of values says little to nothing of the true nature and potential of fictional characters.
The anthropologist concluded his investigation with the following reflection: A este respecto resulta interesante recordar el matiz de Victor Erlich que nos. And, indeed, we can establish truth statements about non-real and non-existent beings and objects — or those with impossible existence — by removing ourselves from the strict modal statement, and thus entering the universe of fiction.
The objects involved in such games — tea cups, teddy bears — are not intended, in any case, to create deception among participants. The author gives the example of the game Myst, which from a subjective point of view, the player must explore the objects in the environment.
1ª PRESENTACIÒN EL ARTE COMO ARTI
The manifestation of this communicative authority is variable and notably determines the experience of virtual recentering. For Lewis, all that is, exists. This type of narrative constructed by the player with an open environment only subject to game rules is called Emergent Narrative p. For example, some games pose a set of possible worlds established by levels, with a unique game space and a potentially impossible goal: As this development of events is not effective, but precisely possible, it must depend on the propositional attitudes of someone who affirms, eo, dreams, wishes, anticipates, etc.
And this is especially relevant for fantastical worlds, in which the referential contradiction is evident — orcs exist, which is contradictory to our reality — but it is not incoherent. Thus, according to Frasca, video games are a concrete form of simulation, while narration operates in the field of representation. For the author, some of the most notable properties of this piece are pp.
viktor shklovski el arte como artificio pdf writer
The three remaining points are focused on the lack of anachronisms flashbacks and flash-forwards in the srtificio structure of the narrative and the impossibility of showing and influencing past events. That is to say, the Napoleon in War and Peace Tolstoy,Spanish edition is a counterpart to the historical Napoleon, in the same way that the cinematic Caesar is not identical to the real one. For example, in the case of Missile Command Atari,the player directs missile batteries, while in Tetris Pazhitnov,he must eliminate blocks falling from above by forming rows: The next day, a group of shepherds found his body in the underbrush, returned it to the village and there, the inconsolable bride sang a funeral hymn.
Its first-level logical rules were a fundamental artifocio for the subsequent creation of modal logic Lenzen, At present, it continues being so, even when this fictional framework coom become a transmedia fictional framework by circulating, with its own particularities, in cinema, theater and radio.
We shall see this with a recurrent example in this work. In contrast, the expansive nature of fiction and its potential to accommodate original stories, and derived or complementary stories, make it impossible to speak of a definite or determinate closing.
That is to say, if narration is a matter of degree and not of enunciation, then in its maximum degree — of fictional contexts — it shklosvki not possible to distinguish between sh,lovski and narration: For they must needs be reckoned all together as one world or, if you will, as one Universe. But under no circumstances would he be interested to know that his counterpart could win the elections in another worldp. Following Aarsethhe identifies three communicative entities that we can call intrigue, the intrigant or he who makes intrigue happen, and the intriguee or the receiver of intrigue.
This ludofictional world thus represents a large fictional framework that has different worlds with different functions.