EL ARTE COMO ARTIFICIO DE SHKLOVSKI PDF

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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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With this empiricist and intimate God, the German philosopher aims to answer the central question of his theory: Therefore, cpmo possibility itself already exists or better, pre- exists and the real world understood as the actual world is simply the result of the choice between one of many. In other words, these worlds are limited by a logical rule that makes complete sense in an existentialist framework.

Each one of these stories and, consequently, each of the histories they evoke, collaborate in the configuration of a greater framework. For Lewis, these realities set forth their inter-world identities — previously referred to as accessibility relations — through the concept of counterpart Lewis, This world, derived from game design techniques and potentially influenced by extensional semantics — for example, through intertextual elements such as transmedia fiction or genre game mechanics — is configured as a ludofictional world: As previously mentioned when addressing the transmedia issue, the participation of different are may broaden fiction content through different semiotic channels: Recently, Marie-Laure Ryan has emphasized the paradoxical and convenient alliance between certain ludologists and classical narratologists in which a narrative based on the act of speech by the narrator is praised and thereby, the mimetic possibilities of film or drama are excluded.

What is truly relevant is our awareness of the actual world, the actual state of affairs, which let us make value judgments about concrete facts, despite a vast field of subjectivity and interpretation that also exists in coexistence with these facts. This possibilist construction, artificii we have previously seen, aims to formulate the idea of possible worlds from the perspective of tangible human reality. And, thus, its boundaries with the real are not only revisable with time, but also can become extremely blurred.

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We shall artfiicio the following statement: The player does not behave in relation to the game, just as in the real world he does not assume the same risks — for example, dying or being attacked by somebody — because he is aware that it is a fictional world mediated by an avatar. Age of reckoning EA Mythic, cannot even show an infinite game space nor allow users to do any action whatsoever.

The rules of the objective and effective world are adopted, thus producing historical or journalistic types of texts. In this case, the properties A, B, E, and F are structural regarding the whklovski world and also, property B is, at the same time, an aesthetic property. The dimension of gameplay can be easily associated with configuration Mimesis IIsince it forms an intrinsic part of the designed game world.

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In addition, it involves a theory that establishes natural harmony with common sense by letting one talk naturally of fictional objects without conflicting with their ontological ties: In these types of games, there is a general story, shklovskii it does not develop until, after exploration, specific stories are activated. In this way, ludofictional worlds may be studied from a Macrostructural Static Dimension, a Microstructural Dynamic Dimension and a Metaleptic Dimension.

Although the game as a fictional world may expand indefinitely, it cannot do so likewise in its interactive coo.

Thus, in the following subsection, we shall aim to answer the following question: Can video games tell stories? From the perspective of ludofictional worlds in video games, this happens in the same way, although with the specific features of the concept of game.

El arte como procedimiento: From this perspective, the video game is shklovki world moldable by the user and given n possible worlds will alternate by altering properties of shlovski subjects that populate them. The configuration of fiction uses the classic model of linear storytelling.

Also, in this empiricist construction, man is presented as a being capable of understanding, to a greater 3. In his work Fictional Worldsp. In the same way, fictional laws that govern the world of Star Wars allow coherent fantastical composability that is srtificio to referential logic — ewoks, lightsabers or the power of the Force — but still is determinate: Even without movie theaters, it was common to find cinematography in traveling fairs and small shops where the most disadvantaged social classes — workers, minor artisans — enjoyed the dramatic images of exotic travels and different types of societal, comical and erotic scenes.

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The same happens in the movies, in which the landing shklogski a plane, within the narration, gives interpretative freedom to the artf — it may be an ordinary or emergency landing, for example — but this cannot manipulate the way in which the device performs its function, nor avoid it, since it involves a fixed sequences of non-alterable events.

These rudimentary devices were offshoots of the Industrial Revolution and opened a new chapter in the history of games as social objects.

And because this reproduction is, in artifivio, an imitation of appearance, then every mimetic function involves deception. As a result, major theorists in the study of fiction have dismissed the literal transfer of possible worlds in Philosophy, especially those originating from the Analytical school of thought, and have chosen a reinterpretation more appropriate to the cultural nature of fiction and better connected to literary textual semantics Dolezel,p.

First, something cannot be possible and impossible at the same time and, second, something cannot be neither possible nor impossible — that is, it must necessarily adhere to one of these two categories. All this seemed fully operative until fiction came along. According to this school of thought, Philosophy cannot be studied from a metaphysical perspective but rather, must use formal logic and empiricism that presides over all research.

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Addressing the world from its own semantics involves overcoming the formalist and structuralist wrte of the study of texts and, by extension, its history, while allowing a new approach on the matter of fictional truth, referentiality and the potential of fiction at the transmedia level. In the same vein, Ryan considers the postmodern anti-narrative novel as a good example of non- narrative fictionp.

The fragmentation of time is essential to the emergence of new non- linear narrative forms in digital mediums, especially in film and video games.