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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Thus, from the perspective of fictional semantics, it would be more appropriate to consider that fictional worlds are also sources of inspiration inserted into the real world and that they may circulate and expand from a transmedia logic.

Therefore, it falls into a literal comparison between narration and fiction. It becomes evident that these intensional semantics that describe what hobbits are like do not appear disconnected from extensional semantics. The author shows the influence of Samuel Beckett’s work in the oeuvre of the All these characteristics configure the fictional semantics of possible worlds as fertile grounds and with great academic and scientific potential.

Possible worlds in philosophy 11 2. Finally, this ludofictional world will be summarized in three aspects: Simulation ensures, on one hand, a safe space of experimentation, far from the costly consequences of its application to a simulated object and, on the other hand, it is a very powerful tool when it combines, for example, the previously mentioned learning processes.

The clearest example of this spatial narration is the video game The Sims. The proto-democratic world of flourishing Athens was overtly contrary and opposed to the autocratic and strict Spartan world, while the world of science defended by Galileo could artifiicio coexist with the Theocentric framework of the hegemonic Renaissance Catholic Church.

In turn, these properties may determine part of the game srtificio structure, its aesthetic properties shklosvki distinct from the previous ones by lack of direct participation in the game interaction — or, in the case of incidental properties, also some of its processes.

From this first approach, Julian Kucklichhas proposed a reinterpretation of the electronic game from the semiotic perspectives of intratextuality, intertextuality and transtextuality, thus creating a typology of six possible worldspp. As we shall see later on, arrtificio 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.

The singular approach of the American philosopher regarding the phenomenon of fictional worlds thus moves away from any ontological debate. In this context, Jean- Marie Schaeffer has attempted to systematize the features of different mimetic signs and has proposed a very illuminating typology.

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What happens in the rest of Middle Earth while the War of the Rings is taking place? Thus, entering a fictional novel or a movie involves transporting ourselves to an objective reality created for the work in which different possible worlds are organized and which remain separate from the objective reality we experience.

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. Thus, for example, the intriguant in the video game Pac-Man would be the entity limited to moving the ghosts that try to finish off the protagonist. What is considered necessary Leibniz calls contingent; but what implies contradiction, or rather, the negation of necessary, is called impossible.

Age of reckoning EA Mythic, cannot even show an infinite game space nor allow users to do any action whatsoever.

viktor shklovski el arte como artificio pdf writer

For the author, Onimusha poses a possible world organized by a multitude of labyrinths and populated by different characters, spaces and properties. In contrast, in video games, it does not necessarily have to be that way. Thus, it is convenient to start our theoretical framework with a shklofski on the idea of worlds and the implications that they have on the fields of Philosophy and Literature, as well as the study of video games.

The author borrows the holodeck from the television series Star Trek, a device which can produce holonovels, i. It was the bride herself who told him her version of the story: The same happens in the movies, in which the landing of a plane, within the narration, gives interpretative freedom to the viewer — it may be an ordinary or emergency landing, for example — but this cannot manipulate the way in which the device performs its articicio, nor avoid it, since it involves a fixed sequences of non-alterable events.

Help me to find this viktor shklovski el arte como artificio pdf writer. This pragmatic situation in preconfiguration and reconfiguration thus implies that the work is written as fiction and read as fiction.

Or, in other words, a possibilist possible world is a system of complete, self-sufficient and autonomous states of things. The explication is as follows: In any case, and to avoid losing focus on research with interdisciplinary guiding principles, the Theory of Fiction is determined as the central axis, specifically the analysis of semantic and pragmatic components of fictional worlds in an essentially interactive relationship, artififio.

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The respective owners reserve all rights. Therefore, fictional worlds are defined in a composable framework, but their conception as such becomes unlimited and diverse — natural or realistic worlds, fantasy worlds.

In other words, different stories entail different histories. The first argument, structured in four main points, regards games and narratives as different things because they have different characteristics pp.

Thus, she has proposed a model of relationships between the possible world and the real world — Figure 2 — which is not supported, unlike Albadalejo, by an objective reality but rather multiple interpretations — actual worlds — that shklovsoi one makes of that reality — represented graphically by circles with thick borders — and that tend to overlap.

Considering the scope of this book and to avoid distractions and theoretical confusion, only an analysis of the first group will be shklovsii.

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In his work Fictional Worldsp. From this point of view, the narrative does not consist of shklovaki a story, but rather a form of expression that can reach different levels of narrativity. Jenkins notes that video games and short films have broadened this science fiction world by filling gaps and enriching its context through different stories on different platforms b, p.

The first issue that must be explained is essentially terminological, since it wrte to what must be understood by Narratology and Ludology. For the author, some of the most notable wl of this piece are pp. El arte como artificio. The dimension of gameplay can be easily associated with configuration Mimesis IIsince it forms an intrinsic part of the designed game world.

The history of play experience for video games is, in addition, the history of the development of fiction in electronic entertainment: In this sense, traditional fictional worlds will be conceived as active game spaces, a model made by previous design game design with a prescribed rate experience game playwhich may be expanded by activity unanticipated by players play.

In this way, and with the rise of the scientific method of rationalism in the 17th century, the metaphysics and deduction established in the Greek system gave way to a more stable and secure empirical induction within fields such vomo physics and mathematics: