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.
|Published (Last):||20 April 2013|
|PDF File Size:||8.88 Mb|
|ePub File Size:||5.49 Mb|
|Price:||Free* [*Free Regsitration Required]|
These constructs, especially those related to political and social thought, are essential for understanding our reality as immediate, just as they are involved in our daily choices. In the following section, various intermediate positions or those not directly implicated in the debate will be presented, which have tried to address exactly how video games may express meaning or in what way game experiences are narrativized.
For Aarseth, in the game, the final outcomes are real and experienced personally by the player, whereas this does not happen in traditional narrative. 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.
In this context, fiction no longer competed for the second position, but rather had to conform to the third.
Russian formalism, composed of a myriad of heterogeneous theories and studies, consolidated a key distinction to determine what coo is. The first is referred to as Shklosvki Narrative 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. Juul turns to theorists like Metz and Genette to introduce the issue by differentiating types of time.
A final option, not artte in the graphic, would be non-possible worlds: The other two are lost in the mists of fiction. In this way, we consider that fiction, as ludic and shared pretense, must be located in a hybrid and integrated position between both stances.
Thus, it is typical to analyze these types of games — the most predominant being World of Warcraft Blizzard, ? Most authors Kucklich, and ; Van Looy, ; Mangieri, propose different useful concepts and illustrate them by analyzing more or less different video games. Teoria Literaria II P In this way, a homogenization is produced that is convenient whklovski narrative scholars but incomplete and simplistic from the perspective of video games as playpp.
Gottfried Leibniz and David Lewis. Along with the idea that other worlds are possible, contingency that is, the potential that things can or artifiico be also put sequential structures into question and, therefore, the traditional concept of time as a linear and ordered system. 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.
On the other hand, this type of audience did not have any qualms about overcoming the stigmatization of the arcades as centers of playful vice and perversion, a prejudice inherited from the Penny Arcades, due to their alleged connection with gambling and organized crime.
Do video games take part in this collective?
As a result, the term Panglossian defines somebody who displays naivety before the vicissitudes of the world in which he lives. In this way, we can establish and uphold a concrete meaning of each one of the concepts at hand. In his Principles of MathematicsRussell admits the possibility of a non- existent being through the previously mentioned example of the golden mountain.
As Sainsbury notes agtificio, p. Or, in other words, he believed that linguistic expression is essentially self-referential. Or, will the hero achieve his goal? Since some of these properties or predicates shklvski actions, a possible world can also be interpreted as a development of events.
viktor shklovski el arte como artificio pdf writer
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. Under this conception and using Huizinga and Callois as references, Collantes establishes a categorization of video games as narrative experiences in function of their reference or not to another world: The author borrows the holodeck from the television series Star Trek, a device which can produce holonovels, i.
Finally, mimesis linked to the representation or creation of a mental or symbolic model based on its resemblance to reality. Frasca upholds that the new discipline never has rejected Narratology point-blank, even though it has considered it less suitable than Ludology for the study of video games. The anthropologist concluded his investigation with the following reflection: Type II is related to the realistic fictional text, i.
1ª PRESENTACIÒN EL ARTE COMO ARTI
If we start from the essentialist position and the ontological homogeneity of fictional worlds seen in the previous point, it is possible to affirm that fictional worlds are, by definition, unlimited. In this sense, the origin of video games consists of this same relation to the machine: Thus, in the following subsection, we shall aim to answer the following question: No registered users and 9 guests. In these types of games, there is a general story, but it does not develop until, after exploration, specific stories are activated.
It is man who perceives good and evil — the least good, according to the Leibnizian God — and who chooses to transform this world into a space of more or less good things.
EL ARTE COMO ARTIFICIO by Evelyn Cordero on Prezi
This perception of fictional fact offers powerful examples even today, especially with the criminalization of popular shk,ovski — film, television and video shklovsoi — and the transmission of harmful values, generally related to violence and sex. At the end of the 19th century and the beginning of the 20th, Western society received promises of a better world led by new technology with fascination and enthusiasm. So I ask you my friend, if your life were the prize, would you kill the innocent?
artifficio Therefore, games make up real possible worlds inserted into the logic of fiction and contribute in a critical way to the current cultural imagination of contemporary society.
Therefore, it is useless to maintain the historical mistrust that arificio has suffered for centuries, as well as the indifference of schools of thought more interested in textual constructs than the semantic space of meaning. Although from the basis of composability all fictional worlds should be coherent, postmodernity and contemporary textual practices are demonstrating that we can coexist with worlds that surpass the unique and authenticated story.