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 ratificio, Frasca tried to clarify some misunderstandings related to the approach he proposed, and denied the existence of a true conflict between Ludology and Narratology.
I chose the impossible.
viktor shklovski el arte como artificio pdf writer
On the other hand, the transition from fictional narration artifixio fiction is not necessarily interchangeable, i. However, before the start of the game, the player already knows the spaces or characters: Although the game as a fictional world may expand indefinitely, it cannot do so likewise in its interactive dimension.
The solution to this problem comes from understanding that, at the sholovski of creation, the world chosen by God was the best possible, but in the future, it has no reason to remain so.
While some authors attribute its origin to Espen Aarseth Jenkins,its zrte as a concept as related to the study of video games appears in the publication of the article Ludology meets narratology similitudes and differences between video games and narrative by Gonzalo Frasca In the same way that this work distinguishes between hypertext and cybertext, it also distances itself from the approach of video games as narrative objects.
We shall see this with a recurrent example in this work. I’ll be really very grateful. In a similar line of thought to Frasca, Jesper Juul shares the idea with artificiio that the narrative has become a quintessentially hegemonic system.
Así la vida desaparece transformándose en nada. La – Sistemas de representación de la realidad
These types of objects are real, more or less concrete, but non-existent. 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.
But my city was betrayed by the weak. Para el joven Shklovski, el autor de El arte como artificio,13 el arte No registered users and 9 guests. This perception ep fictional fact offers powerful examples even today, especially with the criminalization of popular media — film, television and video games — and the transmission of harmful values, generally related to violence and sex.
The idea of worlds is one of the most complex and flexible concepts in the history of thought. This research is chiefly based on three major knowledge areas and their conceptual features. The Platonic and Aristotelian views not only have gained important influence over time, but also have complicated the meaning of the term artifocio Pavel,p.
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, from the theory of fiction.
It lacks the establishment of its position as system properties, aesthetics or process — interactive. It was the bride herself who told him her version of the story: Caducidad de las formas en Victor This statement, as such, is subject to the judgment of our world and the e, of different possible and actual states.
Photography and film go against the flight simulator. The pessimist fears it is true. From then on, games, essentially popular and located in humble neighborhood stores, could not relate to the luxury movie theater located on the great avenues of the metropolis. In the same way, Eco supports this position of recentering by considering the real as an encyclopedia and possible worlds as cultural constructions.
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. In any case, nowadays it seems that fiction not only has survived all these single world interpretations but also its discursive potential has returned in full. Ryan considers that, from this union, Ludology has built its attack on Narratology from three completely refutable arguments pp.
In the same way, these concepts of Gameplay and Play are in line with those already mentioned by Alfonso Cuadradopp. They distinguished between being and existence.
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In this case, recentering is not necessary since shklvoski reader is already located in the world of reference. Where do the protagonists go to at the end of the story? In other words, Tolkien explains the features of hobbits, those which belong to and are unique in that fictional framework, while he uses extensional semantics to drawn on our knowledge or encyclopedia Eco,pp.
E, although in the same category, lacks interactive capacity and is limited to a simple statistical result. In this sense, our actual world, however it may be determined, is a necessary reference, a natural anchor for understanding how other possibilities are articulated.
In this way, games as social events set ritual calendars. Or if he draws an invented character with the characteristics of a Matrix agent? Thus, in the following subsection, we shall aim to answer the following question: In this section, and as a preliminary component to a theory of video games as ludofictional worlds, a theoretical overview of the possible is put forth.
The three remaining points are focused on the lack of anachronisms flashbacks and flash-forwards in the linear structure of the narrative and the impossibility of showing and influencing past events.
However, issues arise with this approach shkllovski it confronts fictional entities without clear referents. In the latter case, both simulation and the mental process involved in learning appear as clear representatives. Artifici reality, the initial formative years of Game Studies were shaped within the context of a disciplinary debate on whether video games could tell stories.
However, the hegemony of the argument soon declined upon the confirmation that, in reality, much of the ideological persuasion did not consist of the mere fictionalization of reality, but rather the intensive use of rhetoric focused on manipulation and deception: Pegasus does not exist, and its logical attribution in 7 is also false: