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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The cybertext is a perspective that is used for dynamic texts, i.

viktor shklovski el arte como artificio pdf writer

Recent decades have shown that exclusively rational discourse does not allow the explication of everything and the promise of a stabilized and secure world thanks to science is not possible. Thus, from Greek and religious teachings to new forms of digital communication, humanity has constructed collective imaginary worlds of different natures and scopes to design, spread and maintain certain worlds, but also to analyze and oppose them.

Finally, it is necessary to address the matter of impossible worlds, those which completely pervert their internal logic and the principle of composability. 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: Non-actual possible worlds — circles with thin borders — are those which we believe could be possible: The first case has been used as an academic synonym for imitation or representation, while the second, according to the more or less pejorative rules of fictional discourse, has been likened to actions such as pretending, deceiving, imagining or simulating.

artte The isolation of Analytical Philosophy in relation to other knowledge areas intimately connected to fictionality — literary theory, semiotics, anthropology — implies interpretations that have little to do with the imaginary as a cultural force and that instead focus on fitting fiction into a logical-referential framework far from its natural character.

I chose the impossible. If some games tell stories, they are unlikely to tell them in the same ways that other media tell stories.


In this way, we can establish and uphold a concrete meaning of each one of the concepts at hand. The work, written as a sequel to The Hobbit, appears in a very specific pragmatic context and is shared by both the author and potential readers: We must keep in mind that the contradiction of a fictional world must be analyzed artifkcio and not from referentiality except, logically, when the fictional world undermines the inter-world identity by distorting it.

Tis article studies the mayayucateco Mexico writer Jorge Miguel Cocom.

If for Russell, fiction consists of empty terms without reference and, thus, without truth propositions, for Frege the fictional must be understood by the distinction between reference Bedeutung and sense Sinn: Shklovski – El Arte Como Artificio – es. Si Arturo Cova no fuera poeta… Una relectura 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.

Caducidad de las formas en Victor However, none of them set forth a true integral theory that considers the phenomenon of video games from a theoretical-practical lens.

The articulation of clmo systems and their distinctive features was established in his work Monadology Only when such replication is part of a broader process of internalization is when we can speak of learning. In other words, the fictionality of narration does not belong to one medium, but rather is determined, as we have seen earlier, by different pragmatic-semantic criteria.

The objects involved in xomo games — tea cups, teddy bears — are not intended, in any case, to create deception among participants.

Gottfried Leibniz and David Lewis. Thus, for the Nordic author, Narratology aims to colonize the video game by treating it as another medium to tell stories and ignoring its distinctive features — especially, interactivity. Artificuo, it is placed on the so-called non-fiction level, while a photograph may occupy either level according to its purpose.

Se trata de un ejernplo de imagen a tropo puramente prosaicos. In a similar line of thought to Frasca, Jesper Juul shares the idea with ludologists that the narrative has become a quintessentially hegemonic system. Thus, in the phases of preconfiguration Mimesis I and reconfiguration Mimesis III — the creation of the work by the author and the reception, respectively — generally operate as the pragmatic shlkovski of the conceptualization of fictional fact, together with an sbklovski type of semantics.


Teoria Literaria II P As we can see, this multifaceted concept presents some common elements in arfe its applications: 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. The first issue that must be explained is essentially terminological, since it refers to what must be understood by Narratology and Ludology.

Thanks to it, the shape and colors of the plane can be known, but how it flies or crashes remains unseen. Its main artifucio is not only the cultural anchor for its reception, but above all its ability to fill in the gaps of fiction through the general knowledge of the world and the specific medium — language, genre clues, discursive structures, among others. Likewise, he notes that the linearity of the traditional narrative does not differ greatly from the structuring of a video game into levels in which the playable events connect to one another to maintain the coherence of the play experience.

The pessimist fears it is true. The reference and thus the value of truth propositions, no longer operates as a central axis for the creation of the world, since it simply does not exist in the realm of fiction.

Así la vida desaparece transformándose en nada. La – Sistemas de representación de la realidad

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. Nowadays, imitation easily tends to be confused with fiction, deceit, simulation or representation, and it seems difficult to draw broad outlines among all these concepts.

They distinguished between being and existence. Second, classic possibilism defends the independence of possible worlds without a priori casual relations existing among them, nor hierarchies of any kind since, otherwise, we would find ourselves facing actualist positions, as we shall see later.