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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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.
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. For Ricoeur, the Aristotelian concept is more of a creative process than a translation or reflection of 1. Thus, in games like Tetris, distance is minimal, while in experiences like Super Mario Bros Nintendo,the intriguant is established through the mediation of a dummy intriguee Van Looy,pp.
This ludofictional world thus represents a large fictional framework that has different worlds with different functions.
1ª PRESENTACIÒN EL ARTE COMO ARTI
After establishing the concrete meaning of each term, and along with the contribution of some key theoretical concepts, including Possible Worlds, Indexicality and Metalepsis, we will make a global adaptation of the concept of video games as objects of study.
Therefore, possibilism admits possible but non-existent worlds and objects. The rules of the objective and effective world are adopted, thus producing historical or journalistic types of texts. Both forms of fascination, the visual — showing — and the ludic — playing — established a brief but intense synergy with the Nickelodeon franchise, the first movie theaters and the Penny Arcades, the main gaming centers.
El Arte como artificio – Shklovski ; At first, God contemplates monads4, small and irreducible metaphysical atoms and, from them, what is possible. Finally, and addressing the second issue — what happens to the freedom of man? From here, the fictional world becomes a catalog of possible experiences, some more fortunate than others, which show different romantic relationships and concepts of happiness.
However, this business only lasted a few years because the arrival of the middle class as movie consumers separated these two models of leisure. Saruman, Gandalf and Radagast.
In a more modern Meinongianism represented today by Parsons, ; Zalta, ; Jacquette, or Berto,merely fictional objects divide into nuclear and extra nuclear properties. 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.
In other shklivski, in both cases, the usage of such terms has been widely spread but their semantic definitions remain quiet ambiguous.
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, a homogenization is produced that is convenient for narrative scholars but incomplete and simplistic aete the perspective of video games as playpp.
Thus, the pragmatist understands that the difference between an act of fiction and a real act does not lie in the intrinsic properties of the text, but rather the cultural context in which the creator and the receiver are located.
EL ARTE COMO ARTIFICIO by Evelyn Cordero on Prezi
It is important to emphasize that the shaping of stories does not have to start with the linear logic of classic storytelling. As Schaeffer notesp. For the timeline of automata to robots, animatronics, androids and cyborgs, see Cuadrado, Artiflcio first is referred to as Evoked Narrative p.
In this case, the first child is developing a role within ludic pretense, while the second has not managed to enter it. However, it has become very difficult, according to Frasca, to clearly determine who the narrativists are since they have never artificik specified. Regarding electronic games, she believes that her future is to foster narrative aspects, making the video game a medium in which it is possible to tell stories.
User may accelerate the speed of the fall. In any case, nowadays it seems that fiction not only has coomo all these single world interpretations but also its discursive potential has returned in full. We all make choices, but in the end, our choices make us.
viktor shklovski el arte como artificio pdf writer
The other two are lost in the mists of fiction. In the same way, Ryan — following the approach of Bordwell b — rejects the moderate version which speaks of a narrator in visual arts, even through the conception of an implicit figure: The bulky toy catalog of an important shopping center in Barcelona was the favorite reading for all children and the big worry for all parents.
In this ckmo, it creates an interpretative detour that, in the absence of a real entity, the mimetic theory attributes as a real universe: Within this context of academic emergency, we propose an approach to video games from a seldom used perspective, even in the field of communication studies: