EL ARTE COMO ARTIFICIO; Autor. Shklovski. INTEGRANTES: Antonieta Ontiveros Ruiz; Adriana López Núñez; Gabriela G. Agis Mendoza. Dra. Flor de María. 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. Shklovski, Viktor (). El arte como artificio (). In Todorov, Tzvetan (Ed.), Teoría de la literatura de los formalistas rusos. Argentina: Siglo XXI, pp.
|Published (Last):||7 November 2009|
|PDF File Size:||10.94 Mb|
|ePub File Size:||18.41 Mb|
|Price:||Free* [*Free Regsitration Required]|
NoEs Barrera – Google+
In any case, the greatest problem related to Leibnizian possibilism lies in the erroneous interpretations that have grown stronger with time3. To this, a third time is added, also proposed by Genette: Thus Bembo establishes a heuristic equivalence among Latin literature, the architectural and artistic monuments of ancient Rome, and the state of modern Italian letters.
But Greene takes too benevolent a view of father-son relationships when he offers the following letter to explain the connection between imitation and srte. What is considered attificio Leibniz calls contingent; but what implies contradiction, or rather, the negation of necessary, is called impossible.
There is certain confusion regarding the terminological origin of Ludology. 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: As each successive generation continues to perceive a cultural inferiority to Italy, the translatiowhich Encina saw occurring in his own day, is successively postponed, and Petrarch’s status—for Encina merely proverbial—becomes ever more significant.
Great thanks in advance! Humanist belatedness, while not unique to Italy, necessarily acquired different characteristics in other countries, resulting in the elevation of different topoi to the status of master tropes. Depending on how such questions are answered, philosophers have grouped themselves as either possibilists, where the possible remains above the real; hyperactualists, where possible worlds either do not exist or their existence is irrelevant; and actualists, where the current world remains above possible ones.
Here Emilia Artf ends the discussion; by her interruption Castiglione grants the count the final word, rejecting linguistic Petrarchism. Nebrija, despite a reliance on aristocratic patronage, was ultimately a technocrat, offering philological skills to the monarchs whom he proposed to serve. In contrast, the study of the text from semantics assumes a richness from the perspective of the so-called intensionality of the text.
As we shall see, gameplay, together with interactivity and the conflict between classic Narratology and new-born Ludology will mark the translation of classic fictional worlds to video game worlds themselves and, with it, the creation of a new Theory of Ludofictional Worlds.
Greene takes as paradigmatic Petrarch’s description of a stroll through Rome, in the course of which he evokes the historical associations of the mounds and ruins he encounters. At the time I too was devoted to the same kind of writing in the vernacular; I considered nothing more elegant and had yet to learn to look higher, but I did fear that, were I to immerse myself in his, or any other’s, writings, being of an impressionable age so given to indiscriminate admiration, I could scarcely escape becoming an unwilling or unconscious imitator.
By displacing to the vernacular realm the theoretical foundations of Ciceronianism, he provided an ideological framework that justified the effort to illustrate the languages of contemporary Europe. Yet the fact that all activity is ludic and aesthetic permits a kind of synesthesia; as already noted, Castiglione has relatively little to say about verbal art, but the principles for such art, and specifically for poetry, can be induced on the basis of his comments about other arts.
Encina also cites generals who exhorted their troops by means of speeches in verse and recalls how Orpheus moved stones with his poetry, how other poets had their lives spared because of their verses, and the high esteem both Greeks and Romans had for their poets. Thus, while the stories create specific histories, fiction makes way for semantic aggregation and significance. Yet he then denies that relationship by asserting that he never imitated Dante.
The singular approach of the American philosopher regarding the phenomenon of fictional worlds thus moves away from any ontological debate.
viktor shklovski el arte como artificio pdf writer
Spain and Italy had more than two centuries of almost conjugal life as a result of Spanish territorial domination and hegemony over our country. For they must needs be reckoned all together as one world fl, if you will, as one Universe. The second great obstacle to theories based on a single world consists of the productive mimesis or the Platonic view of fiction as a simple reflection of the real world pp.
Although the father-son model of imitation is, like that of the bee, taken from Seneca, Petrarch’s particular use of it here skirts close to the very family romance that Greene finds of no relevance. While arfe is now an overabundance of books in Latin, however, the vernacular is most in need of development: While the following section is devoted to the intermediate positions and new trends facing the debate between Ludology and Narratology, it is deemed more appropriate to place Marie-Laure Ryan in this section to maintain the coherence of shklovxky criticisms towards Ludology and avoid theoretical fragmentation.
In this way, point- blank positivism replaced all phenomenological notions. Sincethe conflict showed clear signs of winding down.
As Italian humanist ideas spread abroad, they carried with them, as Johan Nordstroem put it, Italian notions about the importance and superiority of Italian civilization, and a disdainful attitude regarding “barbarians” who lived beyond the Alps Additionally, we could add here the open nature of fiction that we saw in the previous paragraph, and which assumes a specific interpretation of this idea. The second voice, once having made its home in the other’s discourse, clashes hostilely with its primordial host and forces him to serve directly opposing aims.
Just as the other arts provide lessons applicable to literature, so too the inverse, as the traditional literary precept of imitatio is applied to the development of a personal, graceful style of comportment, and just as linguistic Petrarchism is abandoned, so too its methodological underpinnings are also implicitly discarded.
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. Encina tries to elevate the status of poetry by tying it to a theory of aristocratic leisure and associating it with the quantitative study of the quadrivium; while his rules for poets are primarily melopoeic, his conception of literary history opens the way for the transformations of the next years. In these cases, the space-time disassembling of the story may consist of a fictional world of multiple juxtaposed realities that are not composable with each other.
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.
As previously mentioned when addressing the transmedia issue, the participation of different subjects may broaden fiction content through different semiotic channels: