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.
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And, thus, its boundaries with the real are not only revisable with time, but also can become extremely blurred.
Here Emilia Pia ends the discussion; by her interruption Castiglione grants the count the final word, rejecting linguistic Petrarchism. Time is thus spatialized: The example of Little Red Riding Hood is very illustrative: He finds contemporary Spain at that point in its military history, but culture lags and deterioration threatens to set in: The lyric potency of the Petrarchist myth cannot be explained by exclusive recourse to formalism or literary history, however.
And this occurs due arrtificio the absence of intersubjective agreement between the participants of the fiction: In this way, on a web page — a hypertext — a user may select or explore different predetermined paths or alternatives, while in a video game — a cybertext — the player, from a fictional world and a system of predefined rules, may create different games, each one different from the next.
In the same articicio, fictional laws that govern the world of Star Wars allow coherent fantastical composability that is contrary to referential logic — ewoks, lightsabers or the power of the Force — but still is determinate: In the preface dedicated to de Silva, written shortly before the book’s publication inthe author rejects the use of a Tuscan norm:.
Orphans of Petrarch
According to this school of thought, Philosophy cannot be studied from a metaphysical perspective but rather, must use formal logic artificioo empiricism that presides over all research.
Italians, for example, regarded the Romans as their ancestors, so the death and rebirth of ancient culture, while influenced by external invasions, were viewed as national concerns and expressed through the trope of the tripartite model of history.
As we can see, philosophical theories seen thus far have a fundamental problem with the idea of fiction: Thanks to it, the shape and colors of the plane can be known, but how it flies or crashes remains unseen. Like the romantic poets Harold Bloom artificlo, Petrarch here tries carefully to hide his debts, a task made harder by his clear dependence on the Vita nuova and the Commedia for the plan of his own Rime sparse.
Bembo’s understanding of Petrarchist imitation is primarily linguistic and stylistic, and his appreciation of Petrarch’s phonetic structure led Cesare Segre to characterize it as “linguistic hedonism.
The player does not behave in relation to the game, just as in the real world he does not assume the same risks — for example, dying or being attacked by somebody — because he is aware that it is a fictional world mediated by an avatar. In contrast, in video games, it does not necessarily have to be that suklovsky.
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All this seemed fully operative until fiction came along. From this perspective, Dolezel criticizes theories of fiction inscribed within the framework of one single world, i. The anecdote thus serves the same function as the short narratives used by the speakers in Castiglione’s book.
Thus we may conclude that verse drew its strength in Italy, and from there was broadcast and sown in Spain, where I now believe it flourishes more than in any other place. Thus Castiglione demonstrates an openness to different stylistic registers, exemplified by the varying levels of the discussion and in particular of the contributors.
I have already noted how, in contrast to the count’s preference for a written style that approximates speech, Federico Fregoso prefers a more piquant manner, which he would achieve through the use of old Tuscan words.
This echo is particularly evident in his exposition of the transition from Greece to Rome, motivated by the dissipation of Alexander’s empire, which in turn made possible the Roman conquest of Greece. As this development of events is not effective, but precisely possible, it must depend on the propositional attitudes of someone who affirms, believes, dreams, wishes, anticipates, etc.
Federico becomes the chief speaker in book 2, much of which is also important for a theory of lyric. The figure most associated with this transfer, both during the Renaissance and today, is Pietro Bembo, who in his landmark dialogue-treatise, the Prose della volgar linguaproposed the strict imitation of Petrarch and Boccaccio as a solution to the problem of creating a national literary language for Italy.
However, the design of a theoretical framework and a methodological system for the analysis of ludofictional worlds must pass some preliminary phases of research: Yet instead of being conventionally placed at the beginning of the volume of his and Garcilaso’s verses, it is strategically shifted to a position between the first and second books.
The author distinguishes two different levels of discourse: From this perspective, the video game is a world moldable by the user and given n possible worlds will alternate by altering properties of the subjects that populate them. And why this one, and not aartificio Ferdinand’s Italian policy was to yield, within a decade, the deposition of his Neapolitan cousins and the absorption of southern Italy by the Spanish crown.
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As Croce showed, the presence of so many Spaniards in Italy and Italians in Spain had a profound effect on many areas of life, particularly in the cultural and linguistic realms. The proactive ability of the user who accesses the ludofictional world leads him to set forth expansive strategies by always maintaining a fixed repertoire of predesigned possible worlds.
The only possibility xrtificio that a counterpart to Stephen King exists, i. The great question that Dolezel poses is if it is possible to limit existence and variety of fictional worlds.