The cybertext is a perspective that is used for dynamic texts, i. 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. I chose the impossible. If some games tell stories, they are unlikely to tell them in the same ways that other media tell stories.

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Zushura 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.

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.

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. 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. From this perspective, Dolezel criticizes theories of fiction inscribed within the framework of one single world, i.

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.

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. 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.

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.

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. Related Posts



Dasida Children do not play so that others shklpvsky that, for example, teddy bears are truly alive when they are not. Non-actual possible worlds — circles with thin borders — are those which we believe could be possible: Thus, philosophical models consider possible worlds as accessible alternatives to the actual world, but never as impossible constructs from the perspective of their actual or merely possible existence. The arhificio of fiction uses the classic model of linear storytelling. Since some of these properties or predicates are actions, a possible world can also be interpreted as a development of events. From this perspective, fictional worlds must be claimed as true and substantial cultural objects that transform contemporary society daily. In order to transfer his ideas, Bembo had to preserve not only his phenomenological outlook but also the are conception of history as divisible into a tripartite structure comprising classical achievements, artificioo decline, and Renaissance renewal. This perspective considers that the exclusivity of pragmatics, the restricted understanding of the context of production and reception, would lead us to the mimetic reductionism proposed by Dolezel and the elimination of the sign-world axis to focus only on the sign-user axis p.





Interpretación de "el arte y el artificio" de shklovski


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