After the advent of Russian symbolism, literature was considered as the personal expression of an author's world vision, expressed by means of images and symbols.
Russian formalism exerted a major influence on thinkers such as,Russian formalism was a diverse movement, producing no unified doctrine, and no consensus amongst its proponents on a central aim to their endeavors.
The main proponent of the "systemo-functional" model was Yury Tynyanov. The tradition that developed from Belinsky was to use literature to consider the political and social questions of the day. Russian Formalism Quick Reference A school of literary theory and analysis that emerged in Russia around 1915, devoting itself to the study of literariness, i.e. Hence the definition of the device has been extended to its function in text: "Since the binary opposition – material vs. device – cannot account for the organic unity of the work, Zhirmunsky augmented it in 1919 with a third term, 'the,Having shifted the focus of study from an isolated technique to a hierarchically structured whole, the organic formalists overcame the main shortcoming of the mechanists. Practical language is used in day-to-day,Russian formalists were the first to study the function of sound patterns in poetry systematically and objectively. It is mainly with this theoretical focus that the Formalist School is credited even by its adversaries such as Yefimov:The contribution of the Formalist School to our literary scholarship lies … in the fact that it has focused sharply on the basic problems of,The diverging and converging forces of Russian formalism gave rise to the Prague school of.While New Criticism bears strong resemblances to many of the tenants of Russian formalism, there is no direct historical relationship between the two. Shklovsky, however, insisted that not all artistic texts defamiliarize language; some of them achieve defamiliarization (,The formalist movement attempted to discriminate systematically between art and non-art.
In the words of one of the foremost formalists, Boris Eichenbaum: "It is difficult to recall who coined this name, but it was not a very felicitous coinage.
Shklovsky very soon realized that this model had to be expanded to embrace, for example, contemporaneous and diachronic literary traditions.Disappointed by the constraints of the mechanistic method, some Russian formalists adopted the organic model: "They utilized the similarity between organic bodies and literary phenomena in two different ways: as it applied to individual works and to literary genres. Their main endeavor consisted in defining a set of properties specific to poetic language (be it poetry or prose) recognizable by their "artfulness" and consequently analyzing them as such.Eichenbaum's 1926 essay "The Theory of the 'Formal Method" (translated in Lemon and Reis) provides a good summary and overview of the approach the formalists advocated, which included the following basic ideas:According to Eichenbaum, Shklovsky was the lead critic of the group, and Shklovsky contributed two of their most well-known concepts: defamiliarization (,The OPOJAZ (the Society for the Study of Poetic Language) group headed by Viktor Shklovsky was primarily concerned with the formal method and focused on technique and device: "Literary works, according to this model, resemble machines: they are the result of an intentional human activity in which a specific skill transforms raw material into a complex mechanism suitable for a particular purpose.
As Victor Erlich, an historian of formalism, points out:[I]ntent upon delimiting literary scholarship from contiguous disciplines such as,Two general principles underlie the formalist study of literature: first, literature itself, or rather, those of its features that distinguish it from other human activities must constitute the object of inquiry of literary theory; second, “literary facts” have to be prioritized over the metaphysical commitments of.The formalists agreed on the autonomous nature of poetic language and its specificity as an object of study for literary criticism. It includes the work of a number of highly influential Russian and Soviet scholars such as Viktor Shklovsky, Yuri Tynianov, Vladimir Propp, Boris Eichenbaum, Roman Jakobson, Boris Tomashevsky, Grigory Gukovsk "In light of his concept of literary evolution as a struggle among competing elements, the method of parody, 'the dialectic play of devices,' becomes an important vehicle of change.
Apart from the most obvious devices such as,In "A Postscript to the Discussion on Grammar of Poetry," Jakobson redefines poetics as "the linguistic scrutiny of the poetic function within the context of verbal messages in general, and within poetry in particular" (23).
It might have been convenient as a simplified battle cry but it fails, as an objective term, to delimit the activities of the "Society for the Study of Poetic Language....".Russian formalism is distinctive for its emphasis on the functional role of literary devices and its original conception of literary history. It began in two groups: OPOYAZ , an acronym for Russian words meaning Society for the Study of Poetic Language, founded in 1916 at St. Petersburg (later Leningrad) and led by Viktor Shklovsky ; and the Moscow Linguistic Circle , founded in 1915. "Formalism v russkom literaturovedenii," quoted in Erlich, "Russian Formalism: In Perspective," 225.Art, Music, Literature, Sports and leisure,https://www.newworldencyclopedia.org/p/index.php?title=Russian_Formalism&oldid=1023839,Art, music, literature, sports and leisure,Creative Commons Attribution/Share-Alike License.
Russian formalism was a school of literary criticism in Russia from the 1910s to the 1930s.
(c) Copyright Oxford University Press, 2013.
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