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Topic: Russian Formalists

	Russian Formalism - Wikinfo
		Russian Formalism refers to a number of highly influential Russian and Soviet scholars (Viktor Shklovsky, Yuri Tynianov, Boris Eichenbaum, Roman Jakobson, Grigory Vinokur) who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity and autonomy of poetic language and literature.
		Russian Formalism exerted a major influence on thinkers such as Mikhail Bakhtin and Yuri Lotman; and on structuralism as a whole.
		Russian Formalism cannot be understood or presented as a coherent "school" of thought; for one thing, "Russian Formalism" is a generic name used to define two quite distinct movements: the OPOJAZ (Obscestvo izucenija POeticeskogo JAZyka - Society for the Study of Poetic Language) in St.
	www.wikinfo.org /wiki.php?title=Russian_Formalism (2221 words)

	Russian Formalism - Wikipedia, the free encyclopedia
		Russian Formalism includes the work of a number of highly influential Russian and Soviet scholars (Viktor Shklovsky, Yuri Tynianov, Boris Eichenbaum, Roman Jakobson, Grigory Vinokur) who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity and autonomy of poetic language and literature.
		Russian Formalism exerted a major influence on thinkers such as Mikhail Bakhtin and Yuri Lotman, and on structuralism as a whole.
		The Formalists' main endeavour consisted in defining a set of properties specific to poetic language (be it poetry or prose) recognisable by their "artfulness" and consequently analysing them as such.
	en.wikipedia.org /wiki/Russian_formalism (710 words)

	Russian Formalism
		Russian Formalism, a movement of literary criticism and interpretation, emerged in Russia during the second decade of the twentieth century and remained active until about 1930.
		Skaz, which in Russian is the root of the verb skazat', "to tell," may be compared to "free indirect discourse" (in German, erlebte Rede), which is marked by the grammar of third-person narration and the style, tone, and syntax of direct speech on the part of the character.
		and trans., The Futurists, the Formalists, and the Marxist Critique (1979); Vladimir Propp, Morfologiia skazki (1928, Morphology of the Folktale, trans.
	www.press.jhu.edu /books/hopkins_guide_to_literary_theory/russian_formalism.html (2755 words)

	Bloomsbury.com - Research centre (Site not responding. Last check: 2007-10-15)
		The Russian Formalists analyzed literature not in terms of its content, but in terms of the way of organized language; that is, the Formalists defined literariness as essentially a type of language use.
		Russian Formalist work was therefore done on the functions of language features like rhyme and metaphor, but they also made a major original contribution to the study of narrative where the work of Tomashevsky was particularly important.
		The Formalists are criticized for ignoring the significance of the content of the literature they analyzed (see Formalism), and of underestimating the importance of social context, but their work gave a powerful impetus to the much more socially-engaged work of Mikhail Bakhtin.
	www.bloomsburymagazine.com /ARC/detail.asp?entryid=109123&bid=9 (400 words)

	Russian Formalism Article, RussianFormalism Information (Site not responding. Last check: 2007-10-15)
		Russian Formalism refers to a number of highly influential Russian and Soviet scholars (Viktor Shklovsky, Yuri Tynianov, Boris Eichenbaum, Roman Jakobson, Grigory Vinokur) who revolutionised literary criticism between 1914 and the 1930s byestablishing the specificity and autonomy of poetic language and literature.
		Russian Formalism was a diverse movement, producing no unified doctrine, and no consensus amongst its proponents on a centralaim to their endeavours.
		The Formalists' main endeavour consisted in defining a set of properties specific to poeticlanguage (be it poetry or prose) recognisable by their "artfulness" and consequently analysing them as such.
	www.anoca.org /literature/formalists/russian_formalism.html (616 words)

	Bloomsbury.com - Research centre
		The Russian Formalists analyzed literature not in terms of its content, but in terms of the way of organized language; that is, the Formalists defined literariness as essentially a type of language use.
		Russian Formalist work was therefore done on the functions of language features like rhyme and metaphor, but they also made a major original contribution to the study of narrative where the work of Tomashevsky was particularly important.
		The Formalists are criticized for ignoring the significance of the content of the literature they analyzed (see Formalism), and of underestimating the importance of social context, but their work gave a powerful impetus to the much more socially-engaged work of Mikhail Bakhtin.
	www.bloomsbury.com /ARC/detail.asp?entryid=109123&bid=9 (400 words)

	Russian Formalism (Site not responding. Last check: 2007-10-15)
		The Russian formalists were interested more with words and literary devices rather than the actual meaning of the words themselves.
		Russian Formalists viewed a text as an object of art itself and as different from everyday speech and objects and thus worked to figure out what made it so.
		Key functions of literature for Russian Formalists are defamiliarization of life through its representation in literature and exposure of the literature functions by calling attention to literary forms and conventions.
	calstaging.bemidjistate.edu /en3160f01/litcrithelp/russian.html (114 words)

	Russian formalism
		Russian formalism was a diverse movement, producing no unified doctrine, and no consensus amongst its proponents on a central aim to their endeavours.
		Russian Formalists were the first to study the function of sound patterns in poetry systematically and objectively.
		Russian formalism was not a uniform movement, it comprised diverse theoreticians whose views were shaped through methodological debate that proceeded from the distinction between poetic and practical language to the overarching problem of the historical-literary study.
	russian-formalism.zdnet.co.za /zdnet/Russian_formalism (3084 words)

	Russian Formalism : Russian Formalism
		In fact, "Russian Formalism" describes two distinct movements: the OPOJAZ (''Obscestvo izucenija POeticeskogo JAZyka'' - Society for the Study of Poetic Language) in St. Petersburg and the Linguistic Circle in Moscow.
		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...."[1] There is one idea that united the Formalists: the autonomous nature of poetic language and its specificity as an object of study for literary criticism.
		Formalists do not agree between each other on exactly what is a "device" (''priem''), nor how these devices are used or how they are to be analysed in a given text.
	www.gogeeky.net /title/russian-formalism (611 words)

	Russian Formalism - Freepedia (Site not responding. Last check: 2007-10-15)
		Russian Formalism refers to a number of highly influential Russian and Soviet scholars (Viktor Shklovsky, Yuri Tynianov, Boris Eichenbaum, Roman Jakobson, Grigory Vinokur) who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity and autonomy of poetic language and literature.
		Therefore, it is more precise to refer to the "Russian Formalists", rather than to the more encompassing and abstract term of "Formalism".
		A clear illustration of this, may be provided by the main argument of one of Viktor Shklovsky's -the founder of the OPOJAZ- early text, "Art as Device" (Iskusstvo kak priem, 1916): art is a sum of literary and artistic devices, that the artist manipulates to craft his work.
	en.freepedia.org /Russian_Formalism.html (601 words)

	Russian (Site not responding. Last check: 2007-10-15)
		Russian majors as well as students who need Russian literature credit for classes taught in English are required to read texts in the original and to attend an additional weekly discussion section.
		The junior qualifying examination in Russian is given to majors in the end of their third year or, with prior consultation with the faculty, at the very beginning of the senior year.
		Russian authors, perhaps more than in other national traditions, have been obsessed with the idea of literary tradition and its influence on the shaping of national and personal identity.
	www.reed.edu /academic/catalog/142.html (2347 words)

	REED COLLEGE \| Russian
		The course offerings of the Russian department are designed to meet the twofold objective of providing training in the Russian language and a critical appreciation of Russia's literary tradition from its beginnings to the present.
		Russian majors as well as students who need Russian literature credit for classes taught in English are required to read texts in the original and to attend an additional weekly discussion section.
		The junior qualifying examination in Russian is given to majors at the end of their third year or, with prior consultation with the faculty, at the very beginning of the senior year.
	academic.reed.edu /russian (448 words)

	pathetic.org :: member journal (Site not responding. Last check: 2007-10-15)
		From the point of view of the three formalisms—that of the New Critics, of the Russian Formalists, and of the Structuralists—the two great theories-in-residence were the various intentionalist and affective schools of thought.
		This historical opening allowed for an even greater volume of works to be examined, as the Russian Formalists "found extremely significant both the question of the formation and changes of genres and the question of how 'second-rate' and 'popular' literature contributed to the formation of genres (Eichenbaum, 136)" which the New Critics would have dismissed.
		This expansion of the literary from the New Critic's definition to the Russian Formalists' conception reached manifest destiny in the application of the Structuralists, who redefined literature to include any object which could be conceived as a text and, therefore, as a language which can be approached linguistically.
	www.pathetic.org /journalEntry.php?i_memberid=2401&i_entryid=1101353255 (2673 words)

	DITL - article FORMALISME / Formalism (Site not responding. Last check: 2007-10-15)
		This reorganizing of fabula as sjužet was also close to the technique of montage developed by the Russian cineasts of the time, Eisenstein and Pudovkin, although it is not clear whether the latter received their ideas from Russian Futurists or, vice versa, contributed a major contribution to the formalist theory of «sjužet».
		Russian formalism also proclaimed that it privileged the study of variability and variations, the study of series comprised within a system («literature»), rather than that of the genesis of a single literary text as the «unique» production of an artist.
		Spectacularly, during the sixties, this formalistic dichotomy came to be borrowed by the French psychoanalyst Jacques Lacan.
	www.ditl.info /arttest/art1883.php (2323 words)

	LEON TROTSKY Literature and Revolution Chapter 5— The Formalist School Of Poetry And Marxism (Site not responding. Last check: 2007-10-15)
		Having declared form to be the essence of poetry, this school reduces its task to an analysis (essentially descriptive and semi-statistical) of the etymology and syntax of poems, to the counting of repetitive vowels and consonants, of syllables and epithets.
		But the Formalists are not content to ascribe to their methods a merely subsidiary, serviceable and technical significance—similar to that which statistics has for social science, or the microscope for the biological sciences.
		The wagon of the Russian peasant is adapted to the needs of his household, to the strength of his little horse, and to the peculiarities of the country road.
	www.marxists.org /archive/trotsky/works/1924/lit_revo/ch05.htm (5375 words)

	Formalist Theory
		In the second sense, the aim of a Formalist critique of literature is to provide readers not only with the means of explaining the content of works (What, specifically, does this say?), but also with the critical tools needed for evaluating the artistic quality of individual works and writers (How well is it said?).
		Formalist criticism, which now survives less as a distinct movement and more as an influential method, proved most useful in the analysis of poetry and shorter works of fiction—longer works like novels were too unwieldy.
		For it was the Formalist procedure not only to look closely at isolated passages of the text, but also to relate the functioning of parts of the structure to the structure as a whole.
	www.calvertonschool.org /waldspurger/pages/formalis.htm (594 words)

	LitGloss - F
		Formalist criticism An approach to literature that focuses on the formal elements of a work, such as its language, structure, and tone.
		Formalist critics offer intense examinations of the relationship between form and meaning in a work, emphasizing the subtle complexity in how a work is arranged.
		Formalist critics read literature as an independent work of art rather than as a reflection of the author's state of mind or as a representation of a moment in history.
	bcs.bedfordstmartins.com /litgloss/LitGlosscode/litgloss_f.html (813 words)

	Russian (Site not responding. Last check: 2007-10-15)
		Eighteenth- and nineteenth-century poetry, Russian symbolism, the semiotics of Soviet culture, gender and sexuality in Russian culture.
		Drawing largely on works from the Golden Age of Russian poetry, this course investigates a variable set of topics, which may range from the elegaic tradition to narrative poetic genres, from the philosophical ode to the romance; it includes study of the distinctive features of neo-classical, baroque, pre-romantic, and romantic poetics.
		The aim of the course is to acquaint students with the range of achievement in that area of twentieth-century literature that Russians consider to be the most important part of their literary culture.
	web.reed.edu /academic/catalog/russ.html (2684 words)

	NYU \| Russian \| Graduate \| Courses
		Survey of Russian drama from the end of the 18th century to the beginning of the 20th century.
		The key methodological concepts and critical achievements of the Russian Formalists and their reflection in the work of the Prague Linguistic Circle and of the contemporary "Moscow-Tartu" semiotic school.
		Historical survey of Russian phonology and morphology, with an examination of the main currents that shaped the development of Russian as a literary language.
	www.nyu.edu /fas/dept/russian/graduate/courses.html (985 words)

	Criticism: After the Future: The Paradoxes of Postmodernism and Contemporary Russian Culture. - book reviews (Site not responding. Last check: 2007-10-15)
		From the Russian perspective, Americans, due to perhaps to the "metonymical" nature of English, are taught to explain their ideas in order to make them clear to almost everybody, while Russians, progeny of a "metaphorical" language, make their readers discern those ideas on their own in the course of their reading.
		Russians like to make their ideas sound like a pun, while Americans prefer to pin them up with logical development to some not less logical, even if paradoxical, conclusion.
		In the first place, Russian Formalists such as Viktor Shklovsky and Yuri Tynianov already believed, in the modernist period, in the "equal rights" of critic and author, and were writers as well as critics (cf.
	www.findarticles.com /p/articles/mi_m2220/is_n4_v39/ai_20183782 (1247 words)

	Perry Mason ch. 1
		For the formalists, two things were necessary for their effort: a large enough body of historical data upon which to base their discussion of motifs and patterns, and some sort of agreement over how writers use the very basic elements of the genre in which they are writing.
		Russian formalism was beginning to deal with the problems naturally arising from the developing of a new approach in the midst of an economic and artistic revolution.
		The Russian formalists identify the story as the mental creation of causal relations that the audience necessarily forms from the information provided by the plot, which is the actual presentation of the story.
	tarlton.law.utexas.edu /lpop/etext/bounds1.htm (13183 words)

	What is Literature (Site not responding. Last check: 2007-10-15)
		It was this perverse insistence which won for the Formalists their derogatory name from their antagonists; and though they did not deny that art had a relation to social reality - indeed some of them were closely associated with the Bolsheviks - they provocatively claimed that this relation was not the critic's business.
		The Formalists, then, saw literary language as a set of deviations from a norm, a kind of linguistic violence: literature is a 'special' kind of language, in contrast to the 'ordinary' language we commonly use.
		For the Formalists, in other words, 'literariness' was a function of the differential relations between one sort of discourse and another; it was not an eternally given property.
	www.zanjero.de /texte/literatur/wasist/eagleton.html (5668 words)

	Overview: Varieties of Formalism
		Russian Formalism, as applied to literature, works with a variety of genres; its early impetus was to find a way of describing the 'literariness' of (to them) contemporary, innovative texts (such as Futurist poetry).
		Like the Russian Formalists, Richards abandoned positivistic scholarship (historical, biographical, etc.) for a criticism dealing directly with the distinctive properties of literature, although he did see poetry as a rather 'transparent' medium conveying authorial intent/emotive content to the reader.
		Unlike the Russian Formalists, he emphasized the reader's response to literature and the evaluation of this response.
	social.chass.ncsu.edu /wyrick/DEBCLASS/ovform.htm (1220 words)

	The Hegemony of New Critical Modernism - 18 (Site not responding. Last check: 2007-10-15)
		[86] The infusion of this formalist methodology brought, and continues to bring, a new sophistication to narrative analysis, particularly the distinction between the "fabula" and the "sjuzet", between the order of events and the order of the telling of events.
		The Russian formalists began from the [...] assumption that an element acquires constructive significance at the cost of losing its ideological meaning.
		Precisely by excluding all ideological meaning from the constructive unity of the text, Russian formalism placed all texts on the same ahistorical plane: all are governed by the same rules of combination and permutation of the same stock of precise plot "devices"; differences between texts and sub-genres lie in the specific combinations and permutations employed.
	www.henry-miller.com /tropic/2005/01/the-hegemony-of-new-critical-modernism-18.html (730 words)

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