Academic literature on the topic 'Formalism (Literary analysis)'
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Journal articles on the topic "Formalism (Literary analysis)"
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Tomashevsky, Boris, Gina Fisch, and Oleg Gelikman. "The New School of Literary History in Russia." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 120–32. http://dx.doi.org/10.1632/003081204x23818.
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Anthologies of literary theory, the backbone of courses on literary criticism, rely on viktor Shklovsky's “Art as a Device” or Boris Eikhenbaum's “The Theory of the ‘Formal Method‘” to broach the subject of Russian formalism. The canonical status of these essays is well deserved. Written when the author was merely twenty-four, Shklovsky's 1917 essay bristles with a polemical fervor, wit, and knack for example that announce him as a critical prodigy. Marked by the mixture of embittered pride, rigor, and self-conscious malaise typical of later formalism, Eikhenbaum's dense history of the formal school is remarkable for its titanic effort to marry historical considerations to a systematic analysis of the evolution of key formalist doctrines.
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Rabia Khaliq. "Comparative Formalistic Analysis of Daud Kamal and Emily Dickinson’s Selected Poems." Panacea Journal of Linguistics & Literature 1, no. 1 (January 24, 2023): 22–31. http://dx.doi.org/10.59075/pjll.v1i1.135.
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From the perspective of formalist critics, form is important and content is secondary. Unlike the traditional criticism of literature, formalism focuses on form of a given text and endeavours to dissect meanings and theme. The current research work is focused on comparative formalist analysis of Daud Kamal’s poem Ode to Death and Emily Dickinson’s poem I heard a fly Buzz-when I died. These poems are taken for formalistic analysis because these are one of the best poems written by poets in terms of their style, diction and themes. Furthermore, this study investigates literary devices that are used in the selected poems. The study utilizes qualitative approach by using a textual analysis.
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Loesberg, Jonathan. "CULTURAL STUDIES, VICTORIAN STUDIES, AND FORMALISM." Victorian Literature and Culture 27, no. 2 (September 1999): 537–44. http://dx.doi.org/10.1017/s1060150399272191.
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VICTORIAN STUDIES, in its longstanding resistance to the formalist study of Victorian literature, has to an extent been re-enacting the anxiety of mid-Victorian poets and novelists about being entrapped in a world of art. That anxiety notoriously defined the Victorian resistance to their Romantic forebears (think of Tennyson’s and Arnold’s well-documented, ambiguous attitudes toward Wordsworth and Keats or even Dickens’s satire of Leigh Hunt as Skimpole in Bleak House). And, predictably enough, it led to the backlash of the late-century aestheticism. If one positions the anti-formalism of the various genres of historicism and cultural studies now current in the study of Victorian literature as current versions of that Victorian anxiety at being hermetically enclosed in beautiful but empty forms, then surely an aestheticist and formalist backlash is more than overdue. And, rather than taking an analytical or neutrally critical response to this flux and reflux, I intend to espouse just such a backlash. If backlash implies partialness, the potential partiality of formalism is, I think, one of its less recognized values. Indeed, I will argue, a return to a consideration of aesthetic form may, in its recognition of its own limits, return a genuine interdisciplinarity to Victorian studies, if one intends by interdisciplinary studies not the work of literary scholars treating non-literary texts, but the participation of scholars from different disciplines with different and possibly conflicting grounding questions, concerns and modes of analysis in the study of the same subject matter.
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Outes, Cristian Cámara. "System and Parody: Notes Towards a Description of Two Aspects of the Theory of Translation of Russian Formalism." RUS (São Paulo) 15, no. 26 (May 31, 2024): 233–51. http://dx.doi.org/10.11606/issn.2317-4765.rus.2024.221756.
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In this paper, we look into the theoretical and aesthetic conceptions of Russian formalism and the way in which these were applied to the specific field of translation studies. The functions of translation are examined in the theoretical and historical-literary studies published by Víktor Shklovsky, Yuri Tynyanov and Boris Eikhenbaum between the years 1913 and 1928. As a result of this analysis, we find that two key terms in formalist considerations about translation are those of system and parody. Throughout the theoretical evolution of the school, we see the continuity of certain theoretical constants: systematic, dialectical and dynamic understanding of literary systems and a persistent discussion about the nature of the relationships between translation and writing. From this realization, the conclusion is drawn that Russian formalism has not been sufficiently assimilated by contemporary scholars working in the field of Translation Studies, and that its fundamental ideas might still exert an enriching influence on research carried out today.
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Botifar, Maria, and Nuriza Zulyani. "ANALISIS FORMALISME PADA NOVEL AYAH KARYA ANDREA HIRATA." Jurnal Ilmiah Bina Bahasa 16, no. 1 (June 19, 2023): 46–62. http://dx.doi.org/10.33557/binabahasa.v16i1.2425.
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Discussions about efforts to understand literary works are still being developed today. To understand a work as a whole, there are many aspects that can be observed. One of them is understanding the tools and language used in literary works. Formalism is a school that was born in Russia as a form of opposition to the theoretical approach of previous literary works. According to the school of Formalism, there are two elements that can be studied in literary works related to internal mechanics and the language used in literary works. Internal mechanics examines literary works by looking at the structure and style of language used as a tool in constructing a literary work. Meanwhile, the analysis of the language of literary works is related to the defamiliarization technique used by the author in creating a story. This research uses a qualitative approach with descriptive techniques. In order to collect data, researchers used literature study with content analysis method. Sources of research data were taken from excerpts of sentences contained in the novel Ayah by Andrea Hirata. To perform data analysis, researchers used data triangulation which consisted of data collection, data presentation and drawing conclusions. The results of this study indicate that the novel Ayah by Andrea Hirata contains elements of internal mechanics and good literary language in accordance with the theory of Formalism..
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Manshur, Fadlil Munawwar. "KAJIAN TEORI FORMALISME DAN STRUKTURALISME." SASDAYA: Gadjah Mada Journal of Humanities 3, no. 1 (February 28, 2019): 79. http://dx.doi.org/10.22146/sasdayajournal.43888.
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From the perspective of formalism theory, this study aims to reveal that a research on literary texts does not only pay attention to textual facts existing in literary works, but also needs to pay attention to what exists outside the text. In the literary works, the element of defamiliarization holds that literary language is able to express facts of stories using unfamiliar languages. From the perspective of structuralism theory, this study aims to reveal that structuralism is conceptually a continuation of formalism which largely depends on language. Structuralism theory has a close relationship with linguistics, especially in analyzing the functions of the language used. The analysis of language function can help understanding language semiotics that views literature as a sign that then led to literary semiotics. Therefore, functioning to examine a phenomenon, the concept of semiotic structuralism emerged as a social fact. Critical approach was deemed suitable to be used in this study because formalism theory and structuralism theory are part of a social construction and part of a discursive formation in the formation of subject and reality. As a result, it could be seen the position of formalism theory and structuralism theory in literary research of which raw material is language. The findings in this study are that the formalism theory in its development is dynamic and its language construction stimulates readers to respond. In principle, literary work is not autonomous because it contains author’s feelings and society’s mind. Literary research should exceed the boundaries of formalism and be able to create new vocabularies in writing novels. In the novel, there is intertextual polyvalence, which is a series and intensive dialogic linkages that are capable of giving birth to new novels. Another finding is that structuralism theory has a close relationship with linguistics, for example phonological elements in linguistics which can help literary theory in analyzing sound levels in oral literary works. This theory has also developed a study of poetry to the aesthetic level so that this study has shifted from its original aspects of verbal art only to all art and artistic aesthetics in the present time. This shift distinguishes the views between formalism and structuralism in relation to norms and values inherent in language.
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Thomas, Sara. "Vincent Toro’s Hurricane Formalism." MELUS: Multi-Ethnic Literature of the United States 48, no. 4 (December 1, 2023): 27–52. http://dx.doi.org/10.1093/melus/mlad077.
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Abstract Vincent Toro’s poetry and essays critique the ways that US actions in the wake of natural disasters damage Puerto Rican ecologies and culture. The entwinement of colonialism and natural disaster is the subject of Toro’s two collections, Stereo. Island. Mosaic. (2016) and Tertulia (2020). These collections instruct readers to toggle between close reading of language and formal analysis of genre and shape. In Stereo, Toro produces a geo-formal poetics that takes a Taíno hurricane zemi as its central organizing form, an aesthetic choice that foregrounds non-Western literary forms in communicating Puerto Rican economic and ecological atmospheres. In Toro’s collections, the air and atmosphere are sites where anti-colonial critique and aesthetic innovation merge.
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Milikić, Magda. "Contribution to the study of the Russian Formalism." Bastina, no. 55 (2021): 63–77. http://dx.doi.org/10.5937/bastina31-34227.
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The Russian Formal School was active between 1915 and 1930 and represents one of the most influential directions in literary theory. Our intention was to present the main points of action of this school and to revalue some of its postulates as well. Views of members of the Russian Formalism that we analyzed were illustrated by examples from the story "Plod črevo tvojego" by Vidosav Stevanović. Our analysis has shown that the Russian Formalism is much more modern as a literary school than is most commonly thought.
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Saleh, Fatulloh. "Teori Formalisme – Balaghah." Buletin Al-Turas 20, no. 1 (January 29, 2020): 147–58. http://dx.doi.org/10.15408/bat.v20i1.3753.
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Salah satu faham yang memandang karya sastra hanya dari segi intrinsiknya saja adalah kaum formalisme. Mereka memandang bahwa karya sastra adalah karya yang berdiri sendiri terbebas dari pengaruh dari luar karya itu sendiri. Karya sastra terbebas dari faktor sejarah, biografi pengarang, konteks sejarah yang melatarbelakangi lahirnya sebuah karya sastra. Dalam istilah kesusastraan Arab, mungkin untuk menganalisis suatu karya sastra dari segi intrinsiknya saja adalah suatu cabang ilmu yang saat ini kita dengan balaghah. Ilmu balaghah sendiri terdiri dari tiga jenis ilmu yang berbeda, yaitu: ilmu ma’aniy, ilmu bayan dan ilmu badi’. Tentang formalisme dan balaghah yang nanti akan dicoba untuk dijelaskan dalam tulisan ini. Data diperoleh melalui penelusuran pustaka dan dokumentasi, selanjutnya dianalisis dengan pendekatan deskriptif analitis---abstract One of the approach in doing a literary work can be done through its instrinsic elements is formalisme community. They believe that a literary work that is not depended on the exterinsic elements.na literary work sould be independence from the historic factors, author’s biography, historical context produced the a litetrary work. In Arabic literary work, perhaps to analyse a literary work from its instrinsic elements is a branch of knowledge of languistics. A linguistics itself consists of threedifferents kinds of knowledge: ma’anic knowledge, bayan, and badi. Formalism and linguistics which will be explained in this article is obtained from tracing library and docuentation, then will be analysed through descriptive analysis.
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Tchougounnikov, Serge. "The formal method in Germany and Russia: the beginnings of European psycholinguistics." Linguistic Frontiers 1, no. 2 (December 1, 2018): 90–101. http://dx.doi.org/10.2478/lf-2018-0008.
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AbstractGerman–Austrian psychology is a direct source of the European formalism movement both in the German context (Germany, Austria) as well as in Russia. This interest of the formalists in the corporeal component of linguistic and literary production has resulted in a particular research stream, which could be defined as a ‘linguo-somatic orientation’. In particular, this is the case of Alois Riegl’s [1] perceptive ‘tactile–optical’ method; Adolf von Hildebrand’s [2] architectonic conception; Konrad Fiedler’s [3] ‘sensorial aesthetics’; W. Wölfflin’s [4] ‘basic concepts’ of the art history, W. Worringer’s [5] psychological arts typology as well as Oskar Walzel’s sound-corporeal poetics elaborated during 1920 [6]. Within Russian formalism, psychological notions (such as ‘representation’, ‘sensation’, ‘apperception’, ‘series’, ‘clear and dark zones of consciousness’, ‘verbal gestures’ and ‘sound gestures’) are fundamental in nearly all the formalist conceptions (Viktor Šklovskij, Evgenij Polivanov, Lev Jakubinskij, Osip Brik, Boris Eixenbaum and Jurij Tynianov). This psychological background constitutes a rather heterogeneous constellation composed of psychological aesthetics and psychological linguistics of the second half of the 19th century. Independently of its intrinsic theoretical values, the formalist way of thinking about language and literature is based on the implicit dominance of psychology, which takes its sense only with respect to the German cognitive tradition, appropriated by the Geisteswissenschaften of this time. In this respect, European formalism participates in the large movement of psychologisation of the humanities. To this extent, the case of Russian formalism is really representative: it invites the rethinking of the genealogy of European structuralism in general. This accumulation of conceptual tools borrowed from the German psychological tradition also reveals a cognitive charge of the formalist theories. The latter constitute a conceptual link between the properly psychological past of the European Geisteswissenschaften and the ‘cognitive’ future of the actual research programmes. Beyond the borrowing of conceptual tools from the psychological trend, the formal method has found in psychology its inspiration for producing new models of analysis. This intrinsically cognitivist dimension of the formalist programme explains its late success during the 1950s–1960s, the period often and abusively called the period of the cognitivist revolution. In reality, it deals with the re-emergence of the research programme of the cognitivist sciences, rather exhaustively formulated by the German psychological tradition..
Dissertations / Theses on the topic "Formalism (Literary analysis)"
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Tezza, Cristóvão. "Entre a prosa e a poesia Bakhtin e o formalismo russo /." Rio de Janeiro : Rocco, 2003. http://catalog.hathitrust.org/api/volumes/oclc/61278632.html.
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Alkhas, Marduk. "A comparative narrative analysis of Rambling rose : the novel and the film /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9809677.
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Daly, Robert. "The scholar as scientist : Iurii Tynianov and the OPOiaZ." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:9a362e24-fc5b-447c-a740-8284a66c2a35.
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The present work deals with the literary-theoretical work of the Petrograd Formalists - those who participated in the OPOiaZ in the 1910s and early 1920s - with a focus on that oflurii Tynianov. It attempts to unpack the representation of their literary-theoretical work as 'science' [nauka] by exploring how that category was constructed in dialogue with their evolving conception of literature. It is argued in the first chapter that, for the duration of their project, they conceptualized the 'language of nauka' - and their own prose by association - in accordance with the laws of their theory of language. It is argued in the second chapter that, as the Formalists developed a theory of literary history as an endless succession of 'revolutions' in the period 1919- 24, they tried to make their theorization of that process take a correspondingly revolutionary form, one in which the sciences of nature and those of history would become one. It is argued in the third chapter that, as the Formalists came to theorize the connection between literature and life in the period 1924-30, they practised a new 'type' of nauka in the form of the authorial collection of articles, one in which their own work was historicized in a 'literary' manner. It is concluded that, for the OPOiaZ, nauka came into being as a function of its object: as the Formalists transformed their conception of literature, their realization of nauka was correspondingly transformed. The conclusion then problematizes the categorization of Formalism as a purely 'scientific', extra-'literary' movement, since emphasis is placed on their authorship of that categorization, and raises broader questions about the origin of modem 'literary theory'.
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Miranda, Carranza Pablo. "Program Matters : From Drawing to Code." Doctoral thesis, KTH, Stadsbyggnad, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-218462.
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Whether on paper, on site or mediating between both, means for reading and writing geometry have been central to architecture: the use of compasses and rulers, strings, pins, stakes or plumb-lines enabled the analysis and reproduction of congruent figures on different surfaces since antiquity, and from the renaissance onwards, the consistent planar representation of three-dimensional shapes by means of projective geometry. Tacitly through practice, or explicitly encoded in classical geometry, the operational syntaxes of drawing instruments, real or imaginary, have determined the geometric literacies regulating the production and instruction of architecture. But making marks on the surfaces of paper, stone or the ground has recently given way to the fundamentally different sequential operations of computers as the material basis of architectural inscription. Practices which have dominated architecture since antiquity make little sense in its current reading and writing systems. This thesis examines technologies of digital inscription in a search for literacies equivalent to those of drawn geometry. It particularly looks at programming as a form of notation in close correspondence with its material basis as a technology, and its effects on architecture. It includes prototypes and experiments, graphics, algorithms and software, together with their descriptions and theoretical analyses. While the artefacts and texts respond to the different forms, styles, interests and objectives specific to the fields and contexts in which they have originated, their fundamental purpose is always to critique and propose ways of writing and reading architecture through programming, the rationale of the research and practice they stem from.QC 20171129
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Karcz, Andrzej. "The Polish formalist school and Russian formalism /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9934074.
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Rasenyalo, N. G. "Some aspects of the literariness of traditional Sotho dithoko : a Russian formalist approach." Thesis, 2012. http://hdl.handle.net/10210/7168.
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M.A.Lestrade (1949) has already stated that the African people themselves regard traditional praise poems as the highest form of their literary art. Scholars such as Goma (1967), Kunene (1971) and Swanepoel (1983) have already highlighted some aspects concerning the "literariness" of Soho dithoko tsa marena. In this study, an attempt is made to highlight some of the literary features of dithoko within the literary framework established by the Russian Formalists almost a century ago. Focus is placed on the devices used by the traditional composer to create poetic' language, which is different from everyday communicative language. In the study an important vehicle used by traditional composers to create - literariness namely the application of allusion to violate normal language usage is investigated. The interaction between the so-called narrative lines in dithoko and events alluded to in the poems is discussed. Allusion and traditional beliefs are also focused on. The function of poetic devices such as metaphorical language, symbols and poetic diction is also investigated within the framework of the Formalists.
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Thompson, David M. "Criticism and the vichy syndrome : Charles Maurras, T. S. Eliot, and the forms of historical memory /." 1997. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9729874.
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Nienaber, Bianca Lindi. "A search for literariness based on the critical reception of Virginia Woolf’s Mrs Dalloway." Thesis, 2013. http://hdl.handle.net/10210/8448.
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M.A. (English)This dissertation begins by examining the central tenets of Russian Formalism and American New Criticism. Although it is a term coined by the Russian Formalists, both these schools of thought, in their own ways, are concerned with literariness – that is, that which distinguishes the literary work from other forms of writing. This study traces the ways in which these two critical movements account for the specifically literary language that they claim characterises literary works. Based on the principles derived from these two schools I analyse aspects of Virginia Woolf’s Mrs Dalloway and demonstrate that defamiliarization is at work on various levels of this novel. Thereafter, I examine criticism pertaining to Woolf and illustrate that there are numerous illuminating parallels that can be drawn between recent critics’ studies on Woolf and the principles of the formalists. In particular, I attempt to show that the principle of estranged form continues to inform our critical thought about Woolf’s works. I focus primarily on the arguments posited in two critical studies: Edward Bishop’s Virginia Woolf (1991) and Oddvar Holmesland’s Form as Compensation for Life: Fictive Patterns in Virginia Woolf’s Novels (1998). These studies were selected because they centre on questions of language and form and, as such, coincide in a number of interesting ways with the tenets of formalism.
Books on the topic "Formalism (Literary analysis)"
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Grazzini, Serena. Der strukturalistische Zirkel: Theorien über Mythos und Märchen bei Propp, Lévi-Strauss, Meletinskij. Wiesbaden: Deutscher Universitäts-Verlag, 1999.
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Fine, Ruth. El concepto de desautomatización en literatura: Su ejemplificación en El aleph de Jorge Luis Borges. Gaithersburg, MD: Hispamérica, 2000.
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undifferentiated, Tony Bennett, and Bennett Tony. Formalism and Marxism. London: Routledge, 2003.
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Aucouturier, Michel. Le formalisme russe. Paris: Presses universitaires de France, 1994.
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Stephen, Cohen, ed. Shakespeare and historical formalism. Aldershot, England: Ashgate, 2007.
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Kenneth, Womack, ed. Formalist criticism and reader-response theory. Houndmills, Basingstoke, Hampshire: Palgrave, 2002.
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Lemon, Lee T. Russian formalist criticism: Four essays. Lincoln: University of Nebraska Press, 2012.
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Depretto, Catherine. Le formalisme en Russie. Paris: Institut d'études slaves, 2009.
Find full textBook chapters on the topic "Formalism (Literary analysis)"
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Ryan, Michael. "Formalism." In A Complete Guide to Literary Analysis and Theory, 12–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003305422-2.
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Schmidt, Henrike. "From Samizdat to New Sincerity. Digital Literature on the Russian-Language Internet." In The Palgrave Handbook of Digital Russia Studies, 255–75. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42855-6_15.
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AbstractDigital literature on the Russian-language Internet includes a broad variety of phenomena, from online libraries to writers’ blogs, from hypertext to Internet memes. The chapter begins by clarifying the terms “digital literature” and “Runet,” drawing on a functional understanding of literature in the tradition of Russian Formalism. It embeds Runet literary studies into global contexts and gives an overview of essential phenomena (hypertext, fan fiction, blogging) and narratives. It analyzes local discourses, which, in turn, attempt to make sense of global communication technologies, for example, by conceptualizing digital self-publishing as samizdat, that is, the historical phenomenon of clandestine underground publication in the post-Stalin Soviet Union. The chapter concludes with an overview of research approaches and methods, both qualitative and quantitative, and of the challenges that future analysis will face.
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Müller, Christan, and Helmut Seidl. "Stratified Guarded First-Order Transition Systems." In Static Analysis, 113–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-65474-0_6.
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AbstractFirst-order transition systems are a convenient formalism to specify parametric systems such as multi-agent workflows or distributed algorithms. In general, any nontrivial question about such systems is undecidable. Here, we present three subclasses of first-order transition systems where every universal invariant can effectively be decided via fixpoint iteration. These subclasses are defined in terms of syntactical restrictions: negation, stratification and guardedness. While guardedness represents a particular pattern how input predicates control existential quantifiers, stratification limits the information flow between predicates. Guardedness implies that the weakest precondition for every universal invariant is again universal, while the remaining sufficient criteria enforce that either the number of first-order variables, or the number of required instances of input predicates remains bounded, or the number of occurring negated literals decreases in every iteration. We argue for each of these three cases that termination of the fixpoint iteration can be guaranteed.
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Sholl, Robert. "5. Artistic Practice as Embodied Learning." In Teaching Music Performance in Higher Education, 135–64. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.07.
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Almost fourty-five years ago, Joseph Kerman proposed the notion of getting out of analysis, in fact a strategy through criticism to broaden its formalist parameters (Kerman, 1980). Kerman’s argument was flawed in many respects as Agawu pointed out; analysis was necessary in his view to teach “undergraduate music theory” and “basic musical literacy,” (Agawu, 2004: 269) something Kerman would not have denied. Yet these debates, and their continuation (Horton 2020; Cavett et al. 2023) have missed something more fundamental, especially as ideological ivory towers and territories needed protection. Over the last fourty years the rise of theory courses, has led to a schism between theory as a discipline and theory as a necessary precursor to practice (for learning repertoire, improvisation and composition); this is till prevalent in Universities and conservatoires today. This issue has not been helped by the interdisciplinarity of musicology, by the concomitant continual expansion of the curriculum, and the move away in many university departments from study of ‘the dots’ to other equally-valid forms of engagement with music. Part of this separation results from an educational ideal that differentiation is necessary before integration, something that the somatic thinker Mosche Feldenkrais advocated, but the ‘integration’ element, has more often been left to chance. This study seeks to make a pedagogical synthesis between theory improvisation and composition, allowing the teacher and student to move freely between these areas, and the student to develop their own sense of autonomy. Artistic research is premised on knowing something, on having some ‘petrol in the tank’, and especially on the ability to make aesthetic choices. This paper develops a critical and reflexive method to do begin this task. It begins by presenting a creative rethinking of species counterpoint, a foundation for thinking in Schenkerian analysis (Forte and Gilbert, 1983, also played out through Kennan 1987, Schubert 2003, Davidian 2015, and Denisch 2017) through Bach’s Goldberg Variations (1741). This develops a resource for pedagogy and practice through teaching musical techniques of composition. I present a layered-cake of musical lines against the figured bass of the theme (moving from semibreves to quavers) as an exercise that inculcates various aspects of var. 1 of the ‘Goldbergs’, and then I explore the codes and ramifications of this that allow both historical sensitivity and creative development. This contextualized exercise provides a stepping-stone to a discussion of Variation 1 (prefigured in my species example), and the development of complete variations beginning with a given “invention” (Dreyfus 1997), and then moving to the composition of new ideas. I suggest how these exercises can be used for teaching improvisation and show how this invaluable connection can be developed through other models (‘la folia’ for example). This model of thinking is historically connected to partimenti (Gjerdingen 2010, 2020), and, following Feldenkrais’s thinking (Sholl 2019, 2021), I provide different solutions to the same exercises. This strategy attempts to promote an “adaptive flexibility” (Thelen and Smith 2004) in which students can enactively and organically learn musical and technical fluency, while also developing their creativity and autonomy.
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Narayan, Vivek V. "Encasted Formalism." In The Oxford Handbook of Modern Indian Literatures, C14S1—C14P120. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197647912.013.14.
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Abstract This chapter seeks to invoke the spirit of encasted formalism, which reads literature through caste scripts to investigate the entangled relationships between encasted forms and encasted experience. This critical style remains ever alert to the potential of caste to remain hidden in plain view, to be protean in form, and, above all, to be understood only through situated thick descriptions of everyday life. In providing thick descriptions of the encounter between reader and text against a historical backdrop, encasted formalism seeks to be reflexive of caste as encounter and attempts an analysis of the deep dramaturgy of caste. These political readings unpack the assignations of value enacted by caste scripts in both human lives and literary forms to explore the ways in which caste intersects with conceptions of experience and form, the everyday and the event, and, more broadly, the social and the aesthetic.
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Harrison, Stephen. "Introduction." In Texts, Ideas, and the Classics, 21–25. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780199247462.003.0002.
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Abstract As already noted in my General Introduction to this volume, the issue of literary language has been a central topic in both literary theory and classical scholarship in the twentieth century. Auer bach’s Literary Language and its Public, translated in 1965, states that ‘a literary language is distinguished from the general language of daily life by its selectivity, homogeneity and conservatism’, and classical scholars have often followed this traditional emphasis on linguistic register and lexicon as the key features of literary and (especially) poetic language. However, a larger perspective can also be applied, by which the developing concerns of twentieth century classical scholars can be seen as consonant with developments in linguistic and literary theory more generally. The turn in Saussure and structuralist thought towards language as system, the deep preoccupation with language in linguistic philosophy generally, the close analysis of literary language which is a common concern of both Formalism and New Criticism, and the radical destabilization of language and its capacity to signify in post structuralist theory, have all to some extent been reflected in the work of literary classicists, even when there is no apparent formal connection.
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Fessenbecker, Patrick. "Justifying Anachronism." In Reading Ideas in Victorian Literature, 108–39. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460606.003.0004.
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Perhaps the most influential contemporary versions of formalism are those that justify formal interpretation as a form of historical analysis. A defense of reading for the content, which often involves bringing writers from the past into an anachronistic conversation with contemporary issues, thus requires understanding and responding to the arguments in favor of historicist reading. Richard Rorty’s distinction between “historical” and “rational” reconstructions, where the former renders a view in a thinker’s own words while the latter sympathetically translates it into contemporary terms, clarifies the relationship between the competing impulses to bring texts into conversation with current issues and to understand them in their own terms. Far from betraying the literary text’s artistic nature, moreover, a parsing of the language of appreciation philosophers use in justifying rational reconstruction, suggests that it is at least in part an aesthetic practice.
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Mitić, Marko. "THE SUBVERSION OF BLACK AESTHETIC: TONI MORRISON’S RECITATIF." In JEZIK, KNJIŽEVNOST, ALTERNATIVE/LANGUAGE, LITERATURE, ALTERNATIVES - Književna istraživanja, 269–81. Filozofski fakultet u Nišu, 2022. http://dx.doi.org/10.46630/jkal.2022.18.
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The main aim of this paper is to present Toni Morrison’s short story, “Recitatif” (1983), as a literary text that resists or subverts the established practices of understanding, analyzing and canonizing texts written by African Americans. The starting point of this paper is the thesis proposed in African American Literature Beyond Race: An Alternative Reader (2006), edited by Gene Andrew Jarrett, that there is an ideological consistency in the exclusion of what Jarrett terms “anomalous” texts from African American literary anthologies. In other words, the overall preoccupation with racial representations has influenced the way of reading and organizing African American literature and defining the “Black” or African American Aesthetic. Toni Morrison’s “Recitatif” represents such an “anomalous,” alternative, or unconventional text that challenges these practices. Furthermore, for its analysis, the paper relies on the methods proposed by New Formalism. This critical approach aims to interrogate the relationship between form and social, historical, and cultural contexts. Thus, one of the central aims of this paper is to show how Morrison uses and manipulates form and structure in her story to subvert notions of race and difference and to ultimately challenge the way in which texts written by African American authors are read and understood.
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Engelhardt, Nina. "Mathematics, Language, Structure: Hermann Broch, the Sleepwalkers." In Modernism, Fiction and Mathematics, 59–92. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474416238.003.0003.
Full textAbstract:
Chapter 2, focusing on Broch’s The Sleepwalkers, analyses relations between mathematics and turn-of-the-century scepticism of language and investigation of form. The novel trilogy engages with research on the relations of mathematics and language, particularly by Gottlob Frege, and with the new approaches that emerge with it: the formalised language of analytic philosophy and literary formalism’s concentration on language as the basic building block of texts. The chapter also investigates how a competition of methodologies in modern mathematics informs the innovative form of the trilogy: it argues that the stylistically experimental third novel is informed by the central debate in the foundational crisis of mathematics, and traces the trilogy’s visions of total disintegration and valuelessness and, on the other hand, renewal through a counter-movement towards a non-rational element of common intuition to formalist and intuitionist approaches in mathematics. With its main focus on ways in which mathematics features as a structural model in The Sleepwalkers, this chapter shows how the trilogy presents mathematics as deeply implicated in the cultural development and explores the role of its modernist transformation for the form of the trilogy and Broch’s conception of modernist literature.
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Siraganian, Lisa. "Invisible Corporate Man." In Modernism and the Meaning of Corporate Persons, 177–213. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198868873.003.0006.
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The Reconstruction era Fourteenth Amendment (1868) has long been the primary U.S. statutory source for corporate personhood. But for nearly fifty years the story of the rise of corporate personhood rights entwined with the fraught story of legal personhood for African Americans was effectively ignored. This chapter fills a gap in legal and cultural scholarship to begin to address this blind spot, first by analyzing the period’s jurisprudence of the “corporation sole” (a corporation of one person) in contrast to that of African American persons. Drawing together case analysis, discussions of legal formalism, and interpretations of two major novels—George Schuyler’s satirical Black No More (1931) and Ralph Ellison’s acclaimed Invisible Man (1952)—this chapter depicts the legal and literary effects of a half-century’s misconstruing of the Fourteenth Amendment, in which “any person” was defined not to mean any married woman, child, and/or African American person, but, rather, any corporate or white male person. To imagine a less racist world, Schuyler hypothesizes African American rights and freedoms secured by the abstract corporate form and a new scientific technology protected by the laws of intellectual property. Later, Ellison provides a powerful and very different critique of state-sanctioned personhood as irretrievably debased because it is abstract. Both authors expose and challenge through satire and fantasy the obscene, unmentionable inequality between reduced rights for African Americans and human rights for corporate persons.
Conference papers on the topic "Formalism (Literary analysis)"
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Geraki, Palmyra. "Lessons from Close Reading." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.67.
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By drawing an analogy between precedent analysis in architecture and close reading in literary studies, this paper advocates for the potentially radical pedagogical consequences of incorporating close reading into architectural education and practice. Precedent analysis is presented as a textual strategy in a predominantly visual field that affords architects the opportunity to parse the vast amount of knowledge and intricate decision‐making that comprises the architectural process. The enduring relevance and disciplinary importance of close reading in the field of literary studies is showcased as a useful precedent for the field of architecture, which has struggled to maintain a dialogue between long‐standing disciplinary debates on autonomy and the role of theory in architecture and contemporary narratives that see architecture as a socially embedded practice. While precedent analysis has obvious limitations as a vehicle for the study of architecture, it does have the potential to transcend its traditionally formalist reputation and engage in a dialogue with contemporary design concerns by revealing the insidious ways power structures infiltrate spatial language.
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Besin, Viktor, Markus Hecher, and Stefan Woltran. "Utilizing Treewidth for Quantitative Reasoning on Epistemic Logic Programs (Extended Abstract)." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/732.
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Extending the popular Answer Set Programming (ASP) paradigm by introspective reasoning capacities has received increasing interest within the last years. Particular attention is given to the formalism of epistemic logic programs (ELPs) where standard rules are equipped with modal operators which allow to express conditions on literals for being known or possible, i.e., contained in all or some answer sets, respectively. ELPs thus deliver multiple collections of answer sets, known as world views. Employing ELPs for reasoning problems so far has mainly been restricted to standard deci- sion problems (complexity analysis) and enumeration (development of systems) of world views. In this paper, we first establish quantitative reasoning for ELPs, where the acceptance of a certain set of literals depends on the number (proportion) of world views that are compatible with the set. Second, we present a novel system capable of efficiently solving the underlying counting problems required for quantitative reasoning. Our system exploits the graph-based measure treewidth by iteratively finding (graph) abstractions of ELPs.
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Nissan, Ephraim. "A naming situation captured in episodic formulae: how a publisher accepted his funder’s suggestion as to how to name his small press (and later found out the Italian word had been the name of a little dog that ketchup heiress used to have)." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/62.
Full textAbstract:
Episodic formulae are a representational technique that emerged from artificial intelligence in order to capture the gist of situations and epistemic states in a narrative plot. Arguably, this formalism can be applied as well to complex situations of name-bestowing and evolving perceptions of the name adopted. In the situation we analyse with epistemic formulae in this paper, the Manhattan entrepreneur who had launched a literary magazine and then found a very affluent funder for also starting a book operation, expectably felt obliged to accept her suggestion of a name for his firm. At the time, in New York City he could be expected to find out easily that the name Ecco was the Italian adverb ecco for ‘here is…’ or ‘here you go’ and so forth. Eventually, he found out that the ketchup heiress who funded him had suggested to him the name of her beloved little dog that she once owned. This time, it was private knowledge, rather than available knowledge. One can figure out (from general patterns of how people feel or behave) that she wanted a memorial for her dog, and the publisher could be expected to have made sense of that once aware, but it also brought to the fore how their balance of power affected what she could afford vis-à-vis him. The set of formulae shown here illustrates the potential for onomastic research to develop a rigorous representation for situational constellations of name-bestowing and bearing a name that thus far it could explain just informally in narrative form.