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1
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..
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Liu, Miaowen, and Natalia Z. Koltsova. "Perception of works of V. Shklovsky in China." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 462–76. http://dx.doi.org/10.22363/2312-9220-2019-24-3-462-476.
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The article is devoted to studying the long-term dissemination and perception of Viktor Shklovsky's works and ideas in China from the 1930s to 2010s, while providing a brief overview of the scientific articles of Chinese Russianists, who played a key role in studying the heritage of Shklovsky conceptual apparatus in Chinese literary criticism. Particular attention is paid to the category of estrangement, firmly included in Chinese literary studies and widely used in the analysis of works of Chinese literature and cinema, have been considered such concepts of Russian formalism as literary character, reception, since the early 80s of the 20th century adopted by the science of China. The article emphasizes that the history of the perception of the theoretical views of V. Shklovsky in China includes several stages, while a true study of his works, like Russian formalism in general, begins only in the 1980s of the 20th century. The artworks of Shklovsky in China began to pay attention only to the XXI century.
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Al Matarneh, Mohammad Abdullah. "A Formalism Reading of Maugham’s “The Three Fat Women of Antibes” and “Rain”." Advances in Language and Literary Studies 11, no. 1 (February 29, 2020): 35. http://dx.doi.org/10.7575/aiac.alls.v.11n.1p.35.
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This paper focuses on a formalist analysis of Maugham’s two stories “The Three Fat Women of Antibes” and “Rain” and it offers a discussion of some major aspects of the work as a whole: genre, narration, character relations, and setting. The aim is to provide a sense of Maugham’s art of the short story with an assessment of the vital elements of what makes a short story successful in the work of William Somerset Maugham and an exploration of how his work exposes the experience. The main part of this manuscript provides a detailed analysis of selected short stories by Maugham. Especial emphasis is placed on the author’s gifted talents which shows the diversity of Maugham’s literary legacy that made him the most popular writer of his time. The study discloses that conducting a formalist analysis is supposed to be a good way in understanding literary works.
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Greenfeld, Liah. "Russian Formalist Sociology of Literature: A Sociologist's Perspective." Slavic Review 46, no. 1 (1987): 38–54. http://dx.doi.org/10.2307/2498619.
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Russian formalism has been of interest in the west for at least three decades since the publication of Victor Erlich's authoritative study of the school in 1954. Almost every year significant new contributions are made to the analysis of the formalists’ scholarship; their multiplex theory, with all of its different, and at times seemingly contradictory, aspects, is elucidated, and many of these aspects are successfully incorporated in modern criticism and literary theory in the west. I will not dwell upon the better known “internalist” aspects of the formalists' work, nor will I try to summarize their theory. Several leading members of the school systematically attempted to create a coherent theoretical framework for the sociology of literature. In this article I will look at the sociology of the Russian formalists from the point of view of a sociologist, analyze it, and suggest that the formalist sociology of literature makes a valuable contribution not only to our understanding of literature, but also to the understanding of social reality and to the discipline of sociology.
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Filatov, A. V. "Two approaches to the analysis of spatial and temporal organizations of a literary work (M.M. Bakhtin and V.M. Zhirmunsky)." Solov’evskie issledovaniya, no. 4 (December 15, 2020): 151–61. http://dx.doi.org/10.17588/2076-9210.2020.4.151-161.
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This article examines two methodologies for analyzing a literary work. The first one was developed by M.M. Bakhtin on the basis of a broad aesthetic and philosophical approach; the second one was developed by V.M. Zhirmunsky on the basis of a more specific formal and poetological approach. These methodologies were applied by both researchers to A.S. Pushkin’s poems in the 1920s. It is argued that Bakhtin’s methodology was worked out in opposition to the main provisions of Zhirmunsky, who was close to the position of Russian formalism, also taking into account L.V. Shcherba’s achievements in the field of the linguistic analysis of a poetic text. This article describes the fundamental differences in the methodological conceptions of the philosopher and the literary critic concerning the nature of verbal creativity and understanding of the spatial and temporal organization of a literary work. The comparison of two analyses of Pushkin’s poem “For the Shores of Distant Homeland…”, shows that Zhirmunsky reduces the spatial and temporal aspects of a work of art to the compositional arrangement of verbal and sound material, since he considers verbal creativity as a linguistic phenomenon, while Bakhtin refers to the space and time of aesthetic reality, drawing a distinction between the composition and the architectonics of the literary work. It appears that the philosopher perceives the work as a field of dialogue between various subjects of consciousness (the author, the characters, the reader), while the literary critic proceeds from the author’s primacy as creator of a system of artistic techniques, giving the reader a position of passive perception. It is concluded that both methods of analysis complement each other organically, Zhirmunsky analyzing the verbal-compositional dimensions of a literary work and Bakhtin its objective-architectonic dimension.
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Kambarova, G. S., B. D. Zhumakayeva, and A. T. Tolysbaeva. "Development of Author Theory in Literary Studies: Past and Present." Iasaýı ýnıversıtetіnіń habarshysy 129, no. 3 (September 30, 2023): 147–61. http://dx.doi.org/10.47526/2023-3/2664-0686.11.
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The relevance of the article is a comprehensive analysis of the problem of the historical development of the concept of «author» in literary studies as a multifaceted category of personality. Attention is drawn to the direction of development of the author's theory in literature in the periods of Romanticism, structuralism, formalism, poststructuralism and postmodernism, a comparative, expert analysis of the fundamental theoretical conclusions and basic principles of authoritative representatives of this period is carried out. In «neorealism», which brought a new impetus to literary criticism, over the same period of time in the USA, Europe, Russia and our country, the author's theory developed and interpreted in different ways. The logical connection of these theories with each other was weak and even had contradictions in some issues. In addition, the analysis reveals that the American-English «new criticism», the European-French «criticism of consciousness» and the Soviet classical paradigms have their own characteristics and differences. The consistency of А. Baitursynov's conclusions in relation to the author with the studies of other scientists in the world literature was analyzed. Modern trends in the development of the author's theory were also identified and an expert analysis of the works of scientists in this field was carried out. As the main components that make up the concept of «Author», the categories are defined – «the image of the author», «the position of the author», «the intention of the author», innovative ideas in this direction are analyzed. The authors of the article, relying on the historical pattern in the development and decline of scientific theories and literary schools, formulate that at present there is a «period of theoretical crisis» in science related to the author's theory.
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Shevtsova, Maria. "Sociocultural Analysis: National and Cross-cultural Performance." Theatre Research International 22, no. 1 (1997): 4–18. http://dx.doi.org/10.1017/s0307883300015893.
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It is well known that theatre semiotics follows the metamorphoses of theories of semiotics in general and, like them, draws on Charles Peirce and American pragmatism, Saussurean linguistics and the linguistics of the Prague Circle, Russian formalism and French structuralism. These currents converge in the theatre semiotics of the 70s, producing a methodology that is highly scientist, technical, self-reflexive and abstract. This type of theatre semiotics may no longer be an up-markettopic, nor is it stone-dead. Its fundamental principle of ‘abstract objectivism’, as Bakhtin/Voloshinov describe it, survives despite the greater flexibility provided by its attention to such areas as reception theory and theories of cultural systems. Its inclusion of reception theory acknowledged of the fact that spectators exist in the construction of semiosis. Ideas concerning cultural systems and, thus, primarily those concerning codes were used to indicate the importance of cultural contexts in the processes of signification.
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Franek, Ladislav. "Estudios comparativos en la versología." Interlitteraria 23, no. 2 (January 3, 2019): 233–46. http://dx.doi.org/10.12697/il.2018.23.2.3.
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Comparative research in versology. The place of comparative literature in Slovak literary studies from the 1960s. Mikuláš Bakoš’s inspiration by the model of historical poetics in his writing on the Slovak verse in the late 1930s. The influence of Russian formalism and Czech structuralism (J. Mukařovský, J. Levý). The focus on the stylistic and typological aspect in verse analysis. The effort towards the symbiosis of the structuraldevelopmental and the traditional historical-critical approaches. The inspiration by Jozef Felix’s emphasis on the universal message of the finest French and world literature for the development of Slovak literature. The contribution of the theory of literary communication for the analysis of Slovak reception of translations from Russian literature (A. Popovič). The re-evaluation of the term “influence” on the basis of a dialectical understanding of the roles of comparative literature (D. Ďurišin). The aspect of the developmental progress of national literatures. The central role of poetic rhythm through the specific application of metric accent in comparing Slovak verse with French and Spanish verse (L. Franek). The meaning of comparative study of poetry in symbiosis with objective-normative and subjective-critical criteria in relation to aesthetic level of translations. The unity of theoretical and empirical research as a reliable instrument in contemporary search for literary and cultural identity of nations (Slovak translations of Paul Claudel).
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Adams, Rachel. "What Can A Literary Critic Do? Thoughts on a Universal Design for Criticism." American Literary History 34, no. 1 (February 1, 2022): 9–19. http://dx.doi.org/10.1093/alh/ajab103.
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Abstract This essay expresses discomfort with Matthew Arnold’s description of the critic’s function as seeking out “the best that is known and thought in the world,” favoring instead the more neutral description, “an activity or purpose natural to a thing.” Inspired by the practice of universal design, which seeks to make the environment accessible to a diverse range of bodies and minds, it seeks to define the function of literary criticism in terms of what it can do, as well as a functional literary criticism, one that accommodates the widest possible range of texts, modes of reading, and interpretive practices. Refusing Arnold’s call for disinterest, it insists on a situated criticism that combines theory with personal experience. Because I am interested and because the only critical practice I can imagine for this present is fully interdependent with my nonprofessional life, this essay moves between an account of how literary criticism functions in my work as a teacher and a writer (focusing on the critical activities of formalism, cultural analysis, and syllabi-building), and how it might function to account for my neurodiverse son’s rebellious, creative, and total living through and with narrative. [T]his essay moves between an account of how literary criticism functions in my work as a teacher and a writer, and [that of] my neurodiverse son’s rebellious, creative, and total living through and with narrative.
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Yang, Xiaoyi. "Analyzing the Differences in the Concepts of Love Between Korean and American Women Using the Female Characters in Kim Ji-young, Born in 1982 and The Sun Also Rises as Examples." Journal of Contemporary Educational Research 8, no. 2 (February 25, 2024): 112–16. http://dx.doi.org/10.26689/jcer.v8i2.6149.
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This paper scrutinizes the differences in the conceptualization of love between Korean and American women.Grounded in an analysis of literary figures, Brett and Kim Ji-young, the study unravels the intricate interplay of cultural, historical, and societal forces shaping these perspectives. The contrasting landscapes of the United States, driven by ideals of freedom and individualism, and Korea, entrenched in Confucian values and collectivism, serve as crucibles for forming women’s roles, self-perception, and societal expectations. The examination extends to communication styles, illuminating the directness of American expression versus Korea’s reliance on formalism. Through this exploration, the paper illustrates the profound impact of cultural contexts on the intricate tapestry of love, offering a nuanced understanding of divergent viewpoints within a global context.
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Robinson, Mihail A. "The theoretical innovation of V. N. Peretz in the field of methodology for studying the history of literature. To the 150th anniversary of the birth of the researcher." Slavic Almanac, no. 3-4 (2020): 449–72. http://dx.doi.org/10.31168/2073-5731.2020.3-4.5.02.
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The article analyzes the methodological views of the academician V. N. Peretz, an outstanding Russian researcher and teacher. Refusing to follow the canons of the cultural-historical school of Russian literary criticism, in his works “From Lectures on the Methodology of the History of Russian Literature” (Kiev, 1914) and “A Brief Essay on the Methodology of the History of Russian Literature” (Petrograd, 1922) the researcher tried to find new approaches to the analysis of literary works. He believed that “the history of literature examines and studies the formal side of the works of verbal creativity, its evolution, leaving the cultural historian to study the content, the ideological side of the monuments of the past as such.” Peretz’s judgments were similar to those adopted by the followers of the OPOYAZ school (The Society for the Study of Poetic Language), and even had a certain influence on the development of formalism at the initial stage. This circumstance was noted by such researchers close to this research community as V. M. Zhirmunsky and its active members like Roman Jakobson. The relationship of Peretz’s theoretical positions with the methods of the Russian formalist school caused criticism from the followers of “Marxist” methodology in the 1920s. In the disputes between the formalists and the “Marxists”, Peretz clearly sympathized with the former believing that they were trying to “resurrect philology.” Peretz himself characterized his “Methodology” as “not Marxist” and had faint hopes for the possibility of its publication, although he continued to work on it. However, he never finished and published the extended version. His “Short Sketch” was reprinted twice abroad before being printed again in his homeland in 2010, 88 years after the first edition.
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Tsou, Elda E. "“This Doesn't Mean What You'll Think”: Native Speaker, Allegory, Race." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 575–89. http://dx.doi.org/10.1632/pmla.2013.128.3.575.
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This article contributes to the new formalism by considering the relation between literary form and race. It argues that Chang-rae Lee's novel Native Speaker is primarily concerned with its own figurative activity and that only when the analytic framework is shifted away from Asian America and toward allegory does the novel's far-ranging critique of whiteness, referential language, and native speaking become apparent. This figurative activity consists of strategies of concealment that disguise their artfulness by posing as self-evident or referential. Race, espionage, and allegory are examples of this representational mode, defined by hiding in plain sight. As part of a larger argument for formal analysis in Asian American literature, the article explores how the novel's central tropes figure the figuration of Asian American experience, and it seeks to demonstrate how reading for form can sharpen the politics of race.
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Felisilda, Violeta. "RURAL LIFE IMAGERY REPRESENTATIONS IN SELECTED FOLK SONGS." Journal Sampurasun : Interdisciplinary Studies for Cultural Heritage 2, no. 2 (February 28, 2017): 158. http://dx.doi.org/10.23969/sampurasun.v2i2.167.
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Pedagogical materials in teaching regional literature are needed in Philippine classrooms. However, the number of studies on regional literature that students and teachers can make use of is very limited. To cater to such academic demand, this study selected four folk songs of Southern Leyte, Philippines to determine the rural life imagery that they portray.
The formalism approach in literary analysis was used in this study. The chosen folk songs were “AwitsaBukid” (Song of the Mountain), “Barutu” (Boat), “Alibangbang” (Butterfly), and “May BalayGamaysaBungtud” (There Was a Hut on the Hill). The textual translation of the lyrics of the folk songs followed the Phonology-Orthography Correspondence: Sound-Letter System on pedagogic grammar for Cebuano Visayan. Coding and triangulation were applied to the data.
The findings revealed that the selected folk songs of Southern Leyte had the following rural life imagery representations: “AwitsaBukid” (Song of the Mountain) - farmers working to attain a good harvest, “Barutu” (Boat) - a coffin made out of a sawed-off boat and funeral activities, “Alibangbang” (Butterfly) - a man courting and exploiting a woman then leaving her for another woman, “May BalayGamaysaBungtud” (There Was a Hut on the Hill) - a socialite mother living in a shanty on a hill.
The literary analysis showed that the selected folk songs of Southern Leyte have representations of rural life imagery.
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Terentieva, N. P. "UPBRINGING IN THE SYSTEM OF LITERARY EDUCATION: AN AXIOLOGICAL TURN." Pedagogical IMAGE 16, no. 2 (2022): 142–54. http://dx.doi.org/10.32343/2409-5052-2022-16-2-142-154.
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Introduction. The paper analyzes the approaches to upbringing in the system of literary education in terms of pedagogical axiology. The research aims to analyze the axiological turn in teaching literature at school, which supports upbringing as a subsystem of literary education, and to contribute to its understanding. Materials and methods. The research relies on the axiological (value) approach to teaching literature and the holistic concept of literary education axiologization justifi ed by the author. It focuses on the systematic modernization of approaches to upbringing through the value-based self-determination of school readers. The current sources that determine the content of literary education – an Approximate literature program (2021), a textbook of literature for elementary school, materials on the literature of the digital platform “SberClass” - are analyzed emphasizing the traditions and achievements of contemporary methodological science, which testify to the axiological turn in the methodology”. Results. The scientifi c methodological and cultural sources, exemplary syllabus, and educational resources have been analyzed. The analysis indicates that solving the traditional problem of upbringing in the system of literary education is associated with its axiologization. There is a contradiction between the state of methodological science, the substantiation of psychological mechanisms of students’ value-based self-determination, methodological tools supporting the process of mastering spiritual and moral values, patriotic upbringing, and the conservative content of the exemplary literature syllabus, methodological tools of textbooks. At the same time, the precedents that confi rm the manifestations of the axiological turn in practical methodology and its resources stimulating the process of upbringing a personality have been analyzed and described. Conclusion: The given examples, which are of precedent nature, prove the relevance and real possibility of an axiological turn in the teaching literature methodology, upgrading the approaches to upbringing, and the possibility of systemic changes. This trend has a social signifi cance. Its neglect turns into disastrous formalism and stagnation in the fi eld of literary education and upbringing.
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Dmitrieva, E. E. "‘Gogol’s uneasy truth:’ The end of the journey." Voprosy literatury, no. 1 (August 14, 2023): 101–20. http://dx.doi.org/10.31425/0042-8795-2023-1-101-120.
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The article is written in memory of Yury Mann and follows the life and work of the prominent scholar, whose books not only constitute a landmark phenomenon of Russian literary studies but also offer a new perspective on a number of episodes in the history of literature. Mann’s scholarly career was shaped in the years after WWII. In his book of memoirs, written towards the end of his life, Mann attempts an analysis of his philological pursuits and how, trying to keep up with contemporary trends, he would still occasionally find himself to be an outsider. The article sets out to explain how Mann’s personal and scholarly journey eventually resulted in his remarkable achievements.The author pays special attention to a lesser-known sphere of Mann’s interests: his analytical studies of modern literature (among fellow philologists, he is mostly known as an expert on Gogol and Russian romanticism), his thoughts on conventionality in art, and compelling evidence that Mann’s works follow traditions of Russian formalism.
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Poythress, Vern S. "Semiotic analysis of symbolic logic using tagmemic theory: with implications for analytic philosophy." Semiotica 2021, no. 243 (October 18, 2021): 171–86. http://dx.doi.org/10.1515/sem-2020-0018.
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Abstract This article uses tagmemic theory as a semiotic framework to analyze symbolic logic. It attends particularly to the issue of context for meaning and the role of personal observer/participants. It focuses on formal languages, which employ no ordinary words and from one point of view have “no meaning.” Attention to the context and the theorists who deploy these languages shows that formal languages have meanings at a higher level, colored by the purposes of the analysts. In fact, there is an indefinitely ascending hierarchy of theories of theories, each of which analyzes and evaluates the theories at a lower level. By analogy with Kurt Gödel’s incompleteness theory, no level of the hierarchy can capture within formalism everything in a sufficiently complex system. The personal analysts always have to make judgments about how a formalized system is analogous to the world outside the system. Arguments in analytic philosophy can be useful in clarification, but neither clarification of terms nor clarification of the structure of arguments can eliminate the need for personal judgment.
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Zotov, Aleksei M. "The portrait of Dorian Gray as Narcissus' ID." Aspirantskiy Vestnik Povolzhiya 23, no. 3 (September 30, 2023): 49–55. http://dx.doi.org/10.55531/2072-2354.2023.23.3.49-55.
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Aim through the analysis of a fiction novel, to review contemporary social relations where narcissistic issues manifest themselves. The modern Homo Psychologicus, a human being of the end of the 20th and the beginning of the 21st century, more and more resembles the Narcissus captured by enthusiastic self-adoration. The extreme importance of how people demonstrate themselves in society, the escalated investments in personal image, claims of omnipotence and superpowers are combined with formalism and coldness, fear of human intimacy, shame and hiding one's own underside. The narcissistic problems have long ceased to be the domain of a psychoanalyst's office and have become a part of social relations. Oscar Wilde is one of those writers who timely reflected the underlying dynamics of the essence of interpersonal communication and intrapersonal interactions with one's soul. He demonstrated how our personal and collective narcissism is reinforced and becomes more and more apparent. His literary analysis is quite relevant to psychoanalysis, which emerged a little later, a method where the clinical study of narcissism came to occupy a key position, and later extended to the social sphere as well.
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Safari, Saeed, and Naijle Malja Imami. "A THEMATIC AND STRUCTURAL ANALYSIS OF TEKHAYYULĀT: THE PROMINENT PERSIAN POETRY COLLECTION BY NAIM FRASHERI." SCIENCE International Journal 2, no. 4 (December 13, 2023): 153–58. http://dx.doi.org/10.35120/sciencej0204153s.
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The spread of Islam in the Balkans under Ottoman rule along with the emergence of Sufi sects, including the Bektashi order, paved the way for the expansion of Persian literature as a source of Sufi literature in this region and especially in Albania. Over the centuries, the Persian language and literature have maintained their presence and function in the Balkans, and several Sufi figures and intellectuals have chosen Persian as the medium for the expression of their literary creations. Among them, The most well-known Albanian who wrote Persian poetry in the late 19th century is undoubtedly Naim Frasheri (1846-1900). He published his collections of Persian poems, entitled “Tekhayyulāt” in 1885 in Istanbul. In this paper, after an overview of the spread and development of the Persian language and literature in the Balkans and in Albania, Naim’s poems in “Tekhayyulāt” are presented and analysed. The study is grounded on the theory of formalism in literature and aims to apply structural analysis to Naim’s Persian poems. To this end, employing a qualitative approach as the research methodology, two types of analyses are conducted, thematic analysis which reviews the content and the themes of his poems, and then structural analysis which is based on Leech’s theory of linguistic deviation (1969), focuses on the application of three types of linguistic deviations, namely phonological, lexical and grammatical, to enable a structural analysis of the poems. The results of the analysis show that Naim’s Persian poems have limited ranges of themes, and the main theme in his poems is about ‘nature’ while the structural analysis of linguistic deviations in his poems indicates his mastery of the Persian language to express his thoughts in poetic form.
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Somanudin, Somanudin, Siti Atiatul Wafiroh, Rizzaldy Satria Wiwaha, Yeni Nuraini, and Sangidu Sangidu. "Structural Analysis of the Novel Dima'un fi Qasr al-Chamra by Ehab Farouk Hosny: Important Cultural Stories in the History of Islamic Civilization in Spain." Arabiyatuna: Jurnal Bahasa Arab 7, no. 1 May (May 3, 2023): 159. http://dx.doi.org/10.29240/jba.v7i1.5997.
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This research aims to conduct a structural analysis of the novel Dima'un Fi Qasr al-Chamra by Ehab Farouk Hosny. This novel raises an important cultural story in the history of Islamic civilization in Spain. It tells the story of a beautiful woman from Egypt, named Sarah, an archaeologist who researches Islamic heritage buildings both in her own country and in other countries. It tells the history of Andalusia, now Spain, starting from discovering a map buried in one of the rooms in Sultan Hasan's mosque in Cairo. The map was a secret document of the Alhambra belonging to the great scientist Al Zahrawi (Albucasis), containing a chemical composition to treat cancer. This paper has two main objectives: the practical and theoretical objectives. The realistic goal is to reveal the intrinsic and coherent elements and the interrelationship between one part and another. Meanwhile, the academic goal is to discover a secret document belonging to el-Zahrawi, a scientist, containing a cancer drug's composition. To remind readers that the discovery of personal papers, in any case, should not be announced in public because it can be dangerous and will cause various problems in obtaining certain benefits and goals. The theory used is a structural theory, which focuses on literary works viewed as a unified and integrated structure. The technical method is the structural method, which works structurally by revealing and describing the intrinsic elements in "Dima'un Fi Qashril-Chamra" by Ehab Farouk Hosny and connecting the mutual relationships between the parts. This technique uses formalism representing literary works such as character, plot, motif, theme, and language. The method used in this research is library research. Library study is a technique of collecting data and information by examining written sources such as scientific journals, reference books, literature, etc., related to this discussion. Based on its nature, this research is classified as qualitative research using descriptive analysis techniques.
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Humphreys-Schottmann, Franziska. "Valérys Namen: Der Status des Lesers in der poésie pure." Arcadia 47, no. 1 (July 2012): 108–33. http://dx.doi.org/10.1515/arcadia-2012-0004.
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AbstractValéry’s dream of the creation of a poésie pure is determined by a fundamental tension between two contradictory aspirations. On the one hand, he inherits French rationalism when he tries to develop a poetical praxis based on a logical-mathematical calculus, in which anything vague and unclear should disappear. On the other hand, this strictly formalized language revolves around the notion of moi pur and therefore subscribes to a hypertrophied subjectivism. The paradoxical logic of personal pronouns described by Émile Benveniste is at the origin of Valéry’s project: The moi pur is both, the personal pronoun that identifies the concrete speaker and the structural function of the universal invariant. Ineluctably affected by this pronominal shifting, the reader is, above all, at stake in the poéésie pure. In an attempt to unfold the aporetical constructions resulting from this paradox, this textual analysis focuses on some of the main rhetorical figures of Valpoéry’s work. A close reading of Narcisse parle reveals the specific moments of permanent self-variation by which the popoésie pure constantly subverts itself. Poeisis resists any kind of rigid formalism, any subjugation of its rhetorical potential and any attempt to escape the ever-sliding sense of the metaphor. We can thus affirm that the aporias revealed by the popoésie pure evidence hence the conditions of poetical representation itself.
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Loiter, Sofia. "“THE CONDUIT AND THE SHVAMBRANIA” BY LEV KASSIL: A HISTORY OF THE TEXT." Children's Readings: Studies in Children's Literature 22, no. 2 (2022): 388–403. http://dx.doi.org/10.31860/2304-5817-2022-2-22-388-403.
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The article analyzes the structural and textual changes made by Lev Kassil in the reprinting of the story “Conduit and Shvambraniya”. The material for this study is the 1935 and 1937 editions of the story, two editions in 1957, and the last lifetime edition in 1965. An analysis of the published editions shows the formation of the story “The Conduit and Shvambrania” as a single novel, a single narrative and structural whole, which was not yet the case in the 1935 edition. The author reveals the changes made by Lev Kassil in later versions of the story and offers a classification of authorial corrections: 1) deletions of ideological and political nature; 2) deletions and changes caused by attacks of pedagogical critics; 3) corrections and changes of artistic nature. Lev Kassil was forced to respond to the ideological campaigns that were unfolding both on the national scale and in the professional literary environment (the anti-Semitic campaigns of the 1930s and 1940s, the deportation of the Volga Germans in the 1940s, discussions of “pseudo-romanticism and formalism” in criticism, etc.). Another reason for changing the text of the story was the circumstances of the writer’s family biography: the repression of his brother Iosif Kassil, who was the prototype of one of the main characters in the story — Os’ka. Nevertheless, The Conduit and Shvambrania was the only book in Kassil’s work in which a Jewish theme was expressed.
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Ugryn, Tetiana. "AUTOMATIC TEXT SUMMARIZATION: PROBLEMS AND PERSPECTIVES." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 17(85) (June 22, 2023): 96–101. http://dx.doi.org/10.25264/2519-2558-2023-17(85)-96-101.
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The present paper focusses on the automatic text summarization (AS), the analysis of linguistic problems related to it and the ways to overcome them, as well as on the perspectives of using some natural language processing computer programs. The author carries out a comparative analysis of two AS programs, MSWord2003 and Pertinence Summarizer, for literary, journalistic and scientific texts. The chosen methodology of comparative analysis allows not only to single out the peculiarities and limitations of each program, but also to make some general conclusions about the problems existing in the process of automatic summarization. The analysis of source texts and results of AS presented in the paper is focused on the correlation between the text genre and the process/result of AS. The analysis does not take into account such factors influencing the quality of summary as the length of the original text, the original language, the subject, etc. The primary hypothesis of the study was the assertion that the quality of automatic summarization of a text directly depends on the genre of this text. The obtained results made it possible to confirm this hypothesis and highlight the interdependence between the level of formalism in the text, which can be explained by its genre, and the pertinence of the summary. The conducted research showed that both AS programs are based, first of all, on morphological and, to a lesser extent, on morpho-syntaxic analysis of the source text. Furthermore, the issue of processing the implicit information available in the text, at the semantic and pragmatic level in particular, still seems unresolved. One of the possible ways to overcome this problem is the dynamic summarization of the text, which necessitates broader participation and involvement of the program user in the process of automatic summarization.
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Schleifer, Ronald. "The semiotics of sensation: A. J. Greimas and the experience of meaning." Semiotica 2017, no. 214 (January 1, 2017): 173–92. http://dx.doi.org/10.1515/sem-2016-0182.
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AbstractIt has been the life-long ambition of A. J. Greimas to analyze the nature of meaning, and in his work he has consistently described meaning as a felt experience, what he calls the “feeling of understanding.” This essay examines the Greimassian investigation of meaning as experiential – which is to say sensational – as well as cognitive by analyzing, by means of Greimas’s “semiotic square,” P. M. S. Hacker’s recent exploration of the relationship between sensation and cognition undertaken in terms of the semantics of ordinary-language philosophy. That is, the essay subjects what it calls “the illusion of immediacy” in ordinary-language philosophy to the systematic analysis of the “semantic formalism” of the semiotic square in order to demonstrate that the seeming “given” of ordinary language theory – the “logico-grammatical terrain and . . . the conceptual landscape” that Hackers describes – can be profitably analyzed in terms of the interaction of semiotic constraints. It concludes by touching on the ways Greimassian semiotics is congruent with – and perhaps supported by – recent neurological understandings of sensate experience.
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Boichenko, Mykhailo, and Bohdan Bondarchuk. "Language creativity and the estrangement of language: not friends, neither enemies of the translator." Filosofiya osvity. Philosophy of Education 26, no. 2 (June 25, 2021): 155–67. http://dx.doi.org/10.31874/2309-1606-2020-26-2-11.
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The article is devoted to the analysis of the special place of language creation and the estrangement of language in literary and professional translation. The research methodology is determined by the search for a balance between the approach to the internal form in Oleksadr Potebnia’s school and to the external form in literary formalism. To make translation a solid foundation for education, it must be correct. The reliability of translation should be based on adequate translation practices, which are determined by following the correct principles of handling the language of translation. Hermeneutics focuses on the language of the original text, revealing its hidden meanings and alternative interpretations. Instead, professional translation also takes into account the creative potential of the language of translation. If in previous times the translator was a servant of the author of the original, then in the age of postmodern and intertextuality the translation sometimes turns into a kind of quest for the reader, and even an experienced consumer of translation does not always manage to unravel the translation idea and reproduce the author's original text intention. All this raises the question of the admissibility of language searches – language creation, estrangement of language, etc. – in translation. The translator inevitably appears as another author, which must, however, be minimally tangible to the reader. Only as an exception, the merit of a good translator is language creation, but where it is really needed: the translator have to be a language creator – at least not worse than the author of the original text. Often the translator acts as a co-creator of the native language – because it is through him that foreign words, artistic images, new language themes and language forms usually come into the language. This is especially evident in the translation of poetic works. Renaissance and Baroque give classic examples of active work of translators as creators of the language. In Ukrainian history, such features were generously endowed with the Ukrainian avant-garde of the early twentieth century.
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НИКИТИН, О. В. "Штрихи к лингвистическому портрету А. М. Пешковского в контексте научной полемики его времени." Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 131–58. http://dx.doi.org/10.1556/060.2019.64111.
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This paper reveals little-known episodes from A. Peshkovsky's scientific biography and analyses some fragments of his books and articles in the 1920s and 1930s that became the focus of linguistic discussions and showed ambiguous ideological situation in the science of that time. Special attention is paid to the formation of A. Peshkovsky as a linguist and methodist. His first works on “school and scientific grammar” that laid the foundations of the modern approach to the study of the theory and practice of syntax are analysed. It is noted that the studies by A. Peshkovsky teetered at the level of implementing the ideas of the old Moscow linguistic school of academicians Fortunatov and Shakhmatov, while gravitating toward the insight of A. Potebnya and yet showing at the same time a different way of understanding grammatical ideas. The author claims that A. Peshkovsky went from the traditional diachronic analysis in the direction of the formal approach, while not abandoning “the psychological perception of the word”. A. Peshkovsky, a reformer taking a stand in his search and linguistic experiments against the Marrist and tunnel-visioned understanding of the tasks of Soviet linguistics and methodological science, was subjected to unfair criticism for his stance. The discussions that took place at that time testify to the consistency and scientific integrity of the scientist's views in the era of the struggle against “eclecticism”, “formalism”, and “incorrigible Indo-Europeanism”. The paper presents some instances of correspondence disputes by V. Voloshinov and M. Bakhtin with A. Peshkovsky on the issues in relationship of grammar and stylistics. His opponents believed that “grammar detached from the semantic and stylistic side of speech inevitably degenerates into scholasticism”. Drawing on materials from archives and personal collection, the author of this paper gives unique facts of the lexicographical activity of A. Peshkovsky in the early 1920s related to his work on the explanatory dictionary of the Russian literary language (not published). The closing part of the paper analyses the dispute between L. Timofeev and A. Peshkovsky. It is stated that “the new theory of the rhythm of prose” by A. Peshkovsky and his works on psychophonetics caused an ambiguous reaction in the philological community and contributed to the activation of research seeking for a “system of division of prose into units” and other experiments on the study of literary texts. Consideration is also given to the works by A. Peshkovsky in the 1930s, in which the scientist solved new problems in the field of formal characteristics of words and word combinations, wrote about the functioning of literary speech as well as the role of intonation in the formation of the syntactic structure of the sentence. Emphasis is laid on the originality and experimental character of many theses by A. Peshkovsky further developed in the late 20th and early 21st centuries.
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Zuev, S. V. "Geometric properties of quantum entanglement and machine learning." Russian Technological Journal 11, no. 5 (October 5, 2023): 19–33. http://dx.doi.org/10.32362/2500-316x-2023-11-5-19-33.
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Objectives. Fast data analysis based on hidden patterns is one of the main issues for adaptive artificial intelligence systems development. This paper aims to propose and verify a method of such analysis based on the representation of data in the form of a quantum state, or, alternatively, in the form of a geometric object in a space allowing online machine learning.Methods. This paper uses Feynman formalism to represent quantum states and operations on them, the representation of quantum computing in the form of quantum circuits, geometric transformations, topological classification, as well as methods of classical and quantum machine learning. The Python programming language is used as a development tool. Optimization tools for machine learning are taken from the SciPy module. The datasets for analysis are taken from open sources. Data preprocessing was performed by the method of mapping features into numerical vectors, then the method of bringing the data to the desired dimension was applied. The data was then displayed in a quantum state. A proprietary quantum computing emulator is used (it is in the public domain).Results. The results of computational experiments revealed the ability of very simple quantum circuits to classify data without optimization. Comparative indicators of classification quality are obtained without the use of optimization, as well as with its use. Experiments were carried out with different datasets and for different values of the dimension of feature spaces. The efficiency of the models and methods of machine learning proposed in the work, as well as methods of combining them into network structures, is practically confirmed.Conclusions. The proposed method of machine learning and the model of quantum neural networks can be used to create adaptive artificial intelligence systems as part of an online learning module. Free online optimization learning process allows it to be applied in data streaming, that is, adapting to changes in the environment. The developed software does not require quantum computers and can be used in the development of artificial intelligence systems in Python as imported modules.
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Dunmande, Olufemi Ibukun. "Ritual form and mythologization of death in Wole Soyinka’s ‘Procession’." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 181–95. http://dx.doi.org/10.17159/tvl.v.54i1.12.
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Critics make a large claim that Wole Soyinka mythologizes death and deploys ritual form in his dramatic works but hardly account for the same in this light regarding his poetry, especially "Procession", a sequence which bears so many marks of this style. Critics of "Procession" discount a lot from its richness in mythological and ritual forms but focus more on its topical, social and political nature. The trend in the criticism of the sequence is obviously informed by the historical and political context of the sequence and its inclusion in A Shuttle in the Crypt (1972), a collection on Soyinka's prison experience. This approach to "Procession" detracts from the art in the sequence, fails to appreciate fully the poetry's formal properties and so the poetry requires a close reading. Formalism is applied to study the poem and the study stresses the analysis of the work as a self-sufficient verbal entity, constituted by internal relations and independent of reference either to the state of mind of Soyinka or the actualities of the "external" world. The approach highlights in a fresh manner the elements which the earlier criticism the poetry stresses to reveal Soyinka's mythologization of death and preoccupation with ritual forms in "Procession". The study reveals that Soyinka is not just preoccupied with political imprison- ment and judicial death but mythologizes the experience and treats rites de passage. It shows further the breadth with which the poet accentuates the esoteric theme through his by deployment of devices such as symbols, the motifs of passage, biblical allusion, pathetic fallacy, pun, incantatory rhythm, paradox, irony and humour.
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Tsyba, Viacheslav. "A Dialectical Relationship of Hegemony and Language in Marxism: Gramsci, Voloshynov, Pasolini." NaUKMA Research Papers in Philosophy and Religious Studies 7 (August 3, 2021): 30–45. http://dx.doi.org/10.18523/2617-1678.2021.7.30-45.
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The article deals with three patterns for interpretation of language in its relation to the cultural hegemony, i.e. Gramscian, Voloshinian, and Pasolinian. As was shown, the analysis of the language problem is the necessary precondition for justifying the unity of theoretical and practical elements within Marxist philosophy. A common feature for the aforementioned patterns was an attempt to answer a fundamental question: how it is possible to make explicit the relationship between ideology and relations of production by means of the materialist dialectics. A refusal to fetishize language as a particular essence, a revealing that any sign systems are mediated by ideologies, and elaboration of a nonSaussurian structure of language are the core results of the proposed analysis. The starting point for the reflections of the mentioned thinkers was a tenet that communication in the state is determined by how much the institutions of power are able to bring the interests of society under control without disturbing the balance between the political body and the existing social forces. Thus, an ideology plays in two guises: as a symbolic order of legitimation on the society’s part and as a framing the growth of cultural forms. A distinction between the written and the spoken language becomes a politically significant tool to undermine the hegemony, for a balance between the political and the social, between the coercion and the approval, is widely open to fluctuations. Hence is the problem Marxist theorists have tried to solve: how can it be found out, with an examination of statements in non-political contexts, what someone talks of is a part of her political interest. The Marxist thinkers solved it in various ways. For instance, Gramsci focused himself on the reasons of making of the Italian literary canon; Voloshinov considered the proposition that in linguistics a formalism, as well as psychologism, following from a claim that semantics and means of expression are politically independent; and Pasolini sketched the difference between the spoken language, the spoken-written language, and the purely oral language, with unequal subjects of them.
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Tsvigun, Tatiana V., and Alexey N. Chernyakov. "‘Definition of poetry’: Frege vs. Jakobson." Slovo.ru: Baltic accent 14, no. 4 (2023): 91–104. http://dx.doi.org/10.5922/2225-5346-2023-4-5.
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This article presents a comparative analysis of two approaches to describing the reference within poetic statements: the pragmasemantic approach, which builds upon Gottlob Frege's ideas of the poetic sign as "a sign with meaning but without reference," and aesthetic-functional theories of poetic language linked to Roman Jacobson's concept of the poetic function. The pragmasemantic interpretation of the referential capabilities of a poetic sign explores questions regarding the principles of its verification and examines its relationship with extralinguistic objects. From this perspective, the artistic expression's ability to establish objective references is either entirely denied (by Frege) or associated with the actions of "aesthetic operators" (Linsky), specific illocutionary attitudes (Searle), or the recipient's standpoint (Zolyan). On the other hand, the theory of the poetic function of language, as presented in formalism and structuralism, posits that the reference of the poetic sign does not extend to the world of objects but rather to the linguistic environment inherent within the sign. It underscores the "auto-referentiality" (Faryno) of an artistic statement. Pragmasemantics and aesthetic-functional concepts of poetic reference both contribute to a reduction, albeit from opposite angles: pragmasemantics locates the referents of the poetic sign within ‘possible’ (artistic) worlds but somewhat overlooks the unique characteristics of poetic language. In contrast, functionalism sidelines the question of a sign's objective references, steering artistic discourse entirely toward linguistic elements. A potential resolution to this polarity in analytical approaches involves viewing the poetic sign as a bi-referential phenomenon, simultaneously engaging along two axes — extralinguistic and linguistic. This approach enables the consideration of an artistic statement not as deficient but, conversely, as abundant in its referential connections. It helps reveal the common semiotic mechanisms at play in any work of art, which motivate the ‘definition of poetry’ as a distinct statement about a unique world.
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Rahayu, Anik Cahyaning. "THREE CRITICAL APPROACHES IN LITERARY CRITICISM: AN EXAMPLE ANALYSIS ON MATTHEW ARNOLD’S DOVER BEACH." ANAPHORA: Journal of Language, Literary and Cultural Studies 2, no. 2 (March 9, 2020): 64–72. http://dx.doi.org/10.30996/anaphora.v2i2.3366.
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To approach a work of literature can be done in different ways. Some approaches can be used to analyze a literary work, such as psychological, historical, sociological, etc. To analyze one literary work, more than one approach can be applied. This article is an example of analyzing a poem, Mattew Arnold's Dover Beach from three different critical positions, the formalist, the sociological, and psychoanalytical. The formalist critics view work as a timeless aesthetic object. We may find whatever we wish in the work as long as what we find is in the work itself The sociological critic views that to understand Arnold’s ‘Dover Beach’, we must know something about the major intellectual social current of Victorian England and how Arnold responded to them. All psychoanalytic critics assume that the development of the psyche in humans is analogous to the development of the physique. ‘Dover Beach’ is richly suggestive of the fundamental psychic dilemma of man in civilization.
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Skrynnyk, Olena. "Surrogate Leadership Model for Digital Organizational Systems." Business Ethics and Leadership 4, no. 4 (2020): 140–46. http://dx.doi.org/10.21272/bel.4(4).140-146.2020.
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The increase of investigations regarding digital systems for the social structure mapping leads to dynamizing previously rigidly recorded processes or deliberately ignored ones. Such processes include, among others, matters with a social context, which have been difficult to describe in mathematical terms. This investigation is an integral part of explanatory research on the digital representation of an organization. The main purpose of the study is to investigate the literary sources and approaches to find the determinants of a general surrogate model, to identify the required parameters and their mathematical contents as well, as to design a surrogate model construct capable of application to different digital organizational systems, independent of the dominant behavioral and decision-making pattern of the lead unit. The relevance of this scientific problem decision is that recently, an increasingly vast number of research investigations on the digitization of anthropological systems is being done. The modeling of the leadership surrogate model is a part of our research on the digitization of organizational systems. Investigation of the topic is carried out in the following logical sequence: analysis of scientific publications on the researched subject and model creation. This part consists of successive steps: abstraction of a real system of management units and the delimitation of the indicated topics, definition of constraints for further simplification of the surrogate model, model construction, establishment of model-describing formalism, and obtaining the exact surrogate model based on the dataset. Since our surrogate model has a general character, the last step was described only indicatively. Nevertheless, we consider this to be a tremendous potential extension for the following investigations on different scenarios. The research results can be useful for other scientists searching for research on the mathematical representations of the leadership model, the surrogate model for the leadership unit, and practitioners who intend to implement the leadership model in the digital organization system. The additional parameters can complement the created surrogate model; respectively the considered parameters can be calculated or measured by other methods. Keywords: Digital Organizational Systems, Leadership Model, Surrogate Model, Mathematical Model.
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Armstrong, Paul B. "The Neuroscience of Literary Time Travel: How Literary Works Cross Historical Distance." Narrative 31, no. 3 (October 2023): 324–49. http://dx.doi.org/10.1353/nar.2023.a908405.
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ABSTRACT: How do literary works speak across historical distance? When critics attempt to answer this question, they typically invoke biological metaphors that testify to the inability of formal or historical categories alone to explain the mystery of how literary works reach across the boundary between life and death. This essay investigates the embodied cognitive processes that enable literary time travel by undertaking a neurophenomenological analysis of the relation between aesthetic experiences and their neural correlates. A neurophenomenological approach can clarify what eludes formalist and historicist accounts by correlating the intersubjective interactions that constitute aesthetic experience and the transpersonal biocultural processes underlying them. This essay explains how phenomenological theories of reading and aesthetic experience relate to neuroscientific research in four areas: embodied simulation; action understanding; brain-to-brain coupling; and the anti-entropic organization of "free energy" in predictive processing. Correlations between phenomenological theories of consciousness and neuroscientific findings about cognition show how the experience of interacting with past lives as we read is supported by embodied neurobiological processes that are ubiquitous in our everyday cognitive lives and that aesthetic experiences activate and exploit.
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France, Alan W. "Beyond Bakhtin: Toward a Cultural Stylistics." College English 63, no. 2 (November 1, 2000): 166–93. http://dx.doi.org/10.58680/ce20001203.
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Argues that both composition and literary studies have a common pedagogical vocation and that by harvIndicates how current stylistic criticism might engage ideological issues by more fully developing M. Bakhtin’s ideas through an approach called cultural stylistics. Notes that Bakhtin’s own work was very much concerned with the divorce between ideological and formalist analysis, and his “sociological stylistics” was intended to synthesize the two.
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Kovlekov, Kirill Ivanovich. "The image of the "demon Lord" in Japanese fantasy: traditions, formality, originality." Litera, no. 10 (October 2022): 106–14. http://dx.doi.org/10.25136/2409-8698.2022.10.38135.
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Modern Japanese fantasy is based on a limited set of characters. One of them is “demon lord” or "Maou" (jap. 魔王). Given the growing popularity of novels implementing the character during composition, as well as growing popularity of manga and anime adaptations, it seems relevant to study the key characters of Japanese fantasy. In this regard, the purpose of the study is to determine the role of the demon lord character. Subject of the study pertains to modern Japanese fantasy. To achieve research goals, methods of comparative historical analysis, J. G. Kavelty's literary formula approach, and content analysis were used. The main result of the work was identification of the characteristic features and the role of the demon lord as character in its diachronic and synchronic aspects. The fields of application of the research results are literary studies, Oriental studies, the study of modern Japanese mass literature. It is concluded that the demon lord as a concept dates back to traditional Buddhist origins, but nowadays returns to its roots in a new capacity after adapting Japanese popular culture, in response to the needs of modern man. In the context of modern mass literature, the demon lord holds value as a type of standard of Japanese fantasy and as an important element of the conventional structure of the literary formula.
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Doherty, Justin, and Nathaniel Golden. "Varlam Shalamov's Kolyma Tales: A Formalist Analysis." Modern Language Review 101, no. 4 (October 1, 2006): 1196. http://dx.doi.org/10.2307/20467142.
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Galloway, David J., and Nathaniel Golden. "Varlam Shalamov's "Kolyma Tales": A Formalist Analysis." Slavic and East European Journal 49, no. 2 (July 1, 2005): 322. http://dx.doi.org/10.2307/20058274.
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Levine, Caroline. "Nuts and Bolts: Collective Action, the Divestment Movement, and Jane Addams." Victorian Literature and Culture 51, no. 4 (2023): 591–604. http://dx.doi.org/10.1017/s1060150323000670.
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This essay describes the author's quest for effective, large-scale political actions to stop the burning of fossil fuels. What are the nuts and bolts of collective organizing at scales large enough to effect substantial change? Frustrated both by widespread public pessimism and by the politics most often articulated in literary studies, Levine finds a working political model in the divestment movement; a methodological model in formalist analysis; and a theory of collective aesthetics and politics in post-Victorian Jane Addams.
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Jang, Jieun, Dahae Park, and Sanghyuk Kim. "The impact of educational formality on digital competency development in digital literacy adult learning." Korean Association for Literacy 15, no. 2 (April 30, 2024): 67–96. http://dx.doi.org/10.37736/kjlr.2024.04.15.2.03.
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This study investigates the impact of educational formality on developing dig ital competency, a key outcome of digital literacy learning for adults, which has become increasingly popular. We surveyed 151 adult learners with experience in digital literacy learning to assess their pursuit of formal learning structures and measured their resulting digital capabilities. Multiple regression analysis performed using SPSS 27.0 software revealed a positive impact of educational formality on digital competency development. However, qualitative aspects of formality, such as step-by-step continuous learn ing and the exploration of related content, were shown to exhibit greater influence than quantitative aspects such as program structure, professional instructors, and evaluations. These findings suggest that adult digital literacy programs operated by educational institutions should stress qualitative formality to foster adult learners‘ continuous improvement and knowledge growth.
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Schweighauser, Philipp. "Some Reflections on the Place of Aesthetics and Politics in American Studies." Recherches anglaises et nord-américaines 49, no. 1 (2016): 43–53. http://dx.doi.org/10.3406/ranam.2016.1525.
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This essay probes some of the limitations of currently dominant political readings within American Studies to suggest that a return to Alexander Gottlieb Baumgarten’s original definition of aesthetics as “the science of sensuous cognition” might help Americanists overcome artificial divides between aesthetic and political approaches to American literature. Drawing on Baumgarten, Russian Formalism, the Frankfurt School, and reception aesthetics, I take Diane Williams’s experimental microstory “There Should Be Nothing Remarkable” as my tutor text to argue that aesthetics comes before politics in the sense that any inquiry into the cognitive and social functions of literary texts must be preceded by analyses of the specific forms these texts take.
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Raflis, Raflis, and Juni Rahmat Zai. "Figurative Languages in William Shakespeare’s Poem: a Fairy Song, a Madrigal, Bridal Song, Dirge, and Sonnet 116." Jurnal Ilmiah Langue and Parole 2, no. 1 (December 30, 2018): 53–58. http://dx.doi.org/10.36057/jilp.v2i1.334.
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The problem in this thesis is figurative language in Shakespeare's poetry. The reason for choosing the figurative language in William Shakespeare's poetry is because all of his works contain many literary qualities, which are figurative and each of these poems has a beautiful story that is translated into a beautiful figurative form.The purpose of this study is to analyze types of figurative language, figurative language formulas, and figurative language functions in Shakespeare's poetry. In this writing, library research is taken as a data collection method. As for the data analysis method, the researcher describes literary work as a not-based structure that forms it as an internal factor of literature. Data collection techniques use documentation techniques to find data relevant to the research. In data analysis techniques, the author uses a formalist approach, all elements needed to understand the work contained in the work itself. The main purpose for formalist criticism is to determine how elements in Shakespeare's poetry work together with text content to form meaning to the reader.The findings in this thesis are: 1) figurative language in Shakespeare's poetry can be divided into simile, metaphor, hyperbole, personification, and repetition. Simile can be found in Madrigal poetry; Metaphorical figurative languages can be found in four Shakespearean poems, A Fairy Song, Song Bridal, Dirge, and Sonnet 116; personification can be found in two poems Shakespeare, A Madrigal and Dirge; hyperbole can be seen A Fairy Song, Dirge, and Sonnet 116; and Repetition can be seen in three poems of Shakespeare, A Fairy Song, A Madrigal, and Dirge.
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Martindale, Colin. "Deformation forms the course of literary history." Language and Literature: International Journal of Stylistics 16, no. 2 (May 2007): 141–53. http://dx.doi.org/10.1177/0963947007075981.
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The Russian Formalists and Czech Structuralists argued that foregrounding devices such as deformation and deautomatization are central to literature. They saw that such devices build a pressure for novelty into literature. Literature must change constantly because readers gradually become used to and bored with initially novel and interesting deformations. Formalist and Structuralist theorists saw that literature should change but could not explain the direction in which it would change. They hypothesized that the direction of change is determined by extra-literary sociocultural forces. I argue that this hypothesis may be wrong. If we examine the way in which people think of novel word combinations in the first place, we can formulate a theory that explains the direction of literary change. Production of novelty often involves movement away from ordinary waking consciousness toward an altered state of consciousness. Within the confines of a given style, to produce something even more novel, poets must regress to an even more altered state of consciousness. The state of mind in which a poem is produced to some extent determines the words used in the poem. Given that the pressure for novelty is always present whereas other forces acting upon poets vary, we can predict the direction in which poetry tends to move from the alterations in consciousness required to produce ever more novel poetry. Statistical analyses of several poetic traditions show that this is, indeed, the main direction in which poetry evolves.