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Journal articles on the topic 'Formalism (Literature)'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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1

Leporati, Matthew. "New Formalism in the Classroom: Re-Forming Epic Poetry in Wordsworth and Blake." Humanities 8, no. 2 (May 20, 2019): 100. http://dx.doi.org/10.3390/h8020100.

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Recent years have seen a resurgence of interest in “New Formalism,” a close attention to textual language and structure that departs from the outdated and regressive stances of old formalisms (especially “New Criticism”) by interrogating the connections between form, history, and culture. This article surveys the contributions of New Formalism to Romanticism studies and applies its techniques to two canonical texts, suggesting that New Formalism is useful both for literary criticism and teaching literature. Opening with a survey of New Formalist theory and practices, and an overview of the theoretical innovations within New Formalism that have been made by Romantic scholars, the article applies New Formalist techniques to William Wordsworth’s Prelude and William Blake’s Milton: a Poem. Often read as poems seeking to escape the dispiriting failure of the French Revolution, these texts, I argue, engage the formal strategies of epic poetry to enter the discourse of the period, offering competing ways to conceive of the self in relation to history. Written during the Romantic epic revival, when more epics were composed than at any other time in history, these poems’ allusive dialogue with Paradise Lost and with the epic tradition more broadly allows them to think through the self’s relationship to the past, a question energized by the Revolution Controversy. I explore how Wordsworth uses allusion to link himself to Milton and ultimately Virgil, both privileging the past and thereby asserting the value of the present as a means of reiterating and restoring it; Blake, in contrast, alludes to Milton to query the very idea of dependence on the past. These readings are intertwined with my experiences of teaching, as I have employed New Formalism to encourage students to develop as writers in response to texts. An emphasis on form provides students with concrete modes of entry into discussing literature and allows instructors to help students identify and revise the forms and structures of their own writing in response to literature.

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Chittajallu, S. N. S. H., T. R. Ramamohan, and Karupparaj R. Thundil. "Formalism for Determining the Force and Torque on a Sphere Moving in a Quiescent Fluid at Arbitrary Reynolds Numbers." Applied Mechanics and Materials 367 (August 2013): 78–83. http://dx.doi.org/10.4028/www.scientific.net/amm.367.78.

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There are formalisms available in the literature for determining the force and torque on a particle moving in a fluid at zero and low Reynolds numbers. The formalism for determining the force and torque on a particle in a fluid at arbitrary Reynolds numbers has only recently been developed, Magnaudet [. This paper focuses on developing a formalism for the special case of a sphere moving in a quiescent fluid at arbitrary Reynolds numbers using the formalism of Magnaudet.

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3

Bogdanov, Alexei, and Andrzej Karcz. "The Polish Formalist School and Russian Formalism." Slavic and East European Journal 49, no. 3 (October 1, 2005): 509. http://dx.doi.org/10.2307/20058317.

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4

Tucker, Herbert F. "Formalism." Victorian Literature and Culture 46, no. 3-4 (2018): 702–5. http://dx.doi.org/10.1017/s106015031800061x.

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5

Debnár, Marek. "FORMALISM AND DIGITAL RESEARCH OF LITERATURE." Digital Age in Semiotics & Communication 1, no. 1 (November 28, 2018): 113–20. http://dx.doi.org/10.33919/dasc.18.1.8.

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The relation between the humanities and information technologies has become so strong in recent decades that it is no longer possible to see this relationship as a mere temporary phenomenon. Together with massive digitalization of books, journals and other texts, collected into extensive electronic libraries and hypertextual databases, it is now necessary to rethink and redefine not only the concept of reading, but to specify new possibilities for analysing literary and specialized texts. The aim of this study is to point at new approaches to reading large text collections in the light of Moretti’s method of distant reading. This paper uses the methodological issues of relation between distant reading and Russian formalism as background for this consideration.

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6

Benjamin Kahan. "Shy Formalism." Journal of Modern Literature 41, no. 2 (2018): 178. http://dx.doi.org/10.2979/jmodelite.41.2.13.

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7

Verheyen, Leen. "The Aesthetic Experience of the Literary Artwork: A Matter of Form and Content?" Aesthetic Investigations 1, no. 1 (July 16, 2015): 23–32. http://dx.doi.org/10.58519/aesthinv.v1i1.12003.

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Ever since the introduction of aesthetics in philosophy, the literary arts have posed a challenge to common notions of aesthetic experience. In this paper, I will focus on the problems that arise when a formalist approach to aesthetics is confronted with literature. My main target is Peter Kivy's ‘essay in literary aesthetics’ Once-Told Tales, in which Kivy defends formalism and concludes from this approach that literature is a non-aesthetic art form. Contrary to Kivy, I will claim that we have good reasons to consider literature an aesthetic art form and, therefore, that the literary arts naturally pose a challenge to formalism. By showing the inextricable intertwining of form and content in literary artworks, I will demonstrate that the identification of so-called aesthetic properties with purely formal properties of a literary artwork is problematic.

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8

Bozovic, Marijeta. "Whose Forms? Missing Russians in Caroline Levine's Forms." PMLA/Publications of the Modern Language Association of America 132, no. 5 (October 2017): 1181–86. http://dx.doi.org/10.1632/pmla.2017.132.5.1181.

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Caroline Levine's Forms has been received as a prototype and a manifesto, a sign of the new formalist times in American literary studies. In the cover endorsements for the hardbound edition, Amanda Claybaugh calls Forms a “book of a generation,” Bruce Robbins “a big, brilliant, necessary book”—large claims for a text of 150 pages. Levine's treatise promises no less than “a way to understand the relations among forms—forms aesthetic and social, spatial and temporal, ancient and modern, major and minor, like and unlike, punitive and narrative, material and metrical” (23). Levine claims to provide “a reading practice that does not fit any familiar formalism,” a practice that instead “draws from all” formalisms (21).

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9

Gallagher, C. "Formalism and Time." Modern Language Quarterly 61, no. 1 (March 1, 2000): 229–51. http://dx.doi.org/10.1215/00267929-61-1-229.

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10

Otter, S. "A Different Formalism." Novel: A Forum on Fiction 43, no. 2 (June 1, 2010): 350–53. http://dx.doi.org/10.1215/00295132-2010-012.

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11

Winant, Johanna. "Walt Whitman’s Formalism." Poetics Today 41, no. 1 (March 1, 2020): 59–81. http://dx.doi.org/10.1215/03335372-7974086.

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In this article, the author argues that we should understand Walt Whitman’s catalog as a poetic form that is also a logical form — enumerative induction. Whitman’s catalogs — his characteristic technique of generating long lists — have long been recognized as central to his poetics. The list, or enumeration, is also the most basic form of inductive reasoning. By recognizing that Whitman reasons logically through his poetic form, not only is the common account of Whitman changed, but the concept of form must be revised in three crucial ways. First, form should not be defined in opposition to poetic content— this is a false definitional binary. Second, form and free verse are another false binary, as poems can be written in free verse and also have form, as Whitman’s poetry is and does. Third, form is not just a rubric with which critics interpret poems but the logic by which poems interpret the world.

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12

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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13

Kuhlmann, Marco, Alexander Koller, and Giorgio Satta. "Lexicalization and Generative Power in CCG." Computational Linguistics 41, no. 2 (June 2015): 215–47. http://dx.doi.org/10.1162/coli_a_00219.

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The weak equivalence of Combinatory Categorial Grammar (CCG) and Tree-Adjoining Grammar (TAG) is a central result of the literature on mildly context-sensitive grammar formalisms. However, the categorial formalism for which this equivalence has been established differs significantly from the versions of CCG that are in use today. In particular, it allows restriction of combinatory rules on a per grammar basis, whereas modern CCG assumes a universal set of rules, isolating all cross-linguistic variation in the lexicon. In this article we investigate the formal significance of this difference. Our main result is that lexicalized versions of the classical CCG formalism are strictly less powerful than TAG.

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14

Dowling, Christopher. "Zangwill, Moderate Formalism, and Another Look at Kant's Aesthetic." Kantian Review 15, no. 2 (July 2010): 90–117. http://dx.doi.org/10.1017/s1369415400002454.

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In recent years Nick Zangwill has gone a long way in championing a moderate aesthetic formalism in an attempt to accommodate those objects that many of us call beautiful despite their lack of any formal beauty. While there is some dispute in the literature about the extent to which Kant can be interpreted as an aesthetic formalist, the appeal of his famous distinction between free and dependent beauty should present a fairly natural ally for Zangwill's project. Indeed, such an alliance has been expressed by Zangwill, who first reaches for this ‘invaluable but misunderstood and underappreciated distinction’ in his ‘Feasible aesthetic formalism’ (1999: 613). Here, Zangwill claims that this essential distinction can be cut loose from Kant's terminology and views about aesthetic judgement. More recently he expresses more strongly that ‘Kant was also a moderate formalist, who opposes extreme formalism when he distinguished free and dependent beauty in §16 of theCritique of Judgement’ (2005: 186n). Yet, a decade on from the initial suggestion, there has been little further exploration or elucidation of this move, or indeed this potential characterization of Kant's aesthetics. It is the aim of this paper to begin to address that deficiency by identifying the extent to which a moderate formalist position is available in Kant's aesthetic. I will suggest that Kant's account does not require substantial modification in order to cast him as a moderate formalist. Taking the time to isolate the plausible grounds for characterizing Kant's aesthetic in this way, this discussion will enable us to explore some of the rival interpretations of his work such that we may also identify the kind of Kantian the moderate formalist is likely to be.

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15

Lvoff, Basil. "Distant Reading in Russian Formalism and Russian Formalism in Distant Reading." Russian Literature 122-123 (May 2021): 29–65. http://dx.doi.org/10.1016/j.ruslit.2021.07.003.

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16

Ehre, Milton, and Peter Steiner. "Russian Formalism: A Metapoetics." Comparative Literature 38, no. 1 (1986): 90. http://dx.doi.org/10.2307/1770229.

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17

Pavel, Thomas G. "Formalism in Narrative Semiotics." Poetics Today 9, no. 3 (1988): 593. http://dx.doi.org/10.2307/1772734.

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18

Galan, F. W., and Peter Steiner. "Russian Formalism: A Metapoetics." World Literature Today 59, no. 4 (1985): 617. http://dx.doi.org/10.2307/40142075.

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19

Freimuth, Frank, Stefan Blügel, and Yuriy Mokrousov. "Theory of unidirectional magnetoresistance and nonlinear Hall effect." Journal of Physics: Condensed Matter 34, no. 5 (November 10, 2021): 055301. http://dx.doi.org/10.1088/1361-648x/ac327f.

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Abstract We study the unidirectional magnetoresistance (UMR) and the nonlinear Hall effect (NLHE) in the ferromagnetic Rashba model. For this purpose we derive expressions to describe the response of the electric current quadratic in the applied electric field. We compare two different formalisms, namely the standard Keldysh nonequilibrium formalism and the Moyal–Keldysh formalism, to derive the nonlinear conductivities of UMR and NLHE. We find that both formalisms lead to identical numerical results when applied to the ferromagnetic Rashba model. The UMR and the NLHE nonlinear conductivities tend to be comparable in magnitude according to our calculations. Additionally, their dependencies on the Rashba parameter and on the quasiparticle broadening are similar. The nonlinear zero-frequency response considered here is several orders of magnitude higher than the one at optical frequencies that describes the photocurrent generation in the ferromagnetic Rashba model. Additionally, we compare our Keldysh nonequilibrium expression in the independent-particle approximation to literature expressions of the UMR that have been obtained within the constant relaxation time approximation of the Boltzmann formalism. We find that both formalisms converge to the same analytical formula in the limit of infinite relaxation time. However, remarkably, we find that the Boltzmann result does not correspond to the intraband term of the Keldysh expression. Instead, the Boltzmann result corresponds to the sum of the intraband term and an interband term that can be brought into the form of an effective intraband term due to the f-sum rule.

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20

Henry, Nancy. "2008 AND ALL THAT: ECONOMICS AND VICTORIAN LITERATURE." Victorian Literature and Culture 43, no. 1 (February 6, 2015): 217–22. http://dx.doi.org/10.1017/s1060150314000497.

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In their collection of essays,The New Economic Criticism: Studies at the Intersection of Literature and Economics(1999), Mark Osteen and Martha Woodmansee identified and named a movement in economic literary studies and sought to place it alongside a cultural turn in economics. In their introduction, they offer possible reasons for the proliferation of scholarship in literature, culture, and economics. One is that “the critical pendulum has decidedly swung back toward historicist methods” and away from formalist approaches (3); another is that the 1980s thrust “interest rates, stock market speculation, takeovers, leveraged buyouts, and so on, into the public attention as never before since the 1930s” (4). Today, the proverbial pendulum has swung back toward formalism, and it is now surprising to encounter their comparison of the 1980s to the 1930s because we have become so accustomed to claim that comparison to the 1930s for our own post-2008 economy.

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21

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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22

Dempsey, Sean. "Speculative Formalism: Religion and Literature for a Postsecular Age." Lit: Literature Interpretation Theory 32, no. 2 (April 3, 2021): 79–98. http://dx.doi.org/10.1080/10436928.2021.1901199.

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23

Serdyukov, Peter. "Formalism in online education." Journal of Research in Innovative Teaching & Learning 14, no. 2 (April 2, 2021): 118–32. http://dx.doi.org/10.1108/jrit-02-2021-0010.

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PurposeWith the rapid transition of education from the traditional, classroom- or campus-based to the online format, there grows a need for not only taking advantage of online technology but also assessing actual and potential effects it can make on the learners, learning, education, and society. One of the risks inherent in online learning is its growing formalization both in the organization of the learning and in its process, which may gravely affect students’ learning, health, cognition, behavior and quality of the learning outcomes. It can also produce serious implications for the society. This article investigates the origins of formalization, its forms and stages, and discusses asynchronous, precision, and automated learning formats from this perspective. Among many issues, the impact of formalization on the learner's development and socialization is considered. The author offers a pragmatic solution for deformalization of online learning.Design/methodology/approachQualitative analysis of contemporary research literature, educational trends and practices.FindingsIt was found that formalism permeates online education in many ways. It is present in asynchronous, precise and automated learning and may produce significant impact on students, their learning, and society.Research limitations/implicationsThis is a qualitative research based on the analysis of current research literature and teaching practices.Practical implicationsWhile formalism in education is an unavoidable evil, its impact must be diminished. Critical analysis and practical recommendations offered may help improve online teaching and learning.Social implicationsFormalism affects both students' socialization in the online learning environment, and patterns of socialization in the society. It also impacts students’ cognition and behaviors. So, counteracting formalism may benefit the society's well-being.Originality/valueThe authors could not find any publications on this topic. So this is an original material which may contribute to improving online teaching and learning.

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24

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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25

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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26

Levinson, Marjorie. "What Is New Formalism?" PMLA/Publications of the Modern Language Association of America 122, no. 2 (March 2007): 558–69. http://dx.doi.org/10.1632/pmla.2007.122.2.558.

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This review of new formalism poses challenges very different from those of the familiar compendium-review genre (e.g., “The Year's Work in Victorian Studies”). While all review essays face questions of inclusion, in an assignment of this kind, where the defining category is neither an established period nor topic but a developing theory or method emerging from the entire repertoire of literary and cultural studies, identifying the scholarly literature is a critical task in its own right. Moreover, because new formalism is better described as a movement than a theory or method, the work of selection is especially vexed and consequential. It is vexed because the practitioners' modes and degrees of identification with the movement are so various, and consequential because the reviewer's bibliographic decisions cannot help but construct the phenomenon being described.

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27

Willumsen, Ea C. "The Form of Game Formalism." Media and Communication 6, no. 2 (June 7, 2018): 137–44. http://dx.doi.org/10.17645/mac.v6i2.1321.

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This article explores how the concept of formalism and the resulting method of formal analysis have been used and applied in the study of digital games. Three types of formalism in game studies are identified based on a review of their uses in the literature, particularly the discussion of essentialism and form that resulted from the narratology-ludology debate: 1) formalism focused on the <em>aesthetic form</em> of the game artifact, 2) formalism as<em> game essentialism</em>, and 3) formalism as a <em>level of abstraction</em>, related to formal language and ontology-like reasoning. These three are discussed in relation to the distinctions between form and matter, in the Aristotelian tradition, to highlight how the method of formal analysis of games appears to be dealing with matter rather than form, on a specific fundamental <em>level of abstraction</em>, and in turn how <em>formal analysis </em>becomes a misleading concept that leads to unnecessary confusion. Finally, the relationship between <em>game essentialism </em>and the more computer science-centric approach to <em>ontology </em>is studied, to account for the contemporary trend of identifying the unique properties of games and opposing them with properties of, e.g., traditional storytelling media like literature and film, explored through their <em>aesthetic form</em>.

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Frazier, Melissa. "De-familiarizing the Tolstoj of Formalism." Russian Literature 44, no. 2 (August 1998): 143–58. http://dx.doi.org/10.1016/s0304-3479(98)80018-5.

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29

Canuel, Mark. "Historicism, Formalism, and “Tintern Abbey”." European Romantic Review 23, no. 3 (June 2012): 363–71. http://dx.doi.org/10.1080/10509585.2012.674270.

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30

Phillips, George Micajah. "Are trees forms? On formalism, material feminism, and historical literature." Feminist Modernist Studies 3, no. 3 (September 1, 2020): 252–66. http://dx.doi.org/10.1080/24692921.2020.1805676.

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31

Berezhnaya, Yekaterina P. "Russian formalists and Russian literature." RUDN Journal of Studies in Literature and Journalism 27, no. 3 (October 12, 2022): 497–503. http://dx.doi.org/10.22363/2312-9220-2022-27-3-497-503.

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Russian literature of the present day has lost its statehood and no longer pretends to build its own laws of development in the historical movement. The “dictatorship of art” predicted by the formalists, intended for the total textuality of Russian culture, turned out to be a predominantly optimistic slogan that has lost its stimulating function in the context of living literary reality. The research is devoted to the problem of interaction of Russian literature and formalism. Russian literature in the works of Russian formalists was considered as an autonomously existing system structure that simulates a “different” reality, independent of social and political conditions. The movement of literature in a functional perspective determined the activities and tasks of the so-called “formal school” mainly represented by Viktor Shklovsky, Boris Eikhenbaum and Yury Tynyanov.

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32

Butler, Christopher S. "On functionalism and formalism." Functions of Language 13, no. 2 (November 24, 2006): 197–227. http://dx.doi.org/10.1075/fol.13.2.07but.

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The aim of this article is not only to reply to the points made in Newmeyer’s review of my Structure and function: A guide to three major structural-functional theories (S&F), but also to further discussion on relationships between functionalism and formalism. Functionalist claims about external motivation of the language system are discussed, and it is shown that there are very considerable differences between Chomsky’s recent discussion of external motivation and that in the functionalist and cognitivist/constructionist literature. It is pointed out that functional linguistics claims a motivational relationship between semantics and syntax rather than a purely interpretive one as in formalist theories, and that functionalists take a much wider view of what constitutes semantics. Furthermore, not only is there more direct connection between meanings and forms than Newmeyer claims, but also structural-functional theories invoke a second type of semantic motivation not involving one-to-one mapping. They also vary in the level of motivation they postulate. Recent work by Jackendoff and his colleagues is shown to present serious challenges to mainstream generativism and to make many claims which agree with those of functionalism and constructionism, so providing the possibility of interesting cross-fertilisation. Finally, it is pointed out that S&F agrees with Newmeyer that Functional Grammar and Role and Reference Grammar fail to attain fully their professed standards of adequacy.

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33

Hammad, Fayçal. "Modified gravity from an entropy functional." International Journal of Modern Physics D 23, no. 09 (August 2014): 1450073. http://dx.doi.org/10.1142/s0218271814500734.

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We extend Padmanabhan's entropy functional formalism to show that, in addition to the Gauss–Bonnet (GB) or the entire series of Lanczos–Lovelock Lagrangians already obtained, more general higher-order corrections to General Relativity, i.e. the so-called modified gravity theories, also emerge naturally from this formalism. This extension shows that the formalism constitutes a valuable tool to investigate, at each order in the curvature, the possible structure the higher-order modified gravity theories might have. As an application, the extended formalism is used to evaluate the horizon entropy in a modified gravity theory of the second-order in the curvature. Our findings are in agreement with previous results from the literature.

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Mitchell, W. J. T. "The Commitment to Form; or, Still Crazy after All These Years." Publications of the Modern Language Association of America 118, no. 2 (March 2003): 321–25. http://dx.doi.org/10.1632/003081203x67703.

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Having counted the adjectives, and weighed the lines, and measured the rhythms, a Formalist either stops silent with the expression of a man who does not know what to do with himself, or throws out an unexpected generalization which contains five per cent of Formalism and ninety-five per cent of the most uncritical intuition.—Trotsky, Literature and Revolution (ch. 5)Bring out number weight & measure in a year of dearth.—Blake, The Marriage of Heaven and Hell (35)Everyone knows that the concept of form has outlived its usefulness in discussions of literature, the arts, and media. The word does not appear in the recent handbooks of critical terms in art history and literary studies issued by the University of Chicago Press (Nelson and Shiff; Lentricchia and McLaughlin), and it appears in Raymond Williams's classic glossary, Keywords, only in its derivative (and mainly pejorative) form as an “-ism,” as in the phrase “mere formalism.” Formalists, as we know, are harmless drudges who spend their days counting syllables, measuring line lengths, and weighing emphases (Trotsky), or they are decadent aesthetes who waste their time celebrating beauty and other ineffable, indefinable qualities of works of art. If form has any afterlife in the study of literature, its role has been completely overtaken by the concept of structure, which rightly emphasizes the artificial, constructed character of cultural forms and defuses the idealist and organicist overtones that surround the concept of form.

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35

Wedekind, Jürgen, and Ronald M. Kaplan. "Tractable Lexical-Functional Grammar." Computational Linguistics 46, no. 3 (November 2020): 515–69. http://dx.doi.org/10.1162/coli_a_00384.

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The formalism for Lexical-Functional Grammar (LFG) was introduced in the 1980s as one of the first constraint-based grammatical formalisms for natural language. It has led to substantial contributions to the linguistic literature and to the construction of large-scale descriptions of particular languages. Investigations of its mathematical properties have shown that, without further restrictions, the recognition, emptiness, and generation problems are undecidable, and that they are intractable in the worst case even with commonly applied restrictions. However, grammars of real languages appear not to invoke the full expressive power of the formalism, as indicated by the fact that algorithms and implementations for recognition and generation have been developed that run—even for broad-coverage grammars—in typically polynomial time. This article formalizes some restrictions on the notation and its interpretation that are compatible with conventions and principles that have been implicit or informally stated in linguistic theory. We show that LFG grammars that respect these restrictions, while still suitable for the description of natural languages, are equivalent to linear context-free rewriting systems and allow for tractable computation.

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36

Scherr, Barry. "Formalism, Structuralism, Semiotics, Poetics." Slavic and East European Journal 31 (1987): 127. http://dx.doi.org/10.2307/307983.

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37

Capriotti, S. "Unified formalism for Palatini gravity." International Journal of Geometric Methods in Modern Physics 15, no. 03 (February 20, 2018): 1850044. http://dx.doi.org/10.1142/s0219887818500445.

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This paper is devoted to the construction of a unified formalism for Palatini and unimodular gravity. The idea is to employ a relationship between unified formalism for a Griffiths variational problem and its classical Lepage-equivalent variational problem. The main geometrical tools involved in these constructions are canonical forms living on the first jet of the frame bundle for the spacetime manifold. These forms play an essential role in providing a global version of the Palatini Lagrangian and expressing the metricity condition in an invariant form. With them, we were able to find the associated equations of motion in invariant terms and, by using previous results from the literature, to prove their involutivity. As a bonus, we showed how this construction can be used to provide a unified formalism for the so-called unimodular gravity by employing a reduction of the structure group of the frame bundle to the special linear group.

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38

OLSEN, L. "ON THE INVERSE MULTIFRACTAL FORMALISM." Glasgow Mathematical Journal 52, no. 1 (December 4, 2009): 179–94. http://dx.doi.org/10.1017/s0017089509990279.

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AbstractTwo of the main objects of study in multifractal analysis of measures are the coarse multifractal spectra and the Rényi dimensions. In the 1980s it was conjectured in the physics literature that for ‘good’ measures the following result, relating the coarse multifractal spectra to the Legendre transform of the Rényi dimensions, holds, namely This result is known as the multifractal formalism and has now been verified for many classes of measures exhibiting some degree of self-similarity. However, it is also well known that there is an abundance of measures not satisfying the multifractal formalism and that, in general, the Legendre transforms of the Rényi dimensions provide only upper bounds for the coarse multifractal spectra. The purpose of this paper is to prove that even though the multifractal formalism fails in general, it is nevertheless true that all measures (satisfying a mild regularity condition) satisfy the inverse of the multifractal formalism, namely

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39

Harris, Norman. ""Who's Zoomin' Who": The New Black Formalism." Journal of the Midwest Modern Language Association 20, no. 1 (1987): 37. http://dx.doi.org/10.2307/1314996.

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Bagwell, Timothy J. "American Formalism and the Problem of Interpretation." Poetics Today 7, no. 3 (1986): 591. http://dx.doi.org/10.2307/1772521.

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41

Margolis, Stacey. "Homo-Formalism: Analogy in "The Sacred Fount"." NOVEL: A Forum on Fiction 34, no. 3 (2001): 391. http://dx.doi.org/10.2307/1346073.

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42

Nemoianu, V. "Hating and Loving Aesthetic Formalism: Some Reasons." Modern Language Quarterly 61, no. 1 (March 1, 2000): 41–58. http://dx.doi.org/10.1215/00267929-61-1-41.

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43

Abreu, Everton M. C., Jorge Ananias Neto, Edésio M. Barboza, and Rafael C. Nunes. "Tsallis and Kaniadakis statistics from the viewpoint of entropic gravity formalism." International Journal of Modern Physics A 32, no. 05 (February 19, 2017): 1750028. http://dx.doi.org/10.1142/s0217751x17500282.

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It has been shown in the literature that effective gravitational constants, which are derived from Verlinde’s formalism, can be used to introduce the Tsallis and Kaniadakis statistics. This method provides a simple alternative to the usual procedure normally used in these non-Gaussian statistics. We have applied our formalism in both Jeans mass criterion of stability and the free fall time collapsing of a self-gravitating system where new results were obtained. A possible connection between our formalism and deviations of Newton’s law of gravitation in a submillimeter range was carried out.

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44

Dillon, Elizabeth Maddock. "Fear of Formalism: Kant, Twain, and Cultural Studies in American Literature." diacritics 27, no. 4 (1997): 46–69. http://dx.doi.org/10.1353/dia.1997.0029.

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45

Brennan, Timothy. "EDWARD SAID AND COMPARATIVE LITERATURE." Journal of Palestine Studies 33, no. 3 (2004): 23–37. http://dx.doi.org/10.1525/jps.2004.33.3.023.

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Between 1969 and 1979, Edward Said redefined American comparative literature, coining phrases, supplying a new critical pantheon (Vico, Schwab), and, above all, devising a method. Falling between generations and facing two different kinds of continental èèmigrèè——one philological, the other textualist——Said outmaneuvered the latter by reinterpreting the former. In a two-pronged move, he unleashed an arsenal of arguments against both new critical formalism and its latter-day avatars in ““theory.”” With these arguments, his authority was penetrating and atmospherically felt as he chipped away at the edifice of traditional comparative literature by emphasizing the situatedness of form and the transitive intelligence of humanist intellectuals.

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Fokt, Simon. "A Critique of Moderate Formalism." Estetika: The European Journal of Aesthetics 50, no. 1 (May 15, 2013): 41. http://dx.doi.org/10.33134/eeja.102.

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Liu, Alan. "The Power of Formalism: The New Historicism." ELH 56, no. 4 (1989): 721. http://dx.doi.org/10.2307/2873158.

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48

Savarimuthu, Irudhayaraj, and Maria Josephine Arokia Marie Susairaj. "Incorporating research literature and chemistry textbooks in 5E instructional model to reveal ambiguous oxidation state formalism of CuS for pre-service science teachers." Chemistry Teacher International 4, no. 1 (March 1, 2022): 103–15. http://dx.doi.org/10.1515/cti-2022-0001.

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Abstract This paper implements the 5E instructional model to reveal authentic concepts in chemistry, in particular the ambiguous oxidation state formalism of copper sulfide (CuS) for pre-service science teachers (PSTs). We discuss the process and outcomes of learning phases of the 5E (engage, explore, explain, elaborate, and evaluate) for authentic chemistry learning. The puzzle activity of engage phase demonstrate PSTs prior-knowledge, understanding, problem-solving skills in the fundamental concepts of chemistry. However, we observed misconceptions in chemistry concepts, in particular the oxidation state formalism of CuS. Next, the explore phase describe how the scientific evidence from research literature give insight into whether the PSTs conceptions are in accordance with research evidence. The research evidence from collaborative literature review revealed the uncertainty in the oxidation state formalism of CuS. In the explain phase, we explained the complex electronic structure of CuS. In the fourth phase, the elaborate phase, we involve the PSTs in the book review to elaborate and analyze the uncertain concept. The results of the book review provide insight into the coverage of oxidation state formalism of CuS in nine chemistry textbooks. Finally, in evaluate phase, the results of questionnaire describe the PSTs perspectives and experiences in the student-centered chemistry learning.

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Gioia, Dana. "Notes on the New Formalism." Hudson Review 40, no. 3 (1987): 395. http://dx.doi.org/10.2307/3851450.

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Hunter, J. P. "Formalism and History: Binarism and the Anglophone Couplet." Modern Language Quarterly 61, no. 1 (March 1, 2000): 109–30. http://dx.doi.org/10.1215/00267929-61-1-109.

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