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Journal articles on the topic 'Formalist'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Rohma, Naafi Nur. "ESTETIKA FORMALIS FILM POHON PENGHUJAN SUTRADARA ANDRA FEMBRIARTO." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (2017): 41. http://dx.doi.org/10.24821/rekam.v13i1.1579.

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Penelitian berjudul Estetika Formalis Film Pohon Penghujan Sutradara Andra Fembriarto menggunakan metode penelitian kualitatif, pendekatan estetika formalis Sergei Eisenstein dan teori estetika formalis Sergei Eisenstein. Adapun tujuan dari penelitian adalah untuk mengetahui estetika formalis dari film Pohon Penghujan sehingga dapat diketahui makna dibalik film Pohon Penghujan. Permasalahan yang muncul dalam penelitian adalah estetika formalis dalam film Pohon Penghujan Sutradara Andra Fembriarto. Analisis yang dilakukan adalah analisis interpretasi pendekatan estetika formalis Sergei Eisenste

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2

Liziero, Leonam Baesso da Silva. "Perspectivas do federalismo: contrastes entre o formalismo e a abordagem sociopolítica." Revista Justiça do Direito 31, no. 3 (2018): 506. http://dx.doi.org/10.5335/rjd.v31i3.7243.

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Perspectivas do federalismo: contrastes entre o formalismo e a abordagem sociopolítica  Resumo: Este artigo tem como objetivo apresentar o contraste entre a perspectiva jurídica do federalismo, essencialmente formalista, e perspectivas não-formalistas, como a sociológica e a política, aqui tratadas no mesmo conjunto. Deste modo, serão apresentadas, na perspectiva jurídica, considerações sobre as abordagens realizadas por Jellinek e Kelsen. Sob este ponto de vista, o federalismo é uma questão do direito constitucional de cada federação. Posteriormente, são apresentadas considerações

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3

Tchougounnikov, Serge. "The formal method in Germany and Russia: the beginnings of European psycholinguistics." Linguistic Frontiers 1, no. 2 (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,

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4

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 summari

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Tchougounnikov, Serge. "European Formalism and Empiriocriticism: Formalism within the International Empiriocritical Movement." Linguistic Frontiers 3, no. 1 (2020): 39–47. http://dx.doi.org/10.2478/lf-2020-0004.

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AbstractThis paper argues that Russian Formalism is to be considered a constitutive part of the international empiriocritical movement—Ernst Mach (1838—1916) and Richard Avenarius’s (1843—1896). The conceptual parallelism between Empiriocriticism and Formalism is striking indeed. Thus, the cornerstones of the empiriocritical approach—the concept of series [Reihe] and the concept of elements [Elemente], understood as sensations [Empfindungen]—are plainly recognizable within formalist theories: the notion of ‘series’ (for example, the notion of ‘literary series’ or ‘poetic series’, leading to th

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Liu, Kehan. "“In the Midst of Chaos There Was Shape”: Formalist Aesthetics and Ekphrasis in To the Lighthouse." American, British and Canadian Studies 41, no. 1 (2023): 145–61. http://dx.doi.org/10.2478/abcsj-2023-0023.

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Abstract Virginia Woolf’s autobiographical novel To the Lighthouse explicitly connects itself with Bloomsbury formalist aesthetics, with a special acknowledgement of Roger Fry’s formalist influence. This essay focuses on the influence of Fry’s formalist principles on To the Lighthouse, but additionally proposes a reorientation of reading that argues for Woolf’s modifications of formalism, which is concretized as the reconciliation of formalism and everyday life, where everyday life is specified as Woolf’s notion of “moments of being.” The essay contends that such a reconciliation is facilitate

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Kim, Sungik. "Mathematical Formalism: the Bildungsroman of Matter." Criticism and Theory Society of Korea 29, no. 3 (2024): 33–63. http://dx.doi.org/10.19116/theory.2024.29.3.33.

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This essay examines what is known as mathematical formalism in the field of literary studies by providing a set of referneces from Pythagoras, Kant, Coleridge, Geoerge Boole, Augustus de Morgan, Andrea Henderson to Paul de Man. As varied as it seems, the center of the referential set is Kant. Kant’s aesthetics is one crucial reference in mathematical formalism. Mathematical formalism’s justification for its use of mathematics in the field of art is that Kantian aesthetic form is mathematical. This essay takes one step further from there. I argue that mathematical formalism reveals its true nat

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8

Shaista, Malik. "Bakhtin's and Jakobson's Poetics: An Intersection of Phenomenology and Formalism." Journal of Academic Research for Humanities Vol.3, Issue 2 (2023): 1 0f 9. https://doi.org/10.5281/zenodo.8243131.

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The present study aims to prove that Roman Jakobson and Michael Bakhtin tried to provide the Carrefour between hazy abstractions of philosophy and exclusively descriptive and positivistic formalism of linguistics.  The research seeks parallels between Bakhtin’s and Jakobson’s theoretical positions regarding language and literary devices. It purports to use phenomenology as a framework to see the formalist positions of both. It proves, however, that these writers shared certain commonalities as well as differences. Although they both contributed towards developing a Formalist l

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

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Dowling, Christopher. "Zangwill, Moderate Formalism, and Another Look at Kant's Aesthetic." Kantian Review 15, no. 2 (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

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Seppänen, Samuli. "Formalism and anti-formalism in the Chinese Communist Party’s governance project." Global Constitutionalism 10, no. 2 (2021): 290–306. http://dx.doi.org/10.1017/s2045381720000271.

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AbstractThis article argues that the governance project of the Chinese Communist Party (CCP) oscillates between rule-based formalism and anti-formalist scepticism about rule-based governance. In this dichotomy, anti-formalist arguments support CCP leaders’ efforts to maintain and increase the Party’s influence over the judiciary and other state organs, which is a key justification for the Party’s power. Formalist language, in contrast, supports Party leaders’ attempts to constrain lower-level cadres’ uses of power within the Party. Formalist language is particularly prominent in the writings o

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Tchougounnikov, Serge. "Ornament as a formalist object." Linguistic Frontiers 6, no. 1 (2023): 29–33. http://dx.doi.org/10.2478/lf-2023-0007.

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Abstract This study deals with folkloric research object within Germanic and Russian Formalism, it shows why folklore and ornament have become an ideal research object of the European formalist current in Germanic and Slavic areas.

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Lapidus, R. "THE AIMS AND ACHIEVEMENTS OF THE RUSSIAN FORMALISTS IN THE YEARS 1913-1925." East European Scientific Journal 3, no. 7(71) (2021): 4–11. http://dx.doi.org/10.31618/essa.2782-1994.2021.3.71.94.

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The formalist groups which were active in Russia between the years 1913 and 1925 initiated the formalist method. This method has been shown to have had very significant consequences for the development of the humanities and to a certain degree also for the social sciences in the twentieth century. Although formalism was originally intended only as a method of research, it gave rise - even if indirectly and over many decades - to new conceptions in art and science as a whole. We will now examine the chief basic principles of Russian formalism as revealed in the sources of the period and we will

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Comtet, Roger. "Viktor Maksimovitch Jirmounski (1891-1971) et le formalisme russe." Slavica Occitania 25, no. 1 (2007): 205–24. https://doi.org/10.3406/slaoc.2007.2284.

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«Viktor Żirmunskij (1891-1971) and Russian formalism» Owning an encyclopedic spirit, the Russian germanist and academic Żirmunskij has been an official companion of Russian formalists in the years 1910-1925 ; this is the consequence of his former contacts and friendships with future formalists as Ejxenbaum in the formalist breeding-ground of the Romano-Germanic section of Petersburg university before 1914, but also of his taste for literary theory applied to German Romantism and Russian Symbolism. During his great period of collaboration with formalists he writes solid works about stylistics a

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Glaser, Ben. "White Things: Form, Formalization, and the Use of Prosody." New Literary History 54, no. 4 (2024): 1547–72. http://dx.doi.org/10.1353/nlh.2024.a922185.

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Abstract: The limited prosodic literacy of revamped formalisms perpetuates the whiteness of lyric reading. By prizing ironic distance and elevating the critic as form’s discoverer, the concept of poetic form reinscribes racialized value judgments even where critics hope to valorize nonwhite poetic strategies. Formalism should instead attend to the history that gave poets their sense of form. Nonwhite poets mark how this process of formalization, through which forms become abstracted and bear value, consistently entails racialization. They prompt us, I argue, not to form but to prosodic details

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Sousa, Tiago. "Questioning the formalist facet of Kant's approach to music - an application to Mussorgsky, a comparison with Hanslick and a response to Samantha Matherne." Con-Textos Kantianos. International Journal of Philosophy 17 (July 6, 2023): 71–84. http://dx.doi.org/10.5209/kant.88697.

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In this article I explore the formalist facet of Kant's theory of music and how this facet can be reconciled with sensory gratification and emotional expression. I argue that 1) Kant does not give us an adequate notion of musical form, 2) the status that Kant gives to sensations in music is not plausible, and 3) the presence of an emotionally expressive component introduces inconsistencies within Kant’s text. Remarks about the status that Kant assigns to sensations in music are illustrated by analyzing a work by Mussorgsky later orchestrated by Ravel. Kant's formalist facet is problematized th

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Gretchko, Valerij. "Aesthetic conception of Russian Formalism: the cognitive view." Sign Systems Studies 31, no. 2 (2003): 523–32. http://dx.doi.org/10.12697/sss.2003.31.2.12.

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At present the theory of Russian Formalism becomes actual once again owing to the rapid development of cognitive science. Aesthetic theories recently put forward within the framework of cognitive science turned out to be consonant with the Formalist’s views on the general principles of artistic activity. In my paper I argue that (1) the theory of Russian Formalism contains a number of methodological assumptions that are close to a cognitive approach; (2) some of the main principles of the Formalist theory (e.g., “elimination of automatism of perception” or “the dominant”) permit the reformulat

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18

Barrington, Judith, and Marilyn Hacker. "Feminist Formalist." Women's Review of Books 7, no. 10/11 (1990): 28. http://dx.doi.org/10.2307/4020819.

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Bozovic, Marijeta. "Whose Forms? Missing Russians in Caroline Levine's Forms." PMLA/Publications of the Modern Language Association of America 132, no. 5 (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 provid

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Levchenko, Jan. "When a Russian Formalist meets his individual history." Sign Systems Studies 31, no. 2 (2003): 511–21. http://dx.doi.org/10.12697/sss.2003.31.2.11.

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The present paper is devoted to the relation between changing historical identity of Russian Formalists in the second half of the 1920s and their individual evolution — as writers, members of society, figures of culture. Formalists with their aggressive inclination to modernity are opposed here to structuralists, the bearers of a conservative, traditional ideology (relating to the idea of Revolution). It could be explained by the specific “romantic” identity of Russian Formalists whose purpose was to appropriate cultural values renamed and renewed by their revolutionary theory. As a revolution

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21

Leporati, Matthew. "New Formalism in the Classroom: Re-Forming Epic Poetry in Wordsworth and Blake." Humanities 8, no. 2 (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 the

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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 (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 u

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Khrenov, Nikolai A. "ART CRITICISM SELF-DEFINITION OF RUSSIAN FORMALISTS." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2024): 128–38. http://dx.doi.org/10.28995/2073-6401-2024-1-128-138.

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The article considers the limits of self-definition of Russian formalist philologists as art researchers. It is demonstrated that formalism was in a state of double crisis: the crisis of ambitions of symbolism and the crisis of positivist art criticism. The crisis of symbolism forced the formalists to look for a new positivist code to substantiate their work, while the crisis of positivism itself required the use of particular aesthetic narratives. The era of general aesthetics came, which evolved from a project in the vein of B. Croce into a shared self-definition of art as probing the gap be

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Shand, John. "Ideas in Music." Philosophy of Music 74, no. 4 (2018): 1307–28. http://dx.doi.org/10.17990/rpf/2018_74_4_1307.

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It is often taken for granted that music, whatever else it is able to do, cannot articulate ideas. This paper aims to refute that formalist claim and present an anti-formalist one showing why thinking formalism true is based on a fallacy and involves a misunderstanding of ordinary language. By ‘idea’ is meant a view, and reflection on that view, which in the limiting case may be a worldview, a Weltanschauung. That in this sense ideas are articulated in music is to say that they are, among other things, presented, conveyed and considered. This goes well beyond the usual anti-formalist claim tha

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Fadil, Marjan, Martunus Rahim, and Indra Ikhsan. "The Islamic Formalism Movement in Malay Land: Experiences of the Muslim Community in Kerinci, Jambi." Jurnal Fuaduna : Jurnal Kajian Keagamaan dan Kemasyarakatan 5, no. 1 (2021): 95. http://dx.doi.org/10.30983/fuaduna.v5i1.4596.

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<p>This article aims to analyze the development of Islamic religious movements in the Malay traditional land of Kerinci Jambi, particularly related to the tendency of religious formalism in Islamic communities. The pattern of education, local customs and traditions, as well as religious ideology contributed to the emergence of a Muslim community that only paid attention to the formal side of religion or known as formalist Islam. This study uses an anthropological approach through interviews, observations, and documentation of Muslim communities in Kerinci Jambi. This paper finds that for

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Singh, Laishram Samson, and Mousumi Deka. "K.C.S. Paniker's Words and Symbols: A Formalist Approach." ECS Transactions 107, no. 1 (2022): 8923–37. http://dx.doi.org/10.1149/10701.8923ecst.

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Formalism developed from the 19th century aesthetic of “Art for art’s sake.” The Formalist exponents believed in the evaluation of a artwork solely based on its form rather than its content. They reacted to an artwork on its formal and aesthetic qualities. Understanding the depth of Formalism is crucial in appreciating modern abstract art both of the West as well Indian. K. C. S. Paniker, being one of the most important figures in the abstractions of post-independence India, and had many influences from western artists, although he always maintained his Indian identity in his works. His series

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Lang, Colin. "Garden-Variety Formalist." Zeitschrift für Medien- und Kulturforschung 9, no. 1 (2018): 55–60. http://dx.doi.org/10.28937/1000108092.

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Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what was objective at one time may become less so at a later date through the combination

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Lang, Colin. "Garden-Variety Formalist." Zeitschrift für Medien- und Kulturforschung 9, no. 1 (2018): 56–60. http://dx.doi.org/10.28937/zmk-9-1_5.

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Hacker, Andrea. "The Polish Formalist School and Russian Formalism by Andrzej Karcz (review)." Slavonic and East European Review 87, no. 1 (2009): 112–13. http://dx.doi.org/10.1353/see.2009.0137.

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Miller, Paul B. "The New Formalism in Private Law." American Journal of Jurisprudence 66, no. 2 (2021): 175–238. http://dx.doi.org/10.1093/ajj/auab013.

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Abstract: Private law scholarship is experiencing a reawakening in the United States with the rise of the New Private Law. New Private Lawyers have emphasized our common commitment to the scholarly interest and practical importance held by legal concepts; a belief that private law ought to be analyzed (in part) from an internal point of view; and a conviction that functionalist and conceptual analyses of private law doctrines, procedures and institutions are, or can be, complementary. We are also joined in criticism of aspects of American legal realism and in lament over some of its continuing

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de Lunetta e Rodrigues Guerra, Avaetê. "A ANÁLISE DA MATEMÁTICA NA PERSPECTIVA FILOSÓFICA E RETÓRICA." Revista Científica Semana Acadêmica 09, no. 207 (2021): 1–10. http://dx.doi.org/10.35265/2236-6717-207-09154.

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Mathematics has different understandings, among them philosophical conceptions involving logicism, phenomenology and formalism, relating the knowledge in question, problematizing it in a relevant discussion in philosophy and the exact sciences. This article will address reflections on the Philosophy of Mathematics, dealing with concepts related to rhetorical, symbolic and syncopated mathematics, in addition to the logicist, formalist and intuitionist currents that contributed so much to the development of research in the area.

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Zangwill, N. "Defusing anti-formalist arguments." British Journal of Aesthetics 40, no. 3 (2000): 376–83. http://dx.doi.org/10.1093/bjaesthetics/40.3.376.

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Mattern, Shannon. "Embracing the Formalist Mantle." Journal of Visual Culture 13, no. 1 (2014): 85–87. http://dx.doi.org/10.1177/1470412913509595.

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Gall. "Formalist Problems, Realist Solutions." Journal of Aesthetic Education 50, no. 1 (2016): 80. http://dx.doi.org/10.5406/jaesteduc.50.1.0080.

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Tezcan, Seda. "Resim Sanatında Formalist Yaklaşımların İz Sürümü: Modernizmden Güncel Sanata." Sanat Yazıları, no. 52 (May 28, 2025): 243–58. https://doi.org/10.61742/sanatyazilari.1621847.

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Modernizm eleştirel bir düşünce alanı ve kavram dağarcığı yaratmıştır. Modern sanatın formalist yaklaşımları resimsel gerçekliği bu eleştirel eğilimin ve kavram dağarcığının üzerine inşa etmiştir. Modern sanatta ve güncel sanatta formalist yaklaşımların paradigmaları farklıdır. İki dönem sanatsal ifade açısından temsil ve konu üzerine çeşitli ortaklıklar taşır. An-cak soyutlama konusundaki görüşleri dönemlerinin özelliklerine göre şekillenmektedir. Araştırmada modern sanatta ve güncel sanatta formalizmin karakteri dönemleri ve dönemlerinin eserleri üzerinden değerlendirilecektir. Güncel sanat

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Sorenson, Kaitlyn Tucker. "Experience as Device: Encountering Russian Formalism in the Ljubljana School." Slavic Review 79, no. 1 (2020): 93–114. http://dx.doi.org/10.1017/slr.2020.11.

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Russian Formalism and the Ljubljana School are two of the most influential Slavic contributions to global critical theory. Yet, cast as the prolegomena and coda of the short twentieth century's groundswell of critical theory, these two theoretical movements are rarely considered in tandem. This article seeks to challenge that perception on both historical and theoretical grounds. It begins by documenting the introduction of Russian Formalism to Slovene literary criticism, and then traces how the early Ljubljana School, while developing its own theoretical platform, was exposed to certain Forma

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Gassin, Alexia. "The Formalist Cinematographic Theory: a Refined Thinking of the Expressionist Film Conception?" Linguistic Frontiers 6, no. 1 (2023): 23–28. http://dx.doi.org/10.2478/lf-2023-0003.

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Abstract According to many researchers, Russian formalists do not want to recognize the influence of German expressionism on their work. This statement leads to a distinction between both theories in many fields, such as the field of cinema. In this sense, it is common to read nuanced definitions of expressionism and formalism. The present article tends to verify the truthfulness of these definitions and to show that formalism could be an extension of expressionism through an analysis of two reference works: Expressionism and Film (Expressionismus und Film) (1926) by Rudolf Kurtz et The Poetic

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Henderson, Andrea. "Magic Mirrors: Formalist Realism in Victorian Physics and Photography." Representations 117, no. 1 (2012): 120–50. http://dx.doi.org/10.1525/rep.2012.117.1.120.

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This essay argues that British photography of the 1850s and ’60s wedded realism—understood as a commitment to descriptive truthfulness—with formalism, or a belief in the defining power of structural relationships. Photographers at midcentury understood the realistic character of photography to be grounded in more than fidelity to detail; the technical properties of the medium accorded perfectly with the claims of contemporary physicists that reality itself was constituted by spatial arrangements and polar forces rather than essential categorical distinctions. The photographs of Clementina, Lad

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Yakubinsky, Lev Petrovich, and Michael Eskin. "On Dialogic Speech." PMLA/Publications of the Modern Language Association of America 112, no. 2 (1997): 243–56. http://dx.doi.org/10.2307/463093.

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Although the pivotal role of the Russian linguist L. P. Yakubinsky (1892-1945) in the development of modern linguistics and literary theory has been repeatedly stated by prominent scholars, he has remained virtually unknown outside Russia. Yakubinsky was educated at Petersburg University in 1909–15 during a period of academic renewal and challenge in Russian linguistics, a field that hitherto had been dominated by the neogrammarian study of language. The neogrammarians' positivist and historicist concerns were contested by a range of scholars interested in the functional diversity of language

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Tomashevsky, Boris, Gina Fisch, and Oleg Gelikman. "The New School of Literary History in Russia." PMLA/Publications of the Modern Language Association of America 119, no. 1 (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

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Lauter, Estella. "Re-enfranchising Art: Feminist Interventions in the Theory of Art." Hypatia 5, no. 2 (1990): 91–106. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00419.x.

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Feminist analyses of the roles gender has played in art lead to an alternative theory that emphasizes art's complex interactions with culture(s) rather than the autonomy within culture claimed for it by formalism. Focusing on the visual arts, 1 extrapolate the new theory from feminist research and compare it with formalist precepts. Sharing Arthur Danto's concern that art has been disenfranchised in the twentieth century by its preoccupation with theory, I claim that feminist thought re'enfranchises art by revisioning its relationship to its contexts.

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Loesberg, Jonathan. "CULTURAL STUDIES, VICTORIAN STUDIES, AND FORMALISM." Victorian Literature and Culture 27, no. 2 (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

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Musa, Hany Ibrahim. "Dialogic vs. Formalist Teaching in Developing Argumentative Writing Discourse and Reducing Speaking Apprehension among EFL Majors." Journal of Language Teaching and Research 10, no. 5 (2019): 895. http://dx.doi.org/10.17507/jltr.1005.01.

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The current study, sought to investigate the influence of both formalist and dialogic teaching on EFL majors' argumentative writing and speaking apprehension. By using a positivistic experiment research design, and on analysing students' argumentative writing essays, it has been proved that both teaching approaches developed students' argumentative writing. However, statistical analysis showed that the dialogic teaching group students surpassed those of the formalist teaching. In addition, results revealed that speaking apprehension levels of the dialogic teaching students have significantly b

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Valentine, John. "A FORMALIST THEORY OF ART." Southwest Philosophy Review 14, no. 2 (1998): 139–50. http://dx.doi.org/10.5840/swphilreview199814234.

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Loesberg. "Wildean Interpretation and Formalist Reading." Victorian Studies 58, no. 1 (2015): 9. http://dx.doi.org/10.2979/victorianstudies.58.1.01.

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Wittenberg, Eva, and Ray Jackendoff. "Formalist modeling and psychological reality." Epistemological issue with keynote article “A Formalist Perspective on Language Acquisition” by Charles Yang 8, no. 6 (2018): 787–91. http://dx.doi.org/10.1075/lab.18077.wit.

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Maxwell, Vance. "The Formalist Treatment of Spinoza." Dialogue 25, no. 2 (1986): 337–48. http://dx.doi.org/10.1017/s001221730004885x.

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Professor Bennett's new book on Spinoza is a notably ambitious one. It i s ambitious in two ways. First, having worked on the book for twenty-five years, Bennett intends a treatment of Spinoza's Ethics at once comprehensive in scope and detailed in analysis. He tells us that his book “expounds and argues with Spinoza's Ethics, in the hope of drawing into the argument philosophers who have not previously brought Spinoza into their work as an energetic collaborator or antagonist” (1). Second, Bennett claims to have written a book superior to other commentaries in that “The courtly deference whic

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Gloria-Palermo, Sandye. "Introducing formalism in economics: The growth model of John von Neumann." Panoeconomicus 57, no. 2 (2010): 153–72. http://dx.doi.org/10.2298/pan1002153g.

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The objective is to interpret John von Neumann's growth model as a decisive step of the forthcoming formalist revolution of the 1950s in economics. This model gave rise to an impressive variety of comments about its classical or neoclassical underpinnings. We go beyond this traditional criterion and interpret rather this model as the manifestation of von Neumann's involvement in the formalist programme of mathematician David Hilbert. We discuss the impact of Kurt G?del's discoveries on this programme. We show that the growth model reflects the pragmatic turn of the formalist programme after G?

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Gao, Yuan. "Rethinking the Formalism-Substantivism Debate in Social Science: A Perspective from Recent Developments in Economic Methodology." Modern China 47, no. 1 (2020): 3–25. http://dx.doi.org/10.1177/0097700420924603.

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Taking as its point of departure the 1960s formalism-substantivism debate in social science methodology, this article argues that what is distinctive about the new development of formalism in economics since then is mainly the prevalence of using “complete models”—tractable, manipulable, and fully specified mathematical objects—to construct and express theories. The objective of complete models is not to establish general laws, but to formulate auxiliary devices of cognition to facilitate the explanation of targeted aspects of the empirical world; not to create idealistic or ideological discou

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Nakano, Anderson Luis. "WITTGENSTEIN, FORMALISM, AND SYMBOLIC MATHEMATICS." Kriterion: Revista de Filosofia 61, no. 145 (2020): 31–53. http://dx.doi.org/10.1590/0100-512x2020n14502aln.

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ABSTRACT In a recent essay, Sören Stenlund tries to align Wittgenstein’s approach to the foundations and nature of mathematics with the tradition of symbolic mathematics. The characterization of symbolic mathematics made by Stenlund, according to which mathematics is logically separated from its external applications, brings it closer to the formalist position. This raises naturally the question whether Wittgenstein holds a formalist position in philosophy of mathematics. The aim of this paper is to give a negative answer to this question, defending the view that Wittgenstein always thought th

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