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Journal articles on the topic 'Russian formalism'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Tchougounnikov, Serge. "European Formalism and Empiriocriticism: Formalism within the International Empiriocritical Movement." Linguistic Frontiers 3, no. 1 (June 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 the famous concept of ‘literariness’, literaturnost’) and the very formalist idea of a necessarily perceptible character of aesthetic form are only two, most famous, examples of this astonishing affinity. Here are some of the most striking convergences between Empiriocriticism and Formalism: the relativity of any knowledge; continuity between knowledge and perception; the pragmatic dominant; the leitmotif of ‘the Unsalvageable Ego’. Besides, the paper seeks to situate Russian Formalism within European Aesthetic German-speaking Formalism. This kind of formalism formulates some basic oppositions correlated to different types of forming being associated with specific means and specific formal devices to affect them. In this context, particular morphological features result in producing particular feelings conceived in the spatial or syntactic perspective. From its German-speaking analogue, Russian Formalism has inherited this relational and spatial definition of feelings and, largely speaking, of emotionality within art. Indeed, both formalisms treat emotion as a ‘non-subjective’, ‘kinetic’, ‘syntactic’ phenomenon located on the surface of aesthetic objects.

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2

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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3

Lapidus, R. "THE AIMS AND ACHIEVEMENTS OF THE RUSSIAN FORMALISTS IN THE YEARS 1913-1925." East European Scientific Journal 3, no. 7(71) (August 11, 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 look at its achievements from the vantage-point of more than a hundred years after it began.

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4

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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5

Gretchko, Valerij. "Aesthetic conception of Russian Formalism: the cognitive view." Sign Systems Studies 31, no. 2 (December 31, 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 reformulation into cognitive terms; (3) such reformulation is not only possible, but useful because it makes the theory more powerful for explanation of the artistic phenomena. The findings from the new field of cognitive science not only prove some Formalist theses, but deepen and specify them as well.

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6

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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7

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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8

Zelnick, Stephen, and Peter Steiner. "Russian Formalism: A Metapoetics." Journal of Aesthetics and Art Criticism 44, no. 3 (1986): 303. http://dx.doi.org/10.2307/429746.

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9

Sukhikh, S. I. "The Fate of Russian Formalism (Russian Formalism as Understood by Foreign Critics)." Soviet Studies in Literature 21, no. 3-4 (July 1985): 29–38. http://dx.doi.org/10.2753/rsl1061-197521030429.

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10

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 Formalist principles. After chronicling this historical encounter, the article concludes by considering how these two strains of Slavic critical theory might most productively intertwine, and proposes new ways of encountering Russian Formalism in the Ljubljana School.

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11

Elwood, William N. "Russian Formalism and Cultural Narratives." American Journal of Semiotics 11, no. 1 (1994): 173–80. http://dx.doi.org/10.5840/ajs1994111/227.

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12

Any, Carol. "Introduction: Russian Formalism, 1915-1930." Soviet Studies in Literature 21, no. 3-4 (July 1985): 5–28. http://dx.doi.org/10.2753/rsl1061-19752103045.

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13

Hussain, Riyaj. "Russian Formalism & New Criticism: Understanding the Outlines." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 5 (May 16, 2022): 51–53. http://dx.doi.org/10.31305/rrijm.2022.v07.i05.007.

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Russian Formalism and New Criticism are two major important theories. Both of the theories have contributed a lot towards well understanding of a text. The former started in Russia whereas the latter started in America. Russian Formalism debunks the content and context of a text and emphasizes form whereas New Criticism focuses on the close reading of a text. The present paper is an attempt to analyze both the theory in a simplified manner.

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14

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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15

ZELNICK, STEPHEN. "Peter Steiner, Russian Formalism: A Metapoetics." Journal of Aesthetics and Art Criticism 44, no. 3 (March 1, 1986): 303–4. http://dx.doi.org/10.1111/1540_6245.jaac44.3.0303.

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16

MALOKU, Flamur, and Merxhan AVDYLI. "RUSSIAN FORMALISM AND DEFAMILIARIZATION IN LANGUAGE." Ezikov Svyat (Orbis Linguarum), ezs.swu.v.21.1 (February 26, 2023): 42–46. http://dx.doi.org/10.37708/ezs.swu.v21.i1.5.

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Formalists broke a category of previous studies that did not rely on the text, by moving the object of study from the outside of literature, to the inside of literature. As pioneers of this study method, they built concepts that would crystallize only later. They represented goals that were bigger than their possibilities and this happened because, in general, they applied linguistic studies in their literary studies, while it is known that language or linguistics in the ‘20s, XX century, was in its first phase of development. But language made them very connected to the text, perceiving the tool as the main protagonist of literature. This connection with the text would give them a stronger resilience in comparison to other methods that distance from the text, by going to abstractions, without a pure reference to the text. If N. Fraj’s opinion that when we analyze literature we speak of literature and when we assess it we speak of ourselves is to be considered reasonable, then we can say that Russian formalists, in general, spoke about literature, not about themselves. At all costs, they sought to distance themselves from outside of literature, regardless of the form of study it would manifest itself, as the study of the author, the reader, or the one studying. To them, text and its characteristics were everything.

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17

Zuseva-Ozkan, V. B. "Communications, n° 103. Le Formalisme russe cent ans après." Voprosy literatury, no. 4 (September 23, 2022): 294–99. http://dx.doi.org/10.31425/0042-8795-2022-4-294-299.

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The review discusses issue No. 103 of the renowned journal of theoretical and cultural studies Communications (published in France), devoted to the centenary of Russian formalism. The same issue also celebrates the memory of Tzvetan Todorov, deceased at the time of its publication. A transcribed report by Todorov, included as a foreword to the issue, identifies three strategies for the appropriation and reception of Russian formalism: its ‘modernisation’ and positioning in a relevant context; a study of individual concepts within the bulk of theory; and, lastly, its interpretation in terms of the period’s intellectual context. The three strategies are unmistakably present in the articles collected in the issue. At the same time, the majority of the papers conform to the third strategy, placing formalism in the intellectual context of the period and drawing biographical, national, ideological and conceptual parallels with pivotal contemporary phenomena. The reviewer also compares the issue in question with another collection celebrating formalism’s centennial anniversary (published by NLO in 2017) and comments on the modern reception of formalism.

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18

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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19

김수환. "Russian Formalism: the Origin of Revolutionary Literary Theory." Russian Language and Literature ll, no. 57 (May 2017): 7–35. http://dx.doi.org/10.24066/russia.2017..57.001.

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20

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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21

Lesic-Thomas, Andrea. "Behind Bakhtin: Russian Formalism and Kristeva's Intertextuality." Paragraph 28, no. 3 (November 2005): 1–20. http://dx.doi.org/10.3366/para.2005.28.3.1.

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22

Pavićević, Jovana. "ODBRANA POEZIJE: RUSKI FORMALIZAM I NOVA KRITIKA." Lipar XXI, no. 73 (2020): 89–100. http://dx.doi.org/10.46793/lipar73.089p.

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The paper aims to present the key concepts that two formalist schools of thought developed in order to defend poetry as a miracle of communication. Russian Formalism takes Shklovsky’s defamiliarization (остранение) as its key concept and the trans-sense language (zaum) of Russian Futurist poets as a basis for analysing what constitutes differentia specifica of poetry. The ideas of the Russian formalist school, through Roman Jakobson, spread first to Eastern Europe, and then to the United States of America, where they influenced a group of critics, who were already inspired by T. S. Eliot’s and I. A. Richards’ ideas on poetic language and communication, to develop a new critical methodology. The name “New Criticism” was supposed to indicate that this school of thought was about different approaches and new tendencies in criticism. As the paper demonstrates, the key representatives of New Criticism are particularly interested in exploring the function of poetry and of criticism as well as the nature of poetic imagination and language. In order to examine what the poem says as a poem, they developed the practice of close reading and focused on metaphor, paradox, and specific method by which a poet transforms his experience into a poem as autonomous features of poetic expression. The special terminology introduced by Russian Formalism and New Criticism, and the complex, ironic and intellectual language they used not only managed to throw light on what specific problems of the science of literature were, but also enabled a defence through poetry – a kind of resuscitation and refinement of non-literary reality.

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23

Rudt, Yulia. "Ideology in Modern Russian Constitutional Practice." Acta Universitatis Lodziensis. Folia Iuridica 89 (December 31, 2019): 161–77. http://dx.doi.org/10.18778/0208-6069.89.10.

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The article focuses on Russian constitutional ideology with overview of its historical preconditions and analysis of recent significant cases of the Russian Constitutional Court. There is a discussion of gay activist Alekseyev’s case and “foreign agents’ law” case in constitutional practice as most significant examples of positivistic way of legal reasoning. The paper argues that legal positivism through its form – legal formalism is the main ideology in the modern constitutional practice in Russia. This ideology is based on the assumption that constitutional justice can find social truth. German positivistic and Soviet Marxist views have strongly determined the modern Russian constitutional discourse.

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24

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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25

Trubetskova, Elena Gennadievna. "«New Vision»: Visual Codes of the Russian Formalism." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 12, no. 3 (2012): 39–43. http://dx.doi.org/10.18500/1817-7115-2012-12-3-39-43.

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26

Miranda, Carolina Izabela Dutra de. "Diálogos a partir de Walter Benjamim: a figura de Maiakovski como elo de ligação entre o cubofuturismo e o formalismo russo." Cadernos Benjaminianos 14, no. 1 (January 30, 2019): 51. http://dx.doi.org/10.17851/2179-8478.14.1.51-72.

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Resumo: O presente trabalho aborda as especificidades do futurismo russo, nomeado cubofuturismo, a partir das colocações de Walter Benjamim, presentes nos textos “A nova literatura Russa” (1927) e “O agrupamento político dos escritores na União Soviética” (1927). Embasando-se na discussão desses textos, pretende-se esclarecer a relação deles com o formalismo russo, importante movimento crítico que ocorreu contemporaneamente ao cubofuturismo. Para tanto, pretende-se explicitar como a figura de Vladimir Maiakovski estabeleceu um elo de ligação entre esses dois movimentos – o crítico e o literário – e de que forma o poeta tornou-se importante marco para ocubofuturismo russo e para engajamento político social do movimento literário. Este trabalho pretende expandir as informações e as visões apresentadas por Benjamim em seus textos, sobretudo em relação à atualização acerca do progresso destes movimentos literários e à importância deles, que dificilmente poderiam ser antevistos pelo teórico alemão no momento de produção de seus escritos.Palavras-chave: Cubofuturismo; Futurismo; Formalismo russo; Maiakovski.Abstract: This study aims to deal with the singularities of Russian futurism, named Cubo-Futurism, based on the writings of Walter Benjamin, exposed in the texts “New Russian Literature” (1927) and “The Political Groupings of Russian Writers” (1927). Based on the discussion of these texts, it is intended to clarify their relationship with Russian formalism, an important critical movement which happened contemporaneously with Cubo-Futurism. For this purpose, it aims to explain how the figure of Vladimir Mayakovsky established a connecting link between these two movements – the critic and the literary – and how the poet became an important symbol for Russian Cubo-Futurism and also for the social and political engagement of the literary movement. This study intends to expand the information and the aspects exposed by Benjamin in his texts, especially in relation to the update on the progress of these literary movements and the importance of them, which could hardly be foreseen by the German theorist at the time of his writings.Keywords: Cubo-Futurism; Futurism; Russian formalism; Mayakovsky.

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27

Antonov, Mikhail. "Legal Realism in Soviet and Russian Jurisprudence." Review of Central and East European Law 43, no. 4 (November 17, 2018): 483–518. http://dx.doi.org/10.1163/15730352-04304005.

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Soviet law is often viewed as based on legal positivism, while its ideological background and the practices of political interference are considered in an extralegal (political) dimension. This logic prompts conclusions about the dual character of Soviet law where prerogative and normative dimensions constituted two parallel systems. Similar opinions are sometimes expressed about Russian law, which is a continuator of Soviet law both normatively and factually. The present paper analyzes this approach and suggests that the alleged dualism can be considered in the light of the basic presuppositions and methods of the Soviet (Russian) theory of law and state. This jurisprudence was and still is based on a combination of formalism and anti-formalism (realism) which provided a certain degree of unity and coherence of legal knowledge. After the end of Soviet rule, legal theory in Russia still orients itself to this symbiosis of positivism and realism which underlies legal education and legal scholarship. The paper addresses the philosophical and methodological origins of this Russian (Soviet) legal realism, and argues that the particular character of Russian (Soviet) law can be explained against the backdrop of this theoretical combination that combines conservative social philosophy, a Schmittean conception of exception, methods of legal positivism and the spirit of legal nihilism. These particularities and their methodological background are, in the author’s opinion, among the distinguishing features of Russian law and legal culture.

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Shvets, Anna V. "Islands in the Ocean: The Adventure of a Word Between Russian and American Poetries (International Conference “American and Russian Poetries. Links and Circulations”, Université de Toulouse, 2–5 June 2021)." Literature of the Americas, no. 12 (2022): 274–85. http://dx.doi.org/10.22455/2541-7894-2022-12-274-285.

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The article provides an overview of the conference “American and Russian Poetries. Links and Circulations”. The conference was held at the University of Toulouse from June 2 to June 5, 2021, virtually and was organized by Americanists, professors at the University of Toulouse, D. Rumeau and C. Gheerardyn. The conference attracted scholars from the USA, France, Israel, Russia (including scholars from Lomonosov Moscow State University Lomonosov, the Institute of Linguistics of the Russian Academy of Sciences, etc.). During the conference, a number of papers touched upon the issues of reception and “transfer” between poetic cultures. These papers would concern not so much a passive “transfer” of a literary phenomenon from one culture to another, but rather an active process of transferring, or transcoding the phenomenon through an intertext already existing in another culture. Apart from topics related to issues of reception and metamorphoses of cultural translation, during the conference, the contrast between Russian and American poetic traditions was questioned as a contrast between the tradition of “expression”, psychologism, and the tradition of “description”, a formal experiment. This opposition was coined by the Imagist poet J. Cournos, a Russian émigré, also known as Ioan Grigor’yevich Korshun. A number of speakers disputed the rigid division of Kurnos, drawing attention to (1) the similarity of conceptual schemes for comprehending experience in the poems of Russian and American poets, (2) a formal experiment in Russian futurism and the development of a theoretical vocabulary for describing form in Russian formalism, (3) the influence of Russian futurism on the American neo-avant-garde. The influence of Russian futurism and Russian formalism on American poetry was traced on the example of the Language School phenomenon.

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Kuparashvili, Mziya J. "Russian constructivism and formalism: on approaches of post-modernism." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2020): 96–110. http://dx.doi.org/10.20339/phs.5-20.096.

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Examined is the theme of Russian constructivism and formalism. The main idea of the article is, that ideas of such were felt, expressed and formulated at the dawn of the 20th century, formed the entire content and foundation of post-modernism. Having become the worldview of the masses, post-modernism does not leave themes and clichés that were set at the beginning of the century. As always and everywhere, the main trends arise immediately and entirely. So, at the beginning of the 20th century the problem field of the epoch was outlined, i.e. the foundation of phonology was formed, interest in the “fairy tale” was set, the role of the unconscious was actualized, the meaning of time was revealed, language received an ontological status, and the concept of “game” post-modern reflection. The article attempts to update Russian constructivism and formalism to demonstrate foundations of post-modernism.

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30

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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31

Rokhmansyah, Alfian. "ORDE BARU SEBAGAI LANDASAN FABULA DALAM NOVEL ENTROK KARYA OKKY MADASARI: KAJIAN FORMALISME RUSIA." Journal of Culture, Arts, Literature, and Linguistics (CaLLs) 1, no. 1 (February 24, 2017): 39. http://dx.doi.org/10.30872/calls.v1i1.708.

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This study focused on the analysis of the facts used to form the fabula which was defamiliarized into sjuzet in the novel Entrok by Okky Madasari. To analyze the facts, Russian Formalism theory and objective approach were used in this study. The results showed that the story in the novel used historical facts from the new order to form fabula. Subsequently the fabula was defamiliarized into sjuzet.The results also indicated that there was a fictionalization process conducted by the author in creating the story which used historical facts.Keywords: fabula, the new order, russian formalism

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김수환. "Russian Concept of ‘Everyday Life’ and Two Types of Theory: Russian Formalism vs Bakhtin." Korean Journal of Slavic Studies 32, no. 1 (March 2016): 85–113. http://dx.doi.org/10.17840/irsprs.2016.32.1.004.

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33

Levchenko, Jan. "When a Russian Formalist meets his individual history." Sign Systems Studies 31, no. 2 (December 31, 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 revolutionary ideology, formalism was imported from the West. But the Stalinist “Renaissance” made the idea of Revolution both in mind and society senseless at the end of the 1920s. That is why Russian Formalism lost its mainstream positions and began to work out a new, adapted form of intellectual resistance (private life, domestic literature) in the next decade.

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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 (March 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 and concomitantly in the processuality of language as an individual and a collective activity. In this heated atmosphere of reevaluation and change Yakubinsky, with some of his fellow students and colleagues, such as Osip Brik and Viktor B. Shklovsky, initiated the movement that later came to be called Russian formalism. In fact, the functional distinction between “poetic” and “practical” language that Yakubinsky introduced in his groundbreaking study “On the Sounds in Poetic Language” (“O ”; Jakubinskij 163-76) became the cornerstone of formalist criticism and “served as the activating principle for the Formalists' treatment of the fundamental problems of poetics” (Èjchenbaum 8). Yakubinsky thus laid the foundation for structuralism. However, he soon moved away from the formalists' preoccupation with poetic and literary texts and devoted himself to the social dimension of the functions and forms of language.

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Chernavin, Georgy, and Anna Yampolskaya. "‘Estrangement’ in aesthetics and beyond: Russian formalism and phenomenological method." Continental Philosophy Review 52, no. 1 (December 6, 2018): 91–113. http://dx.doi.org/10.1007/s11007-018-9454-8.

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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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Galan, F. W., and Jurij Striedter. "Literary Structure, Evolution, and Value: Russian Formalism and Czech Structuralism Reconsidered." World Literature Today 64, no. 2 (1990): 371. http://dx.doi.org/10.2307/40146617.

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Shepherd, David, and Jurij Striedter. "Literary Structure, Evolution, and Value: Russian Formalism and Czech Structuralism Reconsidered." Modern Language Review 85, no. 4 (October 1990): 1054. http://dx.doi.org/10.2307/3732785.

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Henry, Kathryn, and Jurij Striedter. "Literary Structure, Evolution, and Value: Russian Formalism and Czech Structuralism Reconsidered." German Quarterly 64, no. 4 (1991): 565. http://dx.doi.org/10.2307/406674.

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CODE, DAVID J. "The Synthesis of Rhythms: Form, Ideology, and the ““Augurs of Spring””." Journal of Musicology 24, no. 1 (January 1, 2007): 112–66. http://dx.doi.org/10.1525/jm.2007.24.1.112.

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ABSTRACT At the time of the premiere of The Rite of Spring, Stravinsky suggestively described its first dance, ““Augurs of Spring,”” as a ““synthesis of rhythms.”” Later, he characterized the whole ballet as an ““architectonic”” work. Richard Taruskin, in arguing for the ballet's overall aesthetic of ““primitive simplicity,”” polemically rejects this latter adjective as a typical formalist lie. But detailed analysis demonstrates the architectonic intricacy of the rhythmic synthesis in ““Augurs”” alone. Not only are the composer's labors toward such local intricacy clearly evident in the sketches, but a dialectical account of formalism and immediacy in this one dance confirms both the documented ““neonationalist”” background and initial reception, while pointing to a finer understanding of this ballet's position in the stylistic development of Stravinsky's Russian period.

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Gery, Catherine. "Skazand Russian formalism: Boris Eichenbaum’s articles on Nikolai Gogol and Nikolai Leskov." Russian Journal of Communication 8, no. 2 (May 3, 2016): 130–35. http://dx.doi.org/10.1080/19409419.2016.1188605.

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Thompson, Ewa M., Robert Louis Jackson, and Stephen Rudy. "Russian Formalism: A Retrospective Glance. A Festschrift in Honor of Victor Erlich." Slavic and East European Journal 31, no. 1 (1987): 101. http://dx.doi.org/10.2307/307019.

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Andrei Ustinov. "The Legacy of Russian Formalism and the Rise of the Digital Humanities." Wiener Slavistisches Jahrbuch 4 (2016): 287. http://dx.doi.org/10.13173/wienslavjahr.4.2016.0287.

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Sosa, M., Robert Louis Jackson, and Stephen Rudy. "Russian Formalism: A Retrospective Glance. A Festschrift in Honor of Victor Erlich." World Literature Today 60, no. 4 (1986): 654. http://dx.doi.org/10.2307/40142891.

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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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Beuls, Katrien, Yana Knight, and Michael Spranger. "Russian verbs of motion and their aspectual partners in Fluid Construction Grammar." Constructions and Frames 9, no. 2 (December 30, 2017): 302–20. http://dx.doi.org/10.1075/cf.00006.beu.

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Abstract Russian boasts a highly complex aspectual system which can appear irregular and difficult to learn. It has recently been suggested that motion verbs, which are normally seen as exceptional in their nature, may in fact be at the core of this system, motivating aspectual behavior based on stem directionality. This suggests that analyzing motion verbs may help understand the Russian aspectual system as a whole. The present work demonstrates how Russian motion verbs and their aspectual partners can be implemented and processed successfully with Fluid Constructional Grammar. The study presents an example of language processing in both production and comprehension in operation and highlights the flexibility and power of this formalism, despite the challenges that this complex aspectual system poses.

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Loritz, Donald. "GENERALIZED TRANSITION NETWORK PARSING FOR LANGUAGE STUDY." CALICO Journal 10, no. 1 (January 14, 2013): 5–22. http://dx.doi.org/10.1558/cj.v10i1.5-22.

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GPARS is a generalized transition network system designed for language study by bothstudents and researchers. The GPARS system generalizes the Augmented TransitionNetwork formalism by allowing top-down, bottom-up, depth-first, breadth-first,deterministic, and nondeterministic parsing strategies to be freely intermixed. Thesevarious strategies have also allowed the system to be used for par-sing Chinese,Russian, Japanese, and other languages.

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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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Koltsova, Natalia Z., and Miaowen Liu. "Gogol’s traditions in V. Kaverin’s novel “The Troublemaker, or Evenings on Vasilyevsky Island”." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 434–46. http://dx.doi.org/10.22363/2312-9220-2020-25-3-434-446.

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The novel The Troublemaker, or Evenings on Vasilyevsky Island by V. Kaverin is one of the most representative manifestations of the Russian Hoffmanian of the 1920s, as evidenced by the grotesque imagery of the novel. The very understanding of the grotesque is not limited to the Bakhtin theory, but implies a reference to the works of V. Kaiser and V. Shklovsky. Besides, it is suggested that the Saint Petersburg theme, which is relevant to the writer, is being developed under the banner of the formalist concept of literary life, as well as other ideas and theories of Russian formalism (including the theory of alienation). Kaverin succeeds in putting not only literature itself into the context of the Saint Petersburg myth, but also literature studies, which makes it possible to talk about the work as one of the brightest embodiments of the philological novel, the most important characteristic of which is the accentuated intertextual beginning. The work asserts that motives and themes, images and details, syntactic constructions, and even a composition (including a chronotope) of V. Kaverins first novel fits into Gogols system of coordinates. The Kaverins text is a construction assembled from fragments and details of Gogols text according to Gogols own rules.

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Any, Carol. "Boris Eikhenbaum in OPOIAZ: Testing the Limits of the Work-Centered Poetics." Slavic Review 49, no. 3 (1990): 409–26. http://dx.doi.org/10.2307/2499987.

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Boris Eikhenbaum spent nearly a decade working within Opoiaz, the Petersburg branch of Russian formalism, to develop a work-centered poetics. Faced with the inadequacy of traditional mimetic, expressive, and pragmatic views of literature, he and his colleagues tried to address literary works without recourse to extraliterary facts. Any intrinsic poetics, however, encounters difficulties, for it must avoid even the most obvious cultural and historical explanations of any work taken as literary. In its struggle against crudely reductive interpretations of literature, Opoiaz had constantly to guard against sliding back into an external approach. This article will suggest that it was largely Eikhenbaum who played the role of guard dog, nudging the evolving Opoiaz view of literature back toward the literary work itself. How successful he was in this effort (and by extension, perhaps, the successes and shortcomings of workcentered literary theories in general) is the question to be examined here. Eikhenbaum's own shift, beginning in 1927, toward a study of literature that privileges the author, may tell us as much about the limitations of objective theories of literature as about the political inadmissibility of Russian formalism under Stalin.

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