A school of literary theory and analysis that emerged in Russia around 1915, devoting itself to the study of literariness, i. e. the sum of ‘devices’ that distinguish literary language from ordinary language. In reaction against the vagueness of previous literary theories, it attempted a scientific description of literature (especially poetry) as a special use of language with observable features. This meant deliberately disregarding the contents of literary works, and thus inviting strong disapproval from Marxist critics, for whom formalism was a term of reproach.
With the consolidation of Stalin’s dictatorship around 1929, Formalism was silenced as a heresy in the Soviet Union, and its centre of research migrated to Prague in the 1930s. Along with ‘literariness’, the most important concept of the school was that of defamiliarization: instead of seeing literature as a ‘reflection’ of the world, Victor Shklovsky and his Formalist followers saw it as a linguistic dislocation. or a ‘making strange’. In the period of Czech Formalism. Jan Mukarovsky further refined this notion in terms of foregrounding.
In their studies of narrative, the Formalists also clarified the distinction between plot (sjazet) and story (fabula).
Apart from Shklovsky and his associate Boris Eikhenbaum, the most prominent of the Russian Formalists was Roman Jakobson, who was active both in Moscow and in Prague before introducing Formalist theories to the United States. A somewhat distinct Russian group is the ‘Bakhtin school’ comprising Mikhail Bakhtin, Pavlev Medvedev, and Valentin Voloshinov; these theorists combined elements of Formalism and Marxism in their accounts of verbal multi-accentuality and of the dialogic text.
The Term Paper on Formalist Literary Theory
Formalism is a literary theory that was spearheaded by two main bodies – Russian Formalists and New Critics – which focused on understanding the literary text through the text itself. Its principles posed a great shift from the traditional approaches during its time, and so it sparked a movement in the field of literary studies that would adopt new perspectives and ideas. While Formalism received ...
Russian Formalism considers literature as a special use of language which deviates from and distorts “practical” language to make the reader see differently. Language is therefore constructed in order to change our perceptions. According to Russian Formalism, poetry is the quintessential form of literary language, as it presents “speech organized in its entire phonic structure”, which deforms practical language to draw attention to itself. Form and Content According to Russian Formalism, to understand literature one has to look at the form as well as the content.
Form and content for the first time in critical literary analysis were considered as one and intrinsically linked. Formalism stresses that meaning is conveyed from the connotations of the form and only by looking at the form can literary critics understand the text’s meaning. The form of the text is not only the receptacle of the content, but it provides a way of understanding the literary devices employed by the text. The form thus conveys the notion of textuality and how a work of art achieves its effects through its employed literary devices. Sjuzet and Fabula Russian Formalism made a distinction between sjuzet (plot) and fabula (story).
The plot is strictly literary, whereas the story is merely raw material awaiting the organizing hand of a writer. The plot is not merely the events of the story but it also encompasses the literary devices used to narrate the story. Sterne in Tristam Shandy employs digressions, displacement of parts of the book, and extended descriptions to make up the novel’s form. In this case the plot is an actual violation of the expected chronological order of events. Free and Bound Literary Motifs A further concept in Russian Formalism is what Tomashevsky called motivation. A motif is the smallest unit of the plot, a single statement of action.
Tomashevsky made a distinction between a free motif and a bound motif. A bound motif is required by the story, whereas a free motif while not essential to the story is the literary point of view of the text and its aesthetic quality. This concept is a reversal of the traditional view that literary devices are employed by content. According to Sterne, Tristam Shandy is a text totally devoid of motivation and entirely constructed out of formal devices which are bared. In contrast, motivation is employed by realism to give the illusion of the real and to allow the reader to naturalize the text. Defamiliarization and Laying Bare Literary Devices
The Essay on Global and Cultural Literary Forms
Literature like music and love is universal in the sense that it is able to transcend through cultures and even time. No matter how different the culture, history, heritage and language of one country to another, literature is still able to reflects these aspects, and it still manages to be the same for each culture and country in the sense that the themes are the same—humanity’s introspection of ...
Russian Formalism challenged the traditional idea of critical literary analysis that art should conceal its literary devices. The Formalist school of thought refused to naturalize text by attributing it to the state of mind of the author, but instead it focused its critical writing on the novel’s literariness which checks naturalization. The concept of Shklovsky’s defamiliarization and laying bare a text’s literary devices influenced Bertolt Brecht’s alienation effect. Brecht’s alienation effect refrains the audience from empathizing with the protagonist so as not to miss the point the dramatist wishes to convey
