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1、Formalism,Class 3 Grade 3 李贵品 高琦,Contents,1.The Defination of Formalism . 2.The Development History of Formalism 3.The Main Formalism Theory.,1.The Defination of Formalism .,Formalism is a school of literary criticisim and literary theory having mainly to do with structural purposes of a particular
2、text. In literary theory, formalism refers to critical approaches that analyze, interpret, or evaluate the inherent features of a text.,These features include not only grammar and syntax but also literary devices such as meter and tropes. The formalist approach reduces the importance of a texts hist
3、orical, biographical, and cultural context.,2.The Development History of Formalism,Formalism rose to prominence in the early twentieth century as a reaction against Romanticist theories of literature, which centered on the artist and individual creative genius, and instead placed the text itself bac
4、k into the spotlight, to show how the text was indebted to forms and other works that had preceded it.,Two schools of formalist literary criticism developed, Russian formalism, and soon after Anglo-American New Criticism. Formalism was the dominant mode of academic literary study in the US at least
5、from the end of the Second World War through the 1970s, especially as embodied in Ren Wellek and Austin Warrens Theory of Literature (1948.1955.1962).,Beginning in the late 1970s, formalism was substantially displaced by various approaches (often with political aims or assumptions) that were suspici
6、ous of the idea that a literary work could be separated from its origins or uses.The term has often had a pejorative cast and has been used by opponents to indicate either aridity or ideological deviance.Some recent trends in academic literary criticism suggest that formalism may be making a comebac
7、k.,3.The Main Formalism Theory.,Russian Formalism refers to the work of the Society for the Study of Poetic Language (OPOYAZ) founded in 1916 in St. Petersburg (then Petrograd) by Boris Eichenbaum, Viktor Shklovskyand Yury Tynyanov, and secondarily to the Moscow Linguistic Circle founded in 1914 by
8、Roman Jakobson.,According to Eichenbaum, Shklovsky was the lead critic of the group, and Shklovsky contributed two of their most well-known concepts: defamiliarization (ostraneniye, more literally, estrangement) and the plot/story distinction (syuzhet/fabula). “Defamiliarization“ is one of the cruci
9、al ways in which literary language distinguishes itself from ordinary, communicative language, and is a feature of how art in general works, namely by presenting the world in a strange and new way that allows us to see things differently.,Innovation in literary history is, according to Shklovsky, pa
10、rtly a matter of finding new techniques of defamiliarization. The plot/story distinction separates out the sequence of events the work relates (the story) from the sequence in which those events are presented in the work (the plot). Both of these concepts are attempts to describe the significance of
11、 the form of a literary work in order to define its “literariness.“,For the Russian Formalists as a whole, form is what makes something art to begin with, so in order to understand a work of art as a work of art (rather than as an ornamented communicative act) one must focus on its form. This emphas
12、is on form, seemingly at the expense of thematic content, was not well-received after the Russian Revolution of 1917. One of the most sophisticated critiques of the Formalist project was Leon Trotskys Literature and Revolution(1924)citation needed.,Trotsky does not wholly dismiss the Formalist appro
13、ach, but insists that “the methods of formal analysis are necessary, but insufficient“ because they neglect the social world with which the human beings who write and read literature are bound up: “The form of art is, to a certain and very large degree, independent, but the artist who creates this f
14、orm, and the spectator who is enjoying it, are not empty machines, one for creating form and the other for appreciating it. They are living people, with a crystallized psychology representing a certain unity, even if not entirely harmonious. This psychology is the result of social conditions“ (180,
15、171).,The Formalists were thus accused of being politically reactionary because of such unpatriotic remarks as Shklovskys (quoted by Trotsky) that “Art was always free of life, and its color never reflected the color of the flag which waved over the fortress of the City“ (164). The leaders of the mo
16、vement suffered political persecution beginning in the 1920s, when Joseph Stalin came to power, which largely put an end to their inquiries.,But their ideas continued to influence subsequent thinkers, partly due to Tzvetan Todorovs translations of their works in the 1960s and 1970s, including Todorov himself, Barthes, Genette and Jauss.,Acknowledgements,Trotsky, Leon. Literature and Revolution. New York: Russell and Russell, 1957. ,
