Zimmermann (1824–1898) contributes an important Ästhetik to the history of aesthetic formalism and he is a major representative of Vienna Herbartianism. In my analysis I show, on the one hand, that he aims at delivering a systematic work, based on the insights which Herbart had already provided, without treating them exhaustively. On the other hand―I argue―it is not unproblematic to reconcile Zimmermann’s views with Herbart’s ideas, especially when crucial notions such as ‘form’ and ‘relationship’ are considered. Paradoxically, the distance between the two thinkers ultimately emerges from the essay in which Zimmermann examines the analogy Herbart himself had drawn between music theory and practical philosophy. My conclusion thus is: where Zimmermann broadens Herbart’s theories, pursuing their explanation and systematic completion, he betrays the main issues of Herbartian formalism and philosophy; Herbart’s most profitable theories―concrete formalism and functionalism―are abandoned in favour of abstract, void constructions.
This article is an attempt to make a comparison between two models of social and creative behaviour based on the same principle of "estrangement". V. Shklovskii and T. Wolfe are presented as two "avant-garde spokespersons" representing the Russian Formalism and the American New Journalism (the article opens with the explanation of why it is possible to regard those as similar, though unconnected, forms of cultural production — Formalism included the so-called "Literature of Fact" a parallel to which can be found in the New Journalism). Both authors created notorious styles of writing and "posing" — annd both used scandal as a means. we are trying to analyze two scandalous "gestures" — Shklovskii's performance at a public discussion (Formalists vs. Marxists, 1927) and Wolfe's provocative article aimed against the "New Yorker" (1965). We are also trying to show how they sustained their styles through "aesthetics of the routine".
The article describes the concept of the estrangement that is one of the key notions of the Formalist school theory, and also one of the main aesthetic practices of literature and art of XXth century.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.