Истоки русского формализма: Традиция психологизма и формальная школа
The book offers a reconstruction of the major aspect of the scientific context of the Russian formal school, namely the latter's connection with psychology which was the fundamental science for the humanitiesof that time.
Viktor Shklovskij, the famous Russian literary theorist, and the founder of Russian Formalist School, published his first books in 1914, when World War I had just started. One of them consisted of the futuristic essay, Resurrection of the Word, first presented in December, 1913, and devoted to the problem of the death and resurrection of literature through the use of transrational language (in Russian ZAUM, i. e. beyond, or trans-sense). Another book, entitled The Saturnine Fate, concerned archaic prose poetry devoted to the war that had just begun. Sˇklovskij borrows an official military rhetoric and changes its accents, turning it into an instrument of pacifism. It should be stressed that 1914 was the same year the new Formalist theory started growing, reaching a first intellectual peak in 1916 when the key Shklovskij essay, Art as Device, was published. At the same time, Shklovskij had been drafted into the army, and war became a fruitful background for this emerging theory. Sˇklovskij first served as an instructor in the armored car division; following the February 1917 bourgeois revolution he was actively involved in agitation for the Provisional Government as a commissar, first on the Western front, then later on the Southern front. After the Russian bourgeois revolution of 1917 Shklovskij began writing memoirs long before he reached old age, based on his own conception of the genre. A war depicted in a book with the intertextual title Sentimental Journey is reconstructed here as a mechanism paralleled principally with the automobile; a means of transport to be handled with care. In the first part of the book, the war is seen as having a specific order of things, as opposed to a revolution which follows more the path of chaos. However, throughout his journey, Shklovskij observes the logic of events and concludes that the processes of war and revolution do not stand opposed, but instead have a consequential relationship.
Historical Poetics, while in many ways an ally of Formalism, finds itself in an uneasy relationship with the empiricist mode of formalist enquiry, inasmuch as the latter is seen as generally inimical to historical contextualization. On the other hand, representatives of both Historical Poetics and of the morphological method have at different points been accused of favoring atomizing analysis over aesthetic appreciation. Ironically, this putative inability to grasp the work of art as a totality is a taint that literary theory inherited from nineteenth-century philology whose mission was precisely to combine historicization with minute attention to details of verbal texture. By emphasizing their shared philological patrimony, the article argues for a reconciliation between the morphological method and Historical Poetics. An energetic theory of literary forms, which detects historical vitality in distinct elements revealed by morphological analysis, has important precedents in Alexander Veselovsky’s theory of motif and Mikhail Bakhtin’s concepts of architectonics and the chronotope.
The chapter of the classbook published within the study program of Ural Federal University in Yekaterinburg tells about the ways of Viktor Shklovsky - a founder of the formalist school in Russian Literary Theory, an extravagant writer and essayist, who was on the forefront of the Soviet literature in the 1920s.
The article examines the myth of the self constructed by Boris Eikhenbaum as a member of Russian Formalist movement. The significant and really 'turning' book 'My Periodical' (1929) is also analyzed here in detail.
The article illustrates the explicit and implicit correlations between general notions of Russian formalism and its latest subversions in Lectures on Structuralist Poetics by Yuri Lotman. Declared as a manifesto of new approaches to literary structure (above all, verse), Lotman’s work contains a lot of conceptual revisions of formalism, at the same time presenting itself as its successful overcoming. The strong demand to negate all predecessors was canonized by the formalists themselves and, as it is seen in Lotman’s arguments, remained actual for further philological generations.
The present article contains a brief analysis of the early writings of Viktor Shklovsky - his short stories in futurist magazine "Spring"(Vesna) and especially to his prose poem "Saturnine Fate"(1914). Shklovsky's references to Symbolist aesthetics as well as traces of influence by Maxim Gorky and Leonid Andreyev are also considered.
"Zholkovsky’s work—vast in scope and eclectic in methodology—has long been humanizing semiotics in both the Russian and American academy, giving it a face, a sense of humor, a stake in the real worlds we live by, but never losing its structuralist bedrock. The essays collected here, which range from Pushkin to Fyodor Karamazov, Okudzhava and Sedakova, from Peter the Great’s scandals abroad to Russian literary theory and filmmaking at home, are a goldmine by leading Slavists in North America, Europe, and Russia. A huge book of brilliant nuggets, it lights up the contours of our field today while paying perfect vignette-like tribute to Alik’s long non-conformist career, as fascinating and inscrutably flexible as it was often perilous.” (By Caryl Emerson). *** “This book is a wonderful gift not only for the 'jubilee celebrant' (for AZ it is impossible to imagine this phrase without quotes), but for all of us. The variety of topics, genres and authors might seem surprising were it not for the fact that this variety reflects the character of the book’s addressee. Its content, better than any manifesto or theoretical treatise, brings us good news: that a lack of intellectual inhibition, an unrestricted field of vision, and an enthusiasm that does not cloy are all so becoming to scholarship that, in essence, has as its sole palpable subject the infinity of creative choices. I have always liked Mayakovsky’s neologism: 'Do not jubilee!' (He himself, though, was very much concerned with his own anniversaries.) A / Z is completely devoid of the sedate smoothness of octogenaric jubilees, but it has a lot of panache and a spirit of intellectual adventure, and most importantly, fun. In this, the book bears a striking resemblance to its addressee.” (By Boris Gasparov).
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.