Formalism 2 - Michael and Sarthak
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This document discusses key principles of formalism in art including line, texture, balance, shape, form, movement, unity, pattern, rhythm, contrast, and emphasis. Many terms are repeated such as line, texture, and pattern which seem to be important formal elements.
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Formalism - Michael Brook and Sarthak Bali
This document discusses key principles of formalism in art including line, texture, balance, space, form, movement, unity, pattern, rhythm, contrast, and emphasis. Many terms are repeated such as line, texture, and pattern which seem to be important formal elements.
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This document discusses Russian formalism and two of its main representatives - Viktor Shklovsky and Potebnyan. [1] Shklovsky believed that literary imagery interacts in texts to clarify thought and distinguish between poetic and prose language. [2] He proposed that art is a technique that uses defamiliarization to make perception fresh. [3] In contrast, Potebnyan viewed literary works as collections of devices that produce only an aesthetic effect, not distinguishing poetic from prose language.
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This document discusses Russian Formalism, a literary theory from the early 20th century. Some key ideas discussed include:
- Russian Formalism viewed literature as focusing on the study of form rather than content or meaning. It looked at how literary devices can estrange readers and make the familiar unfamiliar.
- New American Criticism, influenced by Russian Formalism, viewed literary texts as self-contained works that use devices like metaphor and symbolism to reveal universal human truths. Close reading was used to discover these truths.
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Russian Formalism was a movement of literary scholars and linguists in Russia between 1916-1929 who developed innovative theories about literature. They focused on the formal and technical aspects of literature rather than its content. Over time, their perspectives evolved from seeing literature as mechanical assemblies of devices to understanding works as dynamic systems. They also studied literature as a social and communicative institution that changes over time through generations of writers and schools. Their work established literary studies as an autonomous field and emphasized developing precise concepts and hypotheses to describe and explain literary phenomena.
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Russian Formalism emerged in the early 20th century focusing on analyzing literature through its form and technique rather than external factors. Key figures included Victor Shklovsky, Mikhail Bakhtin, and Roman Jakobson. New Criticism originated in the 1920s-30s emphasizing close reading of texts and their aesthetic qualities over historical context. I.A. Richards, William Empson, and John Crowe Ransom were influential New Critics. While both were formalist schools, Russian Formalism was more theoretical while New Criticism emphasized the practical criticism of individual works.
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Russian formalism was a school of literary criticism that originated in Russia around 1915 and focused on analyzing the form and stylistic devices used in literature rather than their social or historical context. The movement emphasized making aspects of language unfamiliar through techniques like defamiliarization to draw attention to a text's artificiality and how it conveys meaning through form over content. Key concepts included literariness, the idea that literary language is distinguished from ordinary language by its use of devices like metaphor, rhyme and rhythm.
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Formalism is a literary theory that focuses on analyzing inherent features of a text such as grammar, syntax, and literary devices like metaphor, ignoring historical or cultural context. There are different schools of formalism including Russian formalism and New Criticism. Russian formalists aimed to analyze texts scientifically and defined literary techniques like defamiliarization, where common things are presented in unfamiliar ways to enhance perception. Defamiliarization makes objects strange through language, characterization, or illustration to transform ordinary prose into art. Examples include metaphors, Gulliver's Travels, and poems by Wordsworth, Keats, and Plath.
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This document discusses key principles of formalism in art including line, texture, balance, space, form, movement, unity, pattern, rhythm, contrast, and emphasis. Many terms are repeated such as line, texture, and pattern which seem to be important formal elements.
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This document discusses Russian formalism and two of its main representatives - Viktor Shklovsky and Potebnyan. [1] Shklovsky believed that literary imagery interacts in texts to clarify thought and distinguish between poetic and prose language. [2] He proposed that art is a technique that uses defamiliarization to make perception fresh. [3] In contrast, Potebnyan viewed literary works as collections of devices that produce only an aesthetic effect, not distinguishing poetic from prose language.
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This document discusses Russian Formalism, a literary theory from the early 20th century. Some key ideas discussed include:
- Russian Formalism viewed literature as focusing on the study of form rather than content or meaning. It looked at how literary devices can estrange readers and make the familiar unfamiliar.
- New American Criticism, influenced by Russian Formalism, viewed literary texts as self-contained works that use devices like metaphor and symbolism to reveal universal human truths. Close reading was used to discover these truths.
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Russian formalism
Russian Formalism was a movement of literary scholars and linguists in Russia between 1916-1929 who developed innovative theories about literature. They focused on the formal and technical aspects of literature rather than its content. Over time, their perspectives evolved from seeing literature as mechanical assemblies of devices to understanding works as dynamic systems. They also studied literature as a social and communicative institution that changes over time through generations of writers and schools. Their work established literary studies as an autonomous field and emphasized developing precise concepts and hypotheses to describe and explain literary phenomena.
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Russian Formalism emerged in the early 20th century focusing on analyzing literature through its form and technique rather than external factors. Key figures included Victor Shklovsky, Mikhail Bakhtin, and Roman Jakobson. New Criticism originated in the 1920s-30s emphasizing close reading of texts and their aesthetic qualities over historical context. I.A. Richards, William Empson, and John Crowe Ransom were influential New Critics. While both were formalist schools, Russian Formalism was more theoretical while New Criticism emphasized the practical criticism of individual works.
Literary Criticism, II, Russian formalism
Russian formalism was a school of literary criticism that originated in Russia around 1915 and focused on analyzing the form and stylistic devices used in literature rather than their social or historical context. The movement emphasized making aspects of language unfamiliar through techniques like defamiliarization to draw attention to a text's artificiality and how it conveys meaning through form over content. Key concepts included literariness, the idea that literary language is distinguished from ordinary language by its use of devices like metaphor, rhyme and rhythm.
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Formalism is a literary theory that focuses on analyzing inherent features of a text such as grammar, syntax, and literary devices like metaphor, ignoring historical or cultural context. There are different schools of formalism including Russian formalism and New Criticism. Russian formalists aimed to analyze texts scientifically and defined literary techniques like defamiliarization, where common things are presented in unfamiliar ways to enhance perception. Defamiliarization makes objects strange through language, characterization, or illustration to transform ordinary prose into art. Examples include metaphors, Gulliver's Travels, and poems by Wordsworth, Keats, and Plath.
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Modernism emerged in the early 20th century as artists and thinkers began questioning traditional standards and forms of literature and art. Modernist works reflected the social and intellectual upheavals of the time including the decline of rural life, rise of scientific thinking and psychology, and Marxist influences. Modernist literature was characterized by innovations in form like stream of consciousness, an anti-realistic style, use of everyday language, and exploration of sexuality and disillusionment. Some of the prominent Modernist authors mentioned are T.S. Eliot, James Joyce, Virginia Woolf, Joseph Conrad, and D.H. Lawrence across poetry, novels, and drama. Literary criticism also changed with new approaches informed by fields like psychology, anthropology
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This document lists the names of 10 photographers and the titles of their photographs from different historical periods. For each photograph listed, the element of design that the photograph illustrates is provided, such as shape, line, space, or texture. The elements of design highlighted include shape, line, space, and texture.
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This document discusses key photographic concepts including contrast, proportion, shape, line, space, emphasis, repetition, value, balance, and texture. It provides examples of photographs that demonstrate each concept, citing the title, photographer, and year for each. The concepts are presented as headings in bold with a brief definition or analysis below each one.
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This document lists information about various artworks including the titles, artists, and years of creation for six different pieces - a formalism project by Johnny and Josh from 1916, a house and billboard photograph by Paul Strand from 1916, an exhibition from 1906 by Kasebier and White, a photograph titled "White Fence" by Paul Strand from 1916, a photograph titled "No. 20 from Carre Blanc Series" by Eric Marrian from 2006, and an artwork titled "Crisis and Opportunity" by Khaled Hassan from 2010.
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Formalism emerged between 1915-1930 and focused on analyzing the internal features of literature such as structure and imagery, ignoring external historical and social contexts. It was eventually eliminated in the Soviet Union in the 1930s. Both Russian formalism and New Criticism rejected examining literature through a historical lens and were interested in what makes text literary through techniques like defamiliarization. Defamiliarization aimed to make objects unfamiliar to prolong the process of perception and experience of art. New Criticism examined ambiguity, irony, and other elements of literary language and differed from Russian formalism in their interpretation and use of techniques.
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Russian Formalism was a movement in literary theory between 1916-1930 that emphasized analyzing the form and structure of literary works rather than their social or historical context. The movement was pioneered by Viktor Shklovsky, who defined art as using techniques to make the reading experience more complex and "defamiliarize" habitual perception. According to the Formalists, the purpose of poetic imagery and varying rhythms was to avoid automatized perception and prolong the reading process. Leo Tolstoy was cited as an author who used defamiliarization techniques to make the familiar seem strange.
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Criticism comes in several forms according to the document. Legislative criticism judges a performance based on established criteria. Appreciative criticism acts as an intermediary between artist and audience by logically analyzing a work. Interpretative criticism connects a performance to the world by understanding its significance. Cultural criticism views art as social critique rather than critiquing a performance itself.
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Formalism is an approach to analyzing literature that focuses on the form of the text rather than its content or context. It originated with Russian Formalism in the early 20th century. Key concepts include Viktor Shklovsky's idea of "defamiliarization" where a text makes the familiar strange, and Roman Jakobson's identification of the six functions of language. Formalism sees language as the foundational element of literature and examines how meaning is derived from a text's literary devices, form, and style rather than external influences.
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This document discusses formalist approaches to literary criticism such as Russian Formalism and New Criticism. New Criticism focused on analyzing the text independently of authorial intent or historical context through close readings of literary devices, language, form and structure. The document provides details on the methodology and key figures of New Criticism such as Cleanth Brooks and emphasizes examining the text objectively rather than through external influences.
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This document discusses T.S. Eliot and the formalist movement in modern literature. It summarizes key terms from formalism such as objective correlation, dissociation of sensibility, close reading, and defamiliarization. Formalism, which included Russian Formalism and New Criticism, focused on the specific literary devices and characteristics of a text rather than using literature as a window to the real world. The document also discusses how formalism viewed poetry as using language in a way that reveals universal truths through close reading and evokes meanings beyond direct experience.
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This document discusses formalism, also known as New Criticism, which is a literary theory that focuses exclusively on analyzing the literal elements within a text without consideration of external contexts like the author's biography. It examines the relationship between a text's form and content. The document also provides a glossary of major formalist literary terms used to analyze elements like characters, imagery, plot, point of view, setting, and theme.
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The New Criticism was a formalist style of literary criticism that emerged in the first half of the 20th century. It viewed texts as self-contained and focused on analyzing elements within the text like irony, ambiguity, and paradox to discover implied themes. Key figures in developing New Criticism included I.A. Richards, William Empson, and T.S. Eliot. The approach was popularized through works by Cleanth Brooks and others in the 1940s-1950s. New Criticism emphasized close reading of texts over historical context or authorial intent.
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This document defines and explains literary criticism. It begins by exploring the origins and definitions of "critic" and "criticism" from Greek roots. A critic is defined as someone who expresses a reasoned opinion on a subject's value, truth, or technique. Criticism is the analysis and judgment of a literary work. The document then defines literary criticism as the study, discussion, evaluation, and interpretation of literature through various lenses or paradigms. It provides examples of different schools of literary criticism and explains them on a map with four variables: the work itself, the author, other texts, and the audience. The goal of literary criticism is to understand what is important about a text and its influences.
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This document provides an overview of New Criticism as a literary theory that emerged in the early 20th century. It discusses how New Criticism rejected the biographical and historical approaches that were dominant at the time, instead advocating for an approach that focuses solely on analyzing the text itself through close reading. The document traces the origins and key figures of New Criticism, such as T.S. Eliot, John Crowe Ransom, and F.R. Leavis. It explains the core tenets of New Criticism, including rejecting authorial intention and reader response in favor of searching for an objective meaning within the text. The document also covers how New Criticism analyzes formal elements through close reading and compares
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Roman Osipovich Jakobson was a highly influential 20th century Russian linguist. He helped pioneer structural analysis of language, poetry, and art. Jakobson was a founding member of the Moscow Linguistic Circle, which influenced the development of Russian Formalism in literary criticism. He later moved to Prague and helped form the Prague Linguistic Circle, contributing to the emergence of structuralism. Jakobson made enduring contributions to communication theory through his analysis of language functions.
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This document lists 12 artworks from 2009 to 2010 by various artists, including Angelo, Eric Lafforgue, Gabriele Caretta, Hans van de Vorst, Hikaru Inoue, Janne, Paulete Matos, Slim Letaiet, Suwandi Tan, and Teresa Gomez. For each artwork, it provides the artist name, title, year, and a key element of formalism represented by the artwork such as balance, emphasis, space, shape, pattern, unity, line, texture, movement, and form.
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This document lists the names of 10 photographers and the titles of their photographs from different historical periods. For each photograph listed, the element of design that the photograph illustrates is provided, such as shape, line, space, or texture. The elements of design highlighted include shape, line, space, and texture.
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This document discusses key photographic concepts including contrast, proportion, shape, line, space, emphasis, repetition, value, balance, and texture. It provides examples of photographs that demonstrate each concept, citing the title, photographer, and year for each. The concepts are presented as headings in bold with a brief definition or analysis below each one.
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This document lists information about various artworks including the titles, artists, and years of creation for six different pieces - a formalism project by Johnny and Josh from 1916, a house and billboard photograph by Paul Strand from 1916, an exhibition from 1906 by Kasebier and White, a photograph titled "White Fence" by Paul Strand from 1916, a photograph titled "No. 20 from Carre Blanc Series" by Eric Marrian from 2006, and an artwork titled "Crisis and Opportunity" by Khaled Hassan from 2010.
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Formalism emerged between 1915-1930 and focused on analyzing the internal features of literature such as structure and imagery, ignoring external historical and social contexts. It was eventually eliminated in the Soviet Union in the 1930s. Both Russian formalism and New Criticism rejected examining literature through a historical lens and were interested in what makes text literary through techniques like defamiliarization. Defamiliarization aimed to make objects unfamiliar to prolong the process of perception and experience of art. New Criticism examined ambiguity, irony, and other elements of literary language and differed from Russian formalism in their interpretation and use of techniques.
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The document is a literary theory paper submitted by Kashmiraba G. Jadeja to Dr. Dilip Barad at M.K. University Bhavnagar in 2012-2013. It discusses the literary movements of New Criticism, Modernism, and Postmodernism. New Criticism emerged in the early 20th century led by critics like I.A. Richards, T.S. Eliot, and Cleanth Brooks. Modernism developed as an artistic movement in Europe in the early 1900s, influenced by developments in Cubism, Dadaism, Surrealism, and Futurism. Postmodernism arose in the late 20th century, characterized by an eclectic approach and references to
Fifteen years of russian formalism
Russian Formalism was a movement in literary theory between 1916-1930 that emphasized analyzing the form and structure of literary works rather than their social or historical context. The movement was pioneered by Viktor Shklovsky, who defined art as using techniques to make the reading experience more complex and "defamiliarize" habitual perception. According to the Formalists, the purpose of poetic imagery and varying rhythms was to avoid automatized perception and prolong the reading process. Leo Tolstoy was cited as an author who used defamiliarization techniques to make the familiar seem strange.
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Criticism comes in several forms according to the document. Legislative criticism judges a performance based on established criteria. Appreciative criticism acts as an intermediary between artist and audience by logically analyzing a work. Interpretative criticism connects a performance to the world by understanding its significance. Cultural criticism views art as social critique rather than critiquing a performance itself.
Literary theory & criticism pt. 1: Formalism
Formalism is an approach to analyzing literature that focuses on the form of the text rather than its content or context. It originated with Russian Formalism in the early 20th century. Key concepts include Viktor Shklovsky's idea of "defamiliarization" where a text makes the familiar strange, and Roman Jakobson's identification of the six functions of language. Formalism sees language as the foundational element of literature and examines how meaning is derived from a text's literary devices, form, and style rather than external influences.
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This document discusses formalist approaches to literary criticism such as Russian Formalism and New Criticism. New Criticism focused on analyzing the text independently of authorial intent or historical context through close readings of literary devices, language, form and structure. The document provides details on the methodology and key figures of New Criticism such as Cleanth Brooks and emphasizes examining the text objectively rather than through external influences.
T. s. eliot
This document discusses T.S. Eliot and the formalist movement in modern literature. It summarizes key terms from formalism such as objective correlation, dissociation of sensibility, close reading, and defamiliarization. Formalism, which included Russian Formalism and New Criticism, focused on the specific literary devices and characteristics of a text rather than using literature as a window to the real world. The document also discusses how formalism viewed poetry as using language in a way that reveals universal truths through close reading and evokes meanings beyond direct experience.
Formalistic approach
This document discusses formalism, also known as New Criticism, which is a literary theory that focuses exclusively on analyzing the literal elements within a text without consideration of external contexts like the author's biography. It examines the relationship between a text's form and content. The document also provides a glossary of major formalist literary terms used to analyze elements like characters, imagery, plot, point of view, setting, and theme.
Jakobson
Roman Jakobson was a famous Russian linguist who emigrated to Czechoslovakia and the United States. He was a leading figure of the Moscow Linguistic Circle and co-founder of the Prague Linguistic Circle. In his 1959 essay "On Linguistic Aspects of Translation," Jakobson defined three types of translation: intralingual translation within one language, interlingual translation between two languages, and intersemiotic translation from verbal language to nonverbal sign systems.
New Criticism
The New Criticism was a formalist style of literary criticism that emerged in the first half of the 20th century. It viewed texts as self-contained and focused on analyzing elements within the text like irony, ambiguity, and paradox to discover implied themes. Key figures in developing New Criticism included I.A. Richards, William Empson, and T.S. Eliot. The approach was popularized through works by Cleanth Brooks and others in the 1940s-1950s. New Criticism emphasized close reading of texts over historical context or authorial intent.
Literary Criticism
This document defines and explains literary criticism. It begins by exploring the origins and definitions of "critic" and "criticism" from Greek roots. A critic is defined as someone who expresses a reasoned opinion on a subject's value, truth, or technique. Criticism is the analysis and judgment of a literary work. The document then defines literary criticism as the study, discussion, evaluation, and interpretation of literature through various lenses or paradigms. It provides examples of different schools of literary criticism and explains them on a map with four variables: the work itself, the author, other texts, and the audience. The goal of literary criticism is to understand what is important about a text and its influences.
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This document provides an overview of New Criticism as a literary theory that emerged in the early 20th century. It discusses how New Criticism rejected the biographical and historical approaches that were dominant at the time, instead advocating for an approach that focuses solely on analyzing the text itself through close reading. The document traces the origins and key figures of New Criticism, such as T.S. Eliot, John Crowe Ransom, and F.R. Leavis. It explains the core tenets of New Criticism, including rejecting authorial intention and reader response in favor of searching for an objective meaning within the text. The document also covers how New Criticism analyzes formal elements through close reading and compares
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This presentation is useful for someone initiating in the wonderful world of literature and criticism
Formalism ppt
Roman Osipovich Jakobson was a highly influential 20th century Russian linguist. He helped pioneer structural analysis of language, poetry, and art. Jakobson was a founding member of the Moscow Linguistic Circle, which influenced the development of Russian Formalism in literary criticism. He later moved to Prague and helped form the Prague Linguistic Circle, contributing to the emergence of structuralism. Jakobson made enduring contributions to communication theory through his analysis of language functions.
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快速办理(PU毕业证书)普渡大学毕业证文凭证书一模一样
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2. The Book of Psalms: Recognition of the kingship and sovereignty of God
2. The Book of Psalms: Recognition of the kingship and sovereignty of GodCOACH International Ministries
Recognition of the kingship and sovereignty of GodHow to Stop a Divorce and Save Your Marriage: Divorce Spells That Really Work...
How to Stop a Divorce and Save Your Marriage: Divorce Spells That Really Work...Traditional Healer, Love Spells Caster and Money Spells That Work Fast
The forces involved in this witchcraft spell will re-establish the loving bond between you and help to build a strong, loving relationship from which to start anew. Despite any previous hardships or problems, the spell work will re-establish the strong bonds of friendship and love upon which the marriage and relationship originated. Have faith, these stop divorce and stop separation spells are extremely powerful and will reconnect you and your partner in a strong and harmonious relationship.
My ritual will not only stop separation and divorce, but rebuild a strong bond between you and your partner that is based on truth, honesty, and unconditional love. For an even stronger effect, you may want to consider using the Eternal Love Bond spell to ensure your relationship and love will last through all tests of time. If you have not yet determined if your partner is considering separation or divorce, but are aware of rifts in the relationship, try the Love Spells to remove problems in a relationship or marriage. Keep in mind that all my love spells are 100% customized and that you'll only need 1 spell to address all problems/wishes.
Save your marriage from divorce & make your relationship stronger using anti divorce spells to make him or her fall back in love with you. End your marriage if you are no longer in love with your husband or wife. Permanently end your marriage using divorce spells that work fast. Protect your marriage from divorce using love spells to boost commitment, love & bind your hearts together for a stronger marriage that will last. Get your ex lover who has remarried using divorce spells to break up a couple & make your ex lost lover come back to you permanently.
Visit https://www.profbalaj.com/love-spells-loves-spells-that-work/
Call/WhatsApp +27836633417 for more info.Sanatan Vastu | Experience Great Living | Vastu Expert
Santan Vastu Provides Vedic astrology courses & Vastu remedies, If you are searching Vastu for home, Vastu for kitchen, Vastu for house, Vastu for Office & Factory. Best Vastu in Bahadurgarh. Best Vastu in Delhi NCR
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