DOCSLIB.ORG

Russian Formalism: a Metapoetics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Russian Peter Steiner Formalism Russian Formalism Russian For1nalis1nFormalism A Metapoetics by PETER STEINER Cornell University Press I/ Ithaca I/ London Copyright © 19841984 by Peter Steiner All rights reserved. Except for brief quotations in a review,review. this book, or parts thereof,thereof. must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press,Press. Sage House,House. 512 East State Street, Ithaca,Ithaca, New York 1485014850,, or visitVisit our website at www.cornellpress.cornell.edu.WWW,cornellpress,cornelledu. First published 1984198+ by Cornell University Press. “Too"Too Much Monkey Business,”Business.” by Chuck Berry, copyright © 19561956., Arc Music Corp.,Corp, 1101 10 East 5959thth Street, New York,York. N.Y.NY. 1002210022.. International copyright secured. Used by permission. Library of Congress Cataloging-in-PublicationCataloging/in/Publication Data Steiner, P. (Peter), 194619467– Russian formalism. Based on the author’s thesis.thesis, IncludesIncludes index. 11.. Formalism (Literary(Literary analysis)—Sovietanalysis)iSo\'iet Union. I.I. Title. PNPN98.FOS7398.F6S73 1984198.1 801801’.95'.95 84847708-7708 ISBN 978978/0/8014/1710/8-0-8014-1710-8 (pbk.(pbk. :: alk. paper) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivativesAttributiomNonCommercial/NoDeriVatiyes 4.040 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/https://creatiyeconimonsorg/licenses/by/nc/nd/e’l.O/ Blond hair, good look'n',look’n’, wants me to marry, get a home, settle down, write a book-book— ahhhhhhhhhhhh! Too much monkey business, too much monkey business. -CHUCK—CHUCK BERRY Contents Preface 9 1 Who Is Formalism, What Is She? 1155 � The Three Metaphors 44 The Machine 44 The Organism 68 The System 99 3 A Synecdoche 1]8 Zaum'Zaum’ 114o40 Verse 172I 72 ExpExpressionression 119999 4 The Developmental SignificanceSignificance of Russian Formalism 22424 2 Index 227171 7 Preface This book grew out of my earlier comcomparativeparative study of Rus­Rus- sian Formalism and Prague StructuraStructuralism.lism. The jujuxtapositionxtaposition of these schoolsschools,, I was susurprisedrprised to fifind,nd, pointed up their funda­funda- mental diffdifferenceerence much more than their simisimilarity.larity. The Prague SchooSchool,l, with its singsinglele organizational centcenter,er, shsharedared frame of referenreference,ce, and unifiedunified epistepistemologicalemological stancestance,, could easily be conceived as a coherent movement. But its Russian counterpart was farmore resistant to synthesissynthesis.. I began to see FormalisFormalism,m, in fact, not as a school in the ordinary sense of the wordword,, but as a peculiar developmentdevelopmentalal stage in the histhistoryory of Slavic literary theorytheory.. This fact is reflectedreflected in the relative agreeagreementment among students of Prague Structuralism about the coherence of their subsubjectject matter and the corrcorrespondingesponding lack of a consensus among schol­schol- ars of FormalisFormalism.m. It is this fefeelingeling of didiscordscord that I wish to convey in my firstchapter. BeBecausecause of the great variety of mean­mean- ings that the label "F“Formalism”ormalism" has attracted in the course of timetime,, it seems legitimate to question its ututilityility and to offer my own underunderstandingstanding of the term as a histhistoricalorical conceconcept.pt. The middle two chachapterspters treat the Formalists from what I 9 Preface term a metapoetmetapoeticic stance. That is, their discourse ababoutout poetics is analyzed in terms of poetics itselfitself,, or more preciselyprecisely,, in terms of the poetic tropes that structure their theortheorizing.izing. Chapter 2 focuseson the mamajorjor metaphors of Formalist thougthought:ht: the three tropologtropologicalical models that dedescribescribe the literary work as a mecha­mecha- nism, an organisorganism,m, and a systsystem.em. The third chapter addresses the synecdochic reduction of the work to its material stratum­stratum— langulanguage—andage-and the consequent substitution of linguistlinguisticsics forpo­po- eticsetics.. In partiparticular,cular, I deal here with the two mumutuallytu'ally incomincompati-pati­ ble concepts of poetic langlanguageuage advanced by the Formalists and the basic tenets of their metrimetrics.cs. I return to the questquestionion "what“what is FormalisFormalism?”m?" in the last chap­chap- ter, where I take up the issue of the movement'smovement’s unity. As I see it, the intintellectualellectual coherence of Formalism lies in its develop­develop- mementalntal significancesignificance within the overall histhistoryory of Slavic literary theorytheory.. This signsigniificanceficance consists in the conconjunctionjunction of two fac­fac- torstors:: the movement'smovement’s effeffectivelyectively dividing pre-Formalistic from ppost-Formalisticost-Formalistic scholarscholarship,ship, and its positing of a ununiquelyiquely liter­liter- ary subsubjectject matter to be apprapproachedoached "scient“scientiificalfically,”ly," without pre­pre- suppsuppositions.ositions. From this perspective, the bafflingbaffling heterogeneitheterogeneityy of Formalist theorizing can be seen as an "interparadigmatic"“interparadigmatic” ststageage in the hihistorystory of literary scholarsscholarship.hip. In writing this book I have relied on the advice and help of a great many people. These were, firstfirst of all, ReneRene’ WellWellek,ek, Victor ErlicErlich,h, and Vadim Liapunov at YaleYale.. At later ststages,ages, MiMiroslavroslav CCervenka,ervenka, SeSergejrgej Davydov, J.j. MiMichaelchael Holquist, Josephjoseph Mar­Mar- gogolis,lis, and Stephen Rudy provided valuable criticicriticism,sm, insightful sugsuggestions,gestions, and much-much-neededneeded encouragencouragement.ement. My spspecialecial thanks go to BerBernhardnhard Kendler of Cornell University Press for the manner in which he guided my book through its numerous rites of passagepassage.. I am grategratefulful forthe suppsupportort of the American Council of Learned SocietSocieties,ies, whose grant-in-aid in the summsummerer of 19197777 presented a palpalpablepable incentive forcontinuing my work, and to the Research FoundaFoundationtion of the UnUniversityiversity of Pennsylva­Pennsylva- nia, which furnished funds for the finalfinal typingtyping of the manu­manu- scrscript.ipt. But most of all, I am indeindebtedbted to that "good“good lolook’n’ok'n' girl"girl” IO Preface who wanted me to writwritee a boobook,k, and consequentconsequentlyly had to put up with all the ununpleasantnesspleasantness and dedeprivationprivation that this process entailedentailed.. PETER STEINER Phi/,adelphia,Philadelphia, Pennsylvania II Russian Formalism 1 Who Is Formalism, What Is She? History as a scholarly discipline recognizes only a single source of its knowledge-theknowledge—the word. -—GUSTAVGUSTAV SPET, "“HistoryHistory as an ObObjectject of Logic"Logic” These words of SSpet’spet's encapsulate the historian'shistorian’s dilemma. Writing about a school of litliteraryerary theory fromthe past, I indeed have nothing but words at my disdisposalposal and no PolPoloniusonius as a whipping boyboy.. "Words“Words are chamelechameleons,”ons," declardeclareded the Formalist Jujurijrij TynTynjanov,janov, whose own words I shall soon have occasion to reclreclotheothe in my own langlanguage;uage; his phrase in turn is borrowed from a famous SymbolistSymbolist poet, with whose gegenerationneration the For­For- malists had locked horns in an animanimatedated dialoguedialogue.. Words changchangee meaning as they pass from one contcontextext to another, and yet they preserve the semantic accretions acquired in the procprocess.ess. "Russian“Russian FormaFormalism”lism" is just such a locus communisout of which the history of ideas is mamade.de. Such terms are used over and over again untuntilil their repetition lends them the air of solidsolid,, univeruniver-­ sally accepted concepts whose referential identity is beyond doubt. A closer scrutiny, however, reveals a diffdifferenterent pictpicture.ure. On sifsiftingting through the myriad texts in which "R“Russianussian For- I515 Russian Formalism malism"malism” occursoccurs,, I discdiscoveredovered a wide didiversityversity of functions the term was meant to serveserve:: forexexample, ample, as a stigma with ununpleas-pleas­ ant consequences for anybody branded with it, a straw man erected only to be immeimmediatelydiately knocked over, and aa historical concept that on diffdifferenterent occasions refersto ververyy difdifferentferent liter­liter- ary scholarsscholars.. Given the wide didivergencevergence of these speech acts (the precprecedingeding list can be easily augmentedaugmented),), "R“Russianussian FormaliFormalism,”sm," farfrom serving as a ststableable basis forscholarscholarly ly discussidiscussion,on, resem­resem- bles more an ememptypty sign that might be filled with any contcontent.ent. Let me illuillustratestrate this contention with some concrete exexamples.amples. Those we customcustomarilyarily call Formalists always rerejectedjected the label as a grossly misleading chcharacterizationaracterization of their enterprises. In his tongue-in-cheek essay, "The“The Formal MeMethod:thod: In Lieu of a Nec­Nec- rologrologue,”ue," Boris Tomasevskij desdescribedcribed the baptism of this movmovement:ement: Formalism screascreamed,med, seethed, and made a noise. It also foundits own naname—“OPOjAZ.”me-"OPOJAZ."
Recommended publications
  • Introduction: Formalisms Julie Rivkin and Michael Ryan

    Introduction: Formalisms Julie Rivkin and Michael Ryan

    Introduction: Formalisms Julie Rivkin and Michael Ryan It has become a commonplace of literary study that to study literature is to study language, yet prior to the formalist movements of the early twentieth century – Russian Formalism and American New Criticism – the study of literature was con- cerned with everything about literature except language, from the historical context of a literary work to the biography of its author. How literary language worked was of less importance than what a literary work was about. Two movements in early twentieth-century thought helped move literary study away from this orientation. The first movement was the attempt on the part of philosophers of science like Edmund Husserl to isolate objects of knowledge in their unmixed purity. The Rus- sian Formalists, a group of young scholars (Viktor Shklovsky, Roman Jakobson, Boris Tomashevsky, Boris Eichenbaum) who wrote in the teens and twenties, were influ- enced by this approach. For them, literature would be considered not as a window on the world but as something with specifically literary characteristics that make it literature as opposed to philosophy or sociology or biography. Literature is not a window for looking at sociological themes or philosophic ideas or biographical infor- mation; rather, it is a mural or wall painting, something with a palpability of its own which arrests the eye and merits study. The manipulation of representational devices may create a semblance of reality and allow one to have the impression of gazing through glass, but it is the devices alone that produce that impression, and they alone are what makes literature literary.
  • Twentieth Century Criticism: Traditions and Concepts

    Twentieth Century Criticism: Traditions and Concepts

    International Journal of Multidisciplinary Research and Development International Journal of Multidisciplinary Research and Development Online ISSN: 2349-4182, Print ISSN: 2349-5979 Impact Factor: RJIF 5.72 Received: 05-08-2018; Accepted: 12-09-2018 www.allsubjectjournal.com Volume 5 Issue 9; September 2018; Page No. 78-81 Twentieth century criticism: Traditions and concepts Bishnu Prasad Pokharel PhD. Lecturer, Nepal Sanskrit University, Bijauri, Nepal Abstract Literary theory involves questioning of the most basic assumption of literary study, speculative practice, accounts of desires and language. Theory has brought many ideas from other field of knowledge to engage in a discussion on humanities, art and literature and different issues like race, identity, mythologies, signs and many other issues that are not directly linked to literature. Theory has made literary discourse interdisciplinary by welcoming ideas from other discipline. So, literary theory is not something that has been developed in a vacuum but has arisen for the most part in response to the problems encountered by readers, scholars and critics in their practical contact with the text. It also provides excellent tools that can not only show us our world and ourselves through new and valuable lenses but also can strengthen our ability and with a good deal of insight. Russian Formalism, New Criticism, Structuralism, Post structuralism/ Deconstruction, Psychoanalysis, Feminism, Reader Response, Colonialism and New Historicism are the major theories discussed in this article. Keywords: theory, criticism, defamiliarization, text, interpretation, gender, meaning, context Introduction with the revolution” (603). The twentieth century encountered intensification of Russian Formalism was a departure from the prevailing rationalization, urbanization, secularization, increasingly Romantic Symbolism and Futurism.
  • Foreword Chapter 1 the Commitments of Ecocriticism

    Foreword Chapter 1 the Commitments of Ecocriticism

    Notes Foreword 1. “Destroying the world in order to save it,” CNN, May 31, 2004, Ͻhttp://www.cnn.com/2004/SHOWBIZ/Movies/05/31/film.day.after. tomorrow.ap/Ͼ (Accessed June 25, 2004). Sources for the epigraphs are as follows: William Rueckert, “Literature and Ecology: An Experiment in Ecocriticism,” Iowa Review, 9 no. 1 (Winter 1978): 121; and Raymond Williams, What I Came to Say (London: Radius, 1989), 76, 81. 2. “Global warming is real and underway,” Union of Concerned Scientists, n. d., Ͻhttp://www.ucsusa.org/global_environment/global_warming/index.cfmϾ (Accessed June 25, 2004). “Larsen B Ice Shelf Collapses in Antarctica,” National Snow and Ice Data Center, n. d., Ͻhttp://nsidc.org/iceshelves/ larsenb2002/Ͼ (Accessed June 25, 2004). Vandana Shiva, Water Wars (Cambridge, MA: South End Press, 2002), 98–99. 3. UN Intergovernmental Panel on Climate Change, “Projections of Future Climate Change,” in Climate Change 2001: The Scientific Basis, Ͻhttp://www.grida.no/climate/ipcc_tar/wg1/339.htmϾ (Accessed June 25, 2004). Shiva, Water Wars, 1. 4. Greg Palast, “Bush Energy Plan: Policy or Payback?” BBC News, May 18, 2001, Ͻhttp://news.bbc.co.uk/1/hi/world/americas/1336960.stmϾ (Accessed June 25, 2004). Mark Townsend and Paul Harris, “Now the Pentagon tells Bush: Climate Change will Destroy Us,” The Observer, February 22, 2004, Ͻhttp://observer.guardian.co.uk/international/story/0,6903,1153513,00. htmlϾ (Accessed June 25, 2004). 5. Paul Brown, “Uranium Hazard Prompts Cancer Check on Troops,” The Guardian, April 25, 2003, Ͻhttp://www.guardian.co.uk/uranium/story/ 0,7369,943340,00.htmlϾ (Accessed June 25, 2004).
  • Review of Joseph Carroll, Reading Human Nature: Literary Darwinism

    Review of Joseph Carroll, Reading Human Nature: Literary Darwinism

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship, Research, and Creative Work at Bryn Mawr College | Bryn Mawr College... Bryn Mawr Review of Comparative Literature Volume 9 Article 1 Number 2 Fall 2011 Fall 2011 Review of Joseph Carroll, Reading Human Nature: Literary Darwinism in Theory and Practice and Virginia Richter, Literature After Darwin: Human Beasts in Western Fiction, 1859-1939. Carlo Salzani Monash University Follow this and additional works at: https://repository.brynmawr.edu/bmrcl Let us know how access to this document benefits ouy . Recommended Citation Salzani, Carlo (2011). Review of "Review of Joseph Carroll, Reading Human Nature: Literary Darwinism in Theory and Practice and Virginia Richter, Literature After Darwin: Human Beasts in Western Fiction, 1859-1939.," Bryn Mawr Review of Comparative Literature: Vol. 9 : No. 2 Available at: https://repository.brynmawr.edu/bmrcl/vol9/iss2/1 This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/bmrcl/vol9/iss2/1 For more information, please contact [email protected]. Salzani: Salzani on Carroll and Richter Joseph Carroll, Reading Human Nature: Literary Darwinism in Theory and Practice. New York: SUNY Press, 2011. 368 pp. ISBN 9781438435220. Virginia Richter, Literature After Darwin: Human Beasts in Western Fiction, 1859-1939. Basingstoke: Palgrave Macmillan, 2011. 272 pp. ISBN 9780230273405. Reviewed by Carlo Salzani, Monash University 1. The year 2009 was the 200th anniversary of Darwin's birth and the 150th anniversary of the publication of On the Origin of Species; it was therefore named the "Darwin Year" and was celebrated all over the world by academic conferences and events targeting the general public.
  • I Russian Formalism and Prague Structuralism

    I Russian Formalism and Prague Structuralism

    I RUSSIAN FORMALISM AND PRAGUE STRUCTURALISM The origins of Russian Formalism date back before the Russian Revolution to the activities of the Moscow Linguistic Circle and the St Petersburg-based group, Opojaz, both of which con­ cerned themselves with the study of poetic language. The major figures were Victor Shklovsky, Roman Jakobson, Boris Eikhenbaum, Osip Brik and Yury Tynyanov. The Russian Formalists rejected the unsystematic and eclectic critical ap­ proaches which had previously dominated literary study and endeavoured to create a 'literary science'. As Jakobson put it: The subject of literary science is not literature, but literariness, i.e. that which makes a given work a literary work'. The Formalists were uninterested, therefore, in the representational or expressive aspects of literary texts; they focused on those elements of texts which they considered to be uniquely literary in character. Initially they emphasised the differences between literary language and non-literary or practical language. The best known Formalist concept is that of 'defamiliarisation' (ostranenie) , a concept particularly associated with Shklovsky and discussed in his 'Art as Device', first published in 1917, where he argues that art renews human perception through creating devices which undercut and undermine habitual and automatised forms of perception. In later Formalism the emphasis shifted from the relation between literary and non-literary language to the linguistic and formal aspects ofliterary texts themselves. Jakobson and Tynyanov argued that literary devices themselves also became familiar. They shifted the focus to the means by which certain devices become dominant in literary texts and take on a defamiliarising role in relation to other devices or aspects of the text which are perceived in familiar or automatic terms.
  • Constructivist Book Design: Shaping the Proletarian Conscience

    Constructivist Book Design: Shaping the Proletarian Conscience

    Constructivist Book Design: Shaping the Proletarian Conscience We . are satisfied if in our book the lyric and epic Futurist books were unconventionally small, and whether Margit Rowell evolution of our times is given shape. —El Lissitzky1 or not they were made by hand, they deliberately empha- sized a handmade quality. The pages are unevenly cut One of the revelations of this exhibition and its catalogue and assembled. The typed, rubber- or potato-stamped is that the art of the avant-garde book in Russia, in the printing or else the hectographic, or carbon-copied, early decades of this century, was unlike that found any- manuscript letters and ciphers are crude and topsy-turvy where else in the world. Another observation, no less sur- on the page. The figurative illustrations, usually litho- prising, is that the book as it was conceived and pro- graphed in black and white, sometimes hand-colored, duced in the period 1910–19 (in essentially what is show the folk primitivism (in both image and technique) known as the Futurist period) is radically different from of the early lubok, or popular woodblock print, as well as its conception and production in the 1920s, during the other archaic sources,3 and are integrated into and inte- decade of Soviet Constructivism. These books represent gral to, as opposed to separate from, the pages of poetic two political and cultural moments as distinct from one verse. The cheap paper (sometimes wallpaper), collaged another as any in the history of modern Europe. The covers, and stapled spines reinforce the sense of a hand- turning point is of course the years immediately follow- crafted book.
  • On Dialogic Speech” Have Previously Appeared in PMLA 112.2 (1997) and Are Used by Permission

    On Dialogic Speech” Have Previously Appeared in PMLA 112.2 (1997) and Are Used by Permission

    SUBWAY LINE, N o. 13 Philosophica l Thinking is Yoga for the Mind ® Upper West Side Philosophers, Inc. provides a publication venue for original philosophical thinking steeped in lived life, in line with our motto: philosophical living & lived philosophy. Lev Petrovich Yakubinsky ON LANGUAGE & POETRY Three Essays Translated from the Russian, edited and with an Introduction by Michael Eskin Upper West Side Philosophers, Inc. New York • 2018 Published by Upper West Side Philosophers, Inc. P. O. Box 250645, New York, NY 10025, USA www.westside-philosophers.com / www.yogaforthemind.us English translation copyright © 2018 by Upper West Side Philosophers, Inc. The colophon is a registered trademark of Upper West Side Philosophers, Inc. Parts o f “On Dialogic Speech” have previously appeared in PMLA 112.2 (1997) and are used by permission. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or oth - erwise, without prior written permission from the publisher. For all permissions inquiries for any of our titles, contact the publisher or Copyright Clearance Center, Inc., 222 Rosewood Drive, Dan - vers, MA 01923, USA (www.copyright.com). Library of Congress Cataloging-in-Publication Data Names: Yakubinsky, Lev Petrovich, 1892-1945 author. | Eskin, Michael translator editor. Title: On language & poetry : three essays / Lev Petrovic h Yaku - binsky ; translated from the Russian, edited, and with an intro - duction by Michael Eskin. Other titles: On language and poetry Description: New York : Upper West Side Philosophers, Inc., | Series: Subway line ; no. 13 | Includes index.
  • A Brief Overview of Literary Criticism Literary Critical Theory Is a Tool That

    A Brief Overview of Literary Criticism Literary Critical Theory Is a Tool That

    A Brief Overview of Literary Criticism Woman Reading Book in a Landscape, Camille Corot Literary Critical Theory is a tool that helps you find meaning in stories, poems and plays. There are many different ways to interpret a novel or short story. When we read literature, we do so to learn more about: ● The human condition ● The experience of loss and death ● The structure of power in society and how it is implemented (including the issues that surround race and gender). ● The psychology of characters and individuals in general ● The sociology and history of cultures that produce specific pieces of literature Literary Theory helps us discover the things listed above in the books and stories we read. So how do you use theory to read a book? Before exploring, in brief, different theories, it is important to develop a reading strategy that will help you form ideas. You should keep a reading notebook and write down ideas and information as you read. Here is a checklist of things to notice: ● Title. How does it pertain to the story? Does it symbolize events or people in the story? ● Narration: Who is telling the story? How does the narrator approach the topic? ● Subject: What is the basic situation? What is happening to the characters and how are they reacting to events? ● Mood: What is the mood of the story, i.e. the emotional background? How is it expressed in the language and setting? ● Characters: What do the characters learn in the course of the story? What are their failings and how do they overcome them, or not? What is the main character’s desire? Is that desire ever fulfilled? How does the main character change? ● Character Interaction: How do the characters interact in the story? How do they communicate with each other? How do they handle conflict? ● Plot: What are the main events in the plot that lead the character to new insights, or to his or her failure? When you read a book, you can highlight the passages that strike you as significant.
  • The Anxiety of Influence: a Theory of Poetry Free

    The Anxiety of Influence: a Theory of Poetry Free

    FREE THE ANXIETY OF INFLUENCE: A THEORY OF POETRY PDF Prof. Harold Bloom | 208 pages | 03 Jul 1997 | Oxford University Press Inc | 9780195112214 | English | New York, United States The Anxiety of Influence: A Theory of Poetry - Harold Bloom - Google книги Professor Bloom Yale; author of Blake's Apocalypse,and Yeats, interprets modern poetic history — the history of poetry in a Cartesian climate — in terms of Freud's "family romance After graduating from Yale, Bloom remained there The Anxiety of Influence: A Theory of Poetry a teacher, and was made Sterling Professor of Humanities in Bloom's theories have changed the way that critics think of literary tradition and has also focused his attentions on history and the Bible. He has written over twenty books and edited countless others. He is one of the most famous critics in the world and considered an expert in many fields. In he became a founding patron of Ralston College, a new institution in Savannah, Georgia, that focuses on primary texts. Harold Bloom. Harold Bloom's The Anxiety of Influence has cast its own long shadow of influence since it was first published in Through an insightful study of Romantic poets, Bloom puts forth his central vision of the relations between tradition and the individual artist. Although Bloom was never the leader of any critical "camp," his argument that all literary texts are a response to those that precede them had an enormous impact on the practice of deconstruction and poststructuralist literary theory in this country. The book remains a central work The Anxiety of Influence: A Theory of Poetry criticism for all students of literature and has sold over 17, copies in paperback since Written in a moving personal style, anchored by concrete examples, and memorably quotable, Bloom's book maintains that the anxiety of influence cannot be evaded-- neither by poets nor by responsible readers and critics.
  • Rap God: Russian Formalism Analysis

    Rap God: Russian Formalism Analysis

    RAP GOD: RUSSIAN FORMALISM ANALYSIS A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirement for Gaining the Bachelor Degree in English Literature By: Ahmad Ridwan Malik 14150029 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2019 A FINAL PROJECT STATEMENT I certify that this graduating papsr is definitely my own work. I arn compietely responsible for the content of this graduating paper. Other wrjter's opinions or findings included in the graduating paper are quoted or cited in accordance with ethical standard. Yogyakttrta,March 10tll,2019 Stud. Reg. No. 14150029 KEMENTERIAN AGAMA UNIVERSITAS ISLANI NEGERI SUNAN KALIJAGA FAKULTAS ADAB DANILMU BUDAYA Jl.Marsda Adisucipto Tclp.(0274)513949 Fax (0274)552883 Yogyakarta 55281 PENGESAHAN TUGAS AKHIR Nomor:B-219/Un 02/DA/PP 00.9/05/2019 Tugas Akhir dengan judul : RAP GOD: RUSSIAN FORMALISM ANALYSIS yang dipersiapkan dan disusun oleh: Nama : AHMAD zuDWANMALIK Nomor Induk Mahasiswa : 14150029 Telah diujikan pada : Senin, l l Maret 2019 Nilai ujian Tugas Akhir : B+ dinyatakan telah diterima oleh Fakultas Adab dan Ilmu Budaya UIN Sunan Kalijaga Yogyakarta TIPI UJIAN TUGAS AKHIR Ketlla Sidang 飩玲 Ulyal Rctno Sari,SS M.Hum NIP.197711152005012002 ρ ¨ Danial IIidayatullah,SS,M Hum Aninda tti siWi,S.Pd,M Pd NIP 19760405 200901 l o16 NIP 19851011 201503 2 004 l Marct 2019 lijaga Budaya θ9/a5/2o7θ KEPIENTRIノ ぜヾAGAMA REPUBLIK INDONESIA UNⅣERSITASISLAM NEGERISUNAN KALIJAGA 畿 FAKULTAS ADAB DAN ILⅣ 側 BUDAYA Jl,Marstt Adi Sucipto Yogyab蔵 55281 Telp./Fax.(0274) al● 513949 Web : http : /ladab.uin-suka. ac. id Emaill adabの uin_suka.ac.id NOTA DINAS HalI Slcipsi Ahlad Ridwall卜Ialik Yth.
  • En809 Contemporary Literary Theory: Western and Indian 4-0-0-4

    En809 Contemporary Literary Theory: Western and Indian 4-0-0-4

    EN809 CONTEMPORARY LITERARY THEORY: WESTERN AND INDIAN 4-0-0-4 Objectives This course would expose the student to contemporary Western and Indian literary theories, with special emphasis on Gender theories and connect them to their area of research. The understanding of literary theories would enable them to build on the foundation laid by critics and further help in creating new ideas and be innovative in the research work. Unit 1-Introduction to critical practices in the twentieth century-Russian Formalism-Bakhtin’s theories of the novel-polyphony-Heteroglossia- Defamiliarization-Barthes’ concept of Death of the author-Myth criticism-Northrop Frye-Post structuralism-Derrida’s deconstruction and the notion of centre --Intertextuality-psycho analytic criticism-Lacan-desire and discourse-Carl Jung’s contribution to psychoanalytic theory-Modernism-Fragmentation- Unit 2-Literary Feminism- Betty Friedan- Shulamith Firestone- Mary Daly-Kate Millet- Germaine Greere- Gyno- criticism-Elaine Showalter- New French Feminism- ecriture feminine-Kristeva- Cixous-Irigaray-Feminism and Psycho Analysis-Juliet Mitchell- Judith Butler Unit 3 -Postmodernism- problems of identity- Trauma theory-Theories of gaze- Postcolonialism- Race,Ethnicity,Gender- multiculturalism- Culture Studies-Eco-criticism- Unit 4-Indian Literary theories- Indian Narratology-Epic, Myth- Dr.Ayyappa Panicker-G. N.Devy TEXT BOOKS/ REFERENCES: 1. Ed., Waugh , Patricia. Literary Theory and Criticism :An Oxford Guide.Oxford: Oxford University Press,2006. 2. Barry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. London: Manchester University Press,2009. 3. Ed; Devy, G.N. Indian Literary Criticism :Theory and Interpretation. Hyderabad:Orient Blackswan,2002. 4. Lodge, David ,Ed. Modern Criticism and Theory:A Reader.London:Longman,1988.
  • FORMALISM 315 Comprehension of Literal Language

    FORMALISM 315 Comprehension of Literal Language

    FORMALISM 315 comprehension of literal language. Yet, in Jakobson, R. and M. Halle, eds. (1956), arguing against the principled distinction Fundamentals of Language. between literal and figurative language, and Lakoff, G. and M. Johnson (1980), Metaphors We against the primacy of the former, I have Live B. Lakoff, G. and M. Johnson (1999), Philosophy in the repeatedly referred to the notions of literal Flesh. and figurative meaning. This should not be Lausberg, H. (1998), Handbook of Literary Rhetoric, taken as a contradiction. The distinction trans. M.T. Bliss, A. Jansen, and D.E. Orton; ed. between literal and figurative is still useful D.E. Orton and R.D. Anderson. when recognized as context-dependent and Ortony, A., ed. (1993), Metaphor and Thought, functional, rather than absolute. It simply 2nd ed. indicates a difference in the manner of use: Searle, J. (1993), “Metaphor,” in Ortony. Semino, E. and J. Culpeper, eds. (2002), Cognitive often what is classified as a figurative expres- Stylistics. sion is more automatic and salient than a Shen, Y. (1997), “Cognitive Constraints on Poetic literal one. Figurative language, as all lan- Figures,” Cognitive Linguistics 8:33–71. guage, appears forever poised between the Shen, Y. (2007), “Foregrounding in Poetic wager of novelty and comprehensibility. As Discourse,” Language and Literature 16:169–81. this entry attests, intensive multidisciplinary Sperber, D. and D. Wilson (1995), Relevance, 2nd research since the 1970s has accumulated ed. convincing evidence that figurative language Steen, G.J. (2007), Finding Metaphor in Grammar and Usage. is best described as a vital and unique aspect Sweetser, E.