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On Viktor Shklovsky’s Penchant for Forms

100%

Skibska A. M.

Poznańskie Studia Slawistyczne

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2017

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issue 13

PL

In the article, I have decided to sketch a brief portrait of the most significant Russian formalist Viktor Shklovsky. In order to comment upon his contribution to the development of literary theory, I cast some light on his original term ostranenie (estrangement, defamiliarization), which allows the formalist to expose the essential features of writing based on unlimited changes of the plot: they always assume a participation of irony, parody, and reinvention in art. The listed devices determine the progress in literature, which makes use of the old conventions to create new ones what occurs in the course of transgressing consolidated forms and functions. What is more, the process of transgression (or – to be more precise – self-transgression) is manifested by a disruptive activity of irony at the same time collaborating with literary traditions and thwarting them with the force of the eternal, perpetual reinvention.

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“Formalituri te salutant!” 100 lat formalizmu rosyjskiego (1913– 2013)

93%

Berkieta A.

Przestrzenie Teorii

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2015

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issue 23

EN

This paper focuses on reconstructing the history of the so-called Russian Formalism and the avantgarde context of OPOYAZ’s inception in Petersburg in 1914. Victor Shklovsky’s lecture-manifesto titled “The resurrection of the word”, which he presented in the café “Brodyacha Sobaka” (“The Stray Dog”) in Petersburg, marked the symbolic beginning of this movement. The anniversary of the foundation of the Russian Formal School as well as the international congress commemorating this anniversary, which was organized in Moscow in 2013 (titled “The 100th Anniversary of Russian Formalism: 1913–2013”) provide a starting point for discussing the legacy and topicality of the Russian Formalism in contemporary literary studies.

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Ostranenie Does Not Equal Ozvláštnění: An Issue of a Term Transferred and Misunderstood

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Heczková L., Svatoňová K.

Slovo a smysl - Word & Sense

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2015

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vol. 12

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issue 24

50-58

EN

The text focuses on the question of the transfer and translation of several Formalist concepts, such as ostranenie and tochka zrenia. The interpretation is based on Boris Uspensky’s A Poetics of Composition, it revisits the original definition provided Viktor Shklovsky and illustrates it by the work of the German photographer Barbara Probst.

CS

Text se věnuje problematice transferu a překladu několika pojmů (ostraněnije, točka zrenija a dalších) ruské formální školy. Interpretace pojmů vychází z knihy Borise Uspenského Poetika kompozice, vrací se zpět k původnímu konceptu Viktora Šklovského a ilustruje je pomocí tvorby německé fotografky Barbary Probst.

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1 Poznańskie Studia Slawistyczne

1 Przestrzenie Teorii

1 Slovo a smysl - Word & Sense

1 2017

2 2015

1 Berkieta A.

1 Heczková L.

1 Skibska A. M.

1 Svatoňová K.

On Viktor Shklovsky’s Penchant for Forms

“Formalituri te salutant!” 100 lat formalizmu rosyjskiego (1913– 2013)

Ostranenie Does Not Equal Ozvláštnění: An Issue of a Term Transferred and Misunderstood