Shklovsky, Viktor (1893–1984)

2018 ◽  
Author(s):  
Angeliki Spiropoulou
Keyword(s):  
Scientific Study ◽  
Poetic Language ◽  
Literary Critic ◽  
Vladimir Mayakovsky ◽  
Russian Formalism ◽  
Avant Garde ◽  
Epic Theater ◽  
Political Function ◽  
Alienation Effect

Born in St Petersburg, Russia, Victor Borisovich Shklovsky (or Shklovskii; Ви́ктор Бори́сович Шкло́вский) was a literary critic, autobiographical novelist, and a leading figure of Russian Formalism (1910–30). A charter founder of OPOYAZ (The Society for the Study of Poetic Language, 1917), he was also associated with the Moscow Linguistic Circle, and contemporary avant-garde writers, such as the Serapion Brothers and the Russian Futurists, especially the poet Vladimir Mayakovsky (1893–1930), all of whom similarly emphasized literature as language against the moralizing idealism of Symbolist poetics and Impressionist criticism prevalent in pre-Revolution Russia. However, Formalism was later attacked as "decadent" aestheticism, and Shklovsky was forced to compromise. In his much quoted essay "Art as Device" (1917), a "manifesto of the Formalist method" (Eichenbaum 1965: 113), Shklovsky posits the autonomy of literature and affirms the Formalist pursuit of the immanent, scientific study of the "literariness" of literature derived from its distinctive language and techniques instead of its content, resonating with modernist aesthetics. Here he develops the concept of "estrangement" or "defamiliarization" ( ostraneniye ) as both the aim and method of all art, self-reflexively impeding the automatism of our perception. Renamed as the "alienation effect" or "distancing effect" (Verfremdungseffekt) and endowed with a political function, "estrangement" became the foundational technique of Bertolt Brecht‘s epic theater.

al-Khāl, Yūsuf (1917–1987)

2018 ◽  
Author(s):  
Dounia Badini
Keyword(s):  
Spoken Language ◽  
Arabic Literature ◽  
Experimental Poetry ◽  
Poetic Language ◽  
American University ◽  
Avant Garde ◽  
American University Of Beirut ◽  
Philosophy Department ◽  
Personal Experiences ◽  
Literary Circles

Yūsuf al-Khāl was a Lebanese poet and writer, born in 1917 in Syria. He graduated in 1944 from the Philosophy Department at the American University of Beirut where he taught Arabic literature. In 1948 he went to America where he became involved with renewal literary circles. In 1955, he went back to Lebanon with a well-conceived purpose of announcing a second Arab poetic renaissance. In 1957, he founded the magazine Shi‘r (Poetry), which ran until 1964, then from 1967 to 1970. Shi‘r was the most professional avant-garde Arabic magazine dedicated to poetry. Through it, he took pains to support new experimental poetry that aimed to change the poetic language, making it closer to spoken language in terms of the lexicon, structures, and music; to make modernity accessible to the Arab reader through translations of foreign experiences; to renew the themes of poetry by expressing enriching personal experiences. Although he published several works (a novel, a play, poetry, essays, and translations), he is recognized above all as the leader of the modernist Shi‘r movement.

‘Making Strange’: Non-Translation in The Waste Land

2019 ◽  
pp. 117-136
Author(s):  
Jason Harding
Keyword(s):  
Collective Trauma ◽  
Poetic Form ◽  
Russian Formalism ◽  
The Waste Land ◽  
Avant Garde ◽  
Waste Land ◽  
The Social ◽  
Post War ◽  
Reading Key

This chapter employs concepts and terms drawn from Russian Formalism to assist reading key moments of non-translation in The Waste Land. Treated as avant-garde linguistic ‘shifts’ that disrupt and estrange the poetic form, particular instances of non-translation in the poem—from the epigraph to the wild cacophony of different languages at the end of the poem—are seen as covert and coded expressions of powerful affect. This chapter considers these experimental disruptions of form in the social and political contexts of post-war avant-garde revolt and recognition of individual and collective trauma.

Symons, Arthur William (1865–1945)

2018 ◽  
Author(s):  
Kostas Boyiopoulos
Keyword(s):  
Short Story ◽  
Fin De Siecle ◽  
Literary Critic ◽  
Avant Garde ◽  
French Symbolism ◽  
Fin De Siècle ◽  
Story Writer

Arthur Symons was a British poet, art and literary critic, memoirist, playwright, short story writer, and editor. He was born in Milford Haven, Wales, on 28 February 1865, the son of Cornish parents: Reverend Mark Symons (1824–1898), a Wesleyan Methodist minister, and Lydia Pascoe (1828–1896). Symons was the foremost exponent of Decadence and the leading promoter of French Symbolism in Britain. An enthused socialite, he manoeuvred successfully through London artistic circles and the Paris avant-garde. In 1901 he married Rhoda Bowser (1874–-1936) and in his later years he retreated to Island Cottage, Wittersham, Kent. In 1908–1910 he suffered a mental collapse in Italy, moving in and out of asylums; he chronicles this experience in Confessions: A Study in Pathology (1930). He recovered and resumed his literary career until his seventies, mainly regurgitating themes of his fin-de-siècle period. He died on 22 January 1945.

scholarly journals Imre József Balázs and the Romanian Culture

2017 ◽  
Vol 9 (1) ◽  
pp. 33-47
Author(s):  
Ingrid Tomonicska
Keyword(s):  
Research Area ◽  
Literary Critic ◽  
Main Subject ◽  
Avant Garde ◽  
Literary Anthologies ◽  
Romanian Literature

Abstract Imre József Balázs is a Hungarian poet, literary critic, editor and literary historian from Romania. His main subject of interest and research area is the Hungarian avant-garde from Romania. His research and work prove his attachment to Romanian literature as well - especially with the avant-garde. For example, he deals with Gellu Naum’s poems for children and their translation. Thus, he fulfils the role of a mediator between Hungarian and Romanian literature not only through his studies and academic papers written in Romanian, but also through his contributions to the appearance of Hungarian poets in literary anthologies written in Romanian language. Furthermore, he plays an important role in publishing the Hungarian translations of Romanian poetry, thus becoming a mediator between the Hungarian and Romanian cultures.

scholarly journals Idiomatics of V. Khlebnikov and V. Mayakovsky in translation: decoding vs. encoding idioms (lexicographic aspect)

2020 ◽  
pp. 52-66
Author(s):  
О. В. Соколова
Keyword(s):  
Comparative Analysis ◽  
Umberto Eco ◽  
Vladimir Mayakovsky ◽  
Avant Garde ◽  
New Type

В статье исследуется проблема перевода авангардной литературы, ориентированной на создание нового художественного языка и языковой эксперимент. Отмеченные черты обусловливают особую сложность перевода авангардных текстов и необходимость поиска оригинальных стратегий при их переводе. Один из подходов к поставленной проблеме предлагается в словаре нового типа «Идиоматика русского авангарда (кубофутуризм)». Микроструктура словаря включает зону форм идиомы на разных языках и зону межъязыкового перевода, где русскоязычные авангардные идиомы сопровождаются переводами. В статье проводится сопоставительный анализ авангардных идиом в творчестве Велимира Хлебникова и Владимира Маяковского как двух ключевых представителей кубофутуризма. Такое сопоставление с учетом степени экспериментальности и языкового творчества позволило сделать вывод о том, что идиоматика Хлебникова в меньшей степени характеризуется семантической композициональностью и в большей степени креативностью и экспериментальностью, в то время как идиоматика Маяковского характеризуется большей семантической композициональностью и меньшей креативностью. В соответствии с классификацией идиом Ч. Филлмора идиоматика Хлебникова относится к классу “decoding idioms”, а Маяковского — к “encoding idioms”. Выявленные отличия в большей или меньшей степени экспериментальности и креативности идиом двух авторов характеризуют переводы их текстов. Анализ переводов авангардных идиом позволил выявить, что при переводе текстов Хлебникова переводчики регулярно ищут способы формирования окказиональных лексических единиц и идиом. Это сближает выбранный подход со стратегией «остранения» У. Эко, в то же время при переводе идиом Маяковского чаще используется поиск эквивалентов на других языках, что соответствует, по У. Эко, стратегии «одомашнивания». The paper deals with the problem of translating avant-garde literature focused on creating a new language and conducting a linguistic experiment. These features make the translation of avant-garde texts particularly difficult and the need to find original strategies for translating them. The dictionary of a new type “Idiomatics of Russian Avant-garde (Cubo-Futurism)” offers one of the approaches to this problem. The microstructure of the dictionary includes a zone of idiom forms in different languages and a zone of interlanguage translation, where Russian avant-garde idioms are accompanied by translations. The article provides a comparative analysis of avant-garde idioms in the works of Velimir Khlebnikov and Vladimir Mayakovsky as two key representatives of Cubo-Futurism. Taking into account the degree of linguistic creativity, the paper concludes that Khlebnikov’s idiomatics is less semantically compositional and more creative, and Mayakovsky’s idiomatics is more semantically compositional and less creative. Following Charles J. Fillmore’s idiomatic classification, Khlebnikov’s idiomatics belongs to the “decoding idioms”, and Mayakovsky's idiomatics refers to the “encoding idioms”. Revealed differences characterize the translations of their texts. Analysis of avant-garde idioms translations indicates that translators of Khlebnikov’s texts regularly look for ways to create nonce words and idioms. This translation approach is close to the “foreignization” (“ostranenije”, “estraniante”) strategy of Umberto Eco. Translators of Mayakovsky's idioms often use the equivalents in other languages, which corresponds to the strategy of “domestication”, according to Umberto Eco.

scholarly journals Two approaches to the analysis of spatial and temporal organizations of a literary work (M.M. Bakhtin and V.M. Zhirmunsky)

2020 ◽  
pp. 151-161
Author(s):  
A.V. Filatov
Keyword(s):  
Literary Work ◽  
Linguistic Analysis ◽  
Temporal Organization ◽  
Literary Critic ◽  
Philosophical Approach ◽  
Russian Formalism ◽  
Verbal Creativity ◽  
Temporal Aspects ◽  
Poetic Text ◽  
Linguistic Phenomenon

This article examines two methodologies for analyzing a literary work. The first one was developed by M.M. Bakhtin on the basis of a broad aesthetic and philosophical approach; the second one was developed by V.M. Zhirmunsky on the basis of a more specific formal and poetological approach. These methodologies were applied by both researchers to A.S. Pushkin’s poems in the 1920s. It is argued that Bakhtin’s methodology was worked out in opposition to the main provisions of Zhirmunsky, who was close to the position of Russian formalism, also taking into account L.V. Shcherba’s achievements in the field of the linguistic analysis of a poetic text. This article describes the fundamental differences in the methodological conceptions of the philosopher and the literary critic concerning the nature of verbal creativity and understanding of the spatial and temporal organization of a literary work. The comparison of two analyses of Pushkin’s poem “For the Shores of Distant Homeland…”, shows that Zhirmunsky reduces the spatial and temporal aspects of a work of art to the compositional arrangement of verbal and sound material, since he considers verbal creativity as a linguistic phenomenon, while Bakhtin refers to the space and time of aesthetic reality, drawing a distinction between the composition and the architectonics of the literary work. It appears that the philosopher perceives the work as a field of dialogue between various subjects of consciousness (the author, the characters, the reader), while the literary critic proceeds from the author’s primacy as creator of a system of artistic techniques, giving the reader a position of passive perception. It is concluded that both methods of analysis complement each other organically, Zhirmunsky analyzing the verbal-compositional dimensions of a literary work and Bakhtin its objective-architectonic dimension.

Can Xue 殘雪 (pen name of Deng Xiaohua 鄧小華) (1953–)

2018 ◽  
Author(s):  
Frederik Green
Keyword(s):  
Literary Critic ◽  
Main Interest ◽  
Literary Responses ◽  
Avant Garde ◽  
Can Xue ◽  
Individual Existence

Can Xue (pen name of Deng Xiaohua) is a Chinese writer and literary critic whose work has gained a following for its avant-garde themes and style. Resisting compartmentalization as a feminist writer, or interpretations of her often nightmarish tales as straightforward literary responses to the violence and political excesses of the Mao period, Can Xue imperatively denied that her work is rooted in China’s socio-historic condition. ‘There is no political cause in my work’, she said in an interview in 2002, maintaining instead that hers is a ‘literature of the soul’ and that its main interest lies in the metaphysical aspect of individual existence.

The Russian Futuristic Experiment: the Language of the Poetic Resistance

2020 ◽  
Vol 29 (2) ◽  
pp. 261-272
Author(s):  
Magdalena Kostova-Panayotova
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Creative Mind ◽  
Avant Garde ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
The Mind

The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.

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