Russian formalism
Russian formalism was a school of literary theory in Russia from the 1910s to the 1930s. It includes the work of a number of highly influential Russian and Soviet scholars, such as Viktor Shklovsky, Yuri Tynianov, Vladimir Propp, Boris Eikhenbaum, Roman Jakobson, Boris Tomashevsky, and Grigory Gukovsky, who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity and autonomy of poetic language and literature. Russian formalism exerted a major influence on thinkers like Mikhail Bakhtin and Juri Lotman as well as on structuralism as a whole. The movement's members had a large impact on modern literary criticism as it developed in the structuralist and post-structuralist periods. Under Stalin it became a pejorative term for elitist art.
Russian formalism was a diverse movement, producing no unified doctrine, and no consensus amongst its proponents on a central aim to their endeavours. In fact, "Russian Formalism" describes two distinct movements: the OPOJAZ in St. Petersburg and the Moscow Linguistic Circle. Therefore, it is more precise to refer to the "Russian Formalists," rather than to use the broader and more abstract term of "Formalism."
The term "formalism" was first used by the adversaries of the movement, and as such it conveys a meaning explicitly rejected by the Formalists themselves. In the words of one of the foremost Formalists, Boris Eikhenbaum: "It is difficult to recall who coined this name, but it was not a very felicitous coinage. It might have been convenient as a simplified battle cry but it fails, as an objective term, to delimit the activities of the 'Society for the Study of Poetic Language'." Russian Formalism is the name now given to a mode of criticism which emerged from two different groups, The Moscow Linguistic Circle and the Opojaz group. Although Russian Formalism is often linked to American New Criticism because of their similar emphasis on close reading, the Russian Formalists regarded themselves as developers of a science of criticism and were more interested in a discovery of systematic methods for the analysis of poetic text.
Distinctive ideas
Russian formalism is distinctive for its emphasis on the functional role of literary devices and its original conception of literary history. Russian Formalists advocated a "scientific" method for studying poetic language, to the exclusion of traditional psychological and cultural-historical approaches. As Erlich points out, "It was intent upon delimiting literary scholarship from contiguous disciplines such as psychology, sociology, intellectual history, and the list theoreticians focused on the 'distinguishing features' of literature, on the artistic devices peculiar to imaginative writing".Two general principles underlie the Formalist study of literature: first, literature itself, or rather, those of its features that distinguish it from other human activities, must constitute the object of inquiry of literary theory; second, "literary facts" have to be prioritized over the metaphysical commitments of literary criticism, whether philosophical, aesthetic or psychological. To achieve these objectives several models were developed.
The formalists agreed on the autonomous nature of poetic language and its specificity as an object of study for literary criticism. Their main endeavor consisted in defining a set of properties specific to poetic language, be it poetry or prose, recognizable by their "artfulness" and consequently analyzing them as such.
Types
Mechanistic
The OPOJAZ, the Society for the Study of Poetic Language group, headed by Viktor Shklovsky was primarily concerned with the Formal method and focused on technique and device. "Literary works, according to this model, resemble machines: they are the result of an intentional human activity in which a specific skill transforms raw material into a complex mechanism suitable for a particular purpose". This approach strips the literary artifact from its connection with the author, reader, and historical background.A clear illustration of this may be provided by the main argument of one of Viktor Shklovsky's early texts, "Art as Device" : art is a sum of literary and artistic devices that the artist manipulates to craft his work.
Shklovsky's main objective in "Art as Device" is to dispute the conception of literature and literary criticism common in Russia at that time. Broadly speaking, literature was considered, on the one hand, to be a social or political product, whereby it was then interpreted in the tradition of the great critic Belinsky as an integral part of social and political history. On the other hand, literature was considered to be the personal expression of an author's world vision, expressed by means of images and symbols. In both cases, literature is not considered as such, but evaluated on a broad socio-political or a vague psychologico-impressionistic background. The aim of Shklovsky is therefore to isolate and define something specific to literature or "poetic language": these, as we saw, are the "devices" which make up the "artfulness" of literature.
Formalists do not agree with one another on exactly what a device or "priyom" is, nor how these devices are used or how they are to be analyzed in a given text. The central idea is that more general: poetic language possesses specific properties, which can be analyzed as such.
Some OPOJAZ members argued that poetic language was the major artistic device. Shklovsky insisted that not all artistic texts defamiliarize language, and that some of them achieve defamiliarization by manipulating composition and narrative.
The Formalist movement attempted to discriminate systematically between art and non-art. Therefore, its notions are organized in terms of polar oppositions. One of the most famous dichotomies introduced by the mechanistic Formalists is a distinction between story and plot, or fabula and "syuzhet". Story, fabula, is a chronological sequence of events, whereas plot, syuzhet, can unfold in non-chronological order. The events can be artistically arranged by means of such devices as repetition, parallelism, gradation, and retardation.
The mechanistic methodology reduced literature to a variation and combination of techniques and devices devoid of a temporal, psychological, or philosophical element. Shklovsky very soon realized that this model had to be expanded to embrace, for example, contemporaneous and diachronic literary traditions.
Organic
Disappointed by the constraints of the mechanistic method some Russian Formalists adopted the organic model. "They utilized the similarity between organic bodies and literary phenomena in two different ways: as it applied to individual works and to literary genres".An artefact, like a biological organism, is not an unstructured whole; its parts are hierarchically integrated. Hence the definition of the device has been extended to its function in text. "Since the binary opposition – material vs. device – cannot account for the organic unity of the work, Zhirmunsky augmented it in 1919 with a third term, the teleological concept of style as the unity of devices".
The analogy between biology and literary theory provided the frame of reference for genre studies and genre criticism. "Just as each individual organism shares certain features with other organisms of its type, and species that resemble each other belong to the same genus, the individual work is similar to other works of its form and homologous literary forms belong to the same genre". The most widely known work carried out in this tradition is Vladimir Propp's "Morphology of the Folktale".
Having shifted the focus of study from an isolated technique to a hierarchically structured whole, the organic Formalists overcame the main shortcoming of the mechanists. Still, both groups failed to account for the literary changes which affect not only devices and their functions but genres as well.
Systemic
The diachronic dimension was incorporated into the work of the systemic Formalists. The main proponent of the "systemo-functional" model was Yury Tynyanov. "In light of his concept of literary evolution as a struggle among competing elements, the method of parody, 'the dialectic play of devices,' become an important vehicle of change".Since literature constitutes part of the overall cultural system, the literary dialectic participates in cultural evolution. As such, it interacts with other human activities, for instance, linguistic communication. The communicative domain enriches literature with new constructive principles. In response to these extra-literary factors the self-regulating literary system is compelled to rejuvenate itself constantly. Even though the systemic Formalists incorporated the social dimension into literary theory and acknowledged the analogy between language and literature the figures of author and reader were pushed to the margins of this paradigm.
Linguistic
The figures of author and reader were likewise downplayed by the linguistic Formalists Lev Jakubinsky and Roman Jakobson. The adherents of this model placed poetic language at the center of their inquiry. As Warner remarks, "Jakobson makes it clear that he rejects completely any notion of emotion as the touchstone of literature. For Jakobson, the emotional qualities of a literary work are secondary to and dependent on purely verbal, linguistic facts".As Ashima Shrawan explains, "The theoreticians of OPOJAZ distinguished between practical and poetic language.... Practical language is used in day-to-day communication to convey information.... In poetic language, according to Lev Jakubinsky, 'the practical goal retreats into background and linguistic combinations acquire a value in themselves. When this happens, language becomes de-familiarized and utterances become poetic.
Eichenbaum criticised Shklovsky and Jakubinsky for not disengaging poetry from the outside world completely, since they used the emotional connotations of sound as a criterion for word choice. This recourse to psychology threatened the ultimate goal of formalism to investigate literature in isolation.
A definitive example of focus on poetic language is the study of Russian versification by Osip Brik. Apart from the most obvious devices such as rhyme, onomatopoeia, alliteration, and assonance, Brik explores various types of sound repetitions, e.g. the ring, the juncture, the fastening, and the tail-piece . He ranks phones according to their contribution to the "sound background" attaching the greatest importance to stressed vowels and the least to reduced vowels. As Mandelker indicates, "his methodological restraint and his conception of an artistic 'unity' wherein no element is superfluous or disengaged, … serves well as an ultimate model for the Formalist approach to versification study".