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Shklovsky is perhaps best known for developing the concept of ostranenie or defamiliarization (also translated as "estrangement") in literature. [9] He explained the concept in 1917 in the important essay "Art as Technique" (also translated as "Art as Device") [10] which comprised the first chapter of his seminal Theory of Prose, first ...
The term "defamiliarization" was first coined in 1917 by Russian formalist Viktor Shklovsky in his essay "Art as Device" (alternate translation: "Art as Technique"). [1]: 209 Shklovsky invented the term as a means to "distinguish poetic from practical language on the basis of the former's perceptibility."
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 Eichenbaum, Roman Jakobson, Boris Tomashevsky, Grigory Gukovsky who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity ...
It emerges as early as 1916, in Viktor Shklovsky's manifesto “Art as Device.” [12] It is therefore unsurprising that several of the articles explain Lenin's ability to communicate ideas effectively, an end he achieved through successfully “defamiliarizing,” or disrupting, stale, established revolutionary language.
Especially the 1917 essay 'Art as Technique' (Iskusstvo kak priem) by Viktor Shklovsky proved to be highly influential in laying the basis of an anthropological theory of literature. To quote from his essay: "And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony.
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Vladimir Propp and Viktor Shklovsky originated the terminology as part of the Russian Formalism movement in the early 20th century. [2] Narratologists have described fabula as "the raw material of a story", and syuzhet as "the way a story is organized".