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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 ...
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".
T. E. Hulme: Romanticism and Classicism; Bergson's Theory of Art; Walter Benjamin: On Language as Such and On the Language of Man; Viktor Shklovsky: Art as Technique; T. S. Eliot: Tradition and the Individual Talent; Hamlet and His Problems; Irving Babbitt: Romantic Melancholy; Carl Jung: On the Relation of Analytical Psychology to Poetry
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The Russian formalist, Viktor Shklovsky, viewed the syuzhet as the fabula defamiliarized. Defamiliarization or "making strange," a term Shklovsky coined and popularized, upends familiar ways of presenting a story, slows down the reader's perception, and makes the story appear unfamiliar. [8]