Viktor Shklovsky

Июль 27, 2022

Содержание

2. Viktor Shklovsky (1893-1984) was a leading figure in the Russian Formalist movement of the 1920s and
3. Russian literary theorist and critic who published Theory of Prose in 1925. He is considered a
5. Theory of Prose not only anticipates structuralism and post-structuralism, but poses questions about the nature of
6. The purpose of art is to impart the sensation of things as they are perceived and
7. "A rambling, digressive stylist, Shklovsky throws off brilliant aper�us on every page. . . . Sixty-five
8. "This 1929 book by one of the founding fathers of Russian formalism is one of the
9. "[The] essays published in Theory of Prose reveal why Shklovsky might have become the most important
10. "Clearly there is a happy congruity between Shklovsky's insights and the modern consensus. His observations on
11. “Theory of prose” book The theory - it is an attempt to clarify understanding of what
12. Types of poem rhyme:male and female Male and female rhymes alternate in a certain prescribed manner
13. Prose rhyme So, one of the main elements of the story - it twists and turns
14. Climax So, we talk about the rapid change that seems unchanged. The most persistent elements of
15. Some more excerpts from the book Реализм разных эпох различен, потому что различны войны, орудия труда,
17. Скачать презентацию

Слайд 2

Viktor Shklovsky (1893-1984) was a leading figure in the Russian Formalist

movement of the 1920s and had a profound effect on twentieth-century Russian literature. Several of his books have been translated into English, including "Zoo, or Letters Not about Love, Third Factory, Theory of Prose, A Sentimental Journey, Energy of Delusion," and "Literature and Cinematography," and "Bowstring.

Слайд 3

Russian literary theorist and critic who published Theory of Prose in

1925. He is considered a Formalist, anticipating structuralism and post-structuralism although being neither of these. He wrote, “If the complex life of many people takes place entirely on the level of the unconscious, then it’s as if this life had never been.” To bring life to the level of consciousness, Shklovsky believed that art is critically important in that “art makes a stone feel ston

Слайд 4

Слайд 5

Theory of Prose not only anticipates structuralism and post-structuralism, but

poses questions about the nature of fiction that are as provocative today as they were in the 1920s. Arguing that writers structure their materials according to artistic principles rather than from attempts to imitate "reality," Shklovsky uses Cervantes, Tolstoi, Sterne, Dickens, Bely, and Rozanov to give us a new way of thinking about fiction and, in his most impassioned moments, about the world. Benjamin Sher's lucid translation will allow Shklovsky's Theory of Prose to fulfill its destiny as a major theoretical work of the twentieth century

Слайд 6

The purpose of art is to impart the sensation of things

as they are perceived and not as they are known. The technique of art is to make objects 'unfamiliar', to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important.

— Shklovsky, "Art as Technique", 12

Слайд 7

"A rambling, digressive stylist, Shklovsky throws off brilliant aper�us on every

page. . . . Sixty-five years after it first appeared, Theory of Prose remains an exciting book: Like an architect's blueprint, it lays bare the joists and studs that hold up the house of fiction."

(Michael Dirda, Washington Post Book World 5-5-91)

Слайд 8

"This 1929 book by one of the founding fathers of Russian

formalism is one of the most important works in the history of literary theory. . . . Shklovsky's enormously influential work is brilliant, provocative, and, by turn, elliptical and digressive. It is also whimsical and sometimes chaotic."

(Choice)

Слайд 9

"[The] essays published in Theory of Prose reveal why Shklovsky might

have become the most important literary theorist of our century, had history taken a different course."

(Poetics Today)

Слайд 10

"Clearly there is a happy congruity between Shklovsky's insights and the

modern consensus. His observations on various authors and techniques cause one to ponder. A random paragraph causes sudden illumination. This is not a manifesto but the incisive thoughts of a scholar in the quiet of his study. Dalkey Archive Press is to be thanked for making it available again." (ZYX 9-92)

Слайд 11

“Theory of prose” book
The theory - it is an attempt to

clarify understanding of what was for so long neglected. It is necessary, but I do not think it is possible to allow the opening of a new facility.
We need disputes and discrepancies to overcome them, because only through them the artist overcomes itself.
Analysis of the structure of the poem -
- And the words,
- And stresses,
- And rhyme -
This marks the movement of thought and feeling.

Слайд 12

Types of poem rhyme:male and female
Male and female rhymes alternate in

a certain prescribed manner - live in the world. The order established by a poet , as if playing a scene between a man and a woman. The poem itself - the inclusion in the narrative of the drama between a man and a woman. These two camps are considered permanent.
Rhymes , which is also a rhythm - a way to tie the strings .

Слайд 13

Prose rhyme
So, one of the main elements of the story -

it twists and turns , which are closely linked with the elements of repetition.
The ups and downs - a change to the opposite of what is happening and, moreover, as Aristotle says in the " Poetics " in probability or necessity .
The ups and downs - it is a sudden change in attitude.
The life of the product - it does not change from one manuscript to another, and the study of the fate with the help of the picture has changed

Слайд 14

Climax
So, we talk about the rapid change that seems unchanged.
The most

persistent elements of the plot are decoupling of short stories and novels .
Simultaneously, the junction at the end of things , works like two fighting start - comforting and tragic .

Слайд 15

Some more excerpts from the book
Реализм разных эпох различен, потому что

различны войны, орудия труда, храбрость, дружба, жалость. Мы говорим о Диккенсе как о реалисте. Эпоха Диккенса хочет само оправдываться в искусстве. Главный герой в опасности, и у него есть друг – мальчик. Этот мальчик умрет для некоторого правдоподобия.
В прозу иногда входит голос автора, вернее сказать, автор иногда разгримировывается, потому что он изможден тем, что он видит, понимает и скрывает.
Европейский роман не прошел бы и не дошел бы до Толстого и Достоевского, если бы не было Стерна, если бы не было жажды понять, почему дело человека и результат дела так противоречат друг другу и почему человек величествен даже в своих неудачах.