...Wallace Martin Estrangement and the Somatics of Literature: Tolstoy, Shklovsky, Brecht. By Douglas Robinson. Baltimore: The Johns Hopkins University Press, 2008. xx, 317 p. University of Oregon 2010 BOOK REVIEWS ESTRANGEMENT...

...Christopher Pye A Politics of the Scene. By Paul A. Kottman. Stanford: Stanford University Press, 2007. 272 p. University of Oregon 2010 BOOK REVIEWS ESTRANGEMENT AND THE SOMATICS OF LITERATURE: TOLSTOY, SHKLOVSKY, BRECHT...

... BOOK REVIEWS ESTRANGEMENT AND THE SOMATICS OF LITERATURE: TOLSTOY, SHKLOVSKY, BRECHT. By Douglas Robinson. Baltimore: The Johns Hopkins University Press, 2008. xx, 317 p. Innovations in criticism evoke a predictable sequence of responses. After the fi rst fl urry of interest...

...: TOLSTOY, SHKLOVSKY, BRECHT. By Douglas Robinson. Baltimore: The Johns Hopkins University Press, 2008. xx, 317 p. Innovations in criticism evoke a predictable sequence of responses. After the fi rst fl urry of interest, their limitations and mistakes attract attention. This is followed by grudging...

... ESTRANGEMENT AND THE SOMATICS OF LITERATURE: TOLSTOY, SHKLOVSKY, BRECHT. By Douglas Robinson. Baltimore: The Johns Hopkins University Press, 2008. xx, 317 p. Innovations in criticism evoke a predictable sequence of responses. After the fi rst fl urry of interest, their limitations and mistakes attract...

...” and “affordance.” Viktor Shklovsky’s influential 1918 essay “Art as Device” has typically been read as a theory of artistic perception, whereby art reclaims the intensity of experience through “defamiliarization.” However, Shklovsky’s concept of the device is a more fundamental analytic category and was, in fact...

... IN POETRY OF EXILE / 203 from the substantive (country), it suggests that poetic language incurs some form of existential displacement that is reflected in both the perception of the object represented and the means of its representation. In his seminal paper “Art as Technique” Viktor Shklovsky...

.... In Viktor Shklovsky’s famous formulation, the effective writer uses words in a way that returns “sensation to our limbs,” that makes “a stone feel stony” (6; in Rus- sian, 15). The first lengthy example in his foundational theory of prose comes from Lev Tolstoy’s story “Kholstomer,” which is told from...

... the nod to such artists as Shklovsky, Kabakov, Nabokov, Brodsky, and Vaginov, who organized their own works in a similar way. The question is: why should the subject-positions of incipient colonial mastery, on the one hand, and political exile, on the other, predicate an identical narra- tive strategy...

... and Noyes Dorothy , 206 – 20 . Dortmund : Verlag für Orientkunde (Beiträge zur Kulturgeschichte des islamischen Orients) , 2018 . Pavel Thomas G. Fictional Worlds . Cambridge, MA : Harvard University Press , 1986 . Shklovsky Viktor . “ Art as Device .” In Theory of Prose...

...-Pearce 81 -97. Selden, Raman, and Peter Widdowson. A Reader's Guide to Contemporary Literary Theory . 3rd ed. New York: Harvester Wheatsheaf, 1997 . Shklovsky, Victor. “Art as Technique” and “Sterne's Tristram Shandy: Stylistic Commentary.” Lemon and Reis 3 -24 and 25-57. Soyinka, Wole...

.... Shklovsky, V.B. “ Tristram Shandy Sterna i teoriia romana” [“Sterne's Tristram Shandy and the Theory of the Novel”]. Petrograd: n.p., 1921 . Silverman, Kaja. “The Lacanian Phallus.” differences: A Journal of Feminist Cultural Studies 4.1 ( 1992 ): 84 –116. Slapšak, Svetlana. “The After-War War...

... of “Stanadayini” ( 182 ), which (to use Viktor Shklovsky’s term [see “Art as Device” ]) defamiliarizes the otherwise unnoticed, unquestioned everyday practices of the prevailing linguistic and socioeconomic order. In cybernetic terms, the effect of rhetorical interferences is “entropy,” the disruption...

... as merchandise. But let me address one question at a time. As Viktor Shklovsky suggested, artistic invention is nothing other than the fruit of a slippage, of an accidental change. In literary texts, the new accumulates upon the old quantitatively; when the accumulated changes pass from being purely...

... Cˇulkov  93–94; Garrard, “The Russian Scarron”; Shklovsky, Chulkov and Levshin  109–110; Stepanov, “About the Author” 19; Striedter, Der Schelmenroman, ss. 71–72. 4 According to V.V. Sipovskii, the Russian translation of Charlotte Summers  was based on the French translation of the original: “119...

..., with their meditations supplemented during the first few decades of the twentieth century by an explosion of Russian-language émigré literature written by Jewish and non-Jewish authors alike (for example, Vladislav Khodasevich, Ivan Bunin, Vladimir Nabokov, Viktor Shklovsky, and Ilya Ehrenburg) that dealt directly...

... for reading lit- erature to the three categories of theories (exemplary, affective, and cognitive) already extant. This summary of literary theory, sorting writers and thinkers from Shklovsky and Sontag to Heidegger and Sartre according to their justifications for reading literature, introduces...

... words taken out of their habitual contexts and placed in unfamiliar juxtapositions than when it makes sense of everyday words in everyday utterances. This is also the effect of “defamiliarization” that the Russian Formalist Viktor Shklovsky posited as the distinguishing trait of the “literary...

...: Grijalbo, 1987 . Servius. In Vergili carmina commentarii . 5 vols. Lancaster, PA: Societatis Philologicae Americanae cura et impensis, 1946 . Shelden, Michael. Friends of Promise. Cyril Connolly and the World of Horizon . New York: Harper & Row, 1989 . Shklovsky, Victor. “Sterne's...

... These Years: Women, Writing and Psychoanalysis. London: Routledge, 1992. Boym, Svetlana. “Estrangement as a Lifestyle: Shklovsky and Brodsky.” Poetics Today  17.4 (1996): 511–30. Brooker, Peter. “The Wandering Flâneur, or, Something Lost in Translation.” Miscelánea: A Journal of English...