![]() One might be forgiven for not realizing that the essay had such lofty goals from its bland title, “Art as Device” (or, as it is sometimes translated, “Art as Technique”), yet the clinical air of the essay’s name was deliberate, meant to evoke the feel of a scientific paper. Petersburg, would quickly come to seem revolutionary itself, in part because its goal was no less than to change the course of literary criticism itself. If the year would soon be remembered for bloody political revolutions, the essay, which had been written by Viktor Shklovsky, an unassuming man in his twenties from St. Telling in Time (III): Chronology, Estrangement, and Stories of Literary History–Meir Sternberg,Tel Avivġ5.In 1917, a peculiar essay on the aims of art-and how we should talk about it-appeared in Russia. Lyn Hejinian and Russian Estrangement–Jacob Edmond, Otagoġ4. ![]() My Leader, Myself ? Pictorial Estrangement and Aesopian Language in the Late Work of Kazimir Malevich–Anna Wexler Katsnelson, Harvardġ3. The Politics of Estrangement: Tracking Shklovsky’s Device through Literary and Policing Practices–Cristina Vatulescu, Harvardġ2. Distortion and Theatricality: Estrangement in Diderot and Shklovsky–Tatiana Smoliarova, Columbiaġ1. Dostoevsky’s Estrangement–Nancy Ruttenburg, NYUġ0. Why the First-Wave Russian Literary Diaspora Embraced Shklovskian Estrangement–Greta N. The Politics of Estrangement: The Case of the Early Shklovsky–Galin Tihanov, LancasterĦ. Shklovsky’s ostranenie, Bakhtin’s vnenakhodimost’ (How Distance Serves anĪesthetics of Arousal Differently from an Aesthetics Based on Pain)–Caryl Emerson, Princetonĥ. Minding the Gap: Toward a Historical Poetics of Estrangement–Michael Holquist and Ilya Kliger, YaleĤ. Poetics and Politics of Estrangement: Victor Shklovsky and Hannah Arendt–Svetlana Boym, Harvardģ. Svetlana Boym is Curt Hugo Reisinger Professor of Slavic Languages and Literatures, and Professor of Comparative Literature, at Harvard University.Ģ. Meir Sternberg is Professor of Poetics and Comparative Literature at Tel Aviv University. Slobin, Tatiana Smoliarova, Meir Sternberg, Galin Tihanov, Cristina Vatulescu Svetlana Boym, Marietta Chudakova, Jacob Edmond, Caryl Emerson, Michael Holquist, Anna Wexler Katsnelson, Ilya Kliger, Nancy Ruttenburg, Greta N. The special issues end with a previously unpublished interview with Shklovsky, who looks back on a long and troubled career, speaking his mind about literary issues, Communist oppression, and friends and enemies, including Stalin.Ĭontributors. A third contributor explores estrangement in the work of Dostoyevsky. Another discusses estrangement as seen in the visual artwork of the Russian painter and art theoretician Kazimir Malevich. One contributor considers Diderot's views on art alongside certain modern views on poetry. Other essays are historical surveys of estrangement theories and their diasporas during the last century. ![]() Two essays compare the ideas of Shklovsky with those of equally well-known thinkers-such as Hannah Arendt and Mikhail Bakhtin-regarding freedom and aesthetics. In essence, estrangement is a method of analyzing the artfulness, rather than the psychological meaning or logical message, of imaginative works of prose and poetry.Įach essay in these special issues proceeds from a different perspective. Also known as defamiliarization or disautomatization, estrangement originated as a form of literary and poetic theory within Russian formalism in 1917 and was elaborated largely through the work of Viktor Borisovich Shklovsky. ![]() Estrangement lies at the heart of human experience in art and life: how the familiar is made strange, perceptible, disturbing, as if never before encountered. These two special issues focus on estrangement, a concept that pervades twentieth-century literary study and related fields.
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