@prefix dbo: .
@prefix dbr: .
dbr:Creative_nonfiction dbo:wikiPageWikiLink dbr:Russian_formalism .
dbo:wikiPageWikiLink dbr:Russian_formalism .
dbr:Valentin_Voloshinov dbo:wikiPageWikiLink dbr:Russian_formalism .
dbr:Semiotic_literary_criticism dbo:wikiPageWikiLink dbr:Russian_formalism .
dbr:Russian_Formalists dbo:wikiPageWikiLink dbr:Russian_formalism ;
dbo:wikiPageRedirects dbr:Russian_formalism .
@prefix rdf: .
@prefix owl: .
dbr:Russian_formalism rdf:type owl:Thing ,
dbo:School .
@prefix rdfs: .
dbr:Russian_formalism rdfs:label "Formalismo russo"@it ,
"\u30ED\u30B7\u30A2\u30FB\u30D5\u30A9\u30EB\u30DE\u30EA\u30BA\u30E0"@ja ,
"Formalisme russe"@fr ,
"Formalisme Rusia"@in ,
"Formalisme rus"@ca ,
"Rusa formalismo"@eo ,
"Formalismo ruso"@es ,
"\u0627\u0644\u0645\u062F\u0631\u0633\u0629 \u0627\u0644\u0634\u0643\u0644\u064A\u0629 \u0627\u0644\u0631\u0648\u0633\u064A\u0629"@ar ,
"\u03A1\u03C9\u03C3\u03B9\u03BA\u03CC\u03C2 \u03C6\u03BF\u03C1\u03BC\u03B1\u03BB\u03B9\u03C3\u03BC\u03CC\u03C2"@el ,
"\uB7EC\uC2DC\uC544 \uD615\uC2DD\uC8FC\uC758"@ko ,
"\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49"@zh ,
"Rosyjska szko\u0142a formalna"@pl ,
"Russian formalism"@en ,
"Errusiar formalismo"@eu ,
"Formalismo russo"@pt ,
"Russisch formalisme"@nl ,
"Russischer Formalismus"@de ,
"Foirmi\u00FAlachas R\u00FAiseach"@ga ;
rdfs:comment "El t\u00E9rmino formalismo ruso designa un movimiento intelectual que marca el nacimiento de la teor\u00EDa literaria y de la cr\u00EDtica literaria como disciplinas aut\u00F3nomas y que tambi\u00E9n tuvo su influencia en la evoluci\u00F3n de los estudios ling\u00FC\u00EDsticos.\u200B Esta etapa literaria tiene lugar entre 1916 y 1928 teniendo tras de s\u00ED, un papel fundamental los sucesos hist\u00F3ricos (b\u00E9licos en su totalidad) que acontec\u00EDan por aquel entonces. Desde un primer momento el t\u00E9rmino formalismo ruso engloba un conjunto de estudios y teor\u00EDas que distan de ser homog\u00E9neas, pero que tienen en com\u00FAn el tratamiento de la literatura con base en un objeto de estudio: la \u00ABliterariedad\u00BB, que en otras palabras, comprender\u00EDa el conjunto de caracter\u00EDsticas necesarias para poder distinguir si un texto es literario o no. Al definir esa pro"@es ,
"Is \u00E9ard a bh\u00ED i gceist leis an bhFoirmi\u00FAlachas R\u00FAiseach n\u00E1 scoil th\u00E1bhachtach criticeoireachta a bh\u00ED gn\u00EDomhach i saol liteartha na R\u00FAise \u00F3 bhlianta an Ch\u00E9ad Chogadh Domhanda go t\u00FAs na dtr\u00EDochaid\u00ED. Chuir lucht lean\u00FAna an fhoirmi\u00FAlachais b\u00E9im ar leith ar th\u00E1bhacht an tsaothair liteartha mar rud neamhsple\u00E1ch, rud a bh\u00ED beag beann ar a scr\u00EDbhneoir. Is \u00E9 an dearcadh a bh\u00ED acu n\u00E1 gur ch\u00F3ir an teanga liteartha a anail\u00EDsi\u00FA agus a thaighde mar rud ann f\u00E9in, in \u00E1it a bheith ag pl\u00E9 le cusp\u00F3ir\u00ED an scr\u00EDbhneora."@ga ,
"Russian formalism was a school of literary criticism 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 and autonomy of poetic language and literature. Russian formalism exerted a major influence on thinkers like Mikhail Bakhtin and Juri Lotman, and on structuralism as a whole. The movement's members had a relevant influence on modern literary criticism, as it developed in the structuralist and post-structuralist periods. Under Stalin it became a pejorative term for elitist art."@en ,
"Errusiar formalismoa Errusiako literatura kritika eskola zen, XX. mendekoa."@eu ,
"Rosyjska szko\u0142a formalna, r\u00F3wnie\u017C: formalizm rosyjski \u2013 bada\u0144 literackich, powsta\u0142a przed I wojn\u0105 \u015Bwiatow\u0105 w Rosji, prze\u017Cywaj\u0105ca rozkwit w latach 20., st\u0142umiona w okresie stalinizmu (cho\u0107 jej \u015Blady przetrwa\u0142y w literaturoznawstwie rosyjskim tak\u017Ce p\u00F3\u017Aniej). Wywar\u0142a znaczny wp\u0142yw na zachodnie , zw\u0142aszcza na now\u0105 krytyk\u0119, a tak\u017Ce strukturalizm. Formalizm by\u0142 reakcj\u0105 na literaturoznawstwo pozytywistyczne i obecn\u0105 w nim \u2013 naczelny cel bada\u0144 literackich upatrywa\u0142a nie w spo\u0142ecznych, historycznych, psychologicznych i genetycznych uwarunkowaniach literatury, ale w badaniu literacko\u015Bci, tj. wewn\u0119trznych i swoistych w\u0142a\u015Bciwo\u015Bci utworu literackiego."@pl ,
"Il formalismo russo \u00E8 un'influente scuola di critica letteraria che si sviluppa tra il 1914 e il 1915 nell'Impero russo, in particolare nei centri culturali delle due principali citt\u00E0: l'Opojaz (\"Societ\u00E0 per lo studio del linguaggio poetico\", attiva dal 1917) di San Pietroburgo e il \"Circolo linguistico di Mosca\" (1914-1928)."@it ,
"\u0627\u0644\u0645\u062F\u0631\u0633\u0629 \u0627\u0644\u0634\u0643\u0644\u064A\u0629 \u0627\u0644\u0631\u0648\u0633\u064A\u0629 \u0643\u0627\u0646\u062A \u0623\u062D\u062F \u0627\u0644\u0645\u0630\u0627\u0647\u0628 \u0627\u0644\u0645\u0624\u062B\u0631\u0629 \u0641\u064A \u0645\u064A\u062F\u0627\u0646 \u0627\u0644\u0646\u0642\u062F \u0627\u0644\u0623\u062F\u0628\u064A \u0641\u064A \u0631\u0648\u0633\u064A\u0627 \u0641\u064A \u0627\u0644\u0641\u062A\u0631\u0629 \u0628\u064A\u0646 \u0627\u0644\u0639\u0627\u0645 1915 \u06481930, \u0648\u0647\u064A \u062A\u0634\u062A\u0645\u0644 \u0639\u0644\u0649 \u0623\u0639\u0645\u0627\u0644 \u0627\u0644\u0639\u062F\u064A\u062F \u0645\u0646 \u0627\u0644\u0645\u0641\u0643\u0631\u064A\u0646 \u0627\u0644\u0631\u0648\u0633 \u0630\u0648\u064A \u0627\u0644\u062A\u0623\u062B\u064A\u0631 \u0627\u0644\u0643\u0628\u064A\u0631 \u0639\u0644\u0649 \u0627\u0644\u0633\u0627\u062D\u0629 \u0627\u0644\u0623\u062F\u0628\u064A\u0629 \u0645\u062B\u0644 \u0648\u064A\u0648\u0631\u064A \u062A\u064A\u0646\u064A\u0627\u0646\u0648\u0641 \u0648\u0628\u0648\u0631\u064A\u0633 \u0623\u064A\u0634\u064A\u0646\u0628\u0627\u0648\u0645 \u0648\u0631\u0648\u0645\u0627\u0646 \u062C\u0627\u0643\u0648\u0628\u0633\u0648\u0646 \u0648\u062C\u0631\u064A\u0643\u0648\u0631\u064A \u0641\u064A\u0646\u0643\u0648\u0631\u060C \u0648\u0647\u064A \u0623\u0633\u0645\u0627\u0621 \u0623\u062D\u062F\u062B\u062A \u062B\u0648\u0631\u0629 \u0641\u064A \u0645\u064A\u062F\u0627\u0646 \u0627\u0644\u0646\u0642\u062F \u0627\u0644\u0623\u062F\u0628\u064A \u0628\u064A\u0646 \u0627\u0644\u0639\u0627\u0645 1914 \u062D\u062A\u0649 \u0627\u0644\u062B\u0644\u0627\u062B\u064A\u0646\u064A\u0627\u062A \u0648\u0630\u0644\u0643 \u064A\u0631\u062C\u0639 \u0625\u0644\u0649 \u062C\u0647\u0648\u062F\u0647\u0645 \u0627\u0644\u062A\u064A \u0628\u0630\u0644\u0648\u0647\u0627 \u0644\u0644\u062A\u0623\u0643\u064A\u062F \u0639\u0644\u0649 \u062E\u0635\u0648\u0635\u064A\u0629 \u0644\u063A\u0629 \u0627\u0644\u0634\u0639\u0631 \u0648\u0627\u0644\u0623\u062F\u0628 \u0648\u0627\u0633\u062A\u0642\u0644\u0627\u0644\u064A\u062A\u0647\u0627. \u0648\u0642\u062F \u0643\u0627\u0646 \u0644\u0644\u0645\u062F\u0631\u0633\u0629 \u0627\u0644\u0634\u0643\u0644\u064A\u0629 \u0627\u0644\u0631\u0648\u0633\u064A\u0629 \u0623\u062B\u0631 \u0643\u0628\u064A\u0631 \u0639\u0644\u0649 \u0627\u0644\u0639\u062F\u064A\u062F \u0645\u0646 \u0627\u0644\u0645\u0641\u0643\u0631\u064A\u0646 \u0645\u062B\u0644 \u060C \u0628\u0627\u0644\u0625\u0636\u0627\u0641\u0629 \u0625\u0644\u0649 \u062A\u0623\u062B\u064A\u0631\u0647\u0627 \u0639\u0644\u0649 \u0628\u0623\u0643\u0645\u0644\u0647\u0627. \u0648\u0642\u062F \u0643\u0627\u0646 \u0644\u0623\u0639\u0636\u0627\u0621 \u0647\u0630\u0647 \u0627\u0644\u062D\u0631\u0643\u0629 \u0627\u0644\u0623\u062F\u0628\u064A\u0629 \u0648\u0623\u0639\u0645\u0627\u0644\u0647\u0645 \u0627\u0646\u0639\u0643\u0627\u0633\u0627\u062A \u0639\u0644\u0649 \u0635\u0639\u064A\u062F \u0627\u0644\u0646\u0642\u062F \u0627\u0644\u0623\u062F\u0628\u064A \u0627\u0644\u062D\u062F\u064A\u062B \u0623\u062B\u0646\u0627\u0621 \u062A\u0637\u0648\u0631 \u0627\u0644\u0645\u062F\u0631\u0633\u0629 \u0627\u0644\u0628\u0646\u064A\u0648\u064A\u0629 \u0648\u0645\u0627 \u0628\u0639\u062F \u0627\u0644\u0628\u0646\u064A\u0648\u064A\u0629. \u0648\u062A\u0639\u062F \u0627\u0644\u0634\u0643\u0644\u064A\u0629 \u0627\u0644\u0631\u0648\u0633\u064A\u0629 \u062D\u0631\u0643\u0629 \u0645\u062A\u0634\u0639\u0628\u0629 \u0644\u0627 \u064A\u062C\u0645\u0639 \u0645\u0646\u0627\u0635\u0631\u064A\u0647\u0627 \u0641\u0643\u0631\u0629 \u0645\u0648\u062D\u062F\u0629 \u0648\u0644\u0627 \u0623\u0647\u062F\u0627\u0641 \u0648\u0627\u0636\u062D\u0629 \u0644\u062C\u0647\u0648\u062F\u0647\u0645 \u0648\u0623\u0639\u0645\u0627\u0644\u0647\u0645\u060C \u0648\u0647\u064A \u062A\u062C\u0645\u0639 \u0641\u064A \u0648\u0627\u0642\u0639 \u0627\u0644\u0623\u0645\u0631 \u0628\u064A\u0646 \u0645\u0624\u0633\u0633\u062A\u064A\u0646 \u0623\u062F\u0628\u064A\u062A\u064A\u0646 \u0641\u064A \u0630\u0644\u0643 "@ar ,
"Het Russisch formalisme (Russisch: \u0420\u0443\u0441\u0441\u043A\u0438\u0439 \u0444\u043E\u0440\u043C\u0430\u043B\u0438\u0437\u043C, Russkij formalizm) is een vorm van taalkunde en literatuurwetenschap die in Rusland werd beoefend tussen 1915-1930. De vertegenwoordigers van deze stroming worden Russische formalisten genoemd. De beoefenaars concentreerden zich op de formele kenmerken van de literaire tekst en op de effecten daarvan. Ze verzetten zich tegen symbolisme, psychologische duiding, interpretaties met hulp van de auteursbiografie en de marxistische literatuuropvatting."@nl ,
"La esprimo rusa formalismo estas uzata por referenci al intelektula movado kiu markas la naskon de la literatura teorio kaj de la literatura kritiko kiel a\u016Dtonomaj fakoj, kiu havis anka\u016D influon en la evoluo de la lingvistiko."@eo ,
"\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\uFF0C\u662F\u6307\u4E8C\u5341\u4E16\u7EAA10\u5E74\u4EE3\u523030\u5E74\u4EE3\u65F6\u671F\uFF0C\u5728\u4FC4\u56FD\u76DB\u884C\u7684\u4E00\u4E2A\u6709\u5F71\u54CD\u7684\u6587\u827A\u8BC4\u8BBA\u6D41\u6D3E\u3002 \u5B83\u5305\u542B\u4E86\u8BB8\u591A\u9887\u5177\u5F71\u54CD\u7684\u4FC4\u56FD\u548C\u82CF\u8054\u5B66\u8005\u7684\u4F5C\u54C1\uFF0C\u4F8B\u5982\u7EF4\u514B\u6258\u00B7\u4EC0\u514B\u6D1B\u592B\u65AF\u57FA\u3001\u3001\u5F17\u62C9\u57FA\u7C73\u5C14\u00B7\u96C5\u53EF\u592B\u5217\u7EF4\u5947\u00B7\u666E\u7F57\u666E\u3001\u7F57\u66FC\u00B7\u96C5\u5404\u5E03\u68EE\u3002\u5176\u4E2DGrigory Vinokur\u57281914\u5E74\u81F31930\u5E74\u4E4B\u95F4\u786E\u7ACB\u4E86\u8BD7\u6B4C\u8BED\u8A00\u6587\u5B66\u7684\u72EC\u7ACB\u6027\u548C\u81EA\u4E3B\u6027\uFF0C\u8FD9\u7ED9\u6587\u5B66\u8BC4\u8BBA\u754C\u5E26\u6765\u4E86\u4E00\u573A\u5F7B\u5E95\u7684\u9769\u547D\u3002\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u8FD8\u5BF9\u7ED3\u6784\u4E3B\u4E49\u601D\u60F3\u5BB6\u3001\u54F2\u5B66\u5BB6\u4EEC\u65BD\u52A0\u4E86\u6DF1\u8FDC\u7684\u5F71\u54CD\uFF0C\u8B6C\u5982Mikhail Bakhtin\u548CYuri Lotman\u3002\u800C\u968F\u7740\u5B83\u5728\u7ED3\u6784\u4E3B\u4E49\u548C\u540E\u7ED3\u6784\u4E3B\u4E49\u65F6\u671F\u7684\u53D1\u5C55\uFF0C\u8FD9\u573A\u8FD0\u52A8\u7684\u6210\u5458\u4EEC\u5BF9\u73B0\u4EE3\u6587\u5B66\u8BC4\u8BBA\u4E5F\u4EA7\u751F\u4E00\u5B9A\u7684\u5F71\u54CD\u529B\u3002\u4F46\u662F\u5728\u65AF\u5927\u6797\u6267\u653F\u65F6\u671F\uFF0C\u5B83\u88AB\u5F53\u505A\u7528\u6765\u63CF\u8FF0\u7CBE\u82F1\u827A\u672F\u7684\u8D2C\u4E49\u8BCD\u8BED\u3002 \u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u662F\u4E00\u4E2A\u591A\u6837\u5316\u7684\u8FD0\u52A8\uFF0C\u4ED6\u4EEC\u53D1\u8868\u5404\u81EA\u4E0D\u7EDF\u4E00\u7684\u5B66\u8BF4\uFF0C\u4E5F\u5BF9\u4ED6\u4EEC\u6240\u52AA\u529B\u7684\u4E2D\u5FC3\u76EE\u6807\u6CA1\u6709\u4E00\u4E2A\u5E7F\u6CDB\u7684\u5171\u8BC6\u3002\u4E8B\u5B9E\u4E0A\uFF0C\u201C\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u201D\u63CF\u8FF0\u4E86\u4E24\u4E2A\u4E0D\u540C\u7684\u8FD0\u52A8\uFF1A\u5723\u5F7C\u5F97\u5821\u7684\u8BD7\u6B4C\u8BED\u8A00\u7814\u7A76\u5B66\u4F1A\u548C\u83AB\u65AF\u79D1\u7684\u8BED\u8A00\u5B66\u6D3E\u3002\u56E0\u6B64\uFF0C\u76F8\u6BD4\u8F83\u66F4\u52A0\u6982\u62EC\u62BD\u8C61\u7684\u201C\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u201D\u800C\u8A00\uFF0C\u7528\u201C\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u8005\u201D\u6765\u8868\u8FBE\u793A\u663E\u5F97\u66F4\u4E3A\u7CBE\u786E\u3002"@zh ,
"\uB7EC\uC2DC\uC544 \uD615\uC2DD\uC8FC\uC758(\uC601\uC5B4: Russian formalism, \uB7EC\uC2DC\uC544\uC5B4: \u0420\u0443\u0441\u0441\u043A\u0438\u0439 \u0444\u043E\u0440\u043C\u0430\u043B\u0438\u0437\u043C)\uC740 1910\uB144 \uC911\uBC18\uBD80\uD130 1930\uB144\uB300\uC5D0 \uAC78\uCCD0, \uC640 \uC57C\uCF65\uC2A8, \uD2F0\uB0D0\uB178\uD504\uB97C \uC911\uC2EC\uC73C\uB85C \uC774\uB8E8\uC5B4\uC9C4 \uBB38\uD559\uC6B4\uB3D9 \uBC0F \uBB38\uD559\uBE44\uD3C9\uC77C\uD30C\uB97C \uC758\uBBF8\uD55C\uB2E4. \uBB38\uD559\uC131\uC744 \uC5B8\uC5B4\uC758 \uC2DC\uC801 \uAE30\uB2A5\uC774\uB098 \uC774\uD654 \uC791\uC6A9\uC5D0\uC11C \uD2B9\uC9D5\uC9C0\uC5B4, \uC791\uD488\uC758 \uC18C\uC7AC\uB97C \uC218\uBC95\uC758 \uB3D9\uAE30\uBD80\uC5EC\uB85C \uC0BC\uC558\uB2E4. \uAD6C\uC870\uC8FC\uC758\uB098 \uC5D0 \uC601\uD5A5\uC744 \uBBF8\uCE5C \uD55C \uD3B8, \uC2A4\uD0C8\uB9B0 \uC815\uAD8C\uC5D0\uC11C\uB294 \uC815\uCE58\uC801 \uD0C4\uC555\uC744 \uBC1B\uC558\uB2E4."@ko ,
"\u039F \u03A1\u03C9\u03C3\u03B9\u03BA\u03CC\u03C2 \u03C6\u03BF\u03C1\u03BC\u03B1\u03BB\u03B9\u03C3\u03BC\u03CC\u03C2 \u03B5\u03AF\u03BD\u03B1\u03B9 \u03BC\u03AF\u03B1 \u03B8\u03B5\u03C9\u03C1\u03AF\u03B1 \u03C4\u03B7\u03C2 \u03BB\u03BF\u03B3\u03BF\u03C4\u03B5\u03C7\u03BD\u03AF\u03B1\u03C2 \u03C0\u03BF\u03C5 \u03B5\u03BC\u03C6\u03B1\u03BD\u03AF\u03C3\u03C4\u03B7\u03BA\u03B5 \u03C3\u03C4\u03B7 \u03A1\u03C9\u03C3\u03AF\u03B1 \u03C3\u03C4\u03B9\u03C2 \u03B1\u03C1\u03C7\u03AD\u03C2 \u03C4\u03BF\u03C5 \u03B5\u03B9\u03BA\u03BF\u03C3\u03C4\u03BF\u03CD \u03B1\u03B9\u03CE\u03BD\u03B1. \u0391\u03C0\u03BF\u03C4\u03B5\u03BB\u03B5\u03AF \u03C4\u03B7\u03BD \u03C0\u03C1\u03CE\u03C4\u03B7 \u03BA\u03B5\u03B9\u03BC\u03B5\u03BD\u03BF\u03BA\u03B5\u03BD\u03C4\u03C1\u03B9\u03BA\u03AE \u03B8\u03B5\u03CE\u03C1\u03B7\u03C3\u03B7 \u03C4\u03BF\u03C5 \u03BA\u03B5\u03B9\u03BC\u03AD\u03BD\u03BF\u03C5 \u03C3\u03C4\u03B7 \u03B8\u03B5\u03C9\u03C1\u03AF\u03B1 \u03C4\u03B7\u03C2 \u03BB\u03BF\u03B3\u03BF\u03C4\u03B5\u03C7\u03BD\u03AF\u03B1\u03C2. \u039F \u03C6\u03BF\u03C1\u03BC\u03B1\u03BB\u03B9\u03C3\u03BC\u03CC\u03C2 \u03B5\u03BA\u03C6\u03C1\u03AC\u03C3\u03C4\u03B7\u03BA\u03B5 \u03C3\u03C4\u03B7 \u03A1\u03C9\u03C3\u03AF\u03B1 \u03B3\u03CD\u03C1\u03C9 \u03B1\u03C0\u03CC \u03B4\u03CD\u03BF \u03BF\u03BC\u03AC\u03B4\u03B5\u03C2 \u03BC\u03B5\u03BB\u03B5\u03C4\u03B7\u03C4\u03CE\u03BD: \u03C4\u03BF\u03BD \u0393\u03BB\u03C9\u03C3\u03C3\u03BF\u03BB\u03BF\u03B3\u03B9\u03BA\u03CC \u03BA\u03CD\u03BA\u03BB\u03BF \u03C4\u03B7\u03C2 \u039C\u03CC\u03C3\u03C7\u03B1\u03C2, \u03C0\u03BF\u03C5 \u03B9\u03B4\u03C1\u03CD\u03B8\u03B7\u03BA\u03B5 \u03C4\u03BF 1915 \u03BC\u03B5 \u03BC\u03AD\u03BB\u03B7 \u03C4\u03BF\u03C5\u03C2 \u03A1\u03CC\u03BC\u03B1\u03BD \u0393\u03B9\u03AC\u03BA\u03BF\u03BC\u03C0\u03C3\u03BF\u03BD (Roman Jakobson), P\u00EBtr Bogatyr\u00EBv, Grigorij Vinokur, \u03BA\u03B1\u03B9 \u03C4\u03B7\u03BD \u0395\u03C4\u03B1\u03B9\u03C1\u03B5\u03AF\u03B1 \u03B3\u03B9\u03B1 \u03C4\u03B7\u03BD \u03BC\u03B5\u03BB\u03AD\u03C4\u03B7 \u03C4\u03B7\u03C2 \u03C0\u03BF\u03B9\u03B7\u03C4\u03B9\u03BA\u03AE\u03C2 \u03B3\u03BB\u03CE\u03C3\u03C3\u03B1\u03C2 (OPOJAZ) \u03C3\u03C4\u03B7\u03BD \u0391\u03B3\u03AF\u03B1 \u03A0\u03B5\u03C4\u03C1\u03BF\u03CD\u03C0\u03BF\u03BB\u03B7 \u03C0\u03BF\u03C5 \u03B9\u03B4\u03C1\u03CD\u03B8\u03B7\u03BA\u03B5 \u03C4\u03BF 1916 \u03BC\u03B5 \u03BC\u03AD\u03BB\u03B7 \u03C4\u03BF\u03C5\u03C2 Boris Ejchenbaum, Viktor Sklovskij \u03BA\u03B1\u03B9 Jurij Tynjanov. \u03A4\u03B1 \u03BC\u03AD\u03BB\u03B7 \u03C4\u03BF\u03C5 \u0393\u03BB\u03C9\u03C3\u03C3\u03BF\u03BB\u03BF\u03B3\u03B9\u03BA\u03BF\u03CD \u039A\u03CD\u03BA\u03BB\u03BF\u03C5 \u03C4\u03B7\u03C2 \u039C\u03CC\u03C3\u03C7\u03B1\u03C2 \u03B5\u03C0\u03AD\u03BC\u03B5\u03BD\u03B1\u03BD \u03B9\u03B4\u03B9\u03B1\u03B9\u03C4\u03AD\u03C1\u03C9\u03C2 \u03C3\u03C4\u03B7\u03BD \u03C3\u03C7\u03AD\u03C3\u03B7 \u03C4\u03B7\u03C2 \u03BC\u03B5\u03BB\u03AD\u03C4\u03B7\u03C2 \u03C4\u03B7\u03C2 \u03B8\u03B5\u03C9\u03C1\u03AF\u03B1\u03C2 \u03C4\u03B7\u03C2 \u03BB\u03BF\u03B3\u03BF\u03C4\u03B5\u03C7\u03BD\u03AF\u03B1\u03C2 \u03BA\u03B1\u03B9 \u03C4\u03B7\u03C2 \u03C0\u03BF\u03B9\u03B7\u03C4\u03B9\u03BA\u03AE\u03C2 \u03BC\u03B5 \u03C4\u03B7\u03BD \u03B3\u03BB\u03C9\u03C3\u03C3\u03BF\u03BB\u03BF\u03B3\u03AF\u03B1, \u03B5\u03BD\u03CE \u03C4\u03B1 \u03BC\u03AD\u03BB\u03B7 \u03C4\u03B7\u03C2 \u03AC\u03BB\u03BB\u03B7\u03C2 \u03BF\u03BC\u03AC\u03B4\u03B1\u03C2 \u03AE\u03C4\u03B1\u03BD \u03C0\u03B9\u03BF \u03B1\u03C0\u03BF\u03C3\u03C4\u03B1\u03C3\u03B9\u03BF\u03C0\u03BF\u03B9\u03B7\u03BC\u03AD\u03BD\u03B1 \u03B1\u03C0\u03CC \u03C4\u03B7\u03BD \u03B3\u03BB\u03C9\u03C3\u03C3\u03BF\u03BB\u03BF\u03B3\u03AF"@el ,
"Als russischer Formalismus wird eine literaturtheoretische Schule bezeichnet, die etwa um 1915 entstand, aber bereits 1930 aus ideologischen Gr\u00FCnden unterbunden wurde. Die Lehre und Methodik des russischen Formalismus kann als fr\u00FChe Auspr\u00E4gung des von Ferdinand de Saussure begr\u00FCndeten Strukturalismus bezeichnet werden. Die russischen Formalisten haben sich auch intensiv mit dem Medium Film auseinandergesetzt."@de ,
"El formalisme rus \u00E9s el moviment que inaugura la teoria liter\u00E0ria del segle xx i un dels m\u00E9s importants de la hist\u00F2ria, malgrat la seva breu durada (neix vers el 1915 i el 1930 ja se'l pot considerar dissolt). S'acostumen a distingir tres moments dins aquests anys: naixement (1915-1916); esplendor (primera meitat dels anys 20); i decad\u00E8ncia (fins al 1930), per motius pol\u00EDtics. Els formalistes s'organitzen a l'entorn de tres institucions:"@ca ,
"O formalismo russo, tamb\u00E9m conhecido por cr\u00EDtica formalista, foi uma influente escola de cr\u00EDtica liter\u00E1ria que existiu na R\u00FAssia de 1910 at\u00E9 1930. Teve como objetivo o estudo da linguagem po\u00E9tica enquanto tal. Dela fazem parte as obras de um grande n\u00FAmero de acad\u00EAmicos russos e sovi\u00E9ticos de grande influ\u00EAncia como (Viktor Chklovsky, Vladimir Propp, Yuri Tynianov, , Roman Jakobson e ) que revolucionaram a cr\u00EDtica liter\u00E1ria entre 1914 e a d\u00E9cada de 30, estabelecendo o estudo da especificidade e da autonomia da linguagem po\u00E9tica e liter\u00E1ria. O formalismo russo exerceu grande influ\u00EAncia em pensadores como Mikhail Bakhtin e Yuri Lotman e no estruturalismo. Os membros do movimento s\u00E3o considerados os fundadores da cr\u00EDtica liter\u00E1ria moderna, principalmente durante o per\u00EDodo do estruturalismo e p\u00F3"@pt ,
"\u30ED\u30B7\u30A2\u30FB\u30D5\u30A9\u30EB\u30DE\u30EA\u30BA\u30E0\uFF08\u30ED\u30B7\u30A2\u5F62\u5F0F\u4E3B\u7FA9\u3001\u82F1\u8A9E: Russian formalism\u3001\u9732: \u0420\u0443\u0441\u0441\u043A\u0438\u0439 \u0444\u043E\u0440\u043C\u0430\u043B\u0438\u0437\u043C\uFF09\u306F\u30011910\u5E74\u4EE3\u534A\u3070\u304B\u30891930\u5E74\u4EE3\u306B\u304B\u3051\u3066\u306E\u30ED\u30B7\u30A2\u306E\u6587\u5B66\u904B\u52D5\u30FB\u6587\u5B66\u6279\u8A55\u306E\u5B66\u6D3E\u3002\u30B7\u30AF\u30ED\u30D5\u30B9\u30AD\u30FC\u3084\u30E4\u30B3\u30D6\u30BD\u30F3\u3001\u30C8\u30A5\u30A4\u30CB\u30E3\u30FC\u30CE\u30D5\u3089\u304C\u4E2D\u5FC3\u3068\u306A\u3063\u3066\u884C\u308F\u308C\u305F\u3002 \u6587\u5B66\u4F5C\u54C1\u306E\u81EA\u5F8B\u6027\u3092\u5F37\u8ABF\u3057\u3001\u8A00\u8A9E\u8868\u73FE\u306E\u65B9\u6CD5\u3068\u69CB\u9020\u306E\u9762\u304B\u3089\u306E\u4F5C\u54C1\u89E3\u660E\u3092\u76EE\u6307\u3057\u305F\u3002\u6587\u5B66\u6027\u3092\u8A00\u8A9E\u306E\u8A69\u7684\u6A5F\u80FD\u3084\u3001\u300C\u7570\u5316\u4F5C\u7528\u300D\u304B\u3089\u7279\u5FB4\u3065\u3051\u3001\u4F5C\u54C1\u306E\u7D20\u6750\u3092\u624B\u6CD5\u306E\u52D5\u6A5F\u4ED8\u3051\u3068\u3057\u305F\uFF61\u69CB\u9020\u4E3B\u7FA9\u3001\u3001\u65B0\u6279\u8A55\uFF08\u30CB\u30E5\u30FC\u30AF\u30EA\u30C6\u30A3\u30B7\u30BA\u30E0\uFF09\u306A\u3069\u306B\u5F71\u97FF\u3092\u4E0E\u3048\u308B\u4E00\u65B9\u3001\u53CD\u30DE\u30EB\u30AF\u30B9\u4E3B\u7FA9\u7684\u3068\u307F\u306A\u3055\u308C\u3001\u30B9\u30BF\u30FC\u30EA\u30F3\u653F\u6A29\u304B\u3089\u653F\u6CBB\u7684\u5F3E\u5727\u3092\u53D7\u3051\u305F\uFF61 \u4EE3\u8868\u7684\u306A\u30ED\u30B7\u30A2\u30FB\u30D5\u30A9\u30EB\u30DE\u30EA\u30B9\u30C8\u306B\u306F\u3001\u30B7\u30AF\u30ED\u30D5\u30B9\u30AD\u30FC\u3001\u30C8\u30A5\u30A4\u30CB\u30E3\u30FC\u30CE\u30D5\u3001\u30D7\u30ED\u30C3\u30D7\u3001\u30A8\u30A4\u30D8\u30F3\u30D0\u30A6\u30E0\u3001\u30E4\u30B3\u30D6\u30BD\u30F3\u3001\u30C8\u30DE\u30B7\u30A7\u30D5\u30B9\u30AD\u30FC\u3001\u304C\u3044\u308B\u3002"@ja ,
"Le terme formalisme russe d\u00E9signe une \u00E9cole de linguistes et de th\u00E9oriciens de la litt\u00E9rature qui, de 1914 \u00E0 1930, r\u00E9volutionna le domaine de la critique litt\u00E9raire en lui donnant un cadre et une m\u00E9thode novatrice. On peut distinguer le groupe de Moscou men\u00E9 par Roman Jakobson, et celui de Saint-P\u00E9tersbourg, l'OPOYAZ, conduit par Victor Chklovski. Les formalistes russes auront une influence consid\u00E9rable sur la s\u00E9miologie et la linguistique du XXe si\u00E8cle, notamment par le biais du structuralisme."@fr ,
"Secara etimologis formalisme berasal dari bahasa Latin forma yang bermakna \u201Cbentuk atau wujud\u201D. Dalam sastra, formalisme adalah salah satu teori yang digunakan untuk menganalisa karya sastra melalui bentuk karya berupa teknik pengucapan (rima, ritma, bunyi, aliterasi, asonansi, dll), kata-kata formal, dan bukan isi karya ataupun unsur ekstrinsik seperti sejarah, biografi, konteks budaya, dan sebagainya. Sehingga karya sastra berdiri sendiri tanpa pengaruh teori lainnya. Tujuan teori formalism adalah untuk mengetahui keterpaduan unsur dalam karya sastra yang membentuk keutuhan isi dan bentuk dengan menganalisa unsur-unsur kesastraan, puitika, asosiasi, oposisi, dsb."@in ;
rdfs:seeAlso dbr:Anti-formalism_campaign .
@prefix dcterms: .
@prefix dbc: .
dbr:Russian_formalism dcterms:subject dbc:Russian_formalism ;
dbo:abstract "\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\uFF0C\u662F\u6307\u4E8C\u5341\u4E16\u7EAA10\u5E74\u4EE3\u523030\u5E74\u4EE3\u65F6\u671F\uFF0C\u5728\u4FC4\u56FD\u76DB\u884C\u7684\u4E00\u4E2A\u6709\u5F71\u54CD\u7684\u6587\u827A\u8BC4\u8BBA\u6D41\u6D3E\u3002 \u5B83\u5305\u542B\u4E86\u8BB8\u591A\u9887\u5177\u5F71\u54CD\u7684\u4FC4\u56FD\u548C\u82CF\u8054\u5B66\u8005\u7684\u4F5C\u54C1\uFF0C\u4F8B\u5982\u7EF4\u514B\u6258\u00B7\u4EC0\u514B\u6D1B\u592B\u65AF\u57FA\u3001\u3001\u5F17\u62C9\u57FA\u7C73\u5C14\u00B7\u96C5\u53EF\u592B\u5217\u7EF4\u5947\u00B7\u666E\u7F57\u666E\u3001\u7F57\u66FC\u00B7\u96C5\u5404\u5E03\u68EE\u3002\u5176\u4E2DGrigory Vinokur\u57281914\u5E74\u81F31930\u5E74\u4E4B\u95F4\u786E\u7ACB\u4E86\u8BD7\u6B4C\u8BED\u8A00\u6587\u5B66\u7684\u72EC\u7ACB\u6027\u548C\u81EA\u4E3B\u6027\uFF0C\u8FD9\u7ED9\u6587\u5B66\u8BC4\u8BBA\u754C\u5E26\u6765\u4E86\u4E00\u573A\u5F7B\u5E95\u7684\u9769\u547D\u3002\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u8FD8\u5BF9\u7ED3\u6784\u4E3B\u4E49\u601D\u60F3\u5BB6\u3001\u54F2\u5B66\u5BB6\u4EEC\u65BD\u52A0\u4E86\u6DF1\u8FDC\u7684\u5F71\u54CD\uFF0C\u8B6C\u5982Mikhail Bakhtin\u548CYuri Lotman\u3002\u800C\u968F\u7740\u5B83\u5728\u7ED3\u6784\u4E3B\u4E49\u548C\u540E\u7ED3\u6784\u4E3B\u4E49\u65F6\u671F\u7684\u53D1\u5C55\uFF0C\u8FD9\u573A\u8FD0\u52A8\u7684\u6210\u5458\u4EEC\u5BF9\u73B0\u4EE3\u6587\u5B66\u8BC4\u8BBA\u4E5F\u4EA7\u751F\u4E00\u5B9A\u7684\u5F71\u54CD\u529B\u3002\u4F46\u662F\u5728\u65AF\u5927\u6797\u6267\u653F\u65F6\u671F\uFF0C\u5B83\u88AB\u5F53\u505A\u7528\u6765\u63CF\u8FF0\u7CBE\u82F1\u827A\u672F\u7684\u8D2C\u4E49\u8BCD\u8BED\u3002 \u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u662F\u4E00\u4E2A\u591A\u6837\u5316\u7684\u8FD0\u52A8\uFF0C\u4ED6\u4EEC\u53D1\u8868\u5404\u81EA\u4E0D\u7EDF\u4E00\u7684\u5B66\u8BF4\uFF0C\u4E5F\u5BF9\u4ED6\u4EEC\u6240\u52AA\u529B\u7684\u4E2D\u5FC3\u76EE\u6807\u6CA1\u6709\u4E00\u4E2A\u5E7F\u6CDB\u7684\u5171\u8BC6\u3002\u4E8B\u5B9E\u4E0A\uFF0C\u201C\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u201D\u63CF\u8FF0\u4E86\u4E24\u4E2A\u4E0D\u540C\u7684\u8FD0\u52A8\uFF1A\u5723\u5F7C\u5F97\u5821\u7684\u8BD7\u6B4C\u8BED\u8A00\u7814\u7A76\u5B66\u4F1A\u548C\u83AB\u65AF\u79D1\u7684\u8BED\u8A00\u5B66\u6D3E\u3002\u56E0\u6B64\uFF0C\u76F8\u6BD4\u8F83\u66F4\u52A0\u6982\u62EC\u62BD\u8C61\u7684\u201C\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u201D\u800C\u8A00\uFF0C\u7528\u201C\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u8005\u201D\u6765\u8868\u8FBE\u793A\u663E\u5F97\u66F4\u4E3A\u7CBE\u786E\u3002 \u8FD9\u4E2A\u672F\u8BED\u201C\u4FC4\u7F57\u65AF\u5F62\u5F0F\u4E3B\u4E49\u201D\u9996\u6B21\u88AB\u4F7F\u7528\u662F\u6765\u81EA\u8FD9\u573A\u8FD0\u52A8\u7684\u654C\u5BF9\u65B9\uFF0C\u6240\u4EE5\u4E25\u683C\u8BF4\u6765\uFF0C\u8FD9\u4E2A\u8BCD\u8BED\u4F20\u8FBE\u7684\u610F\u601D\u662F\u88AB\u4ED6\u4EEC\u81EA\u5DF1\u660E\u786E\u53CD\u5BF9\u7684\u3002\u7528\u4E00\u4E2A\u6700\u8457\u540D\u7684\u5F62\u5F0F\u4E3B\u4E49\u8005\uFF08Boris Eichenbaum\uFF09\u7684\u8BDD\u6765\u8BF4\uFF1A\u201C\u5F88\u96BE\u8BB0\u5F97\u5230\u5E95\u662F\u8C01\u521B\u9020\u4E86\u8FD9\u4E2A\u540D\u5B57\uFF0C\u4F46\u662F\u8FD9\u7684\u786E\u4E0D\u662F\u4E00\u4E2A\u5F88\u6070\u5F53\u7684\u521B\u9020\u3002\u5B83\u4F5C\u4E3A\u4E00\u4E2A\u7B80\u5355\u7684\u4F5C\u6218\u53E3\u53F7\u53EF\u80FD\u662F\u5341\u5206\u5B9E\u7528\u7684\uFF0C\u4F46\u662F\u4F5C\u4E3A\u4E00\u4E2A\u5BA2\u89C2\u7684\u672F\u8BED\uFF0C\u5B83\u6CA1\u80FD\u8D77\u5230\u754C\u5B9A\u8BD7\u6B4C\u8BED\u8A00\u7814\u7A76\u5B66\u4F1A\u6D3B\u52A8\u8303\u56F4\u7684\u529F\u80FD\u3002\u201D"@zh ,
"La esprimo rusa formalismo estas uzata por referenci al intelektula movado kiu markas la naskon de la literatura teorio kaj de la literatura kritiko kiel a\u016Dtonomaj fakoj, kiu havis anka\u016D influon en la evoluo de la lingvistiko."@eo ,
"El t\u00E9rmino formalismo ruso designa un movimiento intelectual que marca el nacimiento de la teor\u00EDa literaria y de la cr\u00EDtica literaria como disciplinas aut\u00F3nomas y que tambi\u00E9n tuvo su influencia en la evoluci\u00F3n de los estudios ling\u00FC\u00EDsticos.\u200B Esta etapa literaria tiene lugar entre 1916 y 1928 teniendo tras de s\u00ED, un papel fundamental los sucesos hist\u00F3ricos (b\u00E9licos en su totalidad) que acontec\u00EDan por aquel entonces. Desde un primer momento el t\u00E9rmino formalismo ruso engloba un conjunto de estudios y teor\u00EDas que distan de ser homog\u00E9neas, pero que tienen en com\u00FAn el tratamiento de la literatura con base en un objeto de estudio: la \u00ABliterariedad\u00BB, que en otras palabras, comprender\u00EDa el conjunto de caracter\u00EDsticas necesarias para poder distinguir si un texto es literario o no. Al definir esa propiedad, el formalismo busc\u00F3 conferir un estatuto cient\u00EDfico al estudio de la literatura. El origen de este movimiento se genera con la creaci\u00F3n de El C\u00EDrculo Ling\u00FC\u00EDstico de Mosc\u00FA en 1915 y la Sociedad para el Estudio del Lenguaje Po\u00E9tico en 1916. De manera m\u00E1s precisa, este movimiento naci\u00F3 durante la Primera Guerra Mundial en la Rusia prerrevolucionaria.\u200B Fue una \u00E9poca que, como no pod\u00EDa ser de otra manera, establec\u00EDa un estado de enfrentamiento y pol\u00E9mica constante (llegando a su pico m\u00E1s alto con la Revoluci\u00F3n de Octubre de 1917). Entre los principales investigadores del movimiento figuran V\u00EDktor Shklovski \u2013considerado el padre del formalismo\u2013, Bor\u00EDs Tomashevski, Yuri Tyni\u00E1nov, Bor\u00EDs Eichenbaum, Vlad\u00EDmir Propp y Rom\u00E1n Jakobson. Algunos de ellos debieron emigrar a causa de las presiones del gobierno sovi\u00E9tico y en su exilio, influyeron en el desarrollo de nuevos paradigmas de la teor\u00EDa literaria y de ling\u00FC\u00EDstica como la Escuela de Praga o el estructuralismo. Dentro del formalismo ruso, destacan 3 etapas las cuales denominan el estilo literario por el que se decantar\u00E1 dicho movimiento. En la primera etapa (1916-1920) predomina, primeramente, el rechazo hacia la historia de la literatura tradicional, del subjetivismo y del lenguaje po\u00E9tico per se. Con esto \u00FAltimo, se introduce el conocido desv\u00EDo literario por el cual se abandona el lenguaje est\u00E1ndar o caracter\u00EDstico de las obras literarias (dependientemente de su g\u00E9nero) y se impone un estilo que crea una sensaci\u00F3n de extra\u00F1amiento en el lector ya que, como se ha mencionado, sale del lenguaje com\u00FAn. Esta t\u00E9cnica era muy usada por V\u00EDktor Shklovski y Jan Muka\u0159ovsk\u00FD. En la segunda etapa (1921-1926), se genera un debate entre las sociedades que desarrollaron este movimiento: mientras que la OPOYAZ constata que la lengua y literatura son diferentes, el C\u00EDrculo Ling\u00FC\u00EDstico se opone diciendo que ambas son complementarias ya que la literatura es parte de la ling\u00FC\u00EDstica. A pesar de ello, ambas llegan a un punto de conexi\u00F3n, y es que ambas rechazan el historicismo. La \u00FAltima etapa del formalismo (1926-1928) se definir\u00EDa como la decadencia de la literatura y la realidad. Adem\u00E1s, la literatura, gracias a Shklovski, empieza a tener \u00E1mbitos sociol\u00F3gicos. Con todo ello y marcandose as\u00ED el final de este movimiento, en 1925, se cre\u00F3 la Asociaci\u00F3n Rusa de Escritores Proletarios (RAPP)."@es ,
"El formalisme rus \u00E9s el moviment que inaugura la teoria liter\u00E0ria del segle xx i un dels m\u00E9s importants de la hist\u00F2ria, malgrat la seva breu durada (neix vers el 1915 i el 1930 ja se'l pot considerar dissolt). S'acostumen a distingir tres moments dins aquests anys: naixement (1915-1916); esplendor (primera meitat dels anys 20); i decad\u00E8ncia (fins al 1930), per motius pol\u00EDtics. Els formalistes s'organitzen a l'entorn de tres institucions: \n* El Cercle Ling\u00FC\u00EDstic de Moscou. \n* La Societat per a l'Estudi del Llenguatge Po\u00E8tic (en rus: OPOJAZ, Obscestvo izucenija Poeticeskogo Jazyka), de Sant Petersburg. \n* El Departament d'Hist\u00F2ria de la Literatura de l'Institut Estatal d'Hist\u00F2ria de l'Art de Petrograd. S'inclouen en aquest corrent, entre d'altres, V\u00EDktor Xklovski, Iuri Tini\u00E0nov, Vlad\u00EDmir Prop, Bor\u00EDs Eichenbaum, Roman Jakobson, Bor\u00EDs Tomaixevski i Grigori Gukovski."@ca ,
"\uB7EC\uC2DC\uC544 \uD615\uC2DD\uC8FC\uC758(\uC601\uC5B4: Russian formalism, \uB7EC\uC2DC\uC544\uC5B4: \u0420\u0443\u0441\u0441\u043A\u0438\u0439 \u0444\u043E\u0440\u043C\u0430\u043B\u0438\u0437\u043C)\uC740 1910\uB144 \uC911\uBC18\uBD80\uD130 1930\uB144\uB300\uC5D0 \uAC78\uCCD0, \uC640 \uC57C\uCF65\uC2A8, \uD2F0\uB0D0\uB178\uD504\uB97C \uC911\uC2EC\uC73C\uB85C \uC774\uB8E8\uC5B4\uC9C4 \uBB38\uD559\uC6B4\uB3D9 \uBC0F \uBB38\uD559\uBE44\uD3C9\uC77C\uD30C\uB97C \uC758\uBBF8\uD55C\uB2E4. \uBB38\uD559\uC131\uC744 \uC5B8\uC5B4\uC758 \uC2DC\uC801 \uAE30\uB2A5\uC774\uB098 \uC774\uD654 \uC791\uC6A9\uC5D0\uC11C \uD2B9\uC9D5\uC9C0\uC5B4, \uC791\uD488\uC758 \uC18C\uC7AC\uB97C \uC218\uBC95\uC758 \uB3D9\uAE30\uBD80\uC5EC\uB85C \uC0BC\uC558\uB2E4. \uAD6C\uC870\uC8FC\uC758\uB098 \uC5D0 \uC601\uD5A5\uC744 \uBBF8\uCE5C \uD55C \uD3B8, \uC2A4\uD0C8\uB9B0 \uC815\uAD8C\uC5D0\uC11C\uB294 \uC815\uCE58\uC801 \uD0C4\uC555\uC744 \uBC1B\uC558\uB2E4."@ko ,
"Russian formalism was a school of literary criticism 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 and autonomy of poetic language and literature. Russian formalism exerted a major influence on thinkers like Mikhail Bakhtin and Juri Lotman, and on structuralism as a whole. The movement's members had a relevant influence on modern literary criticism, as it developed in the structuralist and post-structuralist periods. Under Stalin it became a pejorative term for elitist art. Russian formalism was a diverse movement, producing no unified doctrine, and no consensus amongst its proponents on a central aim to their endeavours. In fact, \"Russian Formalism\" describes two distinct movements: the OPOJAZ (Obshchestvo Izucheniia Poeticheskogo Yazyka, Society for the Study of Poetic Language) in St. Petersburg and the Moscow Linguistic Circle. Therefore, it is more precise to refer to the \"Russian Formalists\", rather than to use the more encompassing and abstract term of \"Formalism\". The term \"formalism\" was first used by the adversaries of the movement, and as such it conveys a meaning explicitly rejected by the Formalists themselves. In the words of one of the foremost Formalists, Boris Eichenbaum: \"It is difficult to recall who coined this name, but it was not a very felicitous coinage. It might have been convenient as a simplified battle cry but it fails, as an objective term, to delimit the activities of the 'Society for the Study of Poetic Language'.\" Russian Formalism is the name now given to a mode of criticism which emerged from two different groups, The Moscow Linguistic Circle (1915) and the Opojaz group (1916). Although Russian Formalism is often linked to American New Criticism because of their similar emphasis on close reading, the Russian Formalists regarded themselves as developers of a science of criticism and are more interested in a discovery of systematic method for the analysis of poetic text."@en ,
"Rosyjska szko\u0142a formalna, r\u00F3wnie\u017C: formalizm rosyjski \u2013 bada\u0144 literackich, powsta\u0142a przed I wojn\u0105 \u015Bwiatow\u0105 w Rosji, prze\u017Cywaj\u0105ca rozkwit w latach 20., st\u0142umiona w okresie stalinizmu (cho\u0107 jej \u015Blady przetrwa\u0142y w literaturoznawstwie rosyjskim tak\u017Ce p\u00F3\u017Aniej). Wywar\u0142a znaczny wp\u0142yw na zachodnie , zw\u0142aszcza na now\u0105 krytyk\u0119, a tak\u017Ce strukturalizm. Formalizm by\u0142 reakcj\u0105 na literaturoznawstwo pozytywistyczne i obecn\u0105 w nim \u2013 naczelny cel bada\u0144 literackich upatrywa\u0142a nie w spo\u0142ecznych, historycznych, psychologicznych i genetycznych uwarunkowaniach literatury, ale w badaniu literacko\u015Bci, tj. wewn\u0119trznych i swoistych w\u0142a\u015Bciwo\u015Bci utworu literackiego."@pl ,
"O formalismo russo, tamb\u00E9m conhecido por cr\u00EDtica formalista, foi uma influente escola de cr\u00EDtica liter\u00E1ria que existiu na R\u00FAssia de 1910 at\u00E9 1930. Teve como objetivo o estudo da linguagem po\u00E9tica enquanto tal. Dela fazem parte as obras de um grande n\u00FAmero de acad\u00EAmicos russos e sovi\u00E9ticos de grande influ\u00EAncia como (Viktor Chklovsky, Vladimir Propp, Yuri Tynianov, , Roman Jakobson e ) que revolucionaram a cr\u00EDtica liter\u00E1ria entre 1914 e a d\u00E9cada de 30, estabelecendo o estudo da especificidade e da autonomia da linguagem po\u00E9tica e liter\u00E1ria. O formalismo russo exerceu grande influ\u00EAncia em pensadores como Mikhail Bakhtin e Yuri Lotman e no estruturalismo. Os membros do movimento s\u00E3o considerados os fundadores da cr\u00EDtica liter\u00E1ria moderna, principalmente durante o per\u00EDodo do estruturalismo e p\u00F3s-estruturalismo. Sob o dom\u00EDnio de Stalin o formalismo tornou-se termo pejorativo. O formalismo russo foi um movimento m\u00FAltiplo, que n\u00E3o produziu uma doutrina unificada e nem um consenso entre seus participantes. O \"formalismo russo\" descreve dois movimentos distintos: o (Obscestvo izucenija Poeticeskogo Jazyka - Sociedade para o Estudo da Linguagem Po\u00E9tica) de S\u00E3o Petersburgo e o C\u00EDrculo Lingu\u00EDstico de Moscou, de Moscou. Assim \u00E9 mais preciso referir-se aos \"formalistas russos\" do que usar um termo mais amplo e vago como \"formalismo\". O termo \"formalismo\" foi usado primeiramente pelos advers\u00E1rios do movimento com um significado explicitamente rejeitado pelos formalistas. Nas palavras de um dos mais ilustres formalistas, Boris Eichenbaum: \"\u00C9 dif\u00EDcil recordar quem criou este nome, mas n\u00E3o foi uma cria\u00E7\u00E3o muito feliz. Deve ter sido conveniente como um grito de guerra simplista, mas ele falha, como um termo objetivo, ao delimitar as atividades da 'Sociedade para o Estudos da Linguagem Po\u00E9tica'.\""@pt ,
"Het Russisch formalisme (Russisch: \u0420\u0443\u0441\u0441\u043A\u0438\u0439 \u0444\u043E\u0440\u043C\u0430\u043B\u0438\u0437\u043C, Russkij formalizm) is een vorm van taalkunde en literatuurwetenschap die in Rusland werd beoefend tussen 1915-1930. De vertegenwoordigers van deze stroming worden Russische formalisten genoemd. De beoefenaars concentreerden zich op de formele kenmerken van de literaire tekst en op de effecten daarvan. Ze verzetten zich tegen symbolisme, psychologische duiding, interpretaties met hulp van de auteursbiografie en de marxistische literatuuropvatting."@nl ,
"Il formalismo russo \u00E8 un'influente scuola di critica letteraria che si sviluppa tra il 1914 e il 1915 nell'Impero russo, in particolare nei centri culturali delle due principali citt\u00E0: l'Opojaz (\"Societ\u00E0 per lo studio del linguaggio poetico\", attiva dal 1917) di San Pietroburgo e il \"Circolo linguistico di Mosca\" (1914-1928)."@it ,
"Le terme formalisme russe d\u00E9signe une \u00E9cole de linguistes et de th\u00E9oriciens de la litt\u00E9rature qui, de 1914 \u00E0 1930, r\u00E9volutionna le domaine de la critique litt\u00E9raire en lui donnant un cadre et une m\u00E9thode novatrice. On peut distinguer le groupe de Moscou men\u00E9 par Roman Jakobson, et celui de Saint-P\u00E9tersbourg, l'OPOYAZ, conduit par Victor Chklovski. Les formalistes russes auront une influence consid\u00E9rable sur la s\u00E9miologie et la linguistique du XXe si\u00E8cle, notamment par le biais du structuralisme."@fr ,
"Secara etimologis formalisme berasal dari bahasa Latin forma yang bermakna \u201Cbentuk atau wujud\u201D. Dalam sastra, formalisme adalah salah satu teori yang digunakan untuk menganalisa karya sastra melalui bentuk karya berupa teknik pengucapan (rima, ritma, bunyi, aliterasi, asonansi, dll), kata-kata formal, dan bukan isi karya ataupun unsur ekstrinsik seperti sejarah, biografi, konteks budaya, dan sebagainya. Sehingga karya sastra berdiri sendiri tanpa pengaruh teori lainnya. Tujuan teori formalism adalah untuk mengetahui keterpaduan unsur dalam karya sastra yang membentuk keutuhan isi dan bentuk dengan menganalisa unsur-unsur kesastraan, puitika, asosiasi, oposisi, dsb."@in ,
"Errusiar formalismoa Errusiako literatura kritika eskola zen, XX. mendekoa."@eu ,
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"Is \u00E9ard a bh\u00ED i gceist leis an bhFoirmi\u00FAlachas R\u00FAiseach n\u00E1 scoil th\u00E1bhachtach criticeoireachta a bh\u00ED gn\u00EDomhach i saol liteartha na R\u00FAise \u00F3 bhlianta an Ch\u00E9ad Chogadh Domhanda go t\u00FAs na dtr\u00EDochaid\u00ED. Chuir lucht lean\u00FAna an fhoirmi\u00FAlachais b\u00E9im ar leith ar th\u00E1bhacht an tsaothair liteartha mar rud neamhsple\u00E1ch, rud a bh\u00ED beag beann ar a scr\u00EDbhneoir. Is \u00E9 an dearcadh a bh\u00ED acu n\u00E1 gur ch\u00F3ir an teanga liteartha a anail\u00EDsi\u00FA agus a thaighde mar rud ann f\u00E9in, in \u00E1it a bheith ag pl\u00E9 le cusp\u00F3ir\u00ED an scr\u00EDbhneora. Is f\u00E9idir a r\u00E1 gur cine\u00E1l ceannairce a bh\u00ED i gceist, n\u00F3 roimh l\u00E1 an fhoirmi\u00FAlachais, bh\u00ED s\u00E9 de n\u00F3s ag na l\u00E9irmheast\u00F3ir\u00ED liteartha sa R\u00FAis d\u00EDri\u00FA ar chusp\u00F3ir\u00ED id\u00E9alacha an scr\u00EDbhneora agus an saothar a mholadh n\u00F3 a locht\u00FA d\u00E1 r\u00E9ir, seachas a bheith ag tabhairt breithe ar an saothar mar shaothar liteartha eala\u00EDonta. Bh\u00ED an tseantuiscint \"id\u00E9alach\" seo ar an litr\u00EDocht bunaithe ar theoiric\u00ED litr\u00EDochta agus , arbh iad criticeoir\u00ED m\u00F3ra litr\u00EDochta na nao\u00FA haoise d\u00E9ag sa R\u00FAis iad. Bh\u00ED na foirmi\u00FAlaithe den bhar\u00FAil freisin gur ch\u00F3ir do na criticeoir\u00ED agus na l\u00E9irmheast\u00F3ir\u00ED modhanna oibre na teangeola\u00EDochta a chur i bhfeidhm ar an saothar liteartha agus iad ag d\u00E9anamh staid\u00E9ar air, le saintr\u00E9ithe teanga an tsaothair sin a aithint. Ceann de na pr\u00EDomhchoincheapa ag na foirmi\u00FAlaithe \u00ED an \"litr\u00EDocht\u00FAlacht\". Ba \u00E9 an tuiscint a bh\u00ED acu ar theanga na litr\u00EDochta gur scinneadh \u00F3 ghn\u00E1th\u00FAs\u00E1id na teanga \u00ED, n\u00F3 fi\u00FA gurb ionann litr\u00EDocht a scr\u00EDobh agus droch\u00EDde a thabhairt don teanga, an teanga a chur as a riocht, agus gurb ionann an droch\u00EDde seo agus \"litr\u00EDocht\u00FAlacht\" na teanga. Fuair an tuiscint seo spreagadh \u00F3n d\u00F3igh a raibh scr\u00EDbhneoir\u00ED nua-aimseartha na linne, cos\u00FAil le lucht an todhcha\u00EDochais - agus , cuir i gc\u00E1s - ag cur casadh nua ar fad ar an teanga ina gcuid fil\u00EDochta. Ba \u00E9 tuiscint na bhfoirmi\u00FAlaithe n\u00E1 go raibh an litr\u00EDocht\u00FAlacht agus m\u00EDchumadh na teanga d\u00EDrithe ar chuma choimhth\u00EDoch a chur ar an r\u00E9altacht i s\u00FAile an l\u00E9itheora, is \u00E9 sin, an r\u00E9altacht a choimhthi\u00FA. Fuair Bertolt Brecht an coincheap sin - an coimhthi\u00FA, n\u00F3 Verfremdung - ar iasacht \u00F3 na foirmi\u00FAlaithe, agus bh\u00ED an-r\u00F3l ag an gcoimhthi\u00FA ina thuiscint f\u00E9in ar an litr\u00EDocht agus ar an amharclanna\u00EDocht. Bh\u00ED Brecht den tuairim gur ch\u00F3ir an r\u00E9altacht a choimhthi\u00FA le s\u00FAil an l\u00E9itheora n\u00F3 an ghn\u00E1th\u00F3ra amharclainne a tharraingt ar ghn\u00E9ithe den r\u00E9altacht n\u00E1r l\u00E9ir d\u00F3 roimhe sin. Rinne na foirmi\u00FAlaithe neamhshuim den scr\u00EDbhneoir mar dhuine, agus n\u00ED raibh m\u00F3r\u00E1n measa acu ar bheathaisn\u00E9is\u00ED na scr\u00EDbhneoir\u00ED. Bh\u00ED de chlaonadh iontu a cheapadh nach raibh i saol an scr\u00EDbhneora cib\u00E9 sc\u00E9al \u00E9 ach iarracht an scr\u00EDbhneora cuma a linne a chur air f\u00E9in agus faisean a linne a lean\u00FAint. Bh\u00ED s\u00E9 n\u00ED ba t\u00E1bhachta\u00ED, dar leis na foirmi\u00FAlaithe, sruthanna, saintr\u00E9ithe agus faisin na dtr\u00E9imhs\u00ED \u00E9ags\u00FAla a aithint. Coincheap t\u00E1bhachtach eile ab ea an ceannasach. Is \u00E9ard at\u00E1 i gceist leis an gceannasach n\u00E1 na tr\u00E9ithe n\u00F3 an cine\u00E1l eala\u00EDne is dual don tr\u00E9imhse, agus f\u00E1gann an ceannasach a aithne is a lorg ar gach s\u00F3rt eala\u00EDont\u00F3ireachta lena linn. Mar shampla, m\u00E1 ghlacaimid leis gurbh \u00E9 an snagcheol ceannasach na bhfichid\u00ED, is ionann sin is a r\u00E1 go bhfuil tionchar an tsnagcheoil le haithint, fi\u00FA, ar scr\u00EDbhneoireacht na linne - is \u00E9 sin, n\u00ED hamh\u00E1in go mb\u00EDonn na scr\u00EDbhneoir\u00ED ag cumadh sc\u00E9alta faoi shaol na gclubanna snagcheoil, ach go mb\u00EDonn siad ag iarraidh an teanga a chur as a riocht ar dh\u00F3igheanna at\u00E1 faoi thionchar an tsnagcheoil. Ba iad na foirmi\u00FAlaithe ba t\u00E1bhachta\u00ED n\u00E1 , , , , , agus . Chuaigh an foirmi\u00FAlachas i bhfeidhm ar agus . N\u00ED raibh na foirmi\u00FAlaithe f\u00E9in r\u00F3sh\u00E1sta leis an ainm a baisteadh ar a scoil criticeoireachta, ach \u00F3 bh\u00ED siad ag cur b\u00E9ime ar thaighde na foirme in \u00E1it thaighde an \u00E1bhair, n\u00EDl s\u00E9 as cos\u00E1n an t-ainm sin a thabhairt orthu. OPOYAZ n\u00F3 Obshchestvo izuchaniya poeticheskogo yazyka (\"Cumann Taighde na Teanga F\u00EDleata\") an t-ainm a bh\u00ED ar chlub na bhfoirmi\u00FAlaithe, ach is ar \u00E9igean is f\u00E9idir a r\u00E1 go raibh an t-ioml\u00E1n acu chomh freastalach le ch\u00E9ile ar imeachta\u00ED an chumainn. Nuair a th\u00E1inig an Marxachas ceartchreidmheach faoi r\u00E9im i saol cult\u00FArtha an Aontais Sh\u00F3iv\u00E9adaigh faoi Stail\u00EDn, cuireadh cosc leis an bhfoirmi\u00FAlachas scun scan agus thosaigh maorlathaigh an chult\u00FAir ag cur foirmi\u00FAlachais i leith gach scr\u00EDbhneoir n\u00F3 eala\u00EDont\u00F3ir nach raibh ag lean\u00FAint pholasaithe oifigi\u00FAla cult\u00FArtha na t\u00EDre s\u00E1ch dian. An chuid ba mh\u00F3 de na foirmi\u00FAlaithe, \u00E1fach, d'\u00E9irigh leo teacht sl\u00E1n as an ng\u00E9arlean\u00FAint tr\u00EDna gcuid \"earr\u00E1id\u00ED foirmi\u00FAlacha\" a \"admh\u00E1il\" go poibl\u00ED. Chuir siad cuma an Mharxachais ar a gcuid smaoint\u00ED, agus lean siad leo ag teagasc sna hollscoileanna. Dealra\u00EDonn s\u00E9 gur \u00E9irigh leis an gcuid is m\u00F3 acu na campa\u00ED g\u00E9ibhinn a sheachaint leis an gcleas seo."@ga ,
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"Als russischer Formalismus wird eine literaturtheoretische Schule bezeichnet, die etwa um 1915 entstand, aber bereits 1930 aus ideologischen Gr\u00FCnden unterbunden wurde. Die Lehre und Methodik des russischen Formalismus kann als fr\u00FChe Auspr\u00E4gung des von Ferdinand de Saussure begr\u00FCndeten Strukturalismus bezeichnet werden. In einer literaturwissenschaftlichen Situation, in der einigerma\u00DFen wahllos hermeneutische, biographische oder auch psychologische Deutungsmethoden an literarische Texte herangetragen wurden, beschlossen die russischen Formalisten, sich ausschlie\u00DFlich dem literarischen Text selbst zuzuwenden, dem literarischen Faktum. Die Kernfrage ihrer Arbeit lautete: Was macht ein literarisches Kunstwerk zu einem solchen, was ist die Literarizit\u00E4t bzw. die Poetizit\u00E4t eines Sprachkunstwerks? Dies war ein entscheidender Schritt in die Richtung moderner Literaturtheorien, denn es ging nicht mehr um Fragen, was ein literarisches Kunstwerk sei, also die Kriterien, die man zur Kanonisierung von Literatur verwendet. Vielmehr untersuchten die russischen Formalisten, wie literarische Texte \u201Egemacht\u201C seien, sie interessierten sich f\u00FCr die verschiedenen Verfahren, mit denen literarische Texte erzeugt werden. Hierbei analysierten sie die diversen Verfahren der \u201EVerfremdung\u201C und stellten fest, dass solche Verfahren die Aufmerksamkeit des Lesers vom Inhalt oder der Bedeutung weg auf das \u201EGemachtsein\u201C des Textes selbst lenken. Im Verfahren der Verfremdung sahen sie daher ein f\u00FCr literarische Texte konstitutives Konstruktionsprinzip und bezeichneten diese autoreflexive Dimension sprachlicher Kunstwerke als deren \u201Epoetische Funktion\u201C. Ein wichtiges Konzept, das in diesem Zusammenhang entstand, ist das der literarischen Evolution, das auf Wiktor Schklowski und Juri Tynjanow zur\u00FCckgeht. Im russischen Formalismus wurden besondere Formen der semantischen, lautlichen oder strukturellen Oppositionen untersucht, die als eine Art Subtext die Bedeutung literarischer Texte determinieren. Diese oppositionellen Strukturen wurden dann insbesondere im Strukturalismus genau erforscht. Die russischen Formalisten haben sich auch intensiv mit dem Medium Film auseinandergesetzt. Die sowjetische Doktrin des Sozialistischen Realismus beendete den ideologisch nicht konformen Russischen Formalismus Anfang der 1930er-Jahre. Ans\u00E4tze des Formalismus wurden im Prager literaturwissenschaftlichen Strukturalismus fortgesetzt."@de ,
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