By Widdowson / Brooker
A vintage creation to the ever-evolving box of recent literary idea, now in an improved and up to date edition.Considers 'New Aestheticism' and engages with the information of 'Post-Theory' includes broad courses to additional analyzing, net and digital assets to make sure the standard of scholars' examine A word list defines key theoretical and significant phrases incorporates a advisor to proper journals
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Additional resources for A Reader's Guide to Contemporary Literary Theory (5th Edition)
The effect of this shift was far-reaching. Formalists were no longer plagued by an unresolved rejection of ‘content’, but were able to internalize the central principle of ‘defamiliarization’; that is to say, instead of having to talk about literature defamiliarizing reality, they could begin to refer to the defamiliarizing of literature itself. Elements within a work may become ‘automatized’ or may have a positive aesthetic function. The same device may have different aesthetic functions in different works or may become totally automatized.
But the function of particular elements or groups of elements. When Pope wrote the following lines satirizing the antiquarian, he could rely on the dominance of the values of prose clarity to help him achieve his purpose: But who is he, in closet close y-pent, Of sober face, with learned dust besprent? Right well mine eyes arede the myster wight, On parchment scraps y-fed, and Wormius hight. qxd 07/02/2005 14:43 Page 39 . RUSSIAN FORMALISM AND THE BAKHTIN SCHOOL The Chaucerian diction and archaic word order are immediately treated by the reader as comically pedantic.
For example, the device of having Raphael relate the War in Heaven is a ‘free’ motif, because it is not part of the story in question. However, it is formally more important than the narration of the War itself, because it enables Milton to insert the narration artistically into his overall plot. This approach reverses the traditional subordination of formal devices to ‘content’. The Formalists rather perversely seem to regard a poem’s ideas, themes, and references to ‘reality’ as merely the external excuse the writer required to justify the use of formal devices.
A Reader's Guide to Contemporary Literary Theory (5th Edition) by Widdowson / Brooker